Without Fear

Ryan K Lindsay – Writer

OWNAINDI – Buy My Comics Online

You can go to OWNAINDI and buy a slew of great Aussie comic content and it’ll be posted straight to your door and I think this is amazing.

GO TO OWNAINDI TO BROWSE AND BUY SOME ACE AUSSIE INDIE COMICS

Of course, you can get my comics there. Well, some of them. Which is why the link is to MY page on there, but feel free to browse away to the many other talented creators you’ll find on there.

I’ve made a handful of indie DIY comics in my time and I’ve always been really lazy on two fronts: getting them onto an online store, and getting them into retailers hands. I make no apologies for this, I am a lazy man.

But I’ve had books through Diamond, and I push the hell out of them to get into stores around the world, but when it comes to my really indie stuff you either need to find me at a con, or you need to step into my office. Until now.

OWNAINDI is an online hub where you can browse and buy from a bunch of Aussie creators. I’ve put my stuff here because I believe in the site [and the great people behind it] and I dig the idea of an Aussie portal to get our books shipped to you because you haven’t caught me at a con yet, or you only just discovered me through BEAUTIFUL CANVAS and now you want more.

So I’m putting up what stuff I’ve got in stock. I’m also going to periodically put up new fun things like my Annotated Script Book Ashcans [which I love and wish more people would sell]. It’s also something I feel I could confidently say will NEVER be on a retailers shelf, so you have to get it here. I think that’s fun.

So here’s where you click the link and maybe make a purchase. Maybe you missed buying it at a con. Maybe you’re gonna buy it for a friend. Maybe you’re gonna grab a sample bag of good stuff on there and see what the Aussie scene is like.

Have a look, I truly think you’ll find something there you wanna buy.

Advertisements

RKL Annotations – BEAUTIFUL CANVAS #2

Beautiful Canvas is a comic from Sami Kivela, Triona Farrell, Ryan Ferrier, Dan Hill, and myself through Black Mask Studios.

Issue the number #2 is live in the world, and we are all exceptionally proud of our work. I actually think it’s one of my better second issues, and I know if you’ve already scoped that final page that you know we’re leaving things with a big ol’ boom, so we hope you’re hooked by now.

Below are my annotations. An inside look into my brain as I reflect on our making of this issue, and a chance for me to unpack what I’m seeing in the work now, and how I feel it connects on a broader spectrum. I hope you dig, and find something that’ll help your mind think/make comics in the future.

THE COVER – SAMI KIVELA

I think this is my favourite cover for the series.

Maybe.

Man, I never can tell with Sami. His cover game is so airtight, I had this problem with CHUM, too. I could never pick a favourite cover.

I loved #1, but this one is just truly beautiful. The layout/design is spectacular. And yet it’s so seemingly simple. I think it’s this striking balance that draws me in every single time. Lon is front and centre, and Sami has her covered in pencil shadings. Like she doesn’t belong to the pop funk world around her. She’s looking down, she’s thinking, she’s all brain.

But the ground is electric with colour, and with hidden danger. That puddle of a dragon is subtle enough, but still enough to be emblematic. And I love pink as the colour to tie it together. Between the Evorah in NEGATIVE SPACE and this book now, pink has become a colour I am loving for my projects.

That pink logo also pops like crazy, it’s my favourite colour variation of it so far.

PAGE ONE

Maybe just put the comic down right now and raise both hands in a little round of applause for Sami and Tree here, right? This dream sequence is just all kinds of brutal, and the ink wash approach was completely right, and Tree just makes it feel haunted.

From memory, I initially scripted this brain dalliance as just a smash cut from the end of last issue, but somewhere along the way [and let’s be honest, it was probably at the suggestion of Dan Hill] we put Lon into the first panel, dead in the water, because I think it would connect things better, as well as raise the stakes if the audience thought she was dead.

Alex sinks into the water and Sami drew those tears in as he drops and it’s just…brilliant. He’s dropping away, but then looks up one last time. And the way Sami layers all of these panels, everything overlaps, juts into, maybe hides behind. It’s got this fractured quality to it, like still images that appear around and after one another and not quite a linear flow of storytelling. It’s a dreamlike quality.

I love that Sami drew Alex’s mum with a ‘#1 MOM’ logo on it, makes this callback to her work way more effectively.

We get the two hands about to touch through the surface of the water, a little touch of creation to foreshadow a touch of destruction.

Sami draws a nasty looking evil mother turning into a dragon, doesn’t he? That final panel makes one hell of a page turn, and I’m actually proud of the phrase that splits the page. It’s this weird dichotomy so many characters feel in this book, and here it’s finally given words.

PAGE TWO

I sent Sami the script and the next day woke to an email of him cursing me out. Because of this page :]

But I told him I knew he’d slaughter it [and he knows if not, then he’s got complete carte blanche to change the page up, because I trust him], and he told me he also knew he’d kill it – but it was gonna be crazy work. And I’m sure it was, but tell me this page wasn’t worth it.

That dragon is so intense, Sami really brings each line into play, and the hand/claw pushing Alex down deep into the darkness across those panels is just gorgeous. The faces surrounding that central strip are haunting. Everything on this page builds tone, including Ferrier’s letters for the disembodied voice. This page is a design beast in regards to placing the reader into the world.

