Tried to do the right things, but so many ended up wrong. [a famiilier sounding refrain]
But all will be well soon enough, one way or another.
Me and the drawings and time do fine. We sit down and have good chats with ourselves and friends. Vent, repent, accept the dents and dust out the leaves.

Some business
Some serious reassessing of current activities going to going down around these parts. They being in some cases done while sporting half a brain. Some will have to go.

RevolveR will not. It will stay and be good. It’s already been good, having been compleated to my general likeing and sold sufficiently well for a zine level distro start up who’s still not had the time to organize substantial distribution.

Keep an eye out for an interview with Chris Arrant on Newsarama.com, On RevolveR and other things.

The Jams will go, or i will go from them that is. They will go on, plans for new management are already laid out and volunteers counted.

Sequential – don’t know. Well see.

Must remember to finish writing the grant.

Finish the fucking bathroom.

Appearance notice: I’m going to be at the Canadian National Comic Book Expo this weekend, with my book, and some art to sell. Including inks from the recent T3 comic I did with Goran Parlov last winter.

The panels of the these pages for three quarters of the book were inked on separate pieces of paper, measuring 8.5 x 11, and would make good framed art. I’ve picked out some of the better ones. Average price will be 50 dollars. In the event that this is the sort of thing that floats your boat: This art includes several drawings of Arnold Schwarzenegger as the robot. I was told by the publisher that this was the first time Arnold allowed his likeness to be used in a comic, and quite liked the one executed by Goran and I.

Get them while their hot!

If no changes have ocrred on this site for the next month, not to worry, i'm just gone fishing.

An illustration for an article on Oniomaniacs and online shopping

I’ve been listening to Silver MT. Zion tonight [CST009] off of local label Constellation records, Some of the God Speed crew, Efrim, Sophie and Thierry, along with a hand full of other local minstrels of note. Great stuff, my theme music for the moment to work on the next chunk of Bliss.

Aside from doing the press rounds for RevolveR a few days back I’ve been taking the week off. Need to decompress after a intense family visit. Also needed to start feeding the brain, movies book and music and lots of it. Reading and writing, trying to restock the juices in preparation for a round of work on stories for Revolver Two and the next phase in an illustration self promo strategy.

Revolver got a mention on the artbomb blog today! [thanks Fred for the link] - I’ll have to remember to send them a thank you note along with the review copy I’m preparing for them. Also sold 4 books off the site this weekend and Fred sold out, good news good news. I’ll be in Toronto in a few weeks for the convention there later this month. Wonder if I’ll be able/need to restock the stores there? Here’s hopping. Hoping as well that the two packages I sent out last week arrive ok, should be in there indented hands any day now. Self-publishing is fun sometimes but really i'd be happy to have someone else do that stuff so i could just draw the books.

Also got my fingers crossed some of the art I put up sells [2 days left on most of the auctions], to help pay for the trip to TO.

Had an interesting and constructive exchange on TCJ with a reader from Toronto here yesterday.

FOR IMMEDIATE RELEASE: 08 02:02

Themes of identity, loneliness, homelessness, heredity, of finding our place in life, our perceptions of our selves, of others--basic ingredients of the human condition--are explored in Revolver, the new ongoing comic book from Salgood Sam, also known as Canadian artist Max Douglas.

A collection of short works and the first instalments of longer ongoing stories by Salgood Sam with guest authors a.j.duric and John O`Brien, RevolveR is at times introspective, melancholic and hopeful in its pursuit of truth and understanding.

A vehicle for telling stories, RevolveR is also a test-bed for the medium of Sequential Art and dedicated to stretching the artform through the refinement of old techniques and development of new ones. Hopefully in the process helping to expand the syntax and structure of sequential narrative art.

“I think there are is a great deal of room for growth in the medium; That is consistently still one of the most exciting aspects of working in it – the amount of outer-space left to explore.

