MORE & MORE? & MORE

Here are the Kobold & the Beholder in color...




& my new personal favorite, "VOMITROCIOUS". I've got a five year old girl in one of my drawing classes that always says, "VOMITROCIOUS."

Cycloptic Arnold

I was watching Predator a few nights ago and the video file started glitching out because I had ten million applications running as usual. But it froze up on this really hillarious and bizarre scene of Arnold looking like a cyclops.

DUNGEONS & DRAGONS

A Kobold

A Beholder


There will be color versions of these, but i had to scan them in black & white for my friend Clint Marsh's old school role playing game newsletter "THE SHRIEKER".

I also just finished a monster made out of Cheetos & am working on a monster made out of vomit. Connection? Nope.

THIS GUY AGAIN!?!?

Even More Monsters

Been going crazy with these lately, here's another 100 sketches. Hoping to get the complete 1,000 finished soon. Started doing these weird Aztec rock monster things here that I might do a few more of.

Mostly words, but a doodle too.

I'm trying to find a way to break out of the rut I'm in. All the stuff I'm drawing is feeling very samey, and I want to constantly improve and expand, so a departure of sorts was in order. I'm mucking about with the dry media tools in painter, and I think I found a bleed/resaturation setting that gives you an OpenCanvas like ability to blend color, but still a grainy finish, which I really dig.

I'm using the flattened pencil tool at it's default settings for the linework (which is really placeholder and throwaway - I intend to substitute for my inked lines eventually) and Sharp Chalk with a 50% Resaturation and a 80% Bleed.

My inks tend to have a strongly defined light source, so I think a method that works well for me is to throw down large swaths of color behind the pencils/inks in a seperate layer. I highlight certain areas that make sense within the context of the lineweights I've already created and then start to render from there.

I've never worked this way before. I always opted to paint in greyscale on a solid, 50% grey background. I've only done one test so far, and it took all of about ten minutes, but I'm liking the potential here for print/editorial work. I think my solid, spot hues work great for limited color pieces like tee designs, but for situations were more elaboration is allowed, I think something like the following test is worth pursuing:



Having a broadly defined light source sitting in the underpainting allows me to solve all my highlighting and shadow issues pretty intuitively. I'm really glad I decided to fire up Painter and doodle a bit.

My site is about to relaunch. When it does, I intend to post a video/sketch diary of sorts. Lots of videos of the working process, lots of lengthier explanations behind decisions I've made. I'll do the same here.

I'm Goin' Mainstream

This is the image that smacked me in the noggin and made me want to draw comics.

Before I could drive I would have my parents take me to a Mile High Comics store that was in the local mall and I would buy the Mazzuchelli/O'Neil Daredevils along with Baron and Rude's Nexus. I had seen some promotional stuff for Dark Knight Returns and was aware of Frank Miller but this cover left me dumb-struck. It's Batman, a character I grew up with thru the Adam West TV show and The Superfriends cartoon, but there's something wrong with him. His costume's wrinkled and loose fitting. He looks like a rabid animal mixed with a zombie. I hadn't even looked inside the book but I knew I had to have this cover.
Around the time that DKR and Watchmen were released you got a lot of "BANG! ZAP! POW! Comics Aren't Just For Kids Anymore!" news pieces that focused on the dark angles that Miller and Moore were taking on superheroes. There was talk of political subtext, sexuality, violence, etc...but the one thing that these articles seemed to ignore, in the case of Miller at least, was the expressiveness of the artwork, especially with the cover of that second issue.

Miller's style loosened up during the course of the four issues. Pages from the fourth volume have an entirely different feel than those from the first. The major turning point would be the above image. It has a European vibe to it - thin, open lines - it's like if Egon Schiele painted a 'roid-raging body builder. It's far removed from the slick, standard versions of the character from guys like Neil Adams and Jim Aparo. The layout is tight and claustrophobic, with Batman just barely contained within the frame. The high contrast of the light blue and grey of the costume with the reds and oranges in the skin and background add to the dynamics. The image epitomizes the series and is, to me, the most important and influential piece of artwork in the sea change that was about to take place, for better or worse, in mainstream, American comics. Of course, Lynn Varely should be equally praised here as should Klaus Janson for the interior finishes. I've attempted to re-read DKR and the story leaves me cold but the artwork still gets me excited.

All that to say I really dig this drawing.

Golden Horn-Silver Knot

Bewildering Sights Of Never Ending Madness!