And then we end with Alex on the shores of a distant land – so far, they are the antipodes of where he was. The page being upside down was a way to really reorient the reader, show they how drastic this move for Alex is. He’s getting away from that old life.

PAGE THREE

I’d assume by this page, away from the dragon, away from the funk, when the reader sees we are still in this muted landscape they will assume something is amiss. This isn’t real.

I love that dragon silhouette in the sky beyond the building, like Alex’s subconscious up there, never far away, never forgetting, always dangerous, but something you can hide from.

I considered making it Room 237, or something, but went against the urge.

This here is our real introduction to Asia Benchley. As she walks through Alex’s mind. The apartment full of water should be the dead giveaway. It’s an idea I’ve used more than once in my head and on certain pieces of paper. It intrigues me, and I don’t even truly know why.

The final line from Asia brings so many truths home. Truths about Lon, as well as Alex. No one wants to kill anyone here, but if they felt they needed to, well…what would happen?

PAGE FOUR

The transition to Lon’s line here is meant to show that Alex is somewhat hearing what’s being said. He might be passed out on the couch, but it’s all sinking in. As happens with all little kids.

It’s also me trying to play Lon’s transition into this new scenario with as much honesty as possible. I didn’t want her certain she’s made the right choice. This kid just took out a kill squad, he’s clearly pretty messed up. This shouldn’t be an easy decision, this was something she rashly did, and now she’s honestly dealing with the feedback it’s giving.

Because when I write impossible worlds, that feature pyrokinesis, I want to be as honest as possible :]

Then we just drop a tonne of exposition through Asia. Though I still try to make it sound like honest conversation. So Asia talks about knowing what’s in Alex’s mind, but she doesn’t outright say she was walking around in there. I think it’s clear enough on the page, but I couldn’t stand to have her explaining something to her girlfriend that Lon would so clearly know.

With enough of that out of the way, we then cut to the character meat of the page. Lon is not only prepared to kill Alex if she needs to, but she’s open enough with Asia to admit such a thing. That should be two bombs dropped in the one line.

And after such a line, Asia gives her a kiss on the head. If you can’t figure out their relationship from this page then you really aren’t reading.

PAGE FIVE

The line here where Lon tells Asia to step into her head, yeah, *this* is the expositional line explaining what Asia can do. This is where I work it in, and how. I don’t think it’s clunky, it’s pretty clear, and it informs an actual new element of the scene, not just sitting there to explain itself.

And Asia’s reply [“I told you I’d never do that, because you told me I’d never have to.”] is a line also serving dual purpose. It really doubles down on how much these two love/trust each other, but it also allows me to build a gap between them. A divide where Asia won’t just have her all figured out. Or won’t go in there and tweak until she’s fixed things.

I love the way Sami weighted the page. The top half giving us the build up, and the bottom half giving us the payoff. And what a bottom panel – I think this harkens back to the structures Sami and I played with in DEER EDITOR. The top half being one page, the bottom half another. So the top here works on its own, and kind of page turns into that half-page splash. I mean, a better writer would have had that kiss on a full splash, but honestly, who has that real estate lying around?

So we cut the page and give the emotional beat space in the bottom half and Sami just lays it out perfectly. Lon and Asia kiss and it isn’t salacious, or full of lust, this is just two people in love looking after each other. The space around them is so well weighted, and then the image of the girl in the window brings it all together for us. Lon’s head still isn’t on straight, there are still problems floating along. This just isn’t going to be a fun ride for her.

PAGE SIX

Establishing shot of a new location, a tailless balloon with no character in sight, and that person using a sarcastic nickname. Yeahhh…it’s like I’m daring the reader to keep up as I try to confuse them.

A caption here would make things so so clear, but I just couldn’t do it.

I was never sure about this set up, I feel like it’s a big swerve to get Moore to figure out where Lon took Alex, but I fell in love with the idea of the toothpaste delivery of this weird city-ambience connectivity drug. THAT part I just had to do.

I must have scripted that interaction he has with the guy on the toilet a dozen times. I never felt like I was making anything clear through their chat, I really stressed it, but I think we kinda got there in the end.

Hopefully the bottom half of the page gets us there anyway because Tree’s funky red background for the toothpaste is so wild, and then she and Sami just jam so well on that mirror turning into this weird circuit board in his mind as he freaks the fuck out.

PAGE SEVEN

FLAKK is one hell of a SFX for toothpaste spitting. Enjoying hearing it for the rest of your life now.

That second panel with Moore post-freaking out, that background, those eyes, hell, that skin tone. C’mon, like Tree isn’t your colouring idol now. She brings so so much to this book, she’s a phenomenal storyteller.

Moore comes out of his buzz the exact same way I come out of unlocking a major piece of any story – swearing and tapping furiously into my phone.

And so now we have a great way for Milla to know where Lon and Alex are, but they also get connective tissue on another plot element…

PAGE EIGHT

So now we know Eric Robinson is connected to this in deeper ways. And he’s back into the narrative stream, loitering around the building where Lon and Asia are.

Man, I’m still digging so hard on this rad jacket Sami gave to Milla. It’s just one of those beautiful things that happens on the page and you gotta smile. Then there’s her crude response to her snivelling assistant. Again, she is so much fun to write.

