Without Fear

Ryan K Lindsay – Writer

Daredevil Reading — BOOKS

I can’t just tell you to read all of Daredevil [though you should] because that’s not helpful in the slightest.

And I won’t just tell you to read my favourites, because I’ve probably done that before, and it’s not helpful.

We are gathered here today because the Netflix Daredevil series is about to start. As such, I wanted to drop a few recommendations in regards to what will go well with the show [or what I think the show will be]. Without fear, let’s move forward:

FullSizeRenderTHE MAN WITHOUT FEAR – Frank Miller takes more than the issue Stan Lee and BIll Everett gave themselves to tell the origin of Matt Murdock and how he became Daredevil. With art from John Romita Jr, this book is pretty fantastic. In fact, Romita Jr is by far and away the star, and it’s worth reading along for the kinetic energy and iconic moments along. Because you’ll notice it’s one of the few books Miller made in a row not cited as a classic of the form. And it’s not as good as YEAR ONE or DKR but it is very cool [the more I think about it, the more the style and energy grows on me and I find myself forgiving the really fractured narrative structure that does not help things] and it seems like it’ll be hugely in line with the show.

FATHER – Joe Quesada’s slightly revisionist run at the character. After he’d reinvigorated sales with Kevin Smith in the relaunch [a fun tale but not something I’d recommend Daredevil_Father_Vol_1_5to go with the show], Quesada did this more personal mini dealing with Murdock and his father. There’s a lot of heart in this book, and a lot of shadows. Murdock is portrayed as this bruiser of a bloke – Quesada think that the son of a boxer might inherit that mesomorphic frame once he started working out. The visual, while not cannon, is very damn amazing and imposing. I think the tone of this book would inform the show well.

Lark and Brubaker’s run – putting this run before Maleev/Bendis because I just love it that much. Prison, old superheroes done modern but still goofy [which is how I’d see them on the show for sure – a mix of insane but still weird and wonderful and yet grounded enough to work]. This is noir, this is crime, this is what I really truly want the show to be. And this run has a lot of Kingpin, sans Elektra, and I think that’ll help inform the show. Just trust me and dive right in. Continuity, whatever, Daredevil is a blind dude, who fights, Page One, go.daredevil-116

Yes, the Maleev/Bendis run – okay, probably do this one first. It’s high crime [think THE WIRE before Lark/Brubaker get all Hammett up in Hell’s Kitchen], it’s gorgeous, and it’s one hell of a long story, again with lots of Kingpin. Lark/Brubaker also told one story, but broken into a trilogy of sorts. Besides some detours, this run is one epic mammoth crime tale. Which is pretty damn cool. I won’t be surprised if the show is as dark as this, as grounded, and as iconic.

Give some Stan the Man issues some love – just because. It’s the foundation and while the book has veered far, sometimes it’s interesting to note where it all started. You can probably jump around, not everything was awesome. Read the first Namor issue, get deep into that Mike Murdock insanity [I hope the show gives us a hint of how unhinged Matt Murdock is], there’s goodness to be found in random places.

As for Frank Miller, you can try his original run, but I’m not sure it’ll be good as lead up to the show. I don’t know, I keep flip flopping about it. In the end, I’d need to see the show to see if this’ll help. The show has Stick, which is in this run, and Kingpin is the big bad [as in the show] but the Kingpin arc heavily features Elektra, as well as some other weird stuff that I don’t think will get a run on the show. So I’m voting to wait on this one. It’ll be great for reading after this season, I think, but for now, let’s leave it off the table – or, know it’s amazing but won’t necessarily be the intro to the show you might want/need. I feel they might save Elektra  for Season 2 [feeling that = me hoping it real hard]. The tone will all be there but I don’t think content wise it’s for this season, to be honest, and I think it’ll work great post-S1 [pure speculation] so take this paragraph with a grain of salt.

dd-quesada-772aaAs for the elephant in the room, BORN AGAIN, I just don’t see that story hitting this season at all. It’s a masterpiece [until the final reel, Nuke sucks, come at me, brocetera] but I don’t see this influencing the small screen nearly as much as peeps like Lark and Bendis, et al.