IDENTIFYING THE ENEMY!!! or... SAFETY LAST!!!

I was listening to the Jefferson Exchange show this morning & some guy called up talking about this extremely prevalent but rarely defined political ideology called COMMUNITARIANISM. This ideology is essentially a radical control freak "common goodism". They are economically liberal & socially conservative, but their social conservatism doesn't come in the traditional conservative mold, but in the neo-liberal mold of gun-control, thought control (the hate speech laws are a great example of Communitarian programs) & radical conformity. Communitarians believe that the rights of individual & national sovereignty must be balanced against the rights of the "community." These are the New World Order, One World Government big-state do-gooders that i am constantly plagued by, & now i know what their platform is called! They are essentially the opposite of the classic American radical-individualism, of which i am a practitioner of. Communitarianism is essentially non-dynamic Fascism*. Take away the flash, the pound of the fist, the fancy uniforms & the excitement from Mussolini's Italy, replace the thugs with middle management & therapists & you've got... Hillary Clinton! Anyhow, these wankers want to take away our freedom, homogenize us into a bunch of feel-good boring hermaphrodites on mind control drugs eating regurgitated soy products & leave the driving to them. These people are the opposite of humanity. They are BORING! THEY ARE WRONG! WE MUST OPPOSE THEM AT EVERY TURN! THESE ARE THE PEOPLE WHO TOOK PLAYBOY & ARCADE MACHINES OUT OF THE 7-11s! THESE ARE THE PEOPLE WHO THINK IT'S A GOOD IDEA TO GO TRICK-OR-TREATING IN SHOPPING MALLS! These people do not GET what life is about. They want everything to be pleasant at ANY COST. Including, KILLING YOU!

* The redeeming trait of Fascism is the early revolutionary dynamic period ala the Futurists. Take away all of that avant-garde violence & you've got your typical American college town of 2007.

More on this nonsense when i begin to amass an enormous data-base of Communitarian evil.

In the mean-time, i've been listening to alot of the David Emory show. I used to tune in on KALX in Berkeley, before those dildos cut him loose.

ULTIMATE STRENGTH NOW!!! TOTAL GUARANTEE!!! NO IMITATIONS, ABSOLUTE CORE RESULTS!!!

LADIES AND GENTLEMEN, I KNOW WHAT YOU'VE BEEN SAYING TO YOURSELVES. I'M TOO FAT, I'M TOO SKINNY, I DON'T FEEL HAPPY. WELL FORGET ALL YOUR WORRIES BECAUSE THE NEW WAY IS BORN. FOR A LIMITED TIME ONLY WE PRESENT TO YOU NOT ONLY A NEW WAY OF LIFE BUT A TOTAL AND ABSOLUTE NEW WAY OF THINKING ABOUT YOURSELVES AND OTHERS! WE CAN TRANSFORM YOUR MORTAL BODY INTO A COMPLETE MACHINE CAPABLE OF ANY FEAT. YOU WILL FEEL THE POWER SURGE!!!! THE SOUND OF BONES SNAPPING WILL NO LONGER BE YOURS BUT OTHERS THAT GET IN YOUR WAY!!! IT IS ALL POSSIBLE NOW AND YES FOLKS, THIS IS THE REAL DEAL. DON'T BE TRICKED BY PREVIOUS PRODUCTS THAT OFFERED YOU SIMILAR RESULTS. THIS WILL PROVE BEYOND 100 PERCENT THAT YOUR PHYSICAL STRUCTURE IS A TRAIN OF MEAN LEAN DESTRUCTION MACHINE THAT WILL KEEP ALL YOUR ENEMIES ON THEIR TOES, AT LEAST UNTIL YOU BREAK THEM!!!! ACT NOW!!!!

cartoon time

MORE MONSTERS!!!

Here's about 100 sketches for my series of 1,000 monsters that I'm still not sure what I'm going to do with. I need to do a lot more experimentation with book binding before I'm comfortable with doing a run of books for this. I'll be using these a lot to reference for various characters in my Hob Bob comic, I'm going to try to incorporate every one of them in one way or another. Some will probably be characters that I use a lot, others will get background cameos. The one that looks like it's split in half has inspired me to do a weird tribe or village of characters that are all split in half but fit back together when they're in danger. That's going to be fun to draw. I might make all the buildings split in half too. Maybe have some giant golem creature that's in two giant halves that all the townsfolk need to push back together to fight for their plot of land against whatever invaders come their way.