I had to choose my lines from her here carefully – because I had a lot of options to choose from. How she spoke about Eric mattered, what analogies she used would show how precise I would or wouldn’t be. Dan flagged the double negative of “When you unlock a secret level, you don’t not enter.” And I looked at that line a lot, and I totally know what he means, but I hope it glides into your brain smoothly anyway.

I hope – because hope is all you have when you ignore your editors note :]

That bottom panel is so cinematic. It also gives the page this weird sweeping camera motion, like we start above the building, and each panel brings us lower, until we are looking up at the chopper as it takes off. It’s a really well laid out page.

As for the movie title – KILL YOUR DARLINGS, AND WRITE IN THEIR CHALK OUTLINES was a tweet I wrote like 3-4 years ago. I loved it then, I love it now, and I completely love how it works with this moment. It completely matches that idea that Milla is building a story here, she’s participating in art, and she’s totally down to ‘kill her darlings.’

I want to use this line again for my memoirs. #copyright [<—that’s legally binding, right?]

PAGE NINE

This page is all about setting up Milla’s mindset and methodology – I think maybe I give more time to that than just watching Milla chew up the scenery. It’s because Milla’s whole schtick is so large. She’s set all of this up just to watch it unfold, and when it goes awry, that’s okay, because the narrative swerve is merely to be absorbed and appreciated.

The whole narrative of the book hinges on the fact Milla sets this up, and then rolls with the punches. This story is her beautiful canvas. So I hit the point, and her point, more than once because it’s important to everything. This is who she is, and we have to believe it.

She would literally shoot a man in Reno just to watch him die.

But then, at page’s end, she kinda reverses it by telling her assistant to just shut up and enjoy the ride and not overthink it. Which is also my head, too.

PAGE TEN

This concept – the room tabula rasa, with the very first thing for their baby – there’s something poignant about this room. I’m sure it’ll be skipped over by half the readers, but hopefully a white room amidst this funk pop story stands out, and people look into it for a moment.

Lon is in here, with only the future around her, and yet she’s brought one thing in – the girl, the past, her problems. This is exactly what’s wrong with Lon at this point in time.

I think Asia mentioning the timeframe here is the first indication we get of when that very first scene took place, where Lon killed the girl and got the phone call from Asia, and where it related to the now. There was a week between, enough time to think, enough time not talking to be a problem.

Lon still doesn’t talk. Think how much time passes between Asia holding the ice creams, and then them being open and eaten. Lon is at such a loss.

I called for the centred panel with the floating text because I wanted it uncertain whether these things are spoken or just body language assumed. That relationship shorthand of silence is so powerful, and capturing it in a different way on the page intrigued me.

Oh, and I totally chose Cornetto’s because of Edgar Wright, don’t @ me.

Oh, shit, and notice how Tree uses those orange backgrounds to show love and connection, and the red/pink for danger. I just noticed that orange now. Damn, she’s so good.

PAGE ELEVEN

There’s a lot of info truncated here, basically for real estate. The idea is that Asia’s landlord is some kind of building overlord [I kept thinking like in THE RAID in my head] and he’s got his goons conducting a sweep of the building…ostensibly looking for something, most likely looking for Alex.

I rewrote these panels a bunch of times to jenga in what I NEEDED the reader to know, amidst what got it across smoothly.

Lon mentions a Betamax because it’s as ubiquitous in this world as Ello is. Just another perk of playing in your own reality.

The differing opinions/options given by these two parents-to-be is fascinating. Lon is over-protective, trying to prove herself, and Asia is pragmatic. Resourceful.

I love that red hand of violence.

PAGE TWELVE

The image of Lon suiting up, that this normal apartment had this funky sci fi suit in the cupboard, is just another attempt at subtle gonzo pulp integration.

Lon and Asia arguing across those tall panels just feels like great Sami storytelling. The relationship argument while getting changed taken to the next level. With a little dose of extra exposition about Alex and his powers.

The goons interacting through the door and its voice accessibility is yet more set-dressing for this future. But it also allows this moment where the script flips and the goons hear the door announce it’ll open. A great way to transition the page with that inset panel, it has this cinematic feel – you can see that moment occurring in a silent beat on the screen right before the noise starts, right?

However, the greatest moment here is that Dutch angle on Lon standing ready to fuck shit up. I love this panel, it’s an example [again] of Sami taking something simple written and just elevating it visually. Pure genius.

PAGE THIRTEEN

Fight. Page.

This right here is where you get out of Sami’s way.

You can draw the zigzag down the page repeatedly to follow the links between panels, the flow of weapons and blows and arms. It’s a masterclass. Then match it with those yellows from Tree, and you’ve got a wordless page that I find endlessly readable.

PAGE FOURTEEN

Lon is representing outside and Asia holds the party line with her, now protecting Alex.

These trancer goons just came out so damn well from Sami. Love those yellow visors. I wish I got to play with their joint speech a little more.

Asia reflected in his visor looks killer. But I hope I didn’t script for that. I doubt I did, I’m rarely that clever.

That inset panel of him grabbing Asia’s shirt is just a great segue to the quick mindscape panel of her going “full bane” on him and snapping his neck. But only doing it in his mind ,not actually in person. Which is something I hope people get.

