Posts Tagged ‘comic books’

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The Gutter – Turkey Day

Tuesday, November 23rd, 2010

OMG it is already Thanksgiving!

Where does the year go? 2011 is right around the corner and soon we will all be looking back examining this past year that has seen a lot of dramatic shifts in the comics industry.

Most folks think of Thanksgiving as Turkey Day, a chance for the whole family to gather and give thanks while feasting on the juicy bird packed with stuffing and served with a harvest banquet reminiscent a of a meal shared between the Pilgrims and Native Americans.

Believe it or not, turkeys and comics have a close connection for me. I actually think about it often when I peer out my window here in a very rural area of the the South Jersey Pinelands where I live. Besides being on the constant lookout for the Jersey Devil, and dodging deer that prance in my headlights, I experience wild turkey by the dozens as they flock through my yard on a daily basis.

The site of them always conjures back the memory of a giant print of an Arnold Roth illustration that was on display promoting a show of his work at the Philadelphia College of Art. He was an alumnus there, and it as were my Comico and CO2 Comics partner Bill Cucinotta and I attended college during the early 1980′s.

John "Bondo" Rondeau settles in front of a huge print that we had "aquired" from a show at PCA that featured a famous cartoonist alumnus, Anrnold Roth, who ironically had been expelled from the school when he was a student.

Bill and I were also instrumental in publishing a student newspaper, DUCKWORK, at PCA and managed to appropriate the photostat print that was mounted on foamcore after the show was over. We displayed it in proudly in the DUCKWORK office until it later migrated to the Comico Studio in Norristown where, unfortunately, it has since been lost.

Duckwork Covers 1 & 2

The image depicted two contrasting iconographies of America in passing. On one side was a valiant looking Madame Liberty with a stoic Bald Eagle by her heal. The other side depicted a more humble and much less arrogant interpretation of Americana, a haggard, pipe smoking, frump of a woman content in her baseness, accompanied by a lowly turkey.

Ben Franklin actually preferred the turkey over the bald eagle as the national symbol.

“For the Truth the Turkey is in Comparison a much more respectable Bird, and withal a true original Native of America . . . He is besides, though a little vain & silly, a Bird of Courage…”

(http://www.greatseal.com/symbols/turkey.html)

That turkey, as presented by Mr. Roth and described by Mr. Franklin, came to symbolize comics for me.

Colorful and defiant, native and common, comics find their strength of power in their ability to access the masses and deliver the purest presentation of the message of a sole creator simply using words and pictures.

Underestimated by other media, artists and literati, comics open a unique dialog between to the common folk and the creator who respectfully wishes to communicate directly to them.

As the year quickly comes to a close I am thankful to be reminded by the humble turkey why comics are so important to me. The gobbler primes me for all the comic related resolutions I have in mind for the New Year.

I still, however, have a lot of expectations left for 2010. With the Christmas season upon us, we at CO2 Comics are anticipating that many of you will deem our first print publication, David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1, a top pick on your list to Santa.

David Anthony Kraft's COMICS INTERVIEW: The Complete Collection Vol 1

We were surprised to discover that the beautiful Hard Cover edition of CI ranked #3 in Lulu’s Comics and Graphic Novel category this week!

David Anthony Kraft is still drooling over the book himself, exclaiming on facebook, “Knocked out by COMICS INTERVIEW HARDCOVER! Getting up from ground — it’s that good! Lays open flat, like a bible. Can’t BELIEVE how great it is!”

Of course, DAK is biased as are we but we have been thrilled and thankful for the generous response and collective appreciation of the book from people who have had the opportunity to hold one in their hands.

A quick reminder that the Premier editions of both the Hard Cover and the Paperback featuring the Platinum version of the classic, original COMICS INTERVIEW logo will be available only until midnight of New Year’s Eve 2010. So, if you are a collector and want to guarantee that you have this limited edition in your library, act soon!

Comics Interview Premier Edition

One last note regarding COMICS INTERVIEW: The Complete Collection. Lulu has been offering generous discounts of up to 20% off for books available on their site. These limited time offers are well worth benefitting from and we will do our best to keep you informed here on the blog and on the CO2 Comics facebook page.

Become a fan of the page and you will be sure to receive these promo updates and be the first to know what is going on here at CO2 Comics.