But don’t let me stop you reading any Daredevil. You want to get into the San Fran days with Black Widow, roll on, soldier. You’ve heard gigantic words used on the Samnee/Waid run, shine on, brother. Wanna get down with the insanity of the Gerber run, aw yeah, do that. I would tell you to hold off on the Chichester run because I think Marvel would be crackers not to mine his use of Typhoid Mary for a later season [with obvious grabs from Romita Jr/Nocenti who created that character], but I guess only time will tell.

The above runs, though huge, will get you set up for the Daredevil show. I think. You can also hit my link farm to get the more didactic news on our man Murdock. Then just get ready for what’s sure to be blind good times.

Daredevil Reading — LINKS

I’ve spent a good deal of my adult life writing/talking about Daredevil. I have no regrets.

With the Marvel/Netflix show fast approaching, avow yourselves of these words/columns/books/interviews/chats/lists by me and get caught up on the Scarlet Swashbuckler. Go buy some new trades, go read some old friends, go gift some knowledge to a peep, go online and ask some questions, go become a hornhead like me/us.

Below I present to you a series of links to stuff I’ve written or been a part of about Daredevil. Read the links below and get caught up on the best Daredevil stuff right before the show starts so you can settle in, know the lay of the land, appreciate the no doubt myriad easter eggs coming, and get down with my favourite character in all of literature.

BUT FIRST, BUY MY BOOK ABOUT DAREDEVIL HERE – The Devil is in the Details: Examining Matt Murdock and Daredevil – edited by me, with essays by me, Tim Callahan, Julian Darius, Kevin Thurman, Forrest Helvie, and more – available from Sequart

Okay, here’s the Daredevil links, enjoy.

THE DAREDEVIL DIALOGUES — a longform discussion I did on CBR way back when with Tim Callahan who invited me in for a guest column to chat with him about Daredevil and we ran long. Way long. So for a month, Tim posted all about us and Daredevil and we got through all of the first volume.

PART I – PURPLE MEN AND HEPCATS – In which we discuss the Stan Lee era, gush over Mike Murdock, and wonder if Daredevil really is a noir character or not.

PART II – THOMAS, CONWAY, AND GERBER IN FRISCO – In which we discuss the post-Stan era, with DD in San Francisco, his dating times with the Black Widow, and why Steve Gerber’s run is a spectacular failure.

PART III – FRANK MILLER RISES – Yep, the Miller works, and it’s all important, do not miss this one.

PART IV – TECHNODEMONS FROM FRANCE – In which we discuss Nocenti’s run, I get way down on my love for Typhoid Mary, and her ‘final’ issue which is an insane piece of cape debauchery, and it becomes clear I am the only person who dug on Laurent Levassier.



In which I discuss 6 Daredevil books that get little to no press, no one knows about them, even less people gush about them, and you need to track them down post-haste.



In which Dan and I spent a long time discussing one panel from the Lark/Brubaker run on Daredevil (SPOILERS – my favourite run of all time) and we discuss how this very first panel of their run sets everything up tonally.


ManWithoutFear.com Interviews Ryan K Lindsay

In which I discuss my love of Daredevil, and I generally feel honoured to be among those interviewed by this Daredevil fan site – PROTIP: click through to the site and just read it all, every post, thank me later.


ComixTribe Interviews Ryan K Lindsay

In which, I drop a little more knowledge about my book [sorry, peeps, always be closing], and I discuss what Daredevil would look like if I got a chance to write the book.



In which I let you know which 10 runs I dug the most, in order, and why. It’ll tell you just as much about me as it does our man Murdock but it’ll also give you some ideas of what to buy or reread as we get closer to the show.


The Spire Discusses Daredevil with Ryan K Lindsay

I had a big chat with Steve Morris after the first pieces of this show dropped on us. A good chat centred more around the specifics of the show, or what we then knew of it.


I am pretty insanely excited about this show. I hope you are too, and if not, again, read the links above, you soon will be.

Let’s do this.

daredevil cox poster

RKL Annotations – Headspace #7

We gave Sebastian an issue on which to shine and dear lord did he supernova.
HEADSPACE #7 available on ComiXology now for 99pence.

