Dale Hollow
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11x35”
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If anyone would like an unauthorized digital transfer of this one shot from 1990, please purchase this comic.

Stark end of B/W. Psych punk politico eulogy poem kegger trip.

Those two on the cover are Chainsaw and Church. Chainsaw is an ambiguous crasher (through antireligocapital collages) to Church’s main actions, which involve tendering her ailing and stodgy Pa. 
The elder raps deathbed philosophy that spins into allegory that spins into autobiog. As he goes, chainsaw slams out whole page fnards and sharp surgeon general truths on advertising. 
This continues even as Church’s Grandfather gives her the keys to his mansion, and through to his death. She twists the key off in the front door, but a fellini-style shitkicker opens up to her, consumers her and reunites her with Chainsaw before vanishing.
And then Church & Chainsaw remain friends. End.

The two artists mix their seperate styles and narratives in a way that embodies the beauty of full (bothwrite+draw) collaboration. Both worlds support each other while remaining seperate (like in The Maxx) and pull off some subtle transitions that alllow for a unfaultering pace.

Kathryn Kuder & Stuart Immonen
One shot, Caliber, 1990
If anyone would like an unauthorized digital transfer of this one shot from 1990, please purchase this comic.

Stark end of B/W. Psych punk politico eulogy poem kegger trip.

Those two on the cover are Chainsaw and Church. Chainsaw is an ambiguous crasher (through antireligocapital collages) to Church’s main actions, which involve tendering her ailing and stodgy Pa. 
The elder raps deathbed philosophy that spins into allegory that spins into autobiog. As he goes, chainsaw slams out whole page fnards and sharp surgeon general truths on advertising. 
This continues even as Church’s Grandfather gives her the keys to his mansion, and through to his death. She twists the key off in the front door, but a fellini-style shitkicker opens up to her, consumers her and reunites her with Chainsaw before vanishing.
And then Church & Chainsaw remain friends. End.

The two artists mix their seperate styles and narratives in a way that embodies the beauty of full (bothwrite+draw) collaboration. Both worlds support each other while remaining seperate (like in The Maxx) and pull off some subtle transitions that alllow for a unfaultering pace.

Kathryn Kuder & Stuart Immonen
One shot, Caliber, 1990
If anyone would like an unauthorized digital transfer of this one shot from 1990, please purchase this comic.

Stark end of B/W. Psych punk politico eulogy poem kegger trip.

Those two on the cover are Chainsaw and Church. Chainsaw is an ambiguous crasher (through antireligocapital collages) to Church’s main actions, which involve tendering her ailing and stodgy Pa. 
The elder raps deathbed philosophy that spins into allegory that spins into autobiog. As he goes, chainsaw slams out whole page fnards and sharp surgeon general truths on advertising. 
This continues even as Church’s Grandfather gives her the keys to his mansion, and through to his death. She twists the key off in the front door, but a fellini-style shitkicker opens up to her, consumers her and reunites her with Chainsaw before vanishing.
And then Church & Chainsaw remain friends. End.

The two artists mix their seperate styles and narratives in a way that embodies the beauty of full (bothwrite+draw) collaboration. Both worlds support each other while remaining seperate (like in The Maxx) and pull off some subtle transitions that alllow for a unfaultering pace.

Kathryn Kuder & Stuart Immonen
One shot, Caliber, 1990
If anyone would like an unauthorized digital transfer of this one shot from 1990, please purchase this comic.

Stark end of B/W. Psych punk politico eulogy poem kegger trip.

Those two on the cover are Chainsaw and Church. Chainsaw is an ambiguous crasher (through antireligocapital collages) to Church’s main actions, which involve tendering her ailing and stodgy Pa. 
The elder raps deathbed philosophy that spins into allegory that spins into autobiog. As he goes, chainsaw slams out whole page fnards and sharp surgeon general truths on advertising. 
This continues even as Church’s Grandfather gives her the keys to his mansion, and through to his death. She twists the key off in the front door, but a fellini-style shitkicker opens up to her, consumers her and reunites her with Chainsaw before vanishing.
And then Church & Chainsaw remain friends. End.

The two artists mix their seperate styles and narratives in a way that embodies the beauty of full (bothwrite+draw) collaboration. Both worlds support each other while remaining seperate (like in The Maxx) and pull off some subtle transitions that alllow for a unfaultering pace.

Kathryn Kuder & Stuart Immonen
One shot, Caliber, 1990
If anyone would like an unauthorized digital transfer of this one shot from 1990, please purchase this comic.

Stark end of B/W. Psych punk politico eulogy poem kegger trip.

Those two on the cover are Chainsaw and Church. Chainsaw is an ambiguous crasher (through antireligocapital collages) to Church’s main actions, which involve tendering her ailing and stodgy Pa. 
The elder raps deathbed philosophy that spins into allegory that spins into autobiog. As he goes, chainsaw slams out whole page fnards and sharp surgeon general truths on advertising. 
This continues even as Church’s Grandfather gives her the keys to his mansion, and through to his death. She twists the key off in the front door, but a fellini-style shitkicker opens up to her, consumers her and reunites her with Chainsaw before vanishing.
And then Church & Chainsaw remain friends. End.

The two artists mix their seperate styles and narratives in a way that embodies the beauty of full (bothwrite+draw) collaboration. Both worlds support each other while remaining seperate (like in The Maxx) and pull off some subtle transitions that alllow for a unfaultering pace.

Kathryn Kuder & Stuart Immonen
One shot, Caliber, 1990
If anyone would like an unauthorized digital transfer of this one shot from 1990, please purchase this comic.

Stark end of B/W. Psych punk politico eulogy poem kegger trip.

Those two on the cover are Chainsaw and Church. Chainsaw is an ambiguous crasher (through antireligocapital collages) to Church’s main actions, which involve tendering her ailing and stodgy Pa. 
The elder raps deathbed philosophy that spins into allegory that spins into autobiog. As he goes, chainsaw slams out whole page fnards and sharp surgeon general truths on advertising. 
This continues even as Church’s Grandfather gives her the keys to his mansion, and through to his death. She twists the key off in the front door, but a fellini-style shitkicker opens up to her, consumers her and reunites her with Chainsaw before vanishing.
And then Church & Chainsaw remain friends. End.

The two artists mix their seperate styles and narratives in a way that embodies the beauty of full (bothwrite+draw) collaboration. Both worlds support each other while remaining seperate (like in The Maxx) and pull off some subtle transitions that alllow for a unfaultering pace.

Kathryn Kuder & Stuart Immonen
One shot, Caliber, 1990
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