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A Dog Named Indie: "Marvel Comics Presents #6" with Drippy Bone Books

Louis Falcetti writes for Bleeding Cool;

Parody and satire, two beautiful gifts given to us by the creativity gods to decipher, deconstruct, pummel and praise the world around us, have fallen by the wayside in recent years. Not from disuse, no, far from it, but from overexposure by the people least qualified to be dabbling in said constructs. Am I laying the blame for the drop in good parody solely on the feet of the makers of "Scary Movie"? Yes I am. It is entirely their fault. And everyone who's followed in their hacky, crappy footsteps.

Humor as a tool though, being used to sort through our loves and our hates, to drag things out to the extreme to really see what makes them tick, this is the kind of scientifical art (or artisinal science?) that can be conveyed by artists who know what they're doing and more importantly, who believe in it. I'm here today to talk to you about "Marvel Comics Presents #6" put out by Drippy Bone Books. I was lucky enough to pick up the anthology at SPX this year and I was impressionable enough to have my mind well and truly warped by it.
It's a parody anthology to be sure, and one focused on the Marvel of yesteryear, where readers will experience the mind-shattering, psychedelic nightmare of "Bad Vibes" with Adam Warlock, a skeevy strip club filled with 70s Marvel characters provides the backdrop for the even skeevier subject of Marvel's treatment of creators, D-Man gets existential and Man Thing fights Dormammu through a ragged, freaked out dimension of underground coolness.

"The Future Is Unwritten" by Josh Bayer features the creations of classic, important Marvel artists, specifically Howard The Duck, Moon Dragon, Living Zombie, Rom, Mastodon, US Agent and Deathlok hanging out at a strip club where they're visited by Plastic Man who brings with him tidings of the realities outside of their comic book worlds. Bayer's detail is impressive, the facial tics, the muscles, US Agent snorting his feelings off his shield, everything is so finely crafted that you're repulsed and delighted with the same panel. The comic is also imbued with moments of genuine humor, showing that Bayer isn't just standing on a soapbox, he's woven his feelings into the work but allowed the work it's own room to be itself, a funny comic in a parody anthology.

"Bad Vibes" by Keenan Marshall Keller finds Adam Warlock rocketing across space, tripping his cosmic balls off, thanks to being dosed by The Man-Beast. It's short, but man does it pack a lot into a few pages. Warlock goes through the bad trip phases and paces, keeping it together as best he can in the vast cosmic emptiness of space. Another comic in the anthology that weaves it's hilarity in and out of honesty.

Editor and Artist Pat Aulisio's contribution "Man Thing" is just that, a Man Thing strip, where the title character mixes it up with Dormammu in a swirling, seething sea of color, shapes and uncontrollable cosmic weirdness in the Marvel style (of 30 years ago)(single tear).

I was able to talk to a few of the creators involved in the Anthology about their work, their opinions on Marvel, creating a scene, and more.

First up, editor and artist, Pat Aulisio

As I looked you up I saw a Defenderscover you did with Josh. So this love/hate relationship with Marvel for the two of you must go back quite aways. When did all this start, both for you personally and in terms of the anthology?

In reference to the defenders cover, that was at a point in my collaborative relationship with josh bayer when we were figuring exactly how we wanted to work together, I colored that, this hulk cover and the cover to his comic raw power all in the same few weeks last November.

I dont know if I would call it a love/hate relationship with marvel… I love marvel, and have loved it my entire life, its what got me into comics in the first place. I dont specifically hate it, although there are a lot of famous historical stories of marvel screwing over their artists in every which way because they act like a giant evil corporation.
but, ya'know, thats life, pigs die horrible deaths and I still love eating bacon. I still love the serialized story aspect and the characters. I've been buying and reading avengers vs. x-men and i think it's awesome to see characters (which i love) fight even though there creator, Jack Kirby, got royally screwed in creating those characters (which i hate).

With the exception of the bird poop at the very end, your parody strip is practically a straight forward Man-Thing comic. Well as straight as a Man-Thing comic gets. You didn't feel the need to turn the parody up to 11, as was the case with your Bootleg Comics?

Bootlegs were originally all made my senior year of college, my schools illustration program senior thesis was having teachers act as art-directors doing a 4-month long project, which was all kind of bullshit and i knew it, there was a 4 piece limit for any project and since i chose to make comics I could only make a 4 page comic in 4 months, which in reality takes me like 6 days. So in the meantime I made these little offensive 8 page anonymous mini comics for free from the school xerox and distributed at basement shows and bars and coffee shops and shit. This was the comic i had to spend 4 months on called dude man yo.

