The Great Disruption

March 4th, 2013

This blog post is titled ‘The Great Disruption’ for two reasons. Firstly because of my recent interstate move, and secondly after the title of a book I have recently read.

Moving to Canberra

In January 2013, I moved from Brisbane to Canberra – the capital city of Australia. While it’s exciting to be in a new city after 10 years living in Brisbane, the move has been very disruptive to my cartooning. I underestimated how much time it would take to pack up / clean up my old house in Brisbane, as well as how time-consuming Canberra house-hunting would be.

The good news is, after weeks living in temporary accommodation, I moved into to a permanent home 7 days ago. Here’s the view of Parliament House from a hill 20 minutes walk from my home.

I wrote this blog post 2 weeks ago...but didn't post it until the weather cleared to take a half-decent photo of Canberra for you!

My Canberra postal address is PO Box 4666, Kingston, ACT, 2604, Australia, in case anyone wants to surprise me with a postcard or letter! I will hang onto that PO Box as long as I am living in Our Nation’s Capital (check my ‘About‘ page).

Rat Park

I am now able to resume work on Rat Park after an approx 8 week gap. My possessions (including PC) had been in storage for that period of time, so I was definitely able to see the strip with fresh eyes!

Apologies to my crowdfunding supporters for the ‘radio silence’ on the progress of their comic. To recap: the Pozible campaign was successful, and I decided to extend the length of the comic from 28 pages to 40 pages. Script-writing and layouts are complete, and the line art for Rat Park is currently well over 75% completed.

Here’s an overview of all 40 pages of the comic, in their unfinished state:
Rat Park comic by Stuart McMillen - overview of all 40 pages as of 3 March 2013 (unfinished)

All that needs to be done now is to complete the remaining line art, colouring/shade the panels, print physical copies for supporters, translate from English into other languages, and publish to stuartmcmillen.com. I expect the printed copies to be sent around Easter 2013, with the web launch timed to when these parcels will hit mailboxes.

For your patience, here is a 4-page sequence from Rat Park (pages 25-28). As you can see, the colour/shading is not yet done.

Rat Park comic by Stuart McMillen - page 25 (unfinished - line art only)Rat Park comic by Stuart McMillen - page 26 (unfinished - line art only)Rat Park comic by Stuart McMillen - page 27 (unfinished - line art only)Rat Park comic by Stuart McMillen - page 28 (unfinished - line art only)

Future comics: the research continues

Even though my artwork routine was disrupted, I tried to make the most of my recent downtime.

On my first day as a Canberran, I became an ACT Library member, and started borrowing at a prodigious rate. Subject matter included obvious ones like graphic novels (The Complete Persepolis by Marjane Satrapi) and sustainability titles (Life Without Oil by Hallett and Wright), but also some more out of left-field (The Grapes of Wrath by John Steinbeck). Grist for my mill.

The Great Disruption

One of my favourite reads from this period is The Great Disruption (2011) by Paul Gilding. It is a book about the social-economic crisis which will soon occur as a result of climate change, peak oil and ecosystem exploitation.

the-great-disruption-paul-gilding

Paul Gilding manages to put a fresh twist on what, for me, is an old issue: I have been well-versed on these environmental problems for the past decade.

Gilding’s skill is rapidly moving beyond discussing ‘the problem’ (which he does in seven swift chapters) to the mass-rebuilding effort which will be necessary for our society. He acknowledges that our civilisation will face great hardships in this transition period, including much conflict and the inevitable deaths of billions of people – a fact he does not take lightly. However the core of his book outlines his rational evidence that we will overcome our destructive impulses and pull together to rebuild a world better than we currently know.

World War II

A large case-study which Gilding draws upon is the response of Allied nations to the Nazis in World War II. He points out that despite mounting evidence of the Nazi threat during 1930s, the Allies did not actively enter the war until the flashpoint of the Polish invasion in 1939: an example that social dynamics mean that change happens slowly at first, and then incredibly fast. Gilding compares this to climate change, which is a clear and undeniable threat, waiting for a flashpoint to mobilise a response.

And what a response it was! Gilding remarks upon the speed of Britain’s response, and the way the country turned on its head overnight. Suddenly the whole country was working together, working with a common purpose. Great sacrifices had to be made to the economy to continue the war effort, including food and petrol rationing. However public spirits remained optimistic and accepting of the necessary limitations imposed on their private lives. Importantly, despite decreasing material living standards (e.g. rationed food), UK civilian public health and social unity actually improved during World War II.