Anyway, what you're looking at is very light pencil sketches that I dropped the levels on in photoshop and adjusted with the stamp filter. A few of these I'll start drawing with an idea in mind, but it's usually just stream of conscious drarering. Strangely the diamond formation, ghosts and serpents keep finding their way back into different creatures so I'm just running with it.

Savage Dragon for R.A.G.

I doodled this a little while ago. I read a current issue of The Savage Dragon and fell into a bit of nostalgia for the early 90's. Robert's recent post highlighting Erik Larsen made me want to share it. I hope you like it, Mr. Gilmour.

Zombies and Fishmen and Animal Rights?

I've completed a series of three illustrations to be used for an upcoming portfolio/blog page. I've added a test of a retro-halftone effect to one of the illustrations. I intend to take this a bit further and use the effect on appropriately era-specific comic colors for some upcoming comics.


Retro halftone detail.







I'm sorta-kinda expected to make really saturated, gaudy works, and I constantly want to change and grow, so the gimmicky halftone thing is a nice distraction that keeps things from becoming boring.

I'm also committing myself to making pro bono work for causes I believe in such as animal rights - here's a sketch for an upcoming benefit album cover:

FRANKENSTEIN HOT DOG AMERICA

Hot dogs, Frankenstein's Monster & America should all be made up out of all manner of meats, ground or sewn together, salted, spiced, smoked & shocked through with electricity. Essentially lower-middle class, hard working, scary, almost out of control & constantly pursued by the ignorant, European mob. Goes down great with a good, cheap beer. Best served at a ball game, county fair or on the streets of a big city. You actually meet Americans who haven't eaten hot dogs, thought about Frankenstein's Monster or have been proud to be an American "in a long time". How long has it been? Why is it? Too busy eating quiche? Too busy drinking Evian (Naive)? It's time to be a real American.

Wallpaper, Lil' Ghouls ™

I made this to use as a background for my myspace page. It makes an okay screensaver too. I've been messing around more and more with kinda straight-forward design 'tasks', for lack of a better term. I do this with the idea in the back of my head that I should be trying to work in design/illustration. I know I won't get work doing brush and ink drawings of hovering mutated eyeballs, so I'm messing around with simpler deals.
Here are a few little wacom/photoshop guys.Really simple and pretty fun.

Clive Barker Heads

I stumbled across these scans I took of a couple drawings I was lucky enough to have Clive Barker draw for me a long time ago. Strangely the point headed one was drawn in 96 and the other in 98, I guess when he sees me he's compelled to draw weird masks on sticks. I need to go to another book signing of his sometime and give him some artwork back in return. I've been reading his books since my early teens and he's continued to be a huge influence in my artwork. His Abarat series has been one of the larger influences in how I conceptualize my own fantasy worlds.

What is the giant squid's favorite color?

The Giant Squid rants at Poor Mojo's Almanac vary between pretty funny and pure demented genius. This essay is one of the latter.

IQ-9

IQ-9!

skull disco

I do the artwork for the label skull disco and've just noticed the new website's up and running

http://www.skulldisco.com/

bing, bang, boom

New card art, also, most likely my entries into the Entarte Kunts show (more on this later!) up in Portland this June at Optic Nerve gallery.
This is the Frankenstein's Monster version of my character "Chinese Spaghetti".

This is a grown up Pippy Longstocking, except she is a hill-billy.

This is Jonny Gestapo, my zine writing alter-ego from early issues of my first zine, Goblin's Armpit. He is a character that reflects my previous non-understanding of myself as not an underdog Popeye type of character, but as a dominating Bluto.

This is High Ball, a glue sniffing giant eye headed dude.

This is Darian the Aryan Barbarian, he's kind of a holdover from the punk & hardcore crossover days. The kind of guy you used to meet at those kinds of shows.

Bissettes' Monster Blog

Steve Bissette, one of my favorite horror cartoonists ever, is running one of my favorite blogs around, Myrant. He's using the blog format in a really good way, a way that mirrors zines of yore; Personal blather, socio-political opinionizing and interviews with some great comics-related figures, like the venerable Bryan Talbot ( part one was just posted). It's a model I don't see too much of, with most blogs using an either/or, "personal" or subject-specific model.
What's more, Bissette promises more interviews..