Art by Eric Zawadzki + Sebastiàn Piriz, colours by Eric Zawadzki + Marissa Louise + Dee Cunniffe, letters by Eric Zawadzki, edits by Dan Hill, back matter design by Christopher Kosek, logo design by Ryan Ferrier, and written by me.

I’ve never once asked Eric what he’s going to do for a cover, I never proofed or approved any thumbnails. I stand back, get out of his way, and await with glee what comes in.

The colours on this are sickening. And they reflect [see what I did there?] the tone of the final pages of this issue perfectly.

I also love how Eric draws hair.

This first panel, man, should be the end of the story. The goal met, game over, man, game over. Alas.

I feel I rarely take my time with first pages. I like to jump right in, in media res, really slam the reader straight away. I wanted to slowly take it all in, this page, just build. Though with my captions all over it because I am not Brisson or Barbiere and I lack confidence in myself.

I also hope the change in look for Shane doesn’t lose anyone. I like the idea that his human body ages, changes, etc, but the form he was in is what got injected into the Cove and that’s how he stayed.

There’s a lot of exposition snuck in here – I hope I snuck it in, otherwise I just rubbed it all over your snout, sorry.

But it’s gotta be Shane catching up in crazy time and so we much keep that pace. All the things of the Cove, all the science, it’s all dropped here like bombs on a WWII coastline. I’d like to say that’s style and confidence but it’s really just me having to cram it in because the science of the Cove was never the story, Shane is the story, so I want to get back to him front and centre as soon as I can.

That line McEwan says, y’know, that line, heh, that’s stolen from a flick called STICKMEN and boy do you need to hunt it down. It’s a kiwi flick about playing stick [pool] and it’s fantastic and hilarious and it’s certainly not here to fuck spiders.

Sebastian drew one hell of a severed leg.

And here we set the ticking clock for the final scenes of the entire story. The building is going to blow, just run, right?

It was fun to write McEwan’s mindset here, he’s ready to die because he’s accepted himself as the villain. So what does that say about him and his organisation? And what does that say about Max who wants to tear this organisation apart?

So many thoughts to ponder.

Also, this beard by Seb is just so damn good. Look at the weave and weight of it, it’s glorious, truly.

Here’s the transition out of Marissa’s colours and into Dee Cunniffe for the rest of Seb’s pages. Bet you didn’t even notice.

Trying to get McEwan to drop the info that ties things together so Shane connects what’s going on was bloody hard. I’m not convinced I ‘nailed’ it but I’m happy enough with it.

Hopefully the Pac Man mug distracts you from most of the mealy mouthed stuff :D
Did you also notice he grabs his coffee from the fridge? Just something this character absolutely would do. Seb actually shot me an email to make sure I hadn’t flubbed that in the script, I said, no, ha.

The way Seb draws the Max/Id flashback panel inside a spread of Shane’s mind is just masterful. Completely layered imagery, plenty to bite off and chew, and completely not in the script, from memory.

I love the posture on Shane in that final panel. I’m only just realising now how much I love it. So. Good. He’s thin, he’s tense, he’s wiry. Ugh, perfect. [Note: that is now currently my twitter avatar]

I dig the jump to this page. The colours, the bald Shane, the layout, it’s all a jarring change. Good.

WAIT! That silhouette on the right looks like someone’s rocking a Quatto on their abdomen, haha :)

PHILIP K DICK KLAXON. Because time is indeed a flat circle.

Once that second last panel clicked into place, I really liked how the dialogue balloon and the caption box play together. Only in comics, peeps.

That compound – where does Seb find the time to construct such things?

The way Seb makes the maid walk past the room is great. Yet I still have no idea what that art on the walls is.

Realise now it’s a huge mistake that I had Zara cleaning off page and he talks about it, while the maid cleans in front of him. It’s confusing and I only noticed it right now :(

Max descending from the roof like a secret agent spider came out just right, though.

There’s some BREAKING BAD level colour theory going on with those kitchen gloves right here.

The slanted panels for Zara running really add speed to the motion. I must remember that, it came out well. And I’ll always love Seb’s jagged panel borders for when the business gets real.