Its a straight-forward man-thing story because i want to straight-forward actually make man-thing comics! my dream job would be to write and do breakdowns/lay-outs while some slick marvel house artist like John Romita Jr. or Mark Bagely draw it.

I'm also a big man-thing fan/Steve Gerber fan. I have both the essential man-thing volume newsprint phone books they release and read them cover to cover. I'm in love with the idea of a main character that can't think or talk or give a shit ever unless he feels strong emotions. Man-thing comics always have to have some character interacting with him to have a narrative but i like the idea on the in-between days when hes just walking around the swamp being a big turd and getting into trouble making it be silent with no narrative voice. hey marvel, get at me, let me write man-thing!

How many of these Marvel parody anthologies have you done or will you do? How did you select the artists for the book?

Well i did the original bootlegs comics in 2008, which was 36 pages and is all online now, I then co-edited (with Ian Harker) the anthology rub the blood in late 2011 which was a tribute to rob liefeld and image comics. we have vague talks of doing a sequel but i have a million other projects lined up before i can get to putting that together.

Josh Bayer was a no-brainer since we've already been working together on other projects and we hang out and talk about comics a lot which more often then not are old marvel stories. Keenan is also someone who I've worked with publishing him in rub the blood as well as secret prison 666 and i know appreciates marvel comics and would 'get it'. I met Mike Hawkins when he was visiting America last year at mocca and tcaf, hes from australia and has a great fluid watercolor comic style i love, i wanted to publish someone 'new', and mike's never been published in America before with an already established style, so he fit right in. Marc Palm did a great job with last minute strips for the suspect device 2 anthology so we called upon his services for the mini stan lee gag strips. Josh Burggraf is another friend of mine who I admire, I wanted to fit him in somehow and I wrote him a script about fear eater, a character originally developed just for the pages of marvel comics presents, so it was just adding another layer of inside joke depth.

It's printed on really nice paper. It's like a combination of different extremes in the art spectrum, extremely high art quality production values but extremely underground comic art contained within. I've been trying to think of a word that could mean something that is simultaneously high culture and low culture. I'm sure the Germans or the japanese have a word for it, but I'm open to ideas if you know of or can think of one.

Its like playing 16-bit sega on a new lcd flat screen tv. that seems like the idea of the title of juxtapoz magazine- high quality magazine with low brow art. all of drippy bone books titles have a great production value, you can blame it on us caring what it looks like, but really, anyone who makes comics should care about the quality of the book, its the first thing people notice.

Do you have tons of homemade version of Marvel comics? Your Man-Thing story flows so nicely and is so succinct and focused, it gives off the impression that this isn't new for you, that is, refashioning your favorite characters into your own adventures. Is that the case and how long have you been doing that?

Ive been floating around the idea of making man-thing comics for a few years now actually, but that was the first time i executed it and finished a story. I've also been working on a project called 'comics are the enemy' with Josh Bayer and Josh Burggraf that is completely full of marvel comic heroes and villains along with other copyright infringed characters, were about 36 pages done and not quite sure when were ever gonna finish. It has tons of man-thing in it and was my practice arena for drawing him. Refashioning characters and putting them in different contexts is what i do with most my work actually. Next up I already wrote a 12 page script im going to get around to drawing soon for another man-thing comic and I really want to make a story with Bill Sienkiewiecz era new mutants, we'll see when i get to it and where they get published.

I also want to point out the wrap around cover is an actual re-imaging of the real marvel comics presents #6

Since the Mouse bought Marvel, are you afraid of any kind of Air Piratesscenario developing?

Probably after this interview! But no, not really, this is an edition of 150, its not like were making a profit off it. Also I went to college during the bush administration, I'm paying off debt til im 60 along with hospital bills I've collected without having health insurance, they can sue me and ill just add it to the pile of bills i already barely pay.

At the very end of the comic you totally nail the Marvel back pages right down to the Cool Meter. Why is Comics Journalism so uncool?

