When we launched our Eddie Campbell series, I observed that Campbell "approaches cartooning as handwriting” and praised the looseness of his work, “the way he sketches and scratches on the knife's-edge between deliberation and happy accident”:
He brings dignity to the idea of drawing as doodling, as a means of idling, of thinking through one's fingers. Especially in his autobiographical comics [...], Campbell works with a raw spontaneity of line and the offhand logic of association.
I should say that he seems to do this; actually, there's a deliberateness, an insinuating narrative logic, behind even his most ragged images. Campbell the designing artist peeks slyly out from behind Campbell the
doodler [...]. Sitting at the doodler's elbow, this ulterior Campbell has larger designs on you as a reader, but lets everything fall into place easily, with a fetching looseness of style and manner.
I stand by the above (hell, I just quoted myself), but the problem of pronouncements like this is that artists like Eddie Campbell don’t sit still.