Though peak oil and other resource constraints will soon force our society to ‘take a haircut’ and rein in our consumption, Gilding is optimistic that this can largely be done in a way that avoids spiralling into chaos and conflict.

Factory worker portrait - black and white cartoon artwork

Reflections on my comics: my role as a ‘voice’

The Great Disruption also helped me to reassess my role as a voice within the ‘sustainability’ community. To date, a huge part of my role has been to communicate issues which are on the fringes of popular understanding. Examples include the linear nature of our economy, the efficient way nature builds itself, and the dangers of unchecked growth.

It has been frustrating trying to popularise these views while seeing society behaving in ways opposite to what is necessary. We are, for the most part, still a Type I system.

In his book, Paul reflects on the roles of the leaders and ‘voices’ of the sustainability movement, and the challenges we face in a world that continues not to listen. He argues that the mass-acceptance of our environmental and economic predicament will be sudden and swift. So far a few cracks have appeared on the dam of status-quo (e.g. people like Paul and I), but soon the wall will burst, and a flood of understanding will wash away the ignorance and denial.

I now see that the biggest role of the ‘green’ community is simply to keep our flame alive. It will take a crisis before the rest of society calls upon our knowledge, so our most important job is to keep our blueprints on the table until the politically impossible becomes the politically inevitable.

Grab a copy

You can grab Paul Gilding’s The Great Disruption from your local bookshop/library, or from these affiliate links: new / used.

Rat Park crowdfunding: success

November 8th, 2012

Good news: my Rat Park comic was successfully crowdfunded by 117 of my fans! It is a great feeling to know that so many of my readers care enough about my comics that they are willing to personally fund them.

Rat Park by Stuart McMillen teaser

This was the first time I allowed my readers to directly invest in the creation of new stuartmcmillen.com comics, and the first time I offered printed merch. It was also the first time I revealed my face to my readers via my two promotional videos (1, 2).

In short, it is great to have the support of paying fans keen for me to ‘do my thing’, and create Rat Park. I will not let you down!

Crowdfunding: lessons learnt

What did I learn from my first experiences with the crowdfunding model?

  • Carefully budget your project.I heard horror stories of other crowdfunding campaigns which turned into financial albatrosses because of poor planning. Be sure you budget the cost of:
    1. creating your art project
    2. producing your supporter rewards
    3. posting your supporter rewards
    4. transaction fees

    Add 20% padding for contingencies. Personal example: Australia Post upped their postage costs midway through the Rat Park campaign, but I had a safe buffer. Read this guide.

  • Offer appealing rewards. Don’t gouge your fans for $25 ‘certificates of appreciation’, or other bogus “rewards”. Make sure your rewards are genuinely appealing to fans, and represent value. You will need the supporters of all budgets, so ensure you cater to a large spread from $1 to $1,000.
    Add personalised touches where possible. Your campaign will succeed if it is as much about serving your fans’ needs, as it is serving your needs.
  • Include a video. Keep it simple: I originally planned a video with lots of humour, but realised the jokes would interrupt the directness of me speaking frankly to my readers. I used a budding film student (friend of a friend), who was happy to work for free…but delighted to work for beer!
  • Convince readers to want to invest in the project. One of my regrets from the Rat Park project is that I did not explain the concept of the comic clearly enough. My first video was quite vague, and had an air of “give me your money, and trust that I will use it wisely…”
    By contrast, I had a wave of pledges following video #2 which clearly explained the story of Rat Park. If only I had released that video from Day One, rather than in the final 4 days of the campaign!
  • Read up on rewards psychology. Don’t even think about screwing your supporters with bad value-for-money rewards… …however, recognise that tempting rewards can compel fans to reach a little outside their price range. Make fans want to stretch a little further for you.
  • Prepare a media strategy… Have a media release ready to go on Day One, and line up coverage as early as possible. A key newspaper article about me and Rat Park did not get published until the weekend after the campaign finished! I was lazy, and did not even write a media release until 1 week into my campaign.
  • …but don’t expect the media to do all the work for you. That includes social media. If you are expecting your campaign to be a runaway success with oodles of strangers trumpeting your cause, you’re doing it wrong. Most of your pledges will come from your friends, family and a small core of engaged supporters.
  • Expect marketing your campaign to be a full-time job. I must have spent 3 straight weeks solely dedicated to promoting my campaign. Your involvement will probably make or break the campaign. Don’t expect it to ‘run itself’.
  • Brace yourself for the quiet times… I had a ‘drought’ week where I raised only $259 from 11 supporters. Way below what I needed to stay on par for my $6,000 target. It’s hard not to feel depressed during the slow times.
  • …but realise that things usually pick up at the end. Don’t ask me the psychological reason, but many people will wait until the last minute to make their pledges. I doubled my pledge tally in the last week – after I had all but resigned myself to failure.
    Recognise that a solid ‘home stretch’ campaign will be useful in pulling you over the line. But you will need to mix it up – show your fans a second video, or a compilation of your recent media coverage.