This page is heartbreaking, and a masterpiece of layout. The emptiness at the top, the triangular/pyramidal feel, though with Zara captured at the bottom, a prisoner, and those eyes.

That final panel holds every emotion I could have dreamed to capture on the page.

That red is a slam cut straight up. Zawadzki in the house.

Then we get the red sky, the razed Cove, and Shane, back, bearded, and we know the showdown is coming. This whole page is barren of life.

Back on that pier, right where we started.

And much like the first page of this issue, we take our time navigating through the destruction. There is balance to what we do. There is also now a felled giant ogre cyclops, again, blame Zawadzki :)

I figure there were more of those animal headed creatures left behind [they were actual tiny robtos, so they would remain – it’s all science, you wouldn’t understand] and Max’s brain just absorbed them, and is enjoying them. Totally all masochistic.

And now we end up back at that church. I love all these Max’s and how they get their Andrew W.K. on.

We’ve seen captions similar to these before, in this location. That’s as far as I’ll take out my trumpet and lay my lips to it.

This final scene, yet another pyramid, of the Id on this ghastly throne is all you need in order to know you have to come back for one more issue, right? Shane is a flipped man, in so so many ways, and here it all comes colliding.

I love finding great issue end points and Headspace doesn’t get much better than this. Though I am proud of all our issue close points, and that’s because in the planning phase I strongly break the issues down together as one large whole, and I map out issue breaks as one of the first things for each issue, and then build to them [pfft, fart noise – I say like every other pro doesn’t].

Oh, and I’ve loved writing all the ‘NEXT’ captions but this one is my favourite, natch.

As always, all hail Christopher Kosek, Designer Supreme of Carpenter Cove.
In which I open bare my cowardice for all to see.

Stephen Hawking declaring “There is no god” was my jam for a good month.

PARTY TRICKS was a great Aussie show, track it down.

ELEKTRA has been phenomenal, and kinda only got better, but apparently now it’s cancelled. Get down on it.

Who knew Tom Jones would get a run in this book, haha?

Dan Hill. Narratives. Reddit. References. Enjoy?

Owen Gieni has a sick and twisted mind. This pin up appeared out of nowhere and stunned me for a good night. A slick idea with this train I wish I’d seen earlier and could have stolen for the book. Truly.

Also, Owen’s art with my words — yup, stay tuned #ECCC :D

One issue to go. Shane, the Id, rumble in the Cove. I guarantee, because you demand, satisfaction.

We’d also appreciate it if you spread the good word. Indie books live and die on the vine due to exposure and word of mouth. Hit up twitter with #headspacecomic to share your thoughts. Chat with myself @ryanklindsay or Eric @ericxyz and let us know your thoughts. We love to chat about the stuff we create. Or just about other stuff. Tell your friends about the book on Facebook, or in person, actually phone a friend to talk about Headspace, or gift the comic to someone. It’s all appreciated.

We’ll see you for #8 very soon. Til then, have a think about our trade collection from IDW bringing you the entire story at the end of April [LINK]. Talk to your LCS about preordering it from Previews now, and tell your friends how much they need this in their life, and just stock up for Xmas, or get in for an Xmas in July now.

And if you’ve come this far, oof, thank you.


Crime Factory is a superb online crime mag you have to get down on.
CF 17 just went live. Do it.

I wrote an article in it about FLETCH the movie and the way it mashes up crime and comedy in this perfect weird blend.

T’was truly a blast to write and I think you’d dig it.
No, not you, the one in the back. “You, there! Why don’t you ever comment or share the link? You are here every week, I assume you have reasons, yes? Oh, no. Oh…well then, good day, sir.”

HEADSPACE #6 Review, and friends

HEADSPACE #6 came out last week. I was happy with it :D

Thankfully, so was James Ferguson at horrortalk.com who gave it 5 stars and said:

“It’s hard to believe that this comic is only $0.99 with the sheer amount of content included. This is the kind of comic that makes you feel smarter after reading it.”

I love it when someone really gets what we are doing. So exciting to connect that way.


We also got a 4 star review at Comic Bastards from Samantha Roehrig [who has perennially loved the series] and she says:

“Headspace is a very unique read that Lindsay brings all together with the clever writing style.”

