Some folks say…

19 logo COMMENTS

JED ALEXANDER – October 25, 2014 (email)

“I would be glad to write something briefly about how your work has been an inspiration to me or how well I regard it…

I’m glad to support you and your work in any way I can, whatever I might be able to contribute, and I’ll be glad to help promote the {new} site as soon as it’s live. I truly believe that you’re one of the best  cartoonists of your generation, and I’m certain your work is going to eventually be recognized and endure. It has been and continues to be wholly original, and has been both an inspiration to me, and seminal in my development as an artist.

It kind of pisses me off that people haven’t noticed yet.”

VINCE BONAVOGLIA – August 22, 2012 (via Twitter)

“Rick Grimes’ Puzz Fundles. Oh, how I love those stories.”

Original post:

SIBOKK – July 08, 2012 (via WordPress)

“Skipping over to the dark side for a moment, these books are pretty dark bordering on offensive and starred a favourite surreal artist/writer Rick Grimes. I got these guys form artist friend Colin Dunbar … Rick Grimes was a stand-out for his short story about syrup and eggs – two guys discuss how they will maim the other if one put syrup in their eggs. I had to find more: “GLYCEROUS AQUARIUM FOOTSTOOL”, “BREATHING IS FOR SISSIES” … This was the ultimate experience for me at the time for surreal comic book artwork.”

Original post:

FRANK PANUCCI – May 09, 2010 (Facebook email)

Puzz Fundles is the best thing ever. The Fundles and related comics are powerful, essential work, a…venting of the brainstem.”

VINCENT WRIGHT – October 29, 2009 (email)

“I just wanted to say how much I love your stuff. It makes me think about it long after I have read it. It’s going to be such an honor doing a comic that you wrote.”

JAKE KUJAVA – September 17, 2009 (email)

“Keep up on the good work…I have your [Dolly flyer] sketch on the freezer and it freaks out the six cats in the house. Which is such a good thing in my humble opinion.”

DAVE MITCHELL – September 09, 2009 (email)

“It was the late 80s and I was seriously jaded with all aspects of culture – mainstream or ‘underground’. After ‘punk rock’, writers, musicians and artists seemed to have decided to give up on any pretence at changing the world or changing people’s minds and acquiesced to conforming to the pigeonholing so beloved of the marketing industries. Both ‘mainstream’ and ‘underground’ had garnered uncritical audiences. There was no danger to any of it, no edge, nothing that threatened to ‘leaven consciousness’ anymore.

People thought The Cure were ‘weird’ and that Bauhaus was somehow ‘cutting edge’. In 1969, a band like the Beatles could release the White Album which contained tracks like ‘Bungalow Bill’ and ‘Honey Pie’ alongside ‘Helter Skelter’ and ‘Revolution Number Nine’. In 1988 you had to choose between Duran Duran and Throbbing Gristle. There was no common ground and no critical dialogue between artist and audience. There was a lot of ‘revolt-by-numbers’ going on, anarcho-hippy didactic slogans and post-modern double-talk passed for thought. Stewart Home was the only person who could quote Marx and not look a complete twat. Britain was in the stranglehold of Thatcherism but it wasn’t all black.

A comics revival was happening and I’m (almost) proud to say it started in Britain.

This isn’t a history lesson so I’ll make do with dropping the name ‘2000 AD’ and move on. One man – Alan Moore – single-handedly grabbed the whole medium by the scruff of the neck and forced it to take itself seriously. The repercussions still haven’t quite died out in spite of the efforts made by Hollywood to demean everything achieved in the last twenty years to the level of a pop-up book.

One of the effects of this revolution was to reunite the polarities of familiar and unfamiliar, of accepted with experimental.

It was the late 80s and I picked up a copy of Bissette and Totleben’s ‘Taboo’ anthology. I had recently discovered Clive Barker (before he became really popular from the films and crappy fantasy novels) and was checking out anything that had his name appended. Clive had written the introduction to the first volume of ‘Taboo’. It was a respectable anthology and Alan Moore had written a very gritty short one-off that reminded me of Harlan Ellison (unimpeachable credentials in my book) and I was hooked.

But when I got hold of #2 of ‘Taboo’…..