My favourite ‘how to run a successful Kickstarter’-type guides are linked in the above bullet points.

Rat Park media round-up

If you want to read or listen to interviews with me talking about Rat Park, and my history as a cartoonist, check out the following:

Scenestr
Scenestr feature articleCaught in the Crowd, by Rohan Williams. 24 October 2012.

4ZzZ banana logo
4ZzZ community radioZed Book Club – Brisbane Cartoonists Interview feat. Zac, Alexis and Stuart, by Sky Kirkham. 25 October 2012.

Sunday Mail article about cartoonists crowdfunding - Mission Pozible
The Sunday Mail U on Sunday magazine feature article – Mission Pozible, by Sally Browne. 4 November 2012.

(Note the late publication dates of these stories. My campaign ran from 3 October to 1 November. This goes to prove the importance of arranging media coverage as early as possible!)

Why is Australian cartoonist Stuart McMillen inside a box?

October 29th, 2012

Q: What would compel me, an ordinary cartoonist, to videotape myself cramped inside a 80 x 55 x 60 cm box?

A: To explain the concept behind my Rat Park comic, and to encourage you to dig deep with crowdfunding pledges.

Rat Park crowdfunding video #2: cartoonist in a box

I think the video speaks for itself. Please share it with your friends as a fun way to raise awareness of my Rat Park project.

The latest with me and my crowdfunding campaign:

  • My War on Drugs comic has had a great response, with over 56,000 readers in 3 weeks. Most readers found it to be a fresh way of looking at a complex issue.
  • My Rat Park crowdfunding project has raised over $2,600 in pledges from 75 supporters in 3 weeks. Brilliant!
  • Still, my campaign needs approx $3,400 to succeed. My $6,000 target for Rat Park is based on carefully-budgeted costs of producing and posting my rewards, plus the 2 months it will take me to write and draw the comic.
  • I have decided to extend Rat Park to be a 40 page comic. Originally conceived as a 28 page comic (the same as War on Drugs), it became clear I needed more space to fully tell the story of Rat Park. I am willing to create, print and post these longer comics at the original prices listed on my crowdfunding page.
  • One of the original Rat Park researchers, Prof. Bruce Alexander, has agreed to help me by reviewing draft versions of my comic, and by digging up reference photographs from the original experiment. Bruce is proving to be a friendly, helpful person to work with!
  • Since one of my supporters has ordered a wall print through the crowdfunding campaign, I decided to print it up early, and photograph it for you. The comic booklet and greeting card are there for scale. It is an A1 (594 × 841 mm) size print on high quality 200gsm photosatin paper.

Stuart McMillen Thin Air urban nature wall print. Photograph of printed poster and comic book and greeting card.

Remember: supporters with merch-envy, or a newfound enthusiasm for funding Rat Park can easily increase their pledge by logging into Pozible.

Once again, thank you for you support so far – I’m honoured to have you on board. Please do me a huge favour and help share: 1) my “cartoonist inside a box” video – i.e. this page, 2) my Rat Park crowdfunding page, and 3) my War on Drugs comic.

With your support, the fascinating story of Rat Park will be shared with the world through my unique comic style.
Kind regards,

Stuart McMillen
Brisbane, Australia

Crowdfunding comics: Brisbane trio drawing support from fans

October 9th, 2012

(Media release to support the crowdfunding campaigns for Rat Park, Iron Style and My Sister’s Voice).

Three Brisbane cartoonists are using crowdfunding as a way of financing their comic art projects.

Throughout October 2012, Brisbane cartoonists Zac Smith-Cameron, Alexis Sugden and Stuart McMillen will be using crowdfunding to finance their comic art from web user investors.

With not a caped superhero to be seen, the three projects showcase the diversity of Brisbane comic art, and the possibilities which the comics medium offers in 2012.