PAGE FIFTEEN

This page came out so damn well. I did script this idea, but it was so damn easy to script, but then seeing how Sami and Tree pull it off, well, that’s just alchemy.

Lon is carving up that room, and is most likely punching that last trancer square in the dick [which I didn’t script, but really wish I had].

Asia is looking, but also very obviously missing Alex – great staging by Sami, and the helmet flying in is pure genius [def didn’t script that one].

Then Alex hiding and sneaking away is so well handled, and having the feet at the door wasn’t in the script, but it adds so much more to this page turn, as does the inset panel of Alex looking up with that face.

I also remember getting the page back and thinking Tree was a genius for the colour changes across tiers, and then checking the script and seeing that I called for it. One of the very very rare times I’ve been ahead of the curve with a colouring note.

PAGE SIXTEEN

I’m hoping this dick-punching action swerving into a talking heads page messes with the flow with enough of a jarring impact that we all kind of feel like Alex in this moment.

Tree made that drink pop green and I love such a bold choice.

This was yet another page where a tonne of redrafting finally got me there. That balance – what do I need to express, what’s going to feel natural, what’s just enough. Eric has to drop some knowledge, he confesses that he’s got something similar to Alex – which is a tease into his abilities. He talks about how shit it feels, and this all teases his past, also.

I also had to pick the right examples for what it felt like. Just the right levels of dirty.

And then we kick in the Junkie XL jams as we drop that final panel. Sami draws faces so damn well. It’s one of the main things I try to script for him, because he nails it every single time. Totally on point emotional, slightly overplayed so to be heightened, but never comical.

And then that red eye.

PAGE SEVENTEEN

The entire sequence of Lon smashing the window, grabbing Eric, dragging him in, and punching him was one I just couldn’t see. Mapping that out wasn’t something I had in my head – in fact, I so rarely see locations in my mind first, especially when it comes to buildings/rooms. I’m lousy for it. So scripting this was kind of a Hail Mary, and you hope Sami can land it.

I mean, of course he can, so it’s maybe a Hail Mary from 30 yards out, but it’s still this blind zone for me.

For me, this page isn’t as exciting as the others, it’s a scripted moment to transition us from one place to another. These are the pages I want to refine. I think Lon punching him in the face is fine, and their banter is fine, but this is what I need to tighten up.

Though Sami’s inset panel of Alex is dynamite, and a great springboard into that final callback line that pushes us across to the next page…

PAGE EIGHTEEN

I love the way Sami draws fire. I didn’t realise it so much until we got stuck into this book, but now it feels written for him because that fire is so good.

Asia running in to help Alex, too cool his mind, is something I wish we could have given more real estate.

I do dig the idea that Eric can’t speak because Lon has lifted him up, and so we use the caption, but I wonder if it’s…necessary.

Eh.

I think the bigger problem is Eric’s reaction to all of this. He’s subdued because the story needs him to be. This is my weakest moment.

PAGE NINETEEN

The pose of Lon, and that inset panel, are my two favourite things on this page. That Sami also got the helicopter into the background is the third.

I gave Asia that line to make it sound like she’s mentally helping with his pain, but I don’t think I nailed it with clarity. It’s a band aid solution to my hack writing, and it’s not sticking.

Milla reading this whole thing like she’s reading a comic cracks me up.

This moment that finally ties Lon into this connection between Eric and Milla.

Though those two eyeball reactions to Eric’s line are for very different reasons, because each person hears the truth they know.

PAGE TWENTY

I’m hoping by this page, with Eric being so chill about his arm, that you think something extra is going on. Then Eric unpacks his story in as few words as possible, basically because. Who wants his whole life story? Hell no.

Milla is incredulous, and Eric is in charge again. He knows he’s in on this one, hook, line, and sinker.

Then we get Alex turning, with those eyes, which is totally just a metaphor. The dragon within him is alarmed. I wonder how many will take it literally, or hate that it’s not really. I wrote it as a lead in to what happens next. These eyes are the windows to his soul.

PAGE TWENTY ONE

The layered balloons was a gamble that I’m hoping pays off. It’s Alex hearing whatever the hell he’s going to hear, because in this current state he’s going to be pretty damn emotional, and also because it helps us justify what happens next. It’s all set up.

I think I scripted maybe 5, or 6, panels for this page. Sami truncated things and improved the flow so much. That second panel of Alex just looking out sells it all. You know what he’s thinking, so then your mind can fill in all the closure it needs between panels because you know the location and the character motivation, so you can participate and place the characters around the room a little.

PAGE TWENTY TWO

This page was an idea I had scripted, and I saw it taking place in complete profile, using the time of panels to show Alex falling. But then Sami did it from above…and it’s so much better, right?

But I think it’s the inset panels of everyone’s reactions that I love the most. Great idea from Sami.

Then there’s the colouring getting darker as the page descends, and Alex falls into darkness. I love it.

And I wonder if anyone noticed that the shards of glass coming out into the air kinda resemble a set of dragon wings. Because the dragon within is the beast to control.

I wanted to end this issue strong, make people definitely feel a whole lot about coming back for more, and so we planned this out quite early on. Alex jumping to his death, us watching him go down, it’s brutal. You have to come back next month to know more, right?

BACK MATTER

Truth, Beauty, Erudition – choose one

Fun, as always.

