His scratchy pen-and-ink style is influenced by the impressionists, illustrators of the age of "liberated penmanship" such as Phil May, Charles Dana Gibson, John Leech and George du Maurier, and cartoonists Milton Caniff and Frank Frazetta (particularly his Johnny Comet strip).

Graffiti Kitchen, which Campbell considers the highpoint of the series,[citation needed] was published by Tundra in 1993, and The Dance of Lifey Death followed in 1994 from Dark Horse Comics.

The Fate of the Artist, in which Campbell's family and friends investigate his disappearance, undermining the image of himself he had presented in his previous autobiographical works, was published by First Second Books in 2006.

this was followed in 2012 by the publication of The Lovely Horrible Stuff (Top Shelf), a continuation of the autobiographical theme which playfully investigates our relationship with money.

The success of Kevin Eastman and Peter Laird's Teenage Mutant Ninja Turtles led to a short-lived explosion of black and white independent comics in the mid-1980s.

Campbell joined in, creating the series Deadface for Harrier Comics, telling the story of Bacchus, god of wine and revelry, and the few other Greek mythological figures who have survived to the present day.

[7] Beginning in 1989, Campbell illustrated Alan Moore's ambitious Jack the Ripper graphic novel From Hell, serialised initially in Steve Bissette's horror anthology Taboo.

Moore and Bissette chose Campbell as illustrator for his down-to-earth approach which gave the story a convincing realism and did not sensationalise the violence of the murders.

He also published the collected edition of From Hell, and comics adaptations of two of Alan Moore's performance art pieces, The Birth Caul and Snakes and Ladders.

Facing an increasingly indifferent market for his work, and the collapse of his US distributor, Campbell ended his publishing imprint in 2003 after releasing the second issue of Egomania.

June 2007 saw the publication of The Black Diamond Detective Agency, Campbell's adaptation of an as-yet unmade screenplay by C. Gaby Mitchell.

Set in the closing months of 1899, it features the eponymous private detective agency investigating a conspiracy to blow up a train, and their prime suspect's efforts to find the truth.

This reworked strips the pair had previously published in the Australian anthology Dee Vee, expanding the scope of the story-line and bringing it to conclusion.