book, he shifted his politics over the course of several years until he was a libertarian. Regarding anarchy, Brown has said, "I'm still an anarchist to the degree that I think we should be aiming towards an anarchist society but I don't think we can actually get there. We probably do need some degree of government." Art style Brown's drawing style has evolved and changed a lot throughout his career. He's been known to switch between using Rapidograph pens, dip pens, brushes, pencils and markers for his black-and-white cartooning, and has used paints for some colour covers (notably in Underwater). Working method Brown does not follow the tradition of drawing his comics by the page – he draws them one panel at a time, and then arranges them on the page. In the case of his acclaimed graphic novels The Playboy and I Never Liked You, this allowed him to rearrange the panels on the page as he saw fit. In the case of I Never Liked You, this resulted in a different page count in the book collection than was in the Yummy Fur serialization. The panels were slightly rearranged again when the "New Definitive Edition" of I Never Liked You was released in 2002. Brown depicted himself making comics in this way in the story Showing Helder in Yummy Fur #20 (also collected in The Little Man). Despite drawing his panels individually, he says his "brain doesn't tend to think in terms of one image at a time", so that he has difficulty coming up with one-image covers. He has used a number of different drawing tools, including Rapidograph technical pens, markers, crowquill pens and ink brushes, the latter of which he has called his favourite tool, for its "fluid grace". For much of Ed the Happy Clown, he had artwork printed from photocopies of his pencils, which was faster for him than inking the work, and produced a more spontaneous feel, but in the end he turned away from this method, feeling it was "too raw". Drawing influences In an interview with Seth, Brown says his earliest childhood cartoon was an imitation of Doug Wright's Little Nipper. He frequently mentions Steve Gerber as amongst his foremost influences of his teenage years. From about the age of 20, Brown discovered the work of Robert Crumb and other underground artists, as well as class comic strip artists such as