REVIEW: Violent, Profane "Deadpool" Shouldn't Work, But Really F---ing Does
Today’s entry is written by good buddy and frequent commenter Ian Astheimer. He and I will be doing some tag-team Reasoning action to fill in the empty spots in the archives. Take it away!
Today’s creator is living the dream. The dream has taken him to Mexico. (Archive.)
307. John Campbell
His style is deceptively simple: circles and squares, dots and lines. But, his comics effectively evoke and encompass the awkwardness, the absurdity, and the ennui of life.
The blogosphere’s most free-associating critic, Abhay, is a huge fan of Campbell’s Stevie Might Be a Bear Maybe — and with good reason. It’s a fantastic piece about a mentally challenged guitar player, whose guitar talks and whose mother is tired of shielding him from the truth and whose girlfriend is maybe not a girl and who might be a bear. Maybe. Here’s a tasty sample:
Of equal repute is Cambpell’s X-Ninja. The titular character is a habitual liar, and her arch-nemesis is a just a guy with a soft skull, which doesn’t make him evil or give him any sort of special powers. Here, some lying:
And, then, there’s Campbell’s ongoing opus: Pictures for Sad Children. The series is brimming with melancholy absurdity and features, among others, Paul, who is a ghost and who travels and who loses his job and his apartment.
Campbell is also renowned for his observational strips. For the past two years, he’s spent each January doing hourly comics about his life and the people in it.
Earlier this year, Campbell and Ryan Estrada headed to Mexico to found the Cartoon Commune.
Their venture is funded, at least in part, by making and selling custom comics, like this one:
In November, Campbell dared to answer fifty questions from his loyal readers. His responses were, frankly, overflowing with awesome.
What do you think of lesbians and gays?
Who are you voting for?
Itching for more Campbell comics? Look no further.
His LiveJournal also doubles as an archive for most of his work.
And, now, for my favorite Campbell piece:
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