[1][2] His work was also included in issues of Gay Comix,[3] Meatmen, Strip AIDS, No Straight Lines, and So Fey, a collection of Radical Faerie fiction.
", a comic that served as a reaction to the general HIV/AIDS pandemic that began in 1983, which paralleled similar views from other authors such as David Wojnarowicz and Jaime Cortez.
It is revealed this occurred because Doug happened to be wearing a specific color that codes him as a willing participant in their sex acts, before waking up and expressing relief at having had a bad dream.
[9] Drummer was a publication magazine that published both erotic and non-erotic fanfiction, photography, cartoons, comics, calendars, dramas, scripts, poems, and interviews.
Other non-erotic content includes lifestyle articles, letters, reviews of other leather organizations, personal accounts, new columns, and editorials.
Vaughn was a featured creator during the time the publication received criticism for being too obscene, leading to the Little Sisters book and Art Emporium v. Canada case.
In response to the organization's growing demands to implement doctrine into the constitution that would rule homosexuality as equal to necrophilia and pedophilia, as well as tactics of recruiting members through religious extremism and fear-mongering with a basis on the HIV/AIDS pandemic, "Marvelous" Marvin Moore (a friend of Vaughn's), founded the Special Righteousness Committee.
[10] The committee's message argued that the Oregon's Citizen's Alliance did not properly follow Old Testament Leviticus law, pointing out how it is a sin for the members to eat oysters, wear mixed fabrics, etc.
Vaughn was one of the members that engaged in protesting, held media events for the committee, and helped publish statements in the state's voter political guide.
Vaughn states his popularity with Stan Stone was unexpected, but deeply impactful to both his professional and personal life: "I was 21 and in San Francisco when I drew this, living too close to the edge as an underground comix cartoonist.
I survived as an editorial cartoonist, graphic artist, and lay-out artist: before the digital age, the lay-out production crew would set up a page to be printed by assembling the components, to physically glue strips of photographed images and copy onto master pages that would be etched onto metal printing plates.
Today that Wolf Creek Radical Faerie Sanctuary remains a battle zone which chews up and spits out new generations of those set to leave their mark upon those bleeding, embattled hills.