JAM SESSIONS

Damn, look at that LOOPER piece. Utterly stunning, Sami continues to crush it on these.

I liked doing this Jam Session with Dan Hill because I genuinely unlocked a few new things through the course of it. I also firmly had this flick’s aesthetic in mind when coming up with this world, the aesthetic, the genre mash up rules, the time period. Even had the score on a lot while scripting it.

THE TRUTH

Another fun page to put together. I can only hope some people dig these.

And that’s us for another month. Join us on the final Wednesday of August as #3 lands, you’ll see it on the stands because it looks like this:

RKL Annotations – BEAUTIFUL CANVAS #1

Beautiful Canvas is a comic from Sami Kivela, Triona Farrell, Ryan Ferrier, Dan Hill, and myself through Black Mask Studios.

 

We launched on Wednesday the 28th of June to some great reviews and responses.

Below are my annotations. An inside look into my brain as I reflect on our making of this issue, and a chance for me to unpack what I’m seeing in the work now, and how I feel it connects on a broader spectrum. I hope you dig, and find something that’ll help your mind think/make comics in the future.

If you want – you can also listen to these views on SoundCloud on The Crystal Plumage, my podcast about this comic :]

THE COVER – SAMI KIVELA

I love Sami’s covers. The guy is always on fire, every book feels different, and even every cover has a very specific flavour. I could look at Sami’s covers forever. But when we talk specifically about this one, you have to think about how it launches the book. It presents the isolated character, which is so very important to this story. She’s alone. And she’s holding that gun, but not in any power pose. She’s a woman with violence in her world, and she hasn’t let go of it, but she’s feeling a little defeated, a little reflective.

Juxtapose that with the white pregnant silhouette, surrounded by a city aflame, which wraps up a lot of Lon’s fears. She’s bringing a child into a world on fire, and it’s in turmoil because of her actions at times. She fears for her child because it might grow up to run across someone just like her.

It takes that parental doubt and mixes it with self-loathing all at first glance. I know you won’t get all of those things, but they’re there, they’re waiting for you.

And let’s give it up for Ryan Ferrier’s logo. The boxing ropes building that angle for the words to read on. The fact there are two types of canvas onto which you can create your beautiful images. There’s paint on the easel in your workshop, and there’s blood on the mat in the boxing ring. Both are beautiful, in their own way, and that concept of brutal beauty runs through this book. Ferrier nailed it on this one, especially with such a bold logo that can read with any colour, against any background. Something we do take advantage of.

THE COVER – CHRISTIAN WARD

I mean, what do you say?

Christian Ward did a variant cover for our comic. And it’s bloody gorgeous. I first saw it on my phone, I was between teaching classes, and I just stopped. I mean, how do you process something like this? Dude is a beast, and this cover is sublime.

Cut forward then a month or more and I find out on twitter, while chatting with Christian and someone else, that the blue skin he’s done is actually a sonogram. I mean, I’m an idiot for not noticing, but watch my head explode on hearing this. The cover is so simple, and elegant, and I’m still in utter love with it months later.

I also LOVE her eyes and the blood splatter on her.

PAGE ONE

I’ve already written a lot about this page, our opening contract.

Read about Page One here

I love this page, it’s a beautiful melding of character and tone and story and I think it’s the best opening page I’ve ever been a part of. I actually think it’s sold the book just as well as our covers have.

PAGE TWO

And we instantly change the scenery, where we find a very different Lon. Kicking back, relaxed. Or maybe just switched off. Maybe this is her with her shields up, not like the first page which is very much shields down.

You’ll also notice there is no caption to guide you through space/time. I want you to pay attention, this is important. Don’t assume anything, don’t be lazy. It’s on you to keep up.

This page drops all the exposition the first doesn’t. It sets up Lon through how Milla sees her. It sets up Milla through her actions, and her words, and her tone. And it sets up their interaction, their job roles, and what Milla wants Lon to do.

I had a blast writing this dialogue. Milla’s voice came quickly and easily to me, and was a blast to bash out every single time she’s on the page.

Then I pull a Remender and start the dialogue here…

PAGE THREE

…and end the line here.

I know, I know, Remender didn’t make this up, it’s just a trick I learnt consciously from his work, UNCANNY X-FORCE was doing it and I dug it.

So here we have Lon on the job, this is the main problem she’s been thrust into that propels the narrative forward. On Page Three. Because I didn’t wanna mess around, there’s little point waiting, let’s get this party started.

Milla wants someone in this house dead and so we show you the house with the most deplorable person yammering away. I want you to think she’s the target. Her house is a mess, she’s a mess, and you know there’s a kid there, so I want your protective gears turning.

Then we just ratchet it up with the coke on the carrot – which is something a mate of mine gave me a note on [that no one would snort coke off a carrot], but it was just too fine a visual to pass up. Plus, it keeps the carrot in her hand for the next page.

PAGE FOUR

This page!

I could write an ode about this page. This here is pure distillation of what collaboration over years becomes.

When Sami and I started working together, on the pitch for what would become CHUM, I guess it was pretty straight forward. The pages were standard, not too many panels, and with room for Sami to stretch.