Haha I made the cool-o-meter (Josh Bayer needs credit for writing all the letters and editorials using Stan Lees voice), I wrote it at a very certain time when a certain comic journalist was bashing my friends comic that didnt even come out yet. That and i was seeing a lot of comic criticism made that was just more or less bitching about what people should and should not do. In reality most cartoonists dont read or give a shit what the critics say, were just gonna make the stuff we want anyways. But no, comic journalism isnt actually uncool, we need you guys and you need us, im just sick of all the negative blog posts where its funny because the critic is a dick.

What are you working on now and where can people go to find out more about your work?

Im forever-working on my ongoing series called BOWMAN, almost done the 3rd issue which will be out November. This is released by hic and hoc publications and is an epic life spanning sci-fi story about a lost astronaut. Me and Josh Bayer are also working on a graphic novel that will be serialized online in the next few months, its about futuristic reality tv show cops and betrayal and revenge. And like i mentioned before comics are the enemy is a project that is getting longer and longer and will be stupidly epic that me Josh Bayer and Josh Burggraf are constantly mailing pages to each other. You can find out news on what and when is going on by checking out my site www.patmakesdrawings.comand I also recommend just facebook friending me, i talk about comic stuff all the time there.
Next Up, Artist Keenan Marshall Keller

You covered Maximortal. I'm so happy to be discovering you and so mad that it took me this long. I feel like Rick Veitch is one of comic's masters who is just routinely overlooked when everyone waxes philosophic about "the greats". I don't have a question here, I just wanted to gush about how much I geeked out when I looked you up and that was the first thing I found.

Yeah. Rick Veitch is amazing. I love his work. He's done soo much yet rarely seems to get the credit. He's a killer. I'm a big fan of his air-brush coloring and his writing is as great as his drawings. I am a big fan. Maximortal is an amazing series and that cover always spoke to me… so i re-drew it for Covered. The Covered blog was an amazing thing. I'm glad i was able to be a part of it.

Which came first, the idea for the anthology or the strip? Did you have to think about which character you wanted to do a story about?

Pat approached me about the idea to mock this particular issue of Marvel Presents, issue #6 because he had a Man-Thing idea and that issue and a wrap around cover of Man-Thing with floating widows showing the other characters stories within it…I loved the idea. I hadn't planned on doing a Warlock comic but when he came to me with the idea of the parody focusing on lesser characters from the Marvel Universe, i decided to just pick a character quickly so I didnt spend months doing that. Its a huge universe with some much to make fun of and play with…So i went to a local shop, saw some horrible 90's Silver Surfer comics w/Warlock in them, with his dead eyes and golden locks and that sealed the deal… The character was developed as some sort of cosmic messiah. There are all sorts of bullshit christian symbolism and lame pseudo-spiritual terms and story elements… Its some great shit.

What's your history with Marvel Comics? Was it love/hate? Love/love? What was your favorite comic growing up? Do you read any Marvel books now?

As a kid i was label focused and read almost exclusively Marvel. DC was more boring and the art didnt do it for me. I loved X-Men, Wolverine, and Punisher. I fucking loved the Punisher when i was young. He killed people. That was cool. Now, I read read Marvel but only old titles i did up in long boxes… and i read some graphic novels sometimes from the library…I dont follow any titles at the moment, but I am interested in some…I do have a healthy hatred for Stan Lee but who doesn't…

Do you have experience with psychedelics? I realize that's kind of a square question to ask, the assumption that just because someone's work appears tripped out that they themselves must trip out. I only ask because Warlock's trip definitely had a ring of truth to it beyond corny cliches that people who've never experienced a trip love to use.

hahahahahahahahaha.
YES.
Yes i do…

Will we get more Acid Warlock? Will he start a band maybe? Please?

hahahahaha….That is a good sloppy psych band name. Maybe… i left it open more as a joke but you never know…I do like the idea of having him come back to future earth as the Acid Messiah… Pulling a David Koresh-style stand-off with the government…Turn off,Tune In, Drop out, Stay Savage…

You really are a part of a crazy talented group of artists, is that something that you had to work really hard to cultivate or was it just one of those magic+circumstances stories?

Well. When i come across something I truly like. I want to meet/communicate with the artist. I order books. Write people emails…Its more about trying to cultivate great people to have around and work with. People with similar humor and outrage. And with a need to communicate that with art.
I'm not trying to yet I am. I am drawn to people like Pat and Josh for their raw power (wink Josh) and I am very aware how lucky I am to get to work with and collaborate with some really amazing people.
Most of these artists pull more out of me than I ever could myself.