While we are on the subject of Christmas lists make sure you stop by and check out our newly released DEATH FATIGUE t-shirt line. If you are tired of watching your favorite heroes die the temporary super-death get your very own DEATH FATIGUE swag now!

Captain Obese

I hope that you all have had a chance to check out our latest addition to CO2 Comics, Don Lomax’s The Heavy Adventures of CAPTAIN OBESE. Don’s comic feature is sure to make a large impression on you and make you hungry for more.

Don’t worry! CO2 Comics won’t disappoint you! There will be at least one more big content announcement before 2010 becomes just another space odyssey.

Happy Thanksgiving!

Making comics because I like turkey,

Gerry Giovinco

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Posted in The Gutter | 3 Comments »

Death Fatigue

Thursday, November 18th, 2010


Death Fatigue (dth f-tg) n. Physical or mental weariness resulting from the repeated need of comic publishers and editors to kill popular superheroes in an effort to boost sales.

Death Fatigue is a syndrome that is gripping the readers of fine comic books all across the nation. Is there no end to the carnage that is being brought upon our favorite heroes by the editorial staffs of the biggest publishers in the comic industry.

Apparently no hero is safe from the onslaught of pure creative genius that is so unique and riveting that it has happened to nearly every major superhero at least once in his or her career. The stronger and more powerful a hero is the greater the odds are that that character will die at the hands of the most despicable, powerful and omnipotent adversary, the editor.

It is not  the super-villains that pose the greatest threat but the publishers that bring us the stories. How many times must Superman die to rise from the ashes? Jesus did it once and changed the course of human history! Superman is making a career of it has been followed by many a costume clad hero with a Christ complex.

Just in recent memory, Batman, Captain America and now Spider-man have made their journey to the Pearly Gates only to be turned away to fight another day. Enough already!

This stuff is laughable in soap operas. What makes it any less inane in comic books? These death events are nothing more than protracted cliff-hangers like the ones in old serial films.

“Is this the end of our hero?”
“Will our hero never ride again?”
“Stay tuned for the stunning conclusion!”

We all know what happens next. Our hero survives; bigger, stronger, wiser and a lot more profitable to his publisher.

If the publishers would put half as much energy into developing new and exciting properties as they put into figuring out how to kill and resurrect the old standards the readers might actually have something worth looking forward to.

If you are sick and tired of all this mindless slaughter then you are probably suffering from the same chronic Death Fatigue that I have.

The cure?

If you enjoy comics, broaden your horizon. Investigate other genres of the form. Experiment with titles from independent publishers. Check out exciting new comics on the web.

Do not mourn.

The death of your favorite character is symptomatic of a character that has enjoyed such a tremendously popular career and has been placed in almost every other possible scenario that exploring death is the only other option.

Your hero is in a better place…Market Repositioning.

You have the opportunity to impact that market repositioning by your response to the death of your hero. Let the publishers know what you think.
Now is your chance to be vocal, visible and influential.

You can start by showing your Death Fatigue and let the publishers know that you know this is all about the money.

Death Fatigue. It’s not fatal but it is fashionable!

Show your Death Fatigue today!

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The Comic Company:
True Colors – Part 3

Tuesday, September 28th, 2010

Lou Brooks Drug Store

Color in comic books had a specific look for fifty years prior to the 1980′s. Flat color was the norm and part of the charm of the comic books that I grew up reading. There was just something about that limited palette and those pronounced dots that seemed to define the medium as much as the words and pictures that they illuminated. Others agreed and focused on this idiom when referencing comic art in pop culture.

Roy Lichtenstein

Roy Lichtenstein and Lou Brooks are two artists that took full advantage of exploring the idiosyncrasies of comic book color establishing themselves as masters of Pop Art.

Lou Brooks Disgrace Me

The production process that produced the color in comics was intended to print color on highly absorbent newsprint with rubber plates on web offset presses at the World Color Press plant in Sparta, IL. Color separations were done by Chemical Color Plate in Bridgeport, CT. The colors were made by combinations of three percentages, 25%, 50% and 100% of each of the primary colors; blue (cyan), red (magenta) and yellow to be printed with the black line art. CMYK refers to these four colors used in printing.

A layer would be produced for each percentage of each color making nine layers of film that would be compressed to form three negatives, each containing the three percentages for its corresponding color. There was one more film for the black plate which would print the line art. The printing plates would be burned from these final four films.