John Fogerty:icon

So the next thing I may be doing is some drawings to go with these off-color John Fogerty song parodies I wrote. Hopefully they'll be shown at a gallery show focusing on John Fogerty's apocryphal career as a swamp pervert that's being organized by my pal Bert Stabler. It's supposed to take place at Roots and Culture gallery in early July.

Anyway, I thought people might enjoy seeing some of the parodies. This one's to the tune of "Heard It Through the Grapevine" (originally by Marvin Gaye, of course, but covered by CCR.) I guess if people like it, I'll post more; if people don't, I won't, if people are indifferent, who knows what I'll do?


Schtupping in Your Green Slime

Oooo, bet you’re spurting pallid goo,
while roaches lick your underoos,
Have I got insect eggs inside my drawers,
Or am I just happy to see your sores?
Lips like mildewed Frito lay;
tongue like a fish-stick half-decayed, ooo

Chorus:
I’m schtupping in your green slime;
gelatinous orifice and it’s all mine
Oo, schtupping in your green slime;
fat pimples burst inside your mind.
Ribbit, ribbit, yeah

You know a pustule that crawls with flies
is the kind I want to get inside,
Stale queef makes my anatomy
crave your dank episiotomy
When I hear your intestines squelch
my love-gun begins to belch, ooo


Chorus

The cancer bursting from your mammaries
smells like milk but tastes like beer.
Chemotherapeutic booze
Flows like thin gruel from your rear.
In my pants the polyps grow,
As the lymph nodes come out to whore,
Don’t you know


Chorus

Chorus

EYE-SORE COVER -LP

This just in.

Weekly Top 5, minus 4, #2

I’m taking a slightly different track with my insanely popular top 5 feature; I’m breaking it up into individual “reviews” that I’ll post as I finish, and, instead of simply listing ‘stuff’ that I really like, I’m going to use items; comics, movies, shows, various media, etc., that I’ve been ‘into’ as springboards into ideas that I’ve been thinking about a lot lately. Hopefully, this’ll provide a more tangible link to our shared world of comics, art and all that stuff, with what might otherwise read like the random blather of the crazy-eyed old man that’s at the coffee shop every time you go there. And, really, it reflects the way I actually view most of this “stuff” .
As I age, I look upon all of this stuff that somehow piles up in every nook of my apartment with less and less of the unchecked enthusiasm of my adolescence, when I looked to art, comics and music to somehow provide for me an identity and , consequently, ate up whatever ideas this stuff inspired in me, as long as it pushed the right buttons, indulged my perception of self, creating a kind of feedback loop of feel-goodism that ran tighter and faster as it went on, spitting out all alien bodies that might infect it*. I see it now in that annoying air of overblown self-confidence you see in people in their late teens or early twenties, who’re also at the coffee shop every fucking time you are.
It became pretty clear that it was an entirely false-conciousness - life experience, exposing myself to ideas that ran counter to those I basked in, or having them foisted upon me – this broke the spell , so to speak.Without sounding too melodramatic, I’ll let you know that it was painful and confusing. I thought I had stuff figured out: Each night after work or school I’d dig a few of my buddies out of the pile of stuff in the corner and we’d hang out for hours, telling each other how awesome we were. It’s like, somewhere along the line, I nodded off for an hour and woke up to the sounds of my pals murmuring plans in foreign accents involving my ass and the highest bidder. The party is over.
Even though the party was over I had a need for this stuff; For a while it felt like I was digging through ashtrays for lipstick-stained roaches, but I eventually decided – even after hosing away the vomit on the back porch- that there was too much promise there.Promise for what, I can’t really say. I promise I’ll drop the party analogy now, that’s for sure, because that keg is all foam.

So, how do I approach all this stuff from now on? Do I refuse all materials that don’t expose my murky cave-like brain to pure, shining brilliance? – That sounds good sometimes: Pure, Concerted, Disciplined, No Bullshit, etc..
But I’m reminded of something one of those really smart guys wrote about artists “They’re damned to be of their time but not in it.” ( paraphrase, of course.I honestly don’t recall who wrote that.) .