Not only The first chapter of ‘From Hell’ – the greatest ever graphic novel (imho) but also three pieces by Rick Grimes. I was floored. Even now, looking back, I can’t think of anything that could surpass what was pioneered in that issue. Many things have come close and a few things have equalled it (Savoy Books’ ‘Reverbstorm’ and Grant Morrison’s ‘The Filth’) but that was the watermark of creativity – right then and there, sandwiched between the poles of Moore and Grimes.

Both were examples of the marriage of clarity and obscurity, of the familiar and the outré. Almost bookends. Almost twins in their polarity. It cant have been a coincidence that they came together in that one volume. ‘From Hell’ was approached in a straightforward way that brought in seriously heavy and esoteric themes and married them with very human, familiar concerns.

Grimes’ pieces on the other hand were the inverse. Starting with the commonplace, with everyday banality, they warped and mutated off into dimensions of cosmic horror and strangeness.

‘Normality’ was subjected to some sort of bizarre post-Freudian analytic grid, via the Addams Family, revealing a sublevel of hideous sadism and abomination. Domestic institutions were revealed, with ridiculous ease, to be nothing but a façade of civility and convention plastered over a cesspool of monstrosity. And it was funny.

And the funnier it was, the more that accentuated the horror.

And vice versa.

Paraphrasing Andre Breton (on Jarry) – we know that humour represents the revenge of the pleasure principle over the reality principle. The latter being put into too uncomfortable a position it is easy to see in Grimes’ characters the magisterial incarnation of the Nietzschean-Freudian id that designates the totality of unknown, unconscious, repressed energies, of which the ego is but the sanctioned emanation, dictated by prudence.

When I was compiling the ‘Starry Wisdom’ anthology for Creation Books (my attempt to salvage Lovecraft from the RPG crowd) I instinctively thought of Rick Grimes. Who better has portrayed Lovecraft’s ideas of a ‘vast gulf of primitivism underlying a surface gloss of civilisation’? Any one of Grimes’ characters could have passed for a modern equivalent of Lovecraft’s Whateley family or easily sat as a character study for Richard Upton Pickman.

It’s way overtime that Rick Grimes’ revealing and challenging caricatures were re-evaluated and given the status they deserve. This fanpage could (and should) be the starting place for Rick to launch a new wave of his creations. None of us need worry that any sort of recognition would blunt the edge of his perception. I have faith that the best is yet to come.”

NAMEY – May 23rd, 2009 (email)

“Man I just wish so much there was a book of all Rick Grimes’ work in my hands someday as I can’t really enjoy reading comics off a computer display at least not compared to the traditional method, especially as my damn machine’s so hair-greyingly slow. But keep up your great work with your site; I’ll be coming by every now and then for sure. And hey I must ask: might there be any new plans for an actual collection? For there should be!”

and March 15th, 2009 –  {404}

“Been slowly but surely reeding throo the rare works of Rick Grimes…over here, his fresh fan site containing all his published work plus plenty moar.

Not for everybody I guess; too unique and truly dreamy to please most.

Helps if you’re into Beckett, Beefheart and stuff between.

Needles to say, I admire his work greatly; it’s had a strong influence on my language, and every now and then you’ll see me quotin’ him (like on my rating defs). At his best probly in Taboo, the classic horror comic anthology from late eighties/early nineties.

Also, he has the greatest fucking sound effects in all of comics. As in:

kuh chunff – a rib cage caving in under a fat wife

pshng shng – a sick animal moving against a cyclone fence in fear

skrunk – a knife being thrust throo a guy’s eyesockets

vm mfrunk hrnch – a sedan driving over a protagonist

faph – a “squid-like puck of congealed spaghetti” hitting a wig. Etc.”

KEN FEDUNIEWICZ – April 09, 2009 (email)

“I was going to suggest an entry for the Name-the-Grimes-21st-Century-Coffeetable-Anthology….(get ready, here it comes)…”High Grimes and Misdemeanors”.”