Colorists used a guide provided by Chemical Color Plate to assist them in making their own color guides for each page that the separators would interpret into films.

Chemical Color Chart

By the 1980′s the alternative independent publishers that began peppering the comic market were using better, whiter paper and were able to produce better color. Many comics were printing with processed or full-color using the coloring techniques that I’ve described in my earlier blogs on this subject. Some publishers were still attracted to the notion of flat color but realized that they were being limited by the old color guide.

The 64 colors with the course dot grid intended for newsprint produced harsh, garish colors on the brighter paper stock. A new color percentage of 70% was added for each color producing 124 different colors as shown by this color guide produced by Eclipse Comics in 1983 and again engraved by Chemical Color Plate. The line screen also changed from 60 to 120 lines per inch making the dots less noticeable on the printed page.

Eclipse Color Chart side 1

Eclipse Color Chart side 2

Murphy Anderson

By the time Comico was ready to make our transition to color there was a new color separator in town. Renowned comic illustrator Murphy Anderson had entered the field with his own company, Murphy Anderson Visual Concepts Inc. that he operated with his son, Murphy Jr.

Murphy had a different scheme for producing colors. By making a minor shift in the color percentages and adding two shades of black Murphy could stretch the color palette to 372 colors! The new formula was 20%, 50%, 70% and 100% of each of the primary colors plus an addition of 10% and 20% of black to every color on the palette.

Elementals 2

Our first color books had been produced using processed color techniques and we were very happy with the results but our next project, Bill Willingham’s Elementals was a clear superhero comic and we wanted it to look like one. We all felt flat color was the way to go and we only had one choice when it came to choosing a separator. Murphy Anderson’s company was already doing most of DC’s prestige work and had proven his incredible quality. Murphy is also one of the nicest guys you will ever meet and proved it with his patience bringing us up to speed on his technique.

In 1987 I designed a color chart that had long been missing from the process. It soon became a staple in every production department in the industry. I would imagine that it would have been the last of the color charts for comics since not long after the computer took over most of the color chores as we know them today.

Comico Color Chart - Click for larger view

I might like to mention that this complex looking piece was not done on a computer. It was done the old fashion way by creating a mechanical with typesetting, tech pens, x-acto knives, photostats and a good old waxer. Of course the color separations were done by hand as well.

To be continued…

Gerry Giovinco

Making comics because I want to!

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Posted in The Comic Company | 32 Comments »

The Comic Company:
True Colors – Part 2

Tuesday, September 21st, 2010

The Gray-Line System that I described in last week’s blog helped us to achieve a look that we had always hoped for our comics when we first considered evolving to color.

The fact that most of the alternative independent publishers were taking advantage of the ability to print processed full-color images on the better, whiter paper was not our inspiration or motivation at Comico.

Captain Canuck by Comely Comix

Long before we had even printed our first book we had already fallen in love with how the color appeared in Captain Canuck comics published by Comely Comix and illustrated by George Freeman. The soft processed color printed on newsprint had a quality that was unique compared to the limited 65-color palette of traditional flat-color comic books.

We were not interested in the slick color of the glossy new comics and we definitely did not care for the glare that shown off the pages of the glossy paper stock.

Mage By Matt Wagner

 

Our preference for the more muted color production was evidenced in the fist two issues of Matt Wagner’s Mage.

Matt, who had attended college with Bill and me at the Philadelphia College of Art, had been involved in many discussions concerning how we all thought color in comics should look. We were all on the same page when we made the decision to print Mage on a high-grade newsprint. Mage was a more urban setting and was supported by the grittier look of the newsprint. Besides, we wanted it to look like Captain Canuck.

Evangeline by Chuck Dixon & Judith Hunt

 

Chuck Dixon and Judith Hunt’s Evangeline was a different story. We could see how the finer line quality and more delicate colors would be better served on a whiter stock and though we were reluctant to go to a fully bleached stock we upgraded to a Mando stock which had a creamy quality to it and did not suffer from the glare issue that the more machined paper stocks offered.

Our early color books were printed in Florida at the same press that was printing Bill Black’s Americomics line but we quickly switched over to Sleepeck in Dixon, IL so that we would have more centralized shipping and warehousing of our runs. Once at Sleepeck we decided that our standard comic line, including Mage, would all be printed on the Mando stock.