From the front door of the house I grew up in, you could see the hulking neon backside of
My towns’ mall. It was full of video games and movies and candy and comics and monster magazines.It was my second home. I once came to, wandering the parking lot in my pajamas in the middle of the night. I wanted whatever was in that place, even while I was sleeping. I was an addict by age ten.
( I still have dreams about wandering through that mall ( now an office building/warehouse) and finding the coolest comic book you’ve ever seen. It’s usually kind of psychedelic looking, with lurid colors and thick black inks. I set it aside to dig for more and when I turn to retrieve it, it’s gone, somewhere back on the rack.)
- All this crap is in me, but I’m not of it- Or is it the other way around?
Asking me to refuse anything resoundingly unbrilliant is like asking a retarded fat kid to jump rope and recite a monolouge from King Lear (That analogy is actually too close to the reality of the subject to work properly, but I’m going to stick with it cause I’m too dim-witted and hungry to think of a new one)**- It’s just not in me, or of me, or in the time of me that I’m not in but of, or whatever the fuck.
-And all that junk led me somewhere, I think; even if it consisted primarily of escapism, it was an escape to somewhere where you might find some nugget of value in there among the tits and skulls.It at least set the stage full of props and imagery – stuff that I could use on my own...
I’ll get to the point: the only way I can really engage all of this stuff is with that same schism in mind that caused this mess, only now refurbishing it as a critical tool.
- It’s the disparity between my perception of reality and what I think the material is trying to communicate to me about reality. It’s pretty direct, it’s pretty literal; I’m a pretty literal-minded guy ( yes, I am comfortable with that.)
I’m pretty comfortable with my ideas about what looks good; I think I know good drawing when I see it. I’m pretty sure I can recognize formal invention as well as clunky storytelling.- This stuff is the parsley on the real meat of the matter. That meat is the content***; In terms of comics, it addresses the fundamental reason for their existence, which is to communicate something, weather it’s some obtuse tone-poem in panels or a chart depicting the life cycle of a self-loathing Canadian .
- So, let’s figure out what it’s telling us, what it’s communicating either by design or default and let’s use our God-given sense of reality and truth to figure out wether we value the message or not. I do this not because I want to shit on people, or out of jealousy ( I am jealous of many good artists, not the ones I shit on..) , I do it cause I’m after the promise of something meaningful that stopped me from throwing all of my stuff in the trash when the bubble burst .It involves determining what has value, what has none, what has a little,etc.,etc.
It seems obvious and it is -BUT- I seem to encounter with some regularity a willful reluctance among people my age to engage art in terms of personal value.They either adopt some feigned sense of objectivity in which value is determined by their sense of how “culture” might interpret something ( and it’s usually the most novel interpretation that finds favor), or they indulge in what seems like magical thinking, by which , through occult means, we will any minor tingle of pleasure into meaningful-ness; It’s the language that a shittily traced rendering of Garfield “speaks” to an art school drop-out somewhere in New England.
They are both de-personalized.they are both steeped in irony.It’s the kind of irony that consists soley of embracing the inverse perception of the actual, the opposite of the expectations that we’ve based on a sense of shared reality ( and these expectations are valued only as much as they can be confounded, blah blah).It disengages the ironicizer from the ‘other’, or the ‘expector’ and allows whoever ‘gets it’ entry into the “in crowd”.You’re either in or out.
Have you guys ever read the kind of criticism that actually asks questions like, “Is it good for comics?”, like you have to nurse the abstract phantom to health to train it for gold, or, “Did they achieve their objective?” , regardless of wether you approve of their objective ? -which is like training the phantom for gold in the Special Olympics, i.e, egalitarianism run amok .
Sadly, it seems like the majority of “professional” criticism falls into this camp.It’s often mere inches away from mentioning Box-Office numbers right before a “tuned-in” description.
If this straw man I’ve built is the difference between ‘pro’ criticism and amateur, I’ll go with amateur; I’m not interested in being a functionary critic, an administrator of “even-keeled” , rationi-ized criticism. What the imaginary citizen of an imaginary “culture” might make of of something cannot begin to have any meaning to me. I remember Alf and neon sunglasses and I like acting like an idiot with my friends, but this stuff isn’t valuable to me- it’s a diversion.
I take this stuff personally. I have to.It’s a part of my character, and, what the fuck- it’s all I’ve got.

*- I think a lot of artists try to keep that feel-good loop going. In fact, I sometimes suspect that keeping that going and operating within it is what is often recognized as
“dedication” and is met with “success”.