Discovering the world of Drippy Bone, I feel like an angry 13 year old kid from Missouri who just heard Bad Religion for the first time. Looking over the website, it looks like you're based out of LA. What's the story with Freak Scene, because I've never encountered anything that actually made me want to seriously move to LA before.

Shit. Thanks you. I am 1/3rd of Drippy Bone Books. I have 2 partners. Kristy Foom, whom lives and plays in Amsterdam, and Mario Zoots, whom rules the streets of Devner, CO. We all curate and print our own zines and put the out ourselves under the umbrella of DBB. So we're actually based out of Amsterdam/Denver/Los Angeles!

But yes, my base of operations is L.A. and it is also where i curated the group show FREAK SCENE this past July at Synchronicity. FREAK SCENE was a show i put together focusing on my favorite cartoonist freaks in comix today. It featured a grand assortment of work (115 pieces hung in the show) from: Johnny Ryan, Benjamin Marra, Josh Bayer Jim Rugg, Tom Neely, Jason T Miles, Victor "BALD EAGLES" Cayro, Pat Aulisio, Derek M Ballard, Shalo P, Jason Karns, Zach Hazard Vaupen, Peter Gray Hurley, Heather Benjamin, and myself.

It was an amazing thing. I asked all these artists and they said yes. And 7 actually came to town and 6 stayed w/me at my place. It was a 3 nite event for us. We did a huge "jam mural" on the side of the gallery the nite before the opening which oddly turned out great! Then the opening, which was really good. Lots of people, mostly happy. Some horribly offended people…Good times. The last nite we had a Comix Reading and performance!
Tom Neely had his excellent voice actors read his Henry and Glen, Jason Karns performed his hilarious cop parody Vice Squad!, I (with Lesley Ishino & Eric William Peirson) did our Galactic Breakdown "radio show", Shalo P stunned with choice cuts from his Cosmic Bummer Funnies, Josh Bayer read his soon to be published Henry and Glen comic, Pat played live drums to a video of his comics edited together that melted faces, and Victor Cayro, went BALD EAGLES all over everbodies asses redefining the rap game with his stream of consciousness rhymes…
It was a really great event. I'm glad we did it.
Freaks for life.

What are you working on right now and where can people find out more about you and your work?

DRIPPYBONEBOOKS.COM is where you can find us. Also on facebook and I have a flickr account for my personal works….As for projects, i am still working on my ongoing series Galactic Breakdown about a weightlifting steroids dealer, named ROIDS whom gets sucked into space and becomes and inter-galactic space warrior… Its stoopid and day-glo ugly. Its pretty fun. Issue #5 part 1 has just come back from the printers…Also just got copies of FREAKEND, which is a photo zine about the FREAK SCENE art show and the 3 days surrounding that. Basically its pics of the cartoonists flicking the camera off in every other picture… its great.
Curating lots of zines and getting lots of comix together for print by other artists including, Derek M Ballards CARTOONSHOW #2 and Victor "BALD EAGLES" Cayro's Bittersweet Romance #1 before the end of the year… Both will be amazing. Derek is masterful with a style he completely owns. Bittersweet Romance will be Victor's 1st comic series. He is an unknown master. I hope this will open the eyes of many to that fact.
Also working on a super secret project w/TOM NEELY. I'm writing. He's drawing. Its going to be epic. Just gotta wait to announce it.
Also personally, I just did art for the new SPITS album KILL THE KOOL coming out on IN THE RED RECORDS.
They are my favorite band and i do work for them whenever I can.
And I've still got to write and draw my own Henry & Glen story for an upcoming issue.
I'm really excited to do something weird and fun with those characters…
All this and I will be going to A.P.E. in SF for the 1st time tabling with I will destroy you and Sparkplug Comics and the next weekend I will be at The Projects, a huge comix/publishing art happening in Portland with a shit ton of amazing artists and events. Doing a reading up there. Meeting some peoples… getting hammered… Good times.

And finally artist Josh Bayer…

Your piece,The Future Is Unwritten, it portrays a love/hate relationship with the world of comics, specifically Marvel. What's your personal history with Marvel comics been like and where do you stand on them at the moment?