MIKE HUNTER – April 02, 2009 (Comics Journal messageboard)

(On Al Columbia’s April 2007 interview for ‘INKSTUDS): “Al Columbia’s mention of delighting in Rick Grimes’s “Puzz Fundles” in “Taboo” had me smacking my forehead in belated realization of how much – despite surface differences – the two artists (Grimes and Columbia) had in common. There ought to be a cartooning/comics genre called “Grotesquerie”; certainly, enough work is out there which differs in its unconventional approach from plain ol’ “Horror.” Usually featuring hideous physical distortions or utterly unhuman protagonists; a sinister, threatening surreality, minimal plotlines. Rick Grimes’ “Puzz Fundles” is a fine example.”

Original post: {No longer locatable(?)}

RICK TAYLOR – February 25, 2009 (email)

“Rick Grimes…wow does that name bring back some memories. As I recall Rick was one of the younger guys like me (then) who attended the first two years at the Kubert school or ‘Kubie U’ as we referred to it in those days. Even then, Rick’s unique sense of humor stood out. The school was an explosion of creativity and Rick was one of those guys who sometimes said more by the things he didn’t say. I remember his sense of directness and honesty. It’s great to know he has made a place for himself and his work has definitely left a mark. Cheers, sir”

MARK PATTERSON – December 03, 2008 (email)

“Mr. Grimes’ artwork is of a school that I find disturbing (which would, I’m sure, make him happy because I think that’s what he’s going for), and while I recognize his talent, seeing his artwork is not what I’d classify as an enjoyable experience. On the other hand, anything that can make me squirm in my seat is not to be dismissed, and I don’t. While you couldn’t call me a fan, I would be the last person in the world to say anything bad about it. If you want the reader shocked and horrified, Grimes is your man.”

JAY KINNEY – November 18, 2008 (email)

“While I’ve never met Rick Grimes, I became familiar with his work from the days when we were both contributing to Dr. Wirtham’s. I felt that Rick was one of the true originals and wished that he had garnered a larger audience over the years. I think that drawing attention to his work with a web site is a great idea – if he is comfortable with that.”

SAM KUJAVA – November 08, 2008 (email)

“I have been a friend of Rick’s for 30+ years. I love his whimsical but weird sense of humor…he, and his cartoons, make me laugh. I am so pleased that finally a light, via the ‘net, will be shining on Rick and his work. He SO deserves it. The world may not be ready for Rick Grimes but it’s about damn time that they get a good look anyway.”

RON ZALME – November 08, 2008 (email)

“Although Rick and I (and Steve B & Rick V) were all in the very first class that began the Joe Kubert School of Cartoon, I really knew little of him. The school was located in the Baker mansion in Dover, NJ and so the classrooms and workrooms were all converted from the home’s living space. This resulted in the class being almost divided into “groups”… students gravitated to fellow classmates that seemed to have a common interest and arranged their workspaces accordingly. I was in a former dining room area with Rick Taylor, Kara Sherman, and Elaine Heinl… Steve Bisette, Rick Veitch, and Sam Kujava and a few others shared an adjoining living room space… and others like Tom Yeates, Ernie Pasenan, and I believe Rick Grimes shared an enclosed porch area. It was over thirty years ago, so I can’t remember the exact seating arrangements! But what I’m trying to get at is that Rick and I sort of traveled in different circles with different interests and didn’t know each other all that well.” {I was in the corner in the front room, w/ Sam, Veitch, Bissette, Ed, and Betsy} –rg

JED ALEXANDER – November 08, 2008 (email)

“I do happen to be a big fan of Grimes work. His work has had a big impact on my drawing style, which is saying a lot considering how little of it has seen print. I discovered Grimes’ work in Steve Bissette’s Taboo anthology as a teenager, though I’ve also seen at least one story in an Anthology from Tundra (name escapes me) and his one pagers on the back covers of Rick Veitch’s The One.

I no longer have my Taboo anthologies (I loaned them out and never got them back!), but what I remember about his style is the energy in it, and how the drawings looked like something you could squeeze. Even though the characters were these violent grotesques who seemed to constantly beat and hack at each other, for me there was an underlying joy in his work. It was as if he expelled all this stuff in one big spontaneous flourish of voluptuous curly lines that oozed all at once out of the overturned bucket of his id.”