Then, before we made CHUM, he and I made DEER EDITOR, and it was through creating 144 tablet pages together that I came to truly understand the beast Sami is. I knew what he was good at, I knew where I could push him. I knew where I could tease him, and leave him open, and he’d create mayhem and beauty. There’s a page deeper into the first issue of CHUM where Sami took a fight scene and created a mural of violence. It’s gorgeous.

So, by the time we’re making BEAUTIFUL CANVAS, I like to think we’ve become a great and complementary machine. The fact this page came out in the pitch pages proves that to me [because, boy, do we go even further as the book progresses]. I set this page up as a page of fury and calm, a page of stupidity and precision. It’s Sami and I together completely.

The slow intro, the mum snorting and then looking up, it gives way to a crescendo of humanity across three panels. And Sami imbues those three panels with amazing timing and body language. Lon stands, ready, a coiled spring – she shoots, precise, one shot, all energy coming out her hand and gun, nowhere else – and then she holsters, not even looking anymore, she’s not lascivious, there is no doubt. This is a hit.

Playing that against the mother, coked to the gills, throwing a carrot like it’s her weapon, when the knife is clearly there, and having her huddled, and then full body aggressive, and then thrown straight back. It’s some glorious motion.

But it’s Sami that makes it flow, like a river of blood through a diagram of humanity. He put these inset panels in, he decided to draw focus, and slow us down even further, so we’d feel the hit, and so we’d have to see Lon. It’s a beautiful page and I managed to not need to overwrite it at all.

I am growing.

PAGE FIVE

The first page we see Alex Ellroy, and I’m completely selling you on where he is at the very start of this narrative. He’s small, quiet, withdrawn, 2 pages back we could see he plays board games with his dolls. He’s just this little kid, and then we see his reaction to his dead mother – because Sami draws faces better than anyone – and we get that hug as he says “Thank you.” and we can only imagine his origin story.

Poor little bastard.

Which is why I don’t waste time on the moment. Get in late, and definitely leave early. Cut to the car, show Lon’s decision in action, not even her making the decision, just show the reasons for the decision, build to that moment, then let the reader know it’s been made.

This is what we call a ‘lock in’ for the protagonist. They are making a choice to veer off, they are funking up their own story. It’s always the best way for things to go the shape of a pear, rather than just shoving providence into their face and giving them no agency.

PAGE SIX

It’s one thing to write a dead girl. It’s another to have Sami and Tree bring it to life. Jeeeez, it’s heartbreaking.

This sequence was the lynch pin for me and the mission statement of this book. Lon might be locked in, but it’s uncertain, it’s all reaction, she’s flying by the seat of her pants. So we have the boy press her on it and she just doesn’t know. She’s in a crisis of faith, and so when in doubt she doesn’t – but just not killing the boy does not tell her what comes next.

It’s also all kinda seed for Alex’s journey. He’s in for a wild ride, and he needs to discover this truth as well.

Intercutting this with the flashback, and never telling you what’s when and where, was my way of hoping the audience is really with us. This page is the test. It’s layered, tough to read, and I hope that slows you down. Soak in that dialogue from the flashback, think about what Lon is going through.

PAGE SEVEN

Lon doesn’t know. This is where she’s lead herself. She doesn’t know if she’s good. She doesn’t know if things with Asia are good. She just flat out doesn’t know.

And yet she drives on.

I love how Sami draws Lon’s face up close. She’s a beautiful character, and yet you should be so sucked into her emotion that you don’t quite register it. The story should elevate her beyond eye candy completely.

Then that last panel – now you can really tell we were ending our pitch pages, can’t you? I wanted the pitch pages to be this whole opening scene, and here we close it. Lon drives off with Alex, towards the city, and the colours are sublime.

I dropped that ‘movie title’ in here because the book doesn’t have captions, and I mostly dig that, but sometimes I use my words as punctuation, so this really threw me not having those beats to end scenes on. So I invented a work around. I didn’t want to just write captions when I *really* felt like it, so I didn’t get that lazy, instead I invented these movie titles to drop into the story at strategic moments to unpack the characters, and maybe a little of their lives or world around them. I chose THE HITWOMAN WITH THE CRYSTAL PLUMAGE because it’s a beautiful phrase, and it’s also a shout out to Dario Argento. This was my way of sending up a flair to my people, and those who dig Argento should now know we are connected through this story. We’re going to be on the same page, and I hope you’ll sit down a while and listen to the story with me. I hope we get some time to enjoy this together.

PAGE EIGHT

I love the bold scene-opening panel of this sequence. A huge vertical panel, all Sami, which is interesting because there’s also a lot of talking on this page, but he still spends all this real estate on setting the scene. I dig it hugely, because Tree coloured the ever-loving hell out of it, and because Sami drew in that clown head up in the foreground and it’s creepy and awesome and speaks volume to the tone of the scene.

We then meet Eric and Agent Keely. The gist of things is that Eric screwed up his life and ended up sentenced to this weird purgatory gaol of an abandoned fair on a boardwalk somewhere.

Why? Well, like Keely says, it’s to do with Milla Albuquerque. From there, I don’t spell too much out. I’m not interested in having these two characters, who clearly know each other deeply, conveniently lay out their cards on the table as if the other person doesn’t know. I want oblique references, I want the bare minimum. I know that might not be great for all readers, but it gives this scene what I wanted – familiarity between the two men. I want the reader to finish this page and know how these guys interact, and what their overall beef is. Eric screwed up, he’s his own problem, and Keely has to come check up on him.