I read somewhere that a lot of writers tend to deal with stuff from 10 years ago because it takes that long to process stuff – I tend to process in increments- I suppose because I didn't really get going with comics til I was in my mid 30's that I'm pretty backed up, dealing with stuff that I would have processed and moved on from long ago if I'd developed earlier as an artist. ( Phillip Guston emerging out of his abstraction phase comes to mind, he picked up where he"d left off decades earlier when he started to go back to representational art- doing a lot of work based on 1930's newspapers cartoons he was exposed to as a child. ) So my use of Marvel is in the same vein, Its me dealing with stuff that imprinted me at an early age, when my brother's comics were the thing I coveted most on [earth]. We had everything that was being printed in the 70's, Steve Gerber's Omega, The Champions by Tony Isabella, The Frankenstein Monster, Kirby's stuff in reprint form.

ANYWAY, the thing that people might want to know about me is that- before i got my head on straight and figured out how to do comics, my basic role in life was a "Super Fan." I've remained a huge slavish obsessed fanatic about things i like. I don't think its the coolest thing to be, being a fan is by nature of the term to be unbalanced, but that's who I am when I'm not making my own shit. and I've always lived through my fandom of things, actors writers, creators and characters. I used to learn everything I could about comics creators and there's still a lot of stories I've picked up from reading books and magazines that I eventually want to work into stories.

Going back to "the Fighter" which was my comic about Bob Dylan's Christian Period all my stuff on some level deals with my fandom and often will feature a supporting character who plays the Superfan role inside the narrative. My Rom Comic is about fandom, Bike Rider is about fandom and about Fans, in Raw Power, Cat-Man is a fan of G Gordon Liddy. I've also done a piece for Henry and Glenn forever and Ever #2 which is informed by my intense fandom of Rollins and Glenn going back 25 years. That was a good comic for me because I know way way too much about those guys. Ive been researching them in an unofficial capacity since 1988

To answer your question Marvel is not interesting to me now on most levels. Their last interesting period lasted from around 2000- 2007. The last regularly published good comic they did was The Punisher by Garth Ennis. Now Their production standards are way too oriented around computer art and there's a conservatism that has even crept into the art style which seems to be getting tightened lately, eliminating some of the more interesting art. Mike Allred or Michael Avon Oeming aren't getting hired unless a powerful editor is championing them. If I was running the company comics would be printed more cheaply (Newsprint) and be available in Supermarkets. I am glad that their old stuff is available – lots of reprints- i just bought Marvel Two in One Essentials #4 yesterday, which has Tom Defalco writing and Ron Wilson/ Chic stone art- they bring back a lot of memories because i was collecting those comics when i was 10- 11 yrs old in 1980 and 1981.

Is it possible to enjoy the work of modern comic art masters, operating under the imprint or does the corporate touch render the output ignorable and inherently tainted?

That's a good question for another artist. Its not a problem I have- because that dilemma hasn't been presented to me by the comics industry. I've personally done corporate whore work for Nike and other companies an in the aftermath. I usually will spend one day where I unexpectedly become overcome with a feeling I've done something abhorrent but in the end, I'm a moral relativist. You're gonna do what you're gonna do. The "I'm punker than you/integrity competition/ you're more bourgeois than me " thing is something that I don't think is useful to dwell on too much. All of my associations with that phenomenon are negative. Usually it brings to mind noxious memories of some columnist in MRR or The Comics Journal or some art school crit where people are shitting on people in the artistic community.

Living in New York, your in the heart of Marvel country, ever run into any of your favorite or least favorite artists/writers/etc?

No, not really, I see Dan Slott sometimes, and he's a great open guy (and a very entertaining writer, though i haven't read him for a few years). I used to love Alan Kupperberg- he personifies that 1970's hard working "Kirby SCAB" aesthetic that inspires a lot of my recent projects. I used to love the stuff he did for "What If" and a Billl Mantlo scribed Hulk Annual he did in 1983- with Gary Talouc inks. When I first went to SVA extension program, I tried to enroll in his class but when I met him and told him how much i enjoyed his work he told me I was either crazy or had horrible taste (true) and that his work is much better now ( Not true.) At the time in thought It was shame he didn't appreciate his own work, but I guess its legitimate to feel that your readers like you for the wrong reasons. He might be right.

