— A number of short, openly avowed pieces of sequential art—

A parody of "Krazy Kat," the classic comic strip by George Herriman. Charles did this to satisfy a Cartooning Class assignment during his junior year at the Savannah College of Art and Design: choose an actual comic strip, either contemporary or otherwise, and imitate its style as convincingly as possible. For fun, Charles also decided to put a spin on the typical dynamic between Krazy and Ignatz, as well as to openly address points about which the original strip had always been deliberately ambiguous.

At the time of this project's creation, it would still be over a decade before marriage equality was decided by the United States Supreme Court, which explains the dialog in the final panel. How primitive 2004 was!

Parody/satire is protected as Fair Use. The comic strip above is used as a portfolio piece, rather than monetized in of itself.

A binary black-and-white comic interpretation of [1] lyrics selected from the Frank Zappa song "Cosmik Debris" (album: "Apostrophe" 1974) and [2] the visual style of the painting "Die Nacht" by German artist Max Beckmann. Charles can no longer remember exactly why he did this inter-medium mashup project, in the first place.

The comics pages above are used as portfolio pieces, rather than monetized in of themselves.

For a friend named Chantelle who sometimes went by the name "Meshnewr." She once held an art contest amongst her friends from college, amongst whom a winner would be selected and flown out to Colorado, and this was Charles's entry. Either a winner was never announced, or Charles never learned who it was. A likely explanation is that the contest was bogus, in the first place.

Made from construction paper, balsa wood, glue, and transparent vellum. A rare use of purely shape and color instead of binary black-and-white line art. The layer of transparent vellum between the background and the foreground creates atmospheric perspective by making the same colors of paper look different: there was actually only one version each of green, yellow, orange, and red, while brown was only used in front of the vellum and blue was only used behind it.

In the South Korean middle/high school where Charles was working, at the time, the art teacher asked Charles to make something for display at an upcoming school festival, for her to thereafter keep as a gift, hence Charles no longer has the original artwork and was never able to scan it. He made this comic about a "crazy dog," because that was a common way for students to describe each other to Charles.

While working in a South Korean girls' middle and co-ed high school (they shared the same buildings), Charles announced a contest in the school's newspaper, based on a Korean-language juvenile fiction book called "그 개가 온다" (Geu Gae-ga onda / "That Dog Comes"), which was a translation by 김경연 (Gim/Kim Gyeong-yeon) of the German-language children's novel "Der Hund kommt!" by Christine Nöstlinger.

Charles translates the dog character's speech (taken directly from the Korean edition) as: "Kids, don't be afraid. I absolutely didn't come here to do something bad. Your father sent me. Later, I'll explain why he couldn't come, himself. Now, we have to get out of here, or you'll go to a cat orphanage, and I'll have to go to jail."

Charles's interpretation of the scene, based on the Korean text and the character designs from the book,
is now used herein as a portfolio piece, rather than being monetized in of itself;
the original publication was also on a non-monetized basis.

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