Ah, nice words. I am a sucker for thee.


PLUS, I found this discussion of issues #1-5 on Destroy the Cyborg from Zander Riggs who has plenty of nice things to say. One snippet of which was:

“If you’re looking for an emotional story set in the veritable playground of the subconscious, Headspace is the comic for you.”


I also hope you dug #6 because #7 will be up for preorder very very soon. Stay tuned.

Ryan K Lindsay’s Two-Fisted Homeopape – SUBSCRIBE NOW

I am starting an email newsletter.

The Two-Fisted Homeopape <– hit up, drop your email in, await with happy thoughts

Screenshot 2015-02-19 22.04.49

The obvious question to ask me is…what, WHY?

I’ll be honest, it feels like a hack self-centred arrogant needy thing to do. To expect people to want to read my words enough to sign up, to let me eyeworm into your inbox and dump my blather on you. And it totally is. I know that, it totally is.

But it’s also just another avenue I have to/want to pursue in the effort of taking my writing gig seriously as also a career move. This year I’ve got two titles in Previews – HEADSPACE right now, and the next thing coming soon, very soon [and I’m usually not one to talk out of school but this thing feels pretty good, it is coming, you feel me?] – and so if I want to get the word out, if I want to get people excited, if I want to actually make sales, in totality, if I want to turn this navel gazing hobby into a pseudo-paying meritorious hobby then I need to explore all options.

A newsletter is different to the twitter, to the site, to the notes I’ve been leaving under your keyboard at work [check it out, lift it up now, see if I’m kidding] because the newsletter gets into your inbox. And it sits there and waits for you at your leisure. It won’t get swept away as easily as a tweet does on the holotubes, it doesn’t require your specific link click or navigation like this site does. It’s another way to connect with people, and much as my site here drops information in vastly different ways from the way I use the twitter machine, the newsletter will also be a different beast. This I promise. Or else it’ll be washed out of your Junk Folder in 5 days, no harm, no foul.

At present, I’ve been hugely impressed with the way the newsletters by Warren Ellis and the House DeConnick/Fraction run their games. Both are more rambly than we allow on twitter, more loosely structured than a site post ‘should’ be, they’re personal in different ways, and I can store them up and have them waiting for me whenever is appropriate.

I know, personally, I rarely visit peeps’ sites anymore, and my day job and upside-down timezone and current snowed under deadline superhappyfuntimes are making me a twitter deadzone, and I don’t Like enough posts by others on Facebook to be considered relevant, so I’m giving this a whirl.

Also, and this is important because it makes me sound like more than just some buzzword slinging shill and band wagon jumper [which i am, but I don’t need to sound it], a newsletter is just another media/genre to tackle, and I love all the writings. I love twitter, I love writing posts here, and what I fill the homeopape with is just going to be more fun, man, lexicographical candy for the soul, man, and the chef is always cooking, y’dig?

So, rambly ramble ramble aside, that’s why the newsletter is about to begin. In fact, the first one will go out on the 2nd of March and maybe think about hitting a fortnightly schedule. At present, I’m just drafting a rough proforma for it that I’ll maybe think about following each time.

If you are interested in an inside peek into my writing process, maybe some stuff I’m reticent to share on the public places and spaces but will happily drop into the fireside chat of my own private e-zine, and want to keep abreast of the publishing dates and links and sneaky peeks of what 2015 holds in store for me, then sign on up. If nothing else, it’ll be fun, right?

The Two-Fisted Homeopape – where good soldiers go to fight and valiantly die in the verbose arena of the mind

Write What You…NO!

