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© Drawn & Quarterly - 2005

At the center of Huizenga’s work there lies evocation. Every piece of work he has produced works towards the evocation of a moment or feeling or sensation or thought or idea or, in his best work, all of these together at the same time.

Huizenga’s dominant style is rooted in the clean-line school; something along the lines of Roy Crane via Hergé via Scott McCloud, and with what seems to be more than a passing familiarity with Jaime Hernandez’s work. But he brings many diverse influences which he both layers over and integrates with this base. Huizenga is also a highly-skilled observer and recorder of the world around him. He incorporates pen and ink sketches of still-lifes, landscapes, and, although to a lesser extent, portraits. In this he is one of the few people working in comics to pick up on what Frank Santoro has laid down in his work at Sirk Productions and elsewhere. In addition, he is capable of using the computer here and there to achieve and/or enhance specific effects.

Originally published as Super Monster #14: Gloriana Comics, Or Else #2 marked a major breakthrough not just for Huizenga, but for the language of comics, as he codifies several formal advances here. All the various methods and modes that he had been engaged with through his early career finally gel and really come together here. Any doubts you might have as to whether self-published "mini" comics could ever reach their full potential will be eliminated once and for all after you've read this. This issue was the work that announced Huizenga's presence as the first new major comics artist of the decade.

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