Wheatly & Hemple's Mars

Around this time we were also introduced to a new coloring system. Mark Wheatly from Insight Studios was producing Mars with Marc Hemple for First Comics. He had told me about a guideline system he was using that employed the use of chemicals from a Fluorographics Services kit. A brief description of how the system works can be seen here.

This system was very similar to the gray-line system in that you had to produce a positive transparency of the line art. The grey line required a negative to produce the grey guide-line on the layer to be painted. The Fluorographics system let you use the film positive to create the non-repo blue guide which eliminated an extra step and expense. You could coat any paper stock you wanted with the chemicals allowing you to paint much more naturally than on the polymer based photo paper of the gray-line.

Blue-Line instruction from The Illustrator's Bible By Rob Howard

Note that though the color was considered non-repo blue this was only effective when shooting in black-and-white. The blue line did appear in the color separations for full-color.

Initially we would coat a paper stock with the sensitizer, place the film positive on top then cover it with a plate of glass to keep it flat then take it outside to expose it to the sun then run in and develop the image. It didn’t take too many rainy days to convince us to purchase a UV sun lamp so that we could do all of this inside and avoid blowing deadlines.

The only problem with this system was that the paper stock was less stable than the photo paper and would shrink when the paint dried, often distorting the registration.

Matt solved the problem by using pre-stretched watercolor blocks of paper that were sealed on all four sides keeping the top layer “stretched” until it was dried and removed. Matt would buy large enough paper so that four pages could be exposed at once. He usually had two blocks set up so that while one block dried, he could be working on the other.

This new blue-line system was a home run but it was not going to help us with our next two projects.

Elementals & Macross Covers

We knew that when we signed on to publish Bill Willingham’s Elementals that we were going to want it to be more like traditional flat-color superhero comics. Down the line would also be a little project called Macross that would press all of our expectations for color in comics. We still had a lot to learn.

To be continued…

Gerry Giovinco

Making comics because I want to!

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The Comic Company:
True Colors – Part 1

Tuesday, September 14th, 2010

Comico’s switch from black-and white to color in 1984 added heavily to the learning curve we required to make comic books. We were young guys learning by the seat of our pants, making lots of mistakes but growing with each ounce of education we received “the hard way.”

Jumping to color would be an adventure for several reasons. World Color Press who was printing most of the newsstand comics at the time had no more room in their schedule for the Indy publishers. They were the experts in printing comic books on newsprint which had been the standard since comic books were first published in America.

Indy publishers turned to other options to print color comics which included better paper stock by necessity since most printers were not set up to print what was considered low numbers on newsprint.

Bright, white, glossy stock came into vogue and presented a surface that could better handle full-color images that would not hold up well if printed on newsprint. But comics were still dependent on the traditional black line art that held the color.

Full-color separations that were made from line art that had been simply painted-in produced nasty ghosting of solid magenta, cyan and yellow when images came out of register which could easily happen when printing low runs. Several thousand prints could be made before registration could be fully adjusted forcing the opportunity for a lot of waste and driving up the unit cost of each book.

The black line art had to be held on its own plate and the colors needed to be added on another layer which would later be separated into the four print colors, CMYK. This is done easily today in Photoshop but in the early eighties there was no digital solution.

Doug Wildey

An early maverick attempt by Doug Wildey on his Rio comic, which was published by Eclipse Comics then later compiled by Comico, provided an interesting solution.

Doug Wildey's Rio

Doug painted his colors on tracing paper that he laid over his black line art. The tracing paper was shot and separated then registered to the films of the black line art. This created a beautiful, ethereal watercolor look but provided very fragile originals that warped easily and were difficult to preserve.

Other people were experimenting with different solutions.

Early Pacific Comics-Captain Victory and Starslayer

In the summer of 1983, while in California to attend the San Diego Comic Con, we paid a visit to Pacific Comics. Pacific was not just one of our biggest distributors, it was also one of the trailblazing alternative publishers of the early Indy movement. Founders Bill and Steve Schanes and editor David Scroggy were great hosts. While giving us a tour of their production department, they took the time to show us how a new approach to coloring comics that they were using worked.

The Gray-Line System required that a negative film was made from the original black-and-white comic art. This negative was sized at 60% of the original size which was equal to the actual print size of 6×9″ for the final comic.