Incidentally, that Hulk annual is an awesome comic, and I've always suspected that it influenced Johnny Ryan"s Prison Pit, because theres a creature in there that looks just like a Slorg,( or whatever that Little snail like symbiote thing is called) and it attaches itself to the Hulk the same way the Slorg attaches itself to Cannibal Fuckface. I bought the issue on Ebay to give to Johnny Ryan as a gift when i saw him at Keenan Keller's Freak Scene Exhibit in LA but he says he doesnt remember it from when He was a kid. When I gave it to him, he said " Is this the one Jim Shooter wrote where Bruce Banner gets fucked in the ass at the YMCA?" I was like, "Well see, the Hulks fighting a dinosaur in outer space on the cover…" so you'd think that'd be a hint… but Johnny's gaze is firmly fixed on his own particular vision of horror. Thankfully for all of us.

You art is seriously amazing. at Small Press stuff I usually meet younger, newer artists, but when I looked you up, I've been unknowingly familiar with your work for like 15 years. Holy shit. I can't think up a question around this statement, I just wanted to gush a little.

Thanks! yeah people are surprised that I'm so old but somehow still remain so cool and youthful seeming and handsome. Oh, and Talented, I get that a lot. (Where did you see my work 15 years ago? In Starfucker zine maybe? that was where my earliest work was printed )

Seriously, this is the first year 'ever had people come up to me and Say "I'm a fan of your work" and its something i never take for granted. It been amazing seeing my work find a little readership. I as seriously reviled in most social circles in my youth, so to find my art become the glue that connects me to other people is really really gratifying.

Do you see the corporate culture at Marvel tied in with what Occupy is protesting and working against? Is it possible for actual change to happen at Marvel in terms of the way they seem to chew up and spit out their employees?

In The Future is Unwritten, you manage to address a really hot button issue, specifically creator's rights, even beyond what normally gets talked about, (movie & merch dollars), making the casual indifference from the House of Ideas towards the blood & sweat poured out by it's creatives seem like an even more personal and hurtful jab. Yet you balance the seriousness of the matter with really crude (and hilarious) ridiculousness. Why is this matter so important to you? What more can we do to get the word out about these creators, their lives and work? Is this kind of satirical approach the best way to use the medium to explore the weightier themes?

Well, god bless the OWS movement. But I'm a cartoonist, and my only expectations of myself are about making good personal, interesting stories. Expecting those stories to effect real change is beyond my expectations. I don't know, and- i don't mean this to sound glib but whether or not I give a fuck is irrelevant. You know on the wire when they say "Its not your turn to give a fuck"- its usually my turn to draw comics, live my life and work. I recommend that people listen to Gabby Schultz about politics in general, he's about the only person on Twitter who is passionate and sincere about politics. Also, google Zak Sally's comments about the Kirby family's creator rights  struggles, hes made some wonderful arguments that Marvel should at least begins reparations by paying for a jack Kirby Museum. I agree with most things that both these guys say. they endow their comics practice with an informed Punk political ethos and they are much better at keeping that flame alive and keeping it close to a moral center than I am.

Art and politics for me….It's like making an anti war movie. Pretty much every creator is anti war, most soldiers are anti war. But how many bad anti war movies are there? Bukowski said taking an anti war stance is about as difficult as taking a baseball bat to grandma's head. Nothing easy is going to evoke meaningful change.

What are you working on right now and where can people find out more about you and your work?

I'm hard at work on a bunch of stuff including Raw Power 2 for retrofit, Suspect Device 3 and 4 for my own imprint, whatever that's called. (I usually call it Iamwar or Josh Bayer Art and sometimes A Closed Mind.) I also am in a bunch of anthologies and art shows, and I'll have a 35 page sequel to ROM that is gonna be printed in color in the Next issue of Mike Mcgonigal's Yeti Magazine, I also have a fat Comics Jam i did with the Great Josh Burggraf and Pat Aulisio- our collective is called COMICS ARE THE ENEMY. We inspire each other and encourage each other a lot. For example, I thought of the line "Comics Are The Enemy", but it was Pat who saw the power in it and clamped onto it and said we should call ourselves the Comics are The Enemy gang. Pat and I are doing a graphic Novel called " Last Rights" that's gonna be like a combo of Maniac Cop, Taxi Driver and John Carpenter's The Thing. I just did the cover for Scam Zine #9 which is the Black Flag issue. I have a two page Breaking Bad influenced comic that'll be in the next issue of Gabe Fowler's Smoke Signals. Theres probably a few other dream projects I'll be coming out with after that, such as editing some collections of my students work. Anyone who wants to take on of my classes can find me online i work For The Educational alliance Art School, Third Ward or The 92nd St Y. Anyone who wants to buy my comics can get them directly from me at http://joshbayer.tumblr.com/

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