** Actually, the analogy doesn’t work at all. It does reflect the murkiness I live in well.

*** Yes, I know , content is drawing, is “aesthetics” ( I shudder every time I use that word..),etc.,etc.,.




1.1. NATIONAL WASTE #6
I’ve argued with people who’re really concerned with the “ecosphere” a few times and I’ve come away with the idea that they’re motivated in part by an image of this static state of pure “nature”, uncorrupted by the hell other people bring- all those careless, greedy people with their SUVS,etc.etc.- and that this is the vision they’re defending from those who look upon their claims with skepticism. It’s a place where all life can live according to it’s nature, away from the pretense, ego, greed, ignorance and hubris that define humanity at it’s worst.
It’s pretty easy to compare this vision of nature and mans’ role in it to the appeal of Outisder Art, or Art-Brut; an unaffected method of creating art that’s simultaneously the concerted creation of one individual- you can see ‘Natural” mans’ hand at work-, but too disinterested in what others ( with the hell they bring) might care for to be considered solipsistic.It makes no concessions to what might be considered artificial constructs of beauty , to notions of skill and craft ( egotism?) or to the cultural traditions that brought them about; if the hell of other people has a home, it’s there.
Lief Goldbergs’ National Waste series features short comics with ecological themes drawn in an Art-Brut style, familiar to fans of Fort Thunder, of which Goldberg was a central figure.
The first strip, STICK SPACESHIP, involves a helmeted bureaucrat leading a ‘pep rally’ of identical helmeted men within a domed, sterile complex. The “pep rally” involves nothing more than instructions for achieving “inner happiness” by modifying a series of mechanical pre-sets- I surmise-within their own identically programmed minds.They’re returned to “infinitely pleasurable production mode”. The “stick Spaceship” of the title has been hovering above the dome all the while. A giant anthropomorphic bird appears, flying around the head of the ‘leader’ ; “Gaia ..sendsss a gift”, it says. A scuffle breaks out; other bird creatures crash through the dome, helmet-heads are separated from necks and the leader is flown to “the lions’ den” somewhere out in the wasteland.
STICK SPACESHIP, like the rest of the NATIONAL WASTE, is drawn in scratchy pen lines; what looks like some bic pen here, some Uni-Ball or Sharpie there. The rest of the strips involve awkwardly drawn anthropomorphic and human characters inhabiting a squalid, waste-world, living off the refuse of a consumer culture whose sweat pants are ready to burst from too much toxic sugary useless crap.
I do think people damage the environment, but I don’t think “nature” is a static , pure state that man can only corrupt and I’m a little weary of a college-educated artist ( one educated at RISD, no less ) taking on a naïve bent in their artwork, but I can’t dismiss National Waste so easily- there is something there that I really respond to; the world built in National Waste is funny,odd and provides an infinite canvas of possibilities. This is, at it’s core,a work of science fiction .Unlike the majority of science fiction, it focuses on the hapless idiots that have to live in the wake of major social change and have had no hand in it’s creation- they might not even understand any of it, much less be able to do anything about it. Stuff just happens- that’s all they know, and that’s all we’re shown.

I don’t buy the environmental concerns in the comic. Even though it’s obviously an exaggerated, comic-booky world, I think it’s a little too simplistic to say anything I value - and- here’s the crux- I’m not sure if the Brut trappings of his comics allows for much nuance. The STICK SPACESHIP story, for instance, is a mere 7 pages long and reads more like a series of snapshots , or a high-light reel of the best moments of the story. On one hand, it cuts through the bullshit, get’s to the fun stuff; it makes no concessions to the reader. On the other hand, it makes no concessions to the reader.
That’s what’s got me in a tough spot with not only National Waste, but a lot of the art comics that sprung up in the wake of Fort Thunder; There’s a certain vitality and energy that comes with eschewing traditional storytelling techniques and craft concerns, on the other hand, these traditions became such because they worked, they helped give people what they wanted in a comics reading experience; something the reader could immerse themself in without being jarred out of by seeing the artists’ hand everywhere, or in clumsy panel transitions. In the world of National Waste, would this be a concession to commerce? To tradition? Hmm.
It’ll be fun to watch art comics like National Waste evolve.I wonder if we might see some of the older practitioners of this kind of work attempt to stretch the bounds they’ve set . This is my projection, of course; I’m pretty sure I’d get bored if I didn’t move along after a while.
I’d like to see the same level of craft and care that’s so obvious in the screenprinted covers of National Waste ( worth the price alone) applied to the cartooning. I want the contents to look as good, I want to see Goldbergs’ world fleshed out enough to hang around in for a while, to see enough space in the stories for the unexpected to occur, along with the ridiculous and exciting.

National Waste #6 is available from Quimby's Online Shop



-Cover of a recent Goldberg project