The old idiom that a writer should write what you know can really yield myriad results.
You might end up with John Grisham writing a whole shelf of lawyers, or Stephen King creating a bunch of white teacher/writers as leading men. Frank Miller started to write grizzled old men even before he dutifully became one.
So often writers write about what they know, or think they know. Men default to writing male, and writing within their ethnicity, and so often imparting their profession on the characters. Hell. Brian K Vaughan wrote a slacker in his 20s when he was the same, and now he’s a father to young kids and so he writes about parenthood.
But writing what you know doesn’t mean writing about yourself. I think. I take it as meaning to write from the truths you know or have experienced. For instance:
William S Burroughs and Philip K Dick were both drug users [from memory, PKD’s daughter was calling this false in the commentary to A SCANNER DARKLY but I just can’t believe that, sorry]. So we have two writers with drugs coursing through their synapses and we most definitely have them writing about that topic.
WSB goes the route of writing about drug orgies and gratuitously defining and describing the heroin entering the body. It’s barbaric and decadent and insane.
PKD goes the route of writing about space drugs that allow different states of being and have weird names and tie into intergalactic espionage and character journeys of discovery.
Both are writing from what they know, but in wildly different ways. I find that fascinating that the one idea, the one experience, can yield wildly different results.
So, next time you are writing what you know, think about what it is exactly that you know. Can that become the core of a fantasy epic? Could your treaty about adoption fit an anthropomorphic romp as a sub-theme? Because we are human does not necessitate we write human stories, grounded in the same reality as our truth.
If all drug users wrote about using drugs, the story well would dry up quickly. Adapt, synthesise, explore the theme of your truth and then marry it to a wild idea, a fun story, compelling characters, an engaging landscape, and tell the story informed by the theme which plays underneath.

Because I do think it is important to sometimes write about the things you have learned, or are passionate about [it’s why fatherhood turns up as a theme in my stuff so often] but you should also try your hand at other ideas, things you want to know more about, things that scare you. And you need to come at these themes with subtlety sometimes. Be oblique, wash a real character over your truth and see how they react, see what changes when it’s them and not you.
Then, after writing these things, go out and learn more things so you have grist for all the mills.

RKL Annotations – HEADSPACE #6

Blame Eric Zawadzki. Blame him for everything that went right here.

HEADSPACE #6 – 99c – all good.



Best. In. Show. This is my favourite cover of the series, hands down. So simple, so elegant. I love it, and Eric.


It was Dan’s idea to match the cyclical redundancy of the film reel ended and spinning constantly with the caption of violence essentially doing the same thing in our worlds. This is why I love him as an editor, he thinks on all the levels.

And once again, Eric nails the emotion. It’s moments like these I’m going to miss getting in my inbox when this book ends.


Using a black panel as a jump cut to get them from inside the house to outside it, and straight into the next scene. I’m surprised this works as well as it does. I didn’t want to fit some other panel of them going outside, getting outside, bumping into the Maxs. I just wanted the drama, so I reached out and took it. Kinda makes Page 1 look like prologue in retrospect, and I’m fine with that.

I think I wanna add this move to my toolchest and use it in the future.

Dig that red panel, that’s all Zawadzki.

Like Chandler, when I split my infinitives, I mean to split my infinitives.


Gil speaks Latin. Of course he does.

So excited to script his return. This sequence here, man, it went through a whole mess of drafts before landing here. Originally, Shane spent more time moping inside, but it took up too much time, then he confronted all these Maxs outside and had a huge convo with them. Nothing felt right.

Then Max returned, on the ‘gator, and all was perfect. Sometimes you just know a scene isn’t working, well, you gotta keep punching it in the face – and letting it punch you in the face – before you get something better, something worthy.


Yet another character based moment for Shane. He is our holy lead, bless him.

Also, yet another colour moment from Mr Z. Always love his choices here.


Suddenly Gil kicks into convenient wrap up/exposition mode, bless him, also.

This whole page is a transition scene, but totally needed and it wraps a few loose ends up – because I did not wanna pull a “LOST” and ask more than I answer [NOTE: I love LOST, always have, always will.]


RAND International. Behind it all. We should have known.

Sebastian asked me if I would mind him playing with this page. Look at that middle spread, so gorgeous. As if I would ever mind. The more Sebastian and I worked, and the more time we took, the greater things started to pop. The guy is amazing.

And wordplay was a fun idea to play around with, and a science I could completely make my own to serve the narrative. I love sci fi.


So much happening, Max is unstoppable. Seb does a masterful job of packing all of this in. That final panel is fantastic.

I wanted Max to feel like the terminator, unstoppable, like he’d decimated everyone before it all even really started. I think Seb nailed that speed and efficiency.


