Cartoons and Web Comics

Shatter first appeared in the March 1985 issue (#12) of computer magazine Big K and was described as "the world's first comics series entirely drawn on a computer."

I was a lowly graphic designer for a healthcare brochure printing firm in San Francisco (my first professional job) when this came out and I bought the comics "live" as they came out. I still have these comics somewhere in a box around here. The story wasn't amazing, sort of a Blade Runner knock off, but I remember just being amazed that it was all drawn on a computer.

It's all common place now, but back then, the idea of a comic being drawn on the computer was mind-blowing. Which is why they even put that fact on the cover. lol

And as anti-tech as Lemmy is (which is ironic to me), you all would have hated it, I'm sure. "What? No paper!? No pencils!? No blood dripping from the artist's head onto the paper?! It's not real art!" lol

Just #2 pencil, with muchcute micro fineliner drawing pen on white paper. For new series I have been running in my head. A wee bit more autobiographical in nature than my other ones.

I've been watching a lot of documentaries on comic strip artists lately, so I'm trying to loosen up my style even more because I wanna be faster and not so obsessed w little details. If they weren't obsessed with making a line just perfect, then I shouldn't be either! lol

Skip Williamson was a prominent artist from the late 60's early 70's underground comics movement.

"Underground comics should be both propaganda and entertainment," Williamson once said. "They're effective - the antithesis of rhetoric."

As for this page about fighting back against fascists...the more things change, the more things stay the same I guess.

Krazy Kat is an American newspaper comic strip, created by cartoonist George Herriman, which ran from 1913 to 1944.

Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

This is a six-minute short from 1992. Basically one long stream of strange living forms mutating, dissolving, and reforming, with the main hit being the abstract, hypnotic movement itself rather than any clear story. I think. Maybe?

Rinat Gazizov wrote, directed, and drew it, and composer Michael Chekalin did the score.

It was produced at Pilot, which was the first private animation studio in the Soviet Union, founded in 1988 right before everything fell apart. It became a lab for weird, personal, non-state-sanctioned stuff while the old system was collapsing. This wasn't made by the people in charge of the shit Russia is doing now, so put away the hate hard-ons for now.

Print Mint Press, better known as The Print Mint, Inc., started in the San Francisco Bay Area in 1965 selling psychedelic posters, then leveled up into a major publisher, printer, and self-distributor for underground comix when the mainstream wouldn’t touch the stuff.

They helped push the comix scene into legend by publishing key runs like Zap Comix issues #4–9, all while catching shit from obscenity crackdowns and the gov trying to outlaw all of it. lol

They stopped publishing in 1978 and even the later poster shop era eventually went dark, and yeah, it’s sad because a whole loud, filthy, honest little world went with it. So def bummed I missed out on a lot of this era.

It would’ve been so damn cool to be part of that scene back in the day.

That’s why I’m trying to turn my little corner of Lemmy into something like it now. Lemmy has so much potential for people to make weird, funny, original art and comix stuff together and actually build a badass art scene.

But lately all I see is nonstop complaining about AI, (people accuse my work of being AI all the time even tho I have detailed pics of how I do it), and a bunch of “shut up” energy. Not much support, just negative attitude.

Still, I’m going to keep doing my part and try to bring that underground spirit back, even if it’s above ground this time.

Even if the audience is just one person. So yeah, fuck the haters. haha

Stale Gags © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Stale Gags © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Some education for the kiddos, via The Purple Claw comic of 1953. I wonder if we'll ever figure that space travel stuff out?

I knew that Bazooka Gum had it's own little comic, called Bazooka Joe.

I didn't realize that in the 1940's Tootsie Roll candies came up with the same idea for a comic mascot, Captain Tootsie!

He showed up starting in 1943 in comic-style ads, created around artist C.C. Beck (famous for Captain Marvel) and writer Rod Reed, with Pete Costanza and Bill Schreider credited as well.

The strips worked like mini adventure comics that just happened to sell candy. They were usually one-page, action-focused ads, and the sales pitch was simple: Tootsie Rolls meant a quick burst of energy when someone needed it. Captain Tootsie ran regularly for years, with sources commonly placing the run into the mid-1950s.

Early on he teamed up with a boy named Rollo, and the ads often used a kid gang called the Secret Legion, including kids like Fisty and Fatso, plus other recurring kids depending on the strip.

The stories kept things light and “kid-safe,” but Captain Tootsie still got his share of weird opponents. His enemies were characters like Dr. Narsty, Hans & Schmanz, Red the Terror, Monster Man, and even aliens from Venus. Oh the horror!

He graduated from “just an ad” to his own short comic run. Captain Tootsie headlined a two-issue comic book in 1950 published by Toby Press.

Good times. I may, or may not, bring him back to life in comics of my own. :)

Centaur Boy © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Originally posted on nostr

Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Krunn & Frank © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Kloop! © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Kloop! © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Centaur Boy © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Matty! © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/

Back in 1732, William Hogarth’s A Harlot’s Progress basically lays down a rough blueprint for serial comics, a straight-line story broken into separate images that only really snap into focus when you see how each one leans on the next. Print pirates started cranking out bootleg copies of A Harlot’s Progress in 1732, and Hogarth got pissed enough to haul the whole mess into the legal arena, helping spark the 1735 Engravers’ Copyright Act that people still nickname “Hogarth’s Act.”

The six plates of this early comic follow the life of Moll Hackabout from hopeful arrival in London to death and ruin. Each scene moves the narrative forward, and they're meant to be studied in sequence, plate by plate, like chapters in a visual novel.

The work also uses tools that later become standard in comics. Hogarth repeats characters, props, and spatial arrangements so the eye tracks identity and change across the series.

Great art. The engraving work here is nuts, the kind of slow, obsessive skill that eats whole chunks of a life. Hogarth was hunched over copper, and taken care of shit. He carved lines so clean they still look amazing three centuries later.