Blackline on acetate transparency

From the negative a positive transparency of the line art was made. The lettering on the negative would then be masked with rubylith and, using a dot screen, a 10% gray, positive print was made on photostat paper.

Greyline

The transparency and “gray-line” had registration marks and were aligned and hinged using a single piece of tape. The colorist would paint the grey-line layer, frequently reviewing the art by flipping down the transparency to see what the final image would look like.

Blackline & Grayline combined

The gray-line gave the colorist an accurate guide for which to apply color on a separate layer. If ghosting were to occur due to registration errors the faint image of the gray-line was barely noticeable.

The photostat paper that was used had a polymer base that made the gray-line very durable and stable. They would not shrink or warp when the color, which was usually water based, was applied.

Unfortunately, the surface of the paper was not absorbent at all. Painting with translucent watercolors and dyes was difficult, often creating a streaky or smudgy look especially in areas requiring larger coverage.

The Gray-Line System was an answer to the coloring dilemma but it was not the only one.

To be continued…

 

Making comics because I want to

Gerry Giovinco

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Posted in The Comic Company | 10 Comments »

The Gutter | The World Of Ginger Fox

Thursday, January 28th, 2010

Flashback to the Eighties!

Ginger Fox Cover

Ginger Fox Cover

The World of Ginger Fox
by Mike Baron and Mitch O’Connell, originally published by Comico in 1986 as a 64-page graphic novel, is nothing short of stylish eye candy derived from the exciting nineteen eighties’ era of high hair, shoulder pads, and excesses of wealth.

gfstrip72b

Ginger Fox is presented anew beginning this week on the web pages of CO2 Comics.

The tale of romance, adventure and intrigue, set in the Hollywood of the mid-eighties featuring the smart, sexy and savvy Ginger Fox and a cast of strippers, martial artists, hit men, drug addicts, gat-toting bodyguards and celebrity cameos will be released in weekly installments and is available without fee or subscription as are all comics currently available at http://www.co2comics.com/pages/co2_comics.html.

One quick look at the credits of Mike Baron and Mitch O’Connell will give a good idea of what a treat to expect.

Writer Mike Baron has been one of the most innovative and honored creators in comics since he broke into the field with NEXUS in 1982 with artist Steve Rude.

He has written numerous mainstream comics, including Marvel’s The Punisher and DC’s The Flash. He is also the co-creator of BADGER, FEUD, SPYKE and a number of other renowned titles. He also penned the ROBOTECH graphic novel published by Comico.

ike-baron-comics

Mike Baron Comics

Mike has been nominated for Best Writer in the Kirby, Harvey and Eisner Awards numerous times, and has won several Eisners for his work on NEXUS.

Illustrator Mitch O’Connell’s first graphic novel was Ginger Fox at the age of 25.

Mitch O'Connell Newsweek

Mitch O'Connell Newsweek

His stunning illustration work since has been featured in magazines from Newsweek to Playboy, on the covers of million selling CD’s and advertising campaigns from McDonalds to Coca-Cola!
Mitch’s fine art masterpieces have been exhibited from New York to Berlin to Tokyo and his tantalizing tattoo designs are a fixture on the walls of tattoo shops around the word! Mike and Mitch join the ranks of former Comico creators, Bill Anderson, Reggie Byers, Chris Kalnick, Mike Leeke, Bernie Mireault, Andrew Murphy, Rich Rankin, Neil Vokes as well as publisher creators Bill Cucinotta and Gerry Giovinco on the CO2 Comics site that also features work by Tina Garceau, Robert Jackson Jr., Onrie Kompan, Giovanni Paolao Timpano, and Joe Williams.

There are over 400 pages of free comic art available to read at CO2 COMICS.

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The Gutter | HOT HOT HOT!

Monday, June 29th, 2009
Firemans Hall Museum

Firemans Hall Museum

Joe Williams is back at it again with an educational piece originally done for the Philadelphia Fireman’s Hall Museum located at 147 N 2nd St, Philadelphia, PA., to be displayed as wall murals. Hot Topics exploits the use of comics as a pure communication medium, using words and pictures to clearly educate and entertain young readers about the important subject of fire safety.
The lessons in this story are valuable and life saving!

We encourage you to send this link http://www.co2comics.com/pages/co2_hot_topics.html to parents, educators and firefighters that you know so that they can share it with their children and young members of their community. We promised that CO2 Comics would be devoted to exploring the medium of comics.