Loooove that double head tap. Great flow, great colours from Marissa. Perfect moment.

Shout out to Tim McEwan :)

Also love that helmet, makes me think of Christopher Walken in BRAINSTORM, ha.


Slow burn set up page for the page turn. A small quiet moment for Shane before we turn up the volume.


And our volume goes to 11.

When I came up with this idea, I instantly saw it in Eric’s art and I know it’d be immense. Eric did not fail to deliver, this is so grotesque and gorgeous. I figured the Id needed something bombastic, a real entrance, and here it is.

Also, look who is on the very front of the boat? Everything comes together, from the first page to the last. Poor Laura.


A Bond villain moment ruined by…something strange. I like that the moment is completely interrupted by something different and no one knows what’s going on, not you, not Shane, it just happens and ruins a moment that is building. I like messing with that structure.

And it’s this end that’s all Eric’s idea. I had the script for #6 already written and he said that Shane should get out of the Cove, he should get what he wants, so here we leave him. It’s fantastic drama.


Salvation, the most key term on this page…except for those of us who know the face of that guy waiting for Shane :|


As always, all hail Christopher Kosek, Designer Supreme of Carpenter Cove.

Seriously go hunt out the back matter, all the back matter, for CASANOVA. Thank me later. And see what a ersatz version you’ve been steeped in here, go guzzle the real deal.

Ambient Yeast link.


Dan Hill makes me hate the world and fear the future – and that’s how I know I need to read his stuff and drain his brain.


Sandy Jarrell draws Gil and my heart swoons.

Matt Horak, with Marissa Louise colours, just becomes this black velvet/black light poster I wish existed.


This sends us into the final reel. From here, two issues to go, and the business gets real.

We’d also appreciate it if you spread the good word. Indie books live and die on the vine due to exposure and word of mouth. Hit up twitter with #headspacecomic to share your thoughts. Chat with myself @ryanklindsay or Eric @ericxyz and let us know your thoughts. We love to chat about the stuff we create. Or just about other stuff. Tell your friends about the book on Facebook, or in person, actually phone a friend to talk about Headspace, or gift the comic to someone. It’s all appreciated.

We’ll see you for #7 very soon, we’ve already completed and sent the issue in. Til then, have a think about our trade collection from IDW bringing you the entire story at the end of April. Talk to your LCS about preordering it from Previews now, and tell your friends how much they need this in their life, and just stock up for Xmas, or get in for an Xmas in July now.

HEADSPACE #6 Out On ComiXology this Wednesday

You are not ready for the end of HEADSPACE #6. But you must still prepare, for it drops this Wednesday and we wish for you to consume it. As the solicitation text tells you, “It’s time to find out what happens out on the water beyond Carpenter Cove.”

Also, dig this cover.
HEADSPACE #6 up for preorder on ComiXology.

With art from Eric Zawadzki, Sebastian Piriz, colours by Eric Zawadzki, Marissa Louise, letters by Eric Z, edits by Dan Hill, back matter design fu by Christopher Kosek, and words by me, and published by Monkeybrain Comics via ComiXology is yet another issue I am insanely proud of.
This issue shows us Shane right after he’s hit rock bottom. We also get to see Max up to his usual worst – though maybe we see that in a different light now, no?
The issue is 99c – as are all the issues – the final pages are pure insanity, and the pin ups are by Sandy Jarrell and Matt Horak.
Tell your friends, download one and punt the iPad into the sun, pick it up on subscription then ignore it, whatever, I’m not here to be the boss of you, but mostly just enjoy the story.
We thank you for listening, you may return to your normal broadcasting frequency now.