The projects range from the Ashcan Comics manga compilation Iron Style, the graphic novel fiction of My Sister’s Voice by Alexis Sugden, and the non-fiction Rat Park by Stuart McMillen about the science of drug addiction. Despite stylistic and thematic differences, the three cartoonists are united by their Brisbane home base and their use of the crowdfunding model.

“It’s all-or-nothing”, Stuart McMillen said about using crowdfunding. “We each have set campaign targets and deadlines. If we don’t meet our targets within the time period, the projects don’t succeed. No money changes hands, and the comics do not get made.”

McMillen has set a target of $6,000 to create Rat Park from scratch, while Ashcan Comics is seeking $5,500 to reimburse the Iron Style compilation writers and artists for their hard work. Sugden’s goal is $1,000 to print and distribute the already-completed My Sister’s Voice.

“We are encouraging fans to invest in our projects by offering a range of reward items”, said Zac Smith-Cameron. “Fans who contribute smaller amounts get rewards such as digital copies of our comics. However, we also offer other merchandise packs including books, posters and t-shirts. We will even draw custom artwork for fanatical supporters with large pledges!”

“Crowdfunding lets fans directly support the artistic projects which interest them”, said Alexis Sugden. “It is great that readers can support my art directly, and that the expenses like printing are covered upfront.”

Potential investors are advised to get in quick with their pledges: Rat Park and My Sister’s Voice have campaign deadlines in early November, while Iron Style‘s campaign closes in January 2013.

Information about the three projects:

  • Iron Style: a compilation of manga stories by publisher Ashcan Comics.
    Originally a Japanese art form, manga has been adopted and adapted by Australian writers and artists.
    Iron Style is a showcase of the best of Australian Manga in 2012.
    Zac Smith-Cameron is the co-founder of Ashcan Comic Collective, based in Brisbane.
  • My Sister’s Voice: a fiction comic by Alexis Sugden which follows the lives of three women.
    When Polina goes missing, her sister Anna won’t rest until she is found.
    With her mother in tow and her grandmother’s ghost guiding the way, Anna spends more than a year at sea searching for her sister.
  • Rat Park: a non-fiction comic by Stuart McMillen about research into drug addiction.
    McMillen uses the medium of comics to explore scientific, environmental and social issues.
    Rat Park is about 1970s animal experiments of Canadian psychologist Bruce Alexander.
    The infamous ‘Rat Park’ studies challenge our assumptions about addiction.

Zac, Alexis and Stuart are available for media interviews, photo opportunities, podcasts and the like. Please contact Stuart McMillen.

Brisbane cartoonists Zac Smith-Cameron, Stuart McMillen and Alexis Sugden
Brisbane cartoonists Zac Smith-Cameron, Stuart-McMillen and Alexis Sugden

Iron Style by Ashcan Comics teaser image
Iron Style by Ashcan Comics teaser

My Sister’s Voice by Alexis Sugden teaser image
My Sister's Voice by Alexis Sugden teaser

Rat Park by Stuart McMillen teaser image
Rat Park by Stuart McMillen teaser

Rat Park crowdfunding video

October 4th, 2012

For a quick, 3 minute version of that last blog post, please check out the following video:

Yes, this is the first time I’ve let you see my face and hear my voice. In the past, it was nice just putting the comics ‘out there’, and allowing you to project yourselves into the art, not knowing much about the ‘man behind the curtain’.

However, since I am embracing crowdfunding for Rat Park, I thought it would be fair to show myself to you, and directly ask for your support. Please watch the video and consider investing in my project.

If you liked War on Drugs, you will love what I have planned for Rat Park

Crowdfunding: your generosity needed to fund my next comic.

October 3rd, 2012

Loyal readers: I have a big favour to ask…

Researching, writing and drawing my comics take a lot of time. For example, War on Drugs took me over 250 hours to produce.

My comics are a labour of love. I love creating them; you love reading them. But financial realities (paying the bills) have so far kept me from making my website comics my #1 priority.

That’s where you come in.

For the first time, I’m asking for your help to fund fresh content for my website: specifically, a comic I want to release in December 2012 called Rat Park.

The comic you will fund: Rat Park

Stylistically and thematically, Rat Park will be a mix between St Matthew Island, Supernormal Stimuli and War on Drugs. It is a story I have researched, but have not yet been able to write or draw (beyond one teaser image for this blog post).

Rat Park comic teaser by Stuart McMillen. Maus Art Spiegelman.

