When the nations whole comics-industry is focused on making 3-panel comic-strips for the funny-pages, finding a way to satisfy your call to do longform genre-comics can be rather hard. When I started working freelance for the Norwegian Nemi Magazine in 2005, it was a hard fit but I tried to develop a style of cartoony characters in a silly yet macabre universe. I did 18 or so single page comics, before the well ran dry. You can read them all for free in my collection of commercial work: Silly Works. But even though I’m somewhat proud of the work, it was ultimately a struggle and and unsatisfying one at that. I’ve always had a calling towards genre-comics. Fantasy, horror, action. And there was no place for that in Norway’s comics market. So I had to make a space. In 2010 I found a solution of sorts. I decided to do two-page silly comics. Page one should look like a reasonably serious horror, action, or fantasy comic. Page 2, however… should be as utterly silly as can be. The essence remained the same all the way through, though the formula evolved. I became gradually more interested in the journey than the punch, starting the sillyness often from the first image onward. Which I think is a more feasible long-term way of going about it. The characters? An assorted gallery of monsters and tropes. Cthulhu. Frankenstein’s Monster. Zombies. Even a Ninja. Utterly unoriginal, but rather fun. Anyhow… I had found a way to quench my thirst, and unwittingly have to face how far from competent I was at doing proper, classically illustrated comics. But through the three years I did them my style gradually developed, inspired by my live metal art, in a way that made it less and less important that I don’t have a clue how to really have a clue how to draw like the great illustrators of comics. I’ll never be an Al Williamson or Alex Raymond. But I’m getting to be more and more of a Kim Holm. The most important thing was that it signalled a return to working with a brush instead of digitally. So in a lot of ways, it was like returning home. To the brush, to the genres, to what I love. And then it ended. Not because I got tired, but simply because the magazine changed editors and I had no reason to remain. I may be a primadonna, but I only want to work on projects I like, with people I respect, and challenges that make me better. And with comics… Well, I want to do them for my own pleasure, to my own beat, and released under totally open licenses. I’m still toying with the idea of doing a “Season 2″ of Dös Pägïnäs, evolving the style and the sillyness. But we’ll see how this one goes. Releasing it in English for the first time is a proper joy. It might be an uncomfortable hybrid freak, but it’s my baby and I’m selling it for cheap.