JOE KUBERT – November 04, 2008 (email)

“I was happy to hear about your plans to promote Rick Grimes’ work. Even as a student at my school, his work was unique and admired by all his fellow students. I’ve had little or no contact with Rick since those days, so I cannot recall any specific anecdotes. I hope you have great success with your site, and I’m sure your focus on Rick’s work will help in that purpose.”

MARK MARTIN – November 03, 2008 (email)

“All I can say is I love Rick’s comics.”

STEPHEN R. BISSETTE – March/April 2008 (email)

“Obviously, I greatly valued Rick Grimes’s work — and his friendship — and I would steer you to Rick Veitch’s King Hell comics and graphic novels for more of Grimes’s work (PUZZ FUNDLES as a back-up for one of Rick V’s series).

Rick’s first published work, I believe, was in MANTICORE #1 (and only, 1977), our Joe Kubert School of Cartoon & Graphic Art Inc. pioneer class ‘yearbook,’ which was an 8 1/2 x 11″ offset-printed black-and-white zine in which each of us in the first-ever class did one page, and drew their character on the cover (which I inked). Rick, of course, did a one-pager entitled Weird Dick, and penciled Weird Dick on the cover (emerging from the front door of the Kubert School).

PARADE OF GORE was a pretty antic effort in its day: initiated by then-freshman (second year, not part of our first ever class at Kubert School) Fred Greenberg, it turned into an embarrassment to Joe and Muriel Kubert, who just couldn’t understand why we were doing anything called PARADE OF GORE. Rick Veitch designed the logo, and a second issue was completed but never printed (for which Rick and I did a new logo, of marching body parts forming the letters, and I did a cover featuring Leatherface from THE TEXAS CHAINSAW MASSACRE). As for PoG #1, we all ended up with a box or two of copies, which we couldn’t give away — though I wish I had a few copies now, of course. It was printed on the cheapest newsprint imaginable; its ignoble fate in the meager Dover NJ apartment I shared with Greenberg classmate Larry Loc (who teaches animation in California these days) on Blackwell Street was to be, for a week or two, our only source of toilet paper when we were so broke we couldn’t afford to buy a roll or two! So, I can honestly say I’ve wiped my ass with my own artwork, via PARADE OF GORE’s cover… and with Grimes’s back cover, which took the cake for greatest gross-out of the issue, hands down, though Cara Sherman’s Ivan Koliath the vampire strip (with a menstrual blood ‘gag’) came in a close second.

Rick Veitch and I, who were classmates with Grimes in the Kubert School, remain essentially the only folks to have ever offered venues to Grimes. We prepared a collection of Grimes’s work for Tundra Publishing in 1991-2, but the promised introduction from Alan Moore never was delivered; sans Moore’s intro, Tundra considered the anthology unmarketable. Too bad, it would have been unique and amazing.”

RICK VEITCH – March 2008 (email)

“Glad to hear Grimes is finally getting his due. I was digging through some stuff today and, wouldn’t you know it– I pulled out Grimes’ sketchbook from Kubert School which he gave me 30 years ago as a gift. It’s full of pencilled characters and wordplay as only Rick could imagine. There’s at least one self-portrait. Last time I spoke with he still hadn’t learned how to run a computer or plug into the internet.

PUZZ FUNDLES creator, Rick Grimes, was my roommate at Kubert School. I always loved his stuff, which was so far out it came back around and hit you from behind! When I did the ONE in ’84, I wanted it to stand out from the normal run of the mill superhero comics and also hearken back to the old days when comics had weird back ups like “Cap’s Hobby Hints” so I snuck PUZZ FUNDLES in there, much to the bewilderment of Shooter.”

JAMES ROBERT SMITH – March 21, 2008

“Grimes did the strangest and most disturbing work of anyone who contributed to TABOO.”

({I can’t find it}

LARRY LOC – October 2005 / July 2007

“So yesterday I am looking through the stacks for Jeffery Scott`s book on writing for animation for a pre-production class I am teaching today and I ran across this 1977 gem, Parade Of Gore (lovingly called POG for short), by the first and second Kubert School classes that put it out in 1977 much to the disgust of Joe Kubert.