Supporters will be informed about the progress of Rat Park, including sneaky previews of the artwork and storyline. As the project is funded by public support, I will do my best to keep readers updated (without ruining too much of the ‘magic’!)

Rewards for investing

There are stacks of rewards for the supporters who invest in the project. Comics. Hand-written postcards. Greeting cards, T-shirts. Posters. Wall prints.

I have tried hard to create a range of rewards, so there are valuable goodies to send to supporters of all budgets. I hope to be busy writing postcards, and licking Aussie stamps to send the rewards to you all!

These items will only be on sale for the 30 days of the project. After that, they will become unavailable.

If I don’t meet the AUD $6,000 target needed to fund the comic, the project does not succeed. No credit cards get charged, none of the rewards get made, and the comic does not get made.

Independent cartoonist, independent voice

Your investment will directly fund me as an independent, global voice. It will help to ensure that you, and everyone else on the internet, benefits from the continued creation of my thought-provoking comics.

Sincere thanks,

Stuart McMillen
Brisbane, Australia

PS: Since you’re here, reading this right now, you might as well make a pledge before you forget! And I’d appreciate it if you could share the Pozible project with anyone who might be interested in my work.

Stuart McMillen anteater cartoon. All things. stuartmcmillen.com

National Science Week postcard

September 16th, 2012

Just sharing some new commissioned artwork: the first time I have designed on a postcard.

I was commissioned by CSIRO to draw a promotional postcard for this year’s National Science Week. Designed specifically for Queensland, the artwork features a futuristic Queen Street Mall with lots of ‘sciencey’ things happening.

Cartoon postcard artwork by Stuart McMillen. Dinosaur, cockatoo, rocket ship.
The postcard – being modelled near the basil plants in front of my house. Click for full view.

I did the design and line art for the postcard. The colouring was done by none other than Sam Campbell from local comedy group Skills in Time. We decided on a “strategically unfinished” look – as though a child had picked up a blank version of the card, and only coloured in certain drawings in the scene.

The cards were made available in cafés, libraries and other places around South East Queensland as free items. They were also mailed to schools around Queensland as promotion for National Science Week 2012. Go science!

Urban Times reflections: Thin Air

August 29th, 2012

Urban Times asked me to share some reflections on my comics. Below is the fifth article in this ongoing series.

The Comic Art of Stuart McMillen: Thin Air

Stuart McMillen is a cartoonist from Brisbane, Australia who draws comics on science, society and environmental sustainability. In an exclusive series of articles, Stuart reflects upon his comics for Urban Times.

Thin Air summary

Thin Air describes the 17th century experiments of Jean Baptista van Helmont, who wondered what exactly trees were made from. The counter-intuitive answer is that trees build themselves almost entirely from carbon, oxygen, hydrogen and nitrogen: the same elements which breeze past them in the air. The comic goes on to compare the construction techniques of nature with those of human industry, and wonders if industry will ever learn to use building techniques like nature.

Hidden in plain sight: trees

A major aim of Thin Air was to make readers appreciate the elegance and brilliance of a familiar, yet overlooked neighbour: the humble tree.

Low angle cartoon man standing above viewer. Looking up towards tree tops.

To the enlightened person, trees are no longer just ‘things’ that fill the space between the important, man-made structures of the world. They are incredible in themselves!

Trees are solar powered ‘machines’ that use sunlight into turn water and carbon dioxide into sugar and oxygen. They are living symbols of defiance that fight gravity and tower above the earth with bodies made from solidified air.

Of course, by extension, we are mostly made from thin air too. Despite trace elements (such as the calcium of our bones, or the iron of our blood), we too are mostly made from the same stuff that we are swimming in. Essentially, the main thing separating our bodies from the free-floating gases of the atmosphere is fancy jigsawing.

Once hidden before my eyes, I am now drawn to the sight of trees wherever I look. I marvel at the defiant way they erupt from the ground, pushing towards the sky. I rave over the precarious way they hold their mass above our heads. What I once ignored now forms a focal point of the way I appreciate the world around me.

Cartoon man sits under Sydney tree reading a book. Black and white drawing.

Inspired by Biomimicry

Thin Air is spun from a train of thought that followed one of my many re-reads of Biomimicry (1997) by Janine Benyus (new / used aff). In beautifully-written prose, Benyus presents a laundry list of amazing technologies ‘invented’ by nature which surpass human achievements. Leaves more efficient than solar panels, mussel glue stronger than human adhesives, rhinoceros horns which self-heal. Nature, it seems, has remarkable secrets to teach us.