Being Strategic

I’ve seen a bit of chatter recently where people talk how to get started in comics, or how to break in, and one thing always seems to strike me, and it got me thinking.
You have to be strategic.
Making comics, as a professional, is going to become your business. You can’t just hope and want and glide about on dreams of a starving artist. You have to clearly plot out how you are going to do it, or at least try. Now, that plan will be decimated dozens of times, but that just means you recalibrate the plans, you don’t just cast your ancient runes to the wind and hope they’ll guide the way.
“I want to tell the stories I want to tell, how I want to tell them.”
Of course you do, we all do, but there are limits to this sentiment. I’m not telling you to start writing fanfic of Fifty Shades because you think that’s hot right now, I am telling you this:
Just because you have this rad 60 issue epic in your head, doesn’t mean you’ll get to tell it, or that you should even try. Here’re a few reasons why.
No publisher will back you – you’re pitching this beast before proving you can tell any sort of tale, why would a publisher back you for a 5 year gig when they don’t know you can stick the landing on a 5 page gig? Again, this is business, you aren’t viable yet.
No audience will follow you – there are literally trillions of comics released every month across the globe. Literally. Readers are flooded with some amazing content, why are they going to invest 5 years and hundreds of dollars into your tale? What have you done to build/earn such an audience? What makes you think this is sustainable on any sort of level?
By the time you get to the end, your start will be embarrassing – if you’re still breaking in, you are no doubt not yet fully formed – I’m still like a BrundleFly of the writing game – and so if you did manage to somehow churn out this 5 year gargantuan beast, man, you are going to grow and improve over those 5 years like crazy. And yes, everyone improves over half a decade, but that first learning curve is steep. Your book will go from ‘not ready for prime time’ to ‘maybe ready for prime time’ and the disparity will always be there, and it will haunt you, and you don’t want none of those ghosts haunting you for life.
Any time anyone asks me about breaking in – and let’s be clear, I know very little, though I know a few things NOT to do – one of the first things I tell them to do is to chuck that 60 issue epic out the window, for now. And every time I do, I see that glint in their eye dull a little, and their frothy surf of loathing come churning for my face, but on this I stand staunchly unmovable. You can’t start that big.
Go small.
“But if my story wants to be longer, I want to stay true to that.”
Yep, if that’s the comeback, I feel all is lost. Yes some stories must be long, yes some stories should not be truncated just because, but your job is to find a story you can do right in your current position. If that’s 5 pages, then do it, if it’s a one-shot, rock that biz. Shelve the long con tale, flip out something punchy and shiny and something everyone wants to touch.
Editors mostly want – and this has been supported everywhere from interviews with Stephenson to Bendis’ book on writing [including an editorial round table] – editors want to see completed comics. They want to know you can produce, and you can close. If you can do this in 5 pages, you’ll get their eyes. If you send them samples, it’s a crap shoot, if you drop a tantalising issue #1, that’s cool, but they’ll want more, and only then if it’s any good. If it’s not, they won’t read the rest. Trust me.
Editorial time is scarce, you gotta give them your best.
So, yes, that means being strategic. Shelve the glorious 5 issue mini – because making that off your back is going to be hard, and getting a random slush pile greenlight is also on that end of the spectrum, and just rock out something decent in 22 pages or less [though there are peeps who prove this wrong, like Sam Read and co on EXIT GENERATION, and Ryan Ferrier’s slowturning but always amazing THE BROTHERS JAMES, and Craig Bruyn’s FROM ABOVE – but there are also examples where someone made 2 issues and never came back and that’s gonna hurt them, even if just in small ways]. Do something manageable, finish it, and it’ll get eyes, it’ll check all the boxes those eyes need to see, and it’s achievable to make off your own back.
That’s a strategic decision.
The more you do this, the more your brain will pop up short stories, and break them naturally. Which is in itself, a huge skill to sharpen.
It’s not selling yourself short. It’s not selling yourself out. It’s selling yourself, and that’s your job.
I have been strategic in my time. I made a one-shot, I did a handful of shorts, I made another one-shot. Then my first pro gigs were a one-shot and a short. Amidst all that, I did a mini. Can you guess which works have helped me the most with editors and getting more gigs?
Yep, I don’t even need to say it.
Read all of the above with all your grains of salt. Everyone’s path is unique, as are we all. I spoke in sweeping statements above because constantly couching every statement in the exceptions at every turn is a fool’s game. Modality is heard, anything less is brushed off. Go hard or go home, y’know?
But if this helps one person – and I know I’d have killed to read the above 5 years ago – then I’ll be happy.
I hope you are happy, too.


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