I also gave them takeaway coffees for two reasons. One, it keeps them busy. They can sip, or brood over the steam, or spill their coffee, or throw it away over the side. This is action through which we can continue to tell the story. When Kelly spills his coffee making a point in Eric’s face, you feel it.

And, two, these coffees mean Keely stopped on his way there to get 2 coffees. That’s a stand up move, and deserves a little respect.

PAGE NINE

Here we drop that bomb that Eric’s isolated here for some kind of protection, and protection FOR others. It’s a bizarro witness protection program. I think I had recently read Darwyn Cooke’s SLAYGROUND adaptation from the Richard Stark novel and the fairground as crime scene idea was juicing in my brain.

I think I would have scripted this two page interaction about two dozen times. Never able to make the Jenga fit into place, never quite happy with it. But where we got it to, I am happy with it. This was given a final script after the colours came in. I was tweaking this whole sequence right down to the wire. Because you always know when it’s second best [or for a while, it was maybe fifth best], and in indie comics there is no excuse to not take the time, get it right, and then happily move on.

The moment of Eric working out how to break free is also obliquely set up and explained. Eric has this little ball, like a geotag, where they were tracking him. He’s found it, removed it [with a knife, I guess], and now he’s unfettered, and with a mission. Which I want you all to connect/assume involves Milla :]

Then we cut to the final 3 panels and Sami absolutely nails these. The ease with which he shows flow. The inset panel of Keely dead, and that gorgeous sky from Tree. This is a 2 page talking heads scene, and yet Tree and Sami make it feel like so much more.

But do you know the science of what’s going on – how’s that tag work, what happened to Keely specifically? Well, maybe wait and see…

PAGE TEN

This page, and sequence, slowly came around to become something I dearly love. Lon laying her heart out on the line, a truthful and honest moment. She’s on an old ass phone because anachronisms please me. And she’s eating noodles because that’s what Rick Deckard would do. Truly.

This is just Lon talking, but hopefully you’re also gleaning some information – the time frame, Lon’s feelings. I dig the pacing of the flashback, and that final panel with the restaurant finally established is my way of finally pulling back from Lon. We’ve been up close [and personal] with Lon, so it was time to see the world around her a little bit again.

And I only use the L word when I mean it, and I write Lon like she’s the same.

PAGE ELEVEN

That loaded pause leads to one of my favourite bits of this comic. I can remember coming up with the idea that Lon was rehearsing on an empty phone line. I was stoked to have a little more business on the phone that wasn’t just Lon and Asia actually talking. It gave it more of a cycle.

Lon’s views of love are her own and in no way represent the company to which she is contracted.

I was glad I built all that white space in the middle, a gap in which our two leads find a quiet space to talk. So I built that gap in the middle into things. And then I kept redrafting as I went along, always refining. I find I constantly was refining and redrafting dialogue in this book to give enough information away, but never at the expense of character. Who they are, and why they are, matters more to me than actually what they do. So you sub one for the other whenever you can – or both at the same time if you are good enough, and I so rarely am.

PAGE TWELVE

I couldn’t figure out how to cut to after their conversation – I wanted to give them privacy. Sometimes, you get more power from not hearing the specifics, I think. The caption came to me and it feels helpful in an odd way – because a 5 minute and 8 second conversation is a long one in my books. Certainly long enough for Lon. And I like how it reads on the page.

Then we get this layered scene that is my meagre attempt at what I like to call “JAWS scripting.” It’s where conversations occur in the foreground and background and you don’t need to hear all of both of them, you just need the general idea of both. So we get this lovely back and forth between Lon and Alex, because they’re bonding, and I want them to become tight. This means whatever I do to them later on will hold some gravity.

And against this, we have the waitress, who seemed so damn nice, reporting back to…someone.

Vague, or annoying – you decide.

PAGE THIRTEEN

Yes, truly meet Milla Albuquerque.

That pot plant with the ‘Believe’ written on it is totally stolen from my office. I have the exact same thing. But Tree coloured this one green, so it looks better than what I’ve got.

Then we cut to Milla and I dig the stance Sami gave her, and the triangle framing, but mostly I just love that skyline. That’s Sami and Tree just being electric gods together. And I think it’s enough to maybe distract from the blood on that watering can, maybe.

This page is quite simply a thesis on how Milla operates, and how she views the world, and what Lon is working against. Milla lumps gardening in with revenge and love and every emotion and action is just an ingredient for her – just a colour on her palette. If you marry this mindset against Milla hiring Lon to kill Alex, and most likely having hired her to kill plenty of other people, then you get a fairly decent insight into Milla. I don’t connect all those dots here for you, but I guess some readers will, and I thank them for it. I also hope they enjoyed the work, and the results they get.

Then we get that hand in the pot. That was a visual that came to me instantly when wanting to really reveal and introduce Milla. I may have been missing HANNIBAL from our screens. You know, that show about beautiful mayhem and blood? Yeah, it’s informed Milla in quirky little ways.

PAGE FOURTEEN

Panel Two is the stronghold here. Milla divulges exactly what Lon was sent to kill Alex for. It was a test.

A test for what, you ask?