The subject matter of two pieces were of a sexual and or scatological nature and were therefore too much for Joe and Muriel. The offenders were Rick Grimes and Cara Sherman (sadly Care is no longer with us). Rick`s back cover is open to some interpretation but all of them were a little lacking in taste. Cara`s vampire lunar cycle oral sex strip was not open to any kind of interpretation or taste, but was very well done.

The fun parts of the book are all the other crude student pages many by people currently of some stature is the Animation and Comic Book worlds: Steve Bissette, John Totleben, Tom Yeates, David Schwartz, Tom Marnick, Kim Demulder, Chris Kalnick, Kevin Altier, Dave Dorman, Ron Randall, Rick Veitch and Larry Loc.

The Bissette, Totleben, Yeates, Veitch and Schwartz pages are not too bad, artwork wise. The rest of you have been warned. I am willing to keep your student artwork under wraps for the right price. You know the drill, $100,000 each in unmarked gumballs in the hollow log behind the swimming pool at the old Baker Mansion and your fans never have to see your early published work.”

— Full Article here:  (©2007, Larry Loc). {Blog defunct}.

AL COLUMBIA – April 05, 2007 (

“I got the idea (for “The Blood-Clot Boy”) from a cartoonist named Rick Grimes, who used to do these great stories for an anthology called TABOO. I think he’s like, one of the greatest, most underrated cartoonists I’ve ever… you know… and he just had this really cool image of, actually it was three-headed twins, like some kind of like axe or butcher knife… I just, you know, quickly stole it and (laughter)… I was like, this is the greatest thing ever, how can I not use it, so I guess I owe a little debt to him for the idea.”

Interview itself at {26 mins in}

BLACK OPS TEEP – December 14, 2004 (amazon review of Starry Wisdom)

Pills for Miss Betsy actually made me physically ill—not because it’s gory, but because it’s patently out of its mind.”

OM – September 08, 2003 (

“The first time I read the backup in The One #1 (Grimes’ “Puzz Fundles”), it came across with that “what the fuck???” response that required one to read it again. And again. And yet again. Until you finally got the gag! I’ve always wondered if perhaps the Pointy Haired Boss {in Dilbert} might have been inspired visually by Thripy Skake.”

JACK VENOOKER – December 12, 1999 (

“Some people claim to never go into the gutters, and since all gutterposts are deleted after 60 days, I’m duplicating this topside.

Best work for me would have to be the Journal of Popular Culture #1, which I published, edited and wrote some of in 1974-6 finally printed in 76. Very early Joe Coleman stuff and the first published Bissette/Veitch collaboration (the cover). Plus I did a three pager with Bissette at the end. Also featured VERY early Barefoots by Howard Cruse, and the first published Rick Grimes! In many ways a true groundbreaker, despite its still complete obscurity.

Biggest moment of agony was when I tried to get advice about Journal #2 from Groth and Thompson at a San Diego Con in the late seventies. Groth humiliated me publicly in front of John Pound and Clay Geerdes by doing an on the spot critique of #1, and Thompson let me know even way back then what a pathetic individual I was for even trying to get into this business. That pretty much squelched any passion I had for the medium at that point and I got out of comics for almost 13 years after that. Sold them all and moved on.”

KENNETH SMITH – July 1990 (magazine excerpt)

“One has to look at Rick Grimes’ trilogy (“sick animal”, “Hell’s Toupee”, and “Numbleschitz”) to understand why other contributions may seem so conventional: this stuff is not affected. It is genuinely schizoid, and hilarious.”

From THE COMICS JOURNAL #136: ‘A Lusty Upheaval’ TABOO #2 review.

{Some of the above quotes, in the vainglorious Internet tradition, have been used without permission. If this crimps anyone’s noodle, and you would like yours removed, you can email me at  Some added indication that it’s ‘really you’ and not just some malcontent with nothing better to do would be highly appreciated. And I reserve the right to diddle too long about the removal of said offending item ’til I’m reasonably sure you’ve done so. Thanks.} –Rick Grimes 8/3/’015

{Most if not all stories and pages by me mentioned above are available to read, in full, on this site. They’re free, so short of paying you to do it, I don’t see how much cheaper I can make it.} –rg 8/14/’015



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