Thin Air is partially a love letter to biomimicry, but it is also a cannon aimed at my once-sacred cow.

Cartoon rock crab. Crab drawing next to rock pool with Sydney Harbour Bridge reflection.

It’s easy to get carried away with biomimicry and ignore the amazing technologies, amazing achievements of humanity. Yes, we should respect and learn from nature, but there are limits. We should beware the New Age “nature = good, technology = bad” mentality which pervades so much of the green movement.

Rejecting naive Biomimicry

My dose of reality into the limits of biomimicry came from reading Steven Vogel’s 2003 textbook Comparative Biomechanics: Life’s Physical World. After 500 pages of comparing nature against engineering and physics benchmarks, Vogel writes:

“Biomimetics has built, quite unnecessarily, in my opinion, on some counterfactual mythology (= bull). … Artists and antitechnologists disdainfully disparage any claim of true novelty in the artefacts of human industry. But knee-jerk naturalism does not withstand scrutiny.

[N]ature neither holds, nor should be expected to hold any natural superiority, and she provides neither comfort nor example to engineer-bashers. Our technology does all kinds of things with few or no natural analoges.”
(Vogel, 2003, p 511, 516)

His conclusion is similar to that of the Thin Air comic: we have much to learn from the wonders of nature, but we shouldn’t fall into the trap of thinking that nature trumps human ingenuity on all fronts.

Now retired from teaching at Duke University, Steven Vogel proved to be a helpful sounding board for early drafts of the Thin Air script.

Cartoon hermit crab in shell in front of Sydney Opera House. Black and white drawing.

Artwork

With Thin Air, I tried to capture the contrast between the natural and constructed parts of our world. I quickly decided that Sydney would serve as the backdrop for a city containing wonders of natural and human engineering. Basing the comic in Australia gave me a good excuse to draw my favourite type of trees: eucalyptus.

Although the novelty of drawing tree leaves quickly wore off (I spent 170 hours on line art alone), the final graphics are distinctive and striking. Thin Air included my first use of double-page spreads as a way to highlight expansive ideas within the comic. Who knows where this crazy experimentation will end….I might even start adding colour!

Cartoon strangler fig wraps around building. Skyscraper wrapped in tree roots drawing. Comic art cover.

Originally the cover image of Thin Air was that of a strangler fig climbing a Sydney office tower (see above). It looked nice, but didn’t sensibly link with the comic. After a long period of brainstorming, I hit upon an idea to combine van Helmont, the city of Sydney and trees all in the one frame. The final cover artwork satisfies me immensely.

Thin Air comic cover. Black Sabbath self-titled album homage. Black and white man standing in front of Sydney Opera House.

Van Helmont the anti-hero

Thin Air uses the experiments of Jean Baptista van Helmont as a gateway for explaining the elemental make-up of trees. Despite his starring role in the comic, I would like to make one thing clear:

Van Helmont was not a good scientist.

Riddled with holes of logic, van Helmont’s willow experiment embodied many of the qualities associated with junk science. Hershey (2003) points out a comprehensive list of his errors, including:

  • conducting his experiment to prove a pre-determined conclusion (that trees are made from water)
  • ignoring his own data when supporting his conclusion
  • failing to control and isolate the experiment against environmental factors
  • failing to document and explain his scientific methods to make the experiment repeatable

van Helmont stands next to willow tree cartoon. Black and white drawing.

The image of van Helmont examining his willow tree serves as a great poster for science, but the real van Helmont was both hero and fool. For this reason, as a Faustian bargain for his starring role in Thin Air, I have portrayed van Helmont as permanently dressed in foppish clothes. Take that!

Beyond Thin Air

Like its sister comic, Type III, Thin Air ends without a specific ‘message’ or conclusion. The simple reason for this is because I do not quite know the implications of the comic.

I am not an engineer or a physicist, and am unsure how far we can push nanoengineering. Similarly, I am unsure of the limits to which we should heed when constructing with the very same carbon which is needed by organic life.

Cartoon city skyscrapers surrounded by trees. Black and white aerial drawing office towers. Urban nature.

As a minimum, Thin Air offers readers a fresh perspective to appreciate the ways of nature. At best, the comic could point to a new direction for human civilisation. One with less need to turn the Earth upside-down and mine the crust for resources. One which builds artefacts from life-friendly materials in a life-friendly way, inspired by nature.

Only time will tell how we move from here.

View more in the Urban Times series here.