Writing as a craft is just starting to be given the sort of attention it deserves in the North American comics community; as their status as a true form of literature as well as art is increasingly acknowledged by the general public. And I see many avenues for development in the visual component of comics, especially from the perspective of narrative and symbolic values. Currently I’ve been giving a lot of thought to the use of the page, as a whole. Tearing down walls as it were, especially the ones we call panels.

While they are efficient at times and excel at lending a regular rhythm to the story, the grid like use of space found in most comics is one of the less expressive ways I can think of to convey a story, and does not entirely faithfully represent the world as I experience it. So I’ve been experimenting with opening up the page and exploring what I think are more both subtle and dramatic ways to lead the readers eye around the space and into the stories. I take a lot of cues from poetry and music in this, having found a great deal in common I think between the forms in this area.

It’s true as you may have read by now, that comics can be one of the slowest and most time consuming methodical ways you can choose to tell stories, but I don’t think I’m bound to ever get board exploring the mediums’ potential.”

Bio

A veteran of 15+ years Max has worked off and on in the mainstream comics industry for Marvel and DC, landing his first job at 21 on Clive Barkers’ serialized Night Breed comic and going on to work on numerous high profile titles as a freelance artist [see www.salgoodsam.com for a full bibliography]. The quest for better stories, more rewarding work and greater control over content eventually led him to all but abandon the mainstream comics world in the mid nineties. He’s continued to work on occasion as a hired gun for DC & Marvel as well as other major publishers, taking on one or two small jobs a year as part of a larger diet of editorial illustration, poster art, painting, graphic design, prop - character and set design. Meanwhile all his spare time over the last 8 years has been spent working on writing and refining a visual voice for himself and developing the skills needed to be a complete comics creator. He’s contributed to a number of recent comics anthologies, small press publications and web zines, as well as being active in the Montreal Comix community as an organizer and sometimes reporter through his comics news blog Sequential.

Salgood Sam’s RevolveR represents a coming out of sorts. The first volley of a creator who has found his stride and is ready to share the results with the world.



RevolveЯ : an ongoing personal anthology.
Contents of Vol. One
Pg 2-12: Pin City: An introductory short character sketch, part one of a longer work titled Bliss.
Pg 13: A night at the bar: An imagined sequential study of Casa del Popolo in Montreal.
Pg 14-29: The Rise And Fall Of It All; Act 1- A Cube with a view. The fist Instalment of a Graphic Novel adaptation of composer John O'Brien's experimental audio play. Visit www.rise-fall.com to listen to the audio.
Pg 30-37: Misplaced. A silent narrative based on a dream. The search for something lost.
Pg 38: A portrait of Sandra
Pg 39-44: HelpLess: A short story about escaping mortality based on a script by a.j.duric.
Pg 45-46: Poems and sketches.
Pg 47-50: Where the wild things went. A short sequential poem inspired by my late 20's and my favourite children's book, Maurice Sendak's Where the wild things are.
Pg 51: Nature vs. Nurture?
Pg 52: A note from Max.

52 pages, B&W interiors [Previews available on web site], two colour silk-screened covers on Black cover stock. A limited first edition of 700. The first 100 will be numbered. Available online @ revolvercomix.com by mail order - $4.95 us, $6.95 can + shipping

You can buy RevolveЯ Vol One from Salgood Sam in person at the Canadian National Comic Book Expo august 27-29th

Copies are available in Toronto at the Beguiling, pages books & the Silver Snail

Fichtre, F52, Mojo, Monastiraki and Millennium in Montreal.

They will also be available at The Monthly Montreal Comix Jams.

Shop owners: Contact us about ordering this book for your store directly from spiltink

Hey all. I’ve just finished uploading a bunch of art for sale here at comicartcommunity.com

Ghost Rider 2099 - Original cover art and page 12 &13 for Daddy Dearest: In 1995 Joey Cavalieri at Marvel Comics commissioned me and writer Scott Andrews to do a file issue of Ghost Rider 2099. The complete 22 page story titled 'Daddy Dearest' is available online here. While I was paid and the story was initially given the green light, it was never published because changes shortly after it’s acceptance in the overall plotline for the line meant that it no longer fit the books current continuity and then the title was cancelled before it could evolve to a point where it might fit in. Art measures 11"x17" on official Marvel paper and was done with pens, markers, and white paint.