Fireman's Hall Exhibit

Joe & Tina's son Lloyd at the Fireman's Hall Exhibit

Hot Topic

Hot Topics

Joe’s works, Deadline and Hot Topics, which were both originally commissioned as marketing pieces, have been valuable examples of use of the medium outside the realm of traditional super hero or adventure stories. Looking towards the future we may find the need to create a category for this type of comic so that it may be signaled out as a viable use of the medium that is a marketable option for comic artists. Thanks Joe for the good stuff, now excuse me while I replace the batteries in my smoke detectors.

Gerry G.

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The Gutter | Welcome Reggie Byers

Tuesday, June 23rd, 2009

Reggie is just one of those rare people that you will come across in life who is impossible not to like. As long as I have known him his infectious personality has always been able to fill a room. This same joy he brings to life he also brings to his comics.

Shuriken

Shuriken

When Reggie came to work at Comico he quickly became family and was integral to the success of the ROBOTECH line. His drawing style, which was heavily influenced by Japanese Manga when it was just becoming popular in America, made him a fan favorite on the comics he worked on. Despite the heavy manga influence, however, Reggie was able to develop his own unique stylization that propelled him to popularity when he began to self publish Shuriken under the Victory label. Most recently Reggie along with his wife, Dionne, Have created Kidz of the King which is published by Urban Ministries Inc. (UMI) and has been animated into a feature for television!

Kidz of the King DVD

Click Here for Kidz of the King Merchandise

Reggie is treating us to a character that he created in the early ’90′s. CRESCENT  has all the flair and mystique of Shuriken and will surely be a big hit here in the archives of CO2 Comics. Thanks Reggie! We can’t wait to see what you have in store for us!

You may have noticed that, along with bits of history, these blog pages are also riddled with links. Please use them to familiarize yourself with the creators that are willing to play with us here at CO2 Comics. The links are also an opportunity for you to support those creators by buying their products or by sharing their work with your friends. You can help us too by ensuring that CO2 Comics becomes the cooperative venture it is intended to be as the gathering of artists here supports cross promotion that benefits the fans and artists alike.

Crescent

Crescent

There is an energy building here at CO2 Comics that has Bill Cucinotta and myself very excited. In a very short time the content here has grown into an exciting collection of work by great guys with a long history of friendship and love for comics. We always expected that our friends would be our core group of creators at the start but please know that we are open to submissions and though we intend to be selective there is always opportunity for exciting innovative talent here at CO2 Comics. Drop us a line any time at info@co2comics.com regarding inquiries or submissions.

Gerry Giovinco

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Today’s Weekly Update | Skrog

Thursday, June 18th, 2009
skrog_1_04
Skrog Update

New pages of Skrog by Bill Cucinotta are now available.

Click here to read this comic NOW!

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The Gutter | Updated Weekly!

Tuesday, June 16th, 2009

That’s the plan.

As you are browsing through the Comics page of the CO2 Comics site you will see “Updated Weekly” brazenly noted on all the features that have continuing story lines. Currently these titles include Slaughterman, Skrog and Depth Charge. The updates will ad a few pages to the story that you are following on a weekly basis until its completion.

This pacing will allow us to make the work available to you, the valued reader, at a reliable rate that you can count on while insuring that the creators of the site don’t get fried by the demands of organizing and updating gobs of content material all at once.

The following schedule will give you a sense structure that will allow you to be the first on your block to know what’s going on with your favorite characters:

slaughterman_1_02

Slaughterman Update

Slaughterman by Gerry Giovinco updated Monday evenings

Skrog by Bill Cucinotta updated Wednesday evenings

Depth Charge By Chris Kalnick updated Friday evenings

Hey, we’ll be honest, we want you to be a regular visitor here at CO2 Comics  (so go ahead and bookmark the home page right now!) We want you to regularly read our comics and keep a curious eye out for the new material from new artists that will be joining our little cooperative as we forge ahead.

We also want you to stay in touch by reading and responding to the information included on our blog. Don’t be shy! We are feverishly waiting for your comments so we can know when we are doing things right or get the lead out and improve on something that you may not care for.

Thanks for sticking with us so far and remember, this is just the beginning. You, my friend, have front row seats for something we expect will be special.

Now, be a trendsetting leader and spread the word. Share CO2 Comics with your friends and please come back for more.

Updated Weekly!

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