Well, maybe by the end of #1, and certainly by the start of #2, you’ll have enough to piece together what was supposed to happen.

And as for Moore, he gets hinted at, and then Milla pretty straight up explains his connection into this story. Because I can’t always hide everything from view.

The final panel of Milla saying “People just want to die for their craft” is my best attempt at a BKV page ender, albeit incredibly subtly. Y’see, she’s talking about Moore’s tenacity, but she’s also hinting at the fact the guy hung up in front of her has voluntarily put himself into this position. He’s down with being a part of Milla’s beautiful canvas.

See, I told you it was subtle.

PAGE FIFTEEN

I absolutely love all of these weird fuckers.

Why are they here? Well, because I want this world to be weird. Not by having every single element and thing weird, but by showing that weird resides in it. They also exist as a subtle hint to the fact this world has started experimenting on people. There are ways to make people more than human. This opens up the story for the final page of this issue, and the crux of the problem at the heart of the story, and we make this a lot more concrete in the back matter page of The Truth.

You can also blame this scene on PREDATOR. I love that intro scene of the ensemble, so I did my best to poorly ape it here. Writing these freaks was a lot of fun, and a chance to try out a few voices I would never use to headline a comic, but that intrigue me nonetheless. The bird guy’s sqwarks are my favourite, by far.

Plus, that bottom panel with the moon and the cloud and the kick ass car. A hell of a thing to behold.

PAGE SIXTEEN

I love ELO. I think Dan Hill secretly loves Ello. Blame him for the joke, it was his idea [at which I LOL’ed and put it straight into the script]. It’s also yet another nod to this reality being different. Ello became the titan in this story.

I love Sami’s design for this car, and you see how it works in action here and it’s just glorious. Then I cut this moment with a panel of Asia talking to Lon on the phone in the past because I want you to feel the stakes of this moment for Lon. I want to ensure we are all on the same page – perhaps this is one of my few times of overtly handing across information in this book. Even though I’m still not giving much away.

PAGE SEVENTEEN

Poor Lon. Getting her ass kicked like a good pulp lead. These freaks giving her a good ol’ tenderising, and I need them to be good at it because I need her knocked out.

That panel at the bottom where she’s landing on her head/neck, man, that body language from Sami is dynamite. Those legs are all over the place.

Also note the fine as silk SFX from Ryan Ferrier.

PAGE EIGHTEEN

Meet Moore.

This guy sucks.

Which is why I intro him in such a predatory manner. The guy’s just filth. As he talks to himself, you should get a feel for who he is.

I dig the little moment of the assistant handing the phone across to Milla and she’s over it, and over Moore. Her flippant line sets up their relationship in totality. She kinda hates him, totally needs him, will be vitriolic towards him, but she’ll keep him around, and obviously for a reason. He’s good at his job.

PAGE NINETEEN

Oh, also, the 6 panel grid on these pages. I love the 6 panel grid, but have never really written for it. Sami nails it for this sequence, proving once again he’s smarter and more useful than me.

This is the needle scratch moment for Milla. She was assuming Moore would check in with footage of Lon attacked by Alex after the hit occurred. Or, maybe as a test to see if Lon could still do it. Instead, she’s told neither option occurred, and the plot has swerved away from her. This scene serves a purpose, to make everything clear to Milla, but it also allows us this character interaction, which in itself unpacks these characters more.

Then you see that elephant chair and you realise Dan Hill is really one hell of an editor for suggesting it. Whereas the business with Moore and the pizza is all me. Because he’s just that callous – eating her old food, and stepping over her dead body. Like I said, he’s pure filth. But even filth is art if presented right, right?

PAGE TWENTY

Look at Off-Brand Killer Croc with his Liefeld pouches going to use housing his mobile phone.

Lon gets a little GLENGARRY GLEN ROSS on the phone, and we don’t know to whom she is speaking. That’s on purpose, because maybe you just can’t trust anyone moving forward. Maybe it’s Milla doing a funny voice, maybe it’s her flunky, maybe it’s Asia, maybe it’s Alex…?

You’ll have to wait and see.

Sami with the inset panels of character deaths. Absolutely dynamite. And man did I have to work hard to figure out how each one died, and if one could maybe be alive for later as an Act IV come back. But, no, they are all dead here.

PAGE TWENTY ONE AND TWENTY TWO

And again we fracture the structure and take you back to that first scene, that fateful phone call Lon had with Asia. I hope readers are keeping up by this stage. Because that opening page, now, it should hold even more weight. It’s the moment Lon finds out she’s going to be a parent and she’s just killed this other kid and she’s just mentally crumbling, and so this moment has ghosted over the entire issue. This is her dilemma, this is her fear.

That concept of just breaking a shitty burner phone in half will always take me back to Mike in BREAKING BAD. Such a boss move.

So Lon runs off to find Alex, and when she does, he’s this dangerous little creature. He’s got them iron fists glowing, there’s something wrong with him, and there’s something wrong with Lon. It’s a dangerous moment to pause on.

I want you guessing about what comes next. I want you interested, and worried, and intrigued. I want you invested in what happens in the next moments. Because from what you know of Lon, she’s unhinged, and dangerous, but she’s also clinical and rocked by enough death this week.

Can I also say, that image of Alex with the flame hands, and the red mist beyond the trees