My first Ghost Rider 2099 drawing done as a initial first draft for the cover design for Daddy Dearest. This was the first drawing I ever did of the character while I was waiting on approval for the script from Joey. Art measures 9"x12" and was done with pens, markers, and white paint. Signature has been painted over at some pint, probably to get a clean photocopy without, but i don't recall why. I've resigned it since this image was taken.

photostats of the art [with lettering] for Ghost Rider 2099 - Horrorshow: pages 1, 2, & 3.

The original art was drawn at a different size [8"x12"] from marvel standard comics art dimensions [11"x17"]. So they insisted that I send them enlargements of the pages rather than the originals. These stats were used for the paste-up of the lettering of the book and making the plates.

This story was scripted by another, not nearly as well know then as now, UK writer. Mr Warren Ellis. The first 12 pages of that story can be read on my site here.

While I was paid and the story was initially given the green light, it was never published because changes shortly after it’s acceptance in the overall plotline for the line meant that it no longer fit the books current continuity and then the title was cancelled before it could evolve to a point where it might fit in.

Art measures 11"x17"
WONDER WOMAN Vs. THE RED MENACE: pages 8,9,10,12,25,&30
This 48pg trade was my First Graphic Novella.

Script By Allan Neuwirth & Glen Hanson, the well known writing duo.

Done entirely with Brushes, the art on this book represents an intentional stylistic echo on my part of 40's comic art and the drawing traditions of H.G. Peter's original comic.

I recently sold the first 5 pages and the cover art from this book at a convention.

They measure 11.5"X17", are rendered on 100lb Strathmore Bristol and have the lettering pasted on them.

You can see a collection of the colour pages here on my site.

Bid for the art here!

Also reminder that I will do consignments, just contact me about it if your interested. Also if there is something on my site that you’d like to buy that is not currently up for auction feel free to inquire about it’s availability.

ha ha, lookie lookie at the dumpkins.

Osama's spiting his oxygen hose out right now somewhere, laughing is head off..."intelligence? what intelligence!"

Running scared so publicly, rather than keeping it even vaguely quite and not panicking the public is so ridiculously sloppy and bad STUPID strategy in a fear war.

I don't buy that this was done purposely for the election. Is the white house gang is so dumb as to think that freaking out the public because they got all wet and happy about the "unprecedented" info they dug up is a good way to show that they can do the job? And if it is my point stands, doubly so.

That’s good boys, now go figure out what it means. Yes you should beef up security around the targets but do it discreetly, no need to panic the public till we have some idea of what we actually have here. Remember; terrorists want to terrorise, we're loosing right away if we help them out like that. Get it yet?

Choice quotes:

"It's serious business," Bush said. "I mean, we wouldn't be, you know, contacting authorities at the local level unless something was real."

"There is nothing right now that we're hearing that is new," said one senior law enforcement official who was briefed on the alert. "Why did we go to this level? . . . I still don't know that."

"It's not known whether the plot was active and ongoing," the official added. "It could have been planned for tomorrow, or it could have been scrapped. Maybe there were other iterations of it. In this environment, this was seen as pertinent information to get out to the public. There was discussion over the weekend, should we wait until Monday?"

Yes.

Hey, why not even till you actually have some real clue to the threat. We, the public, do not need

“ hey, something may fall on your head from somewhere in the sky but we don’t know really what or if it will yet..”

– we want

“ don’t stand under the bird coup”.

Till then more, several plainclose cops and a few armed guards off to the side will be notice on the street but far less obvious and unsettling than

“ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT ORANGE ALERT “

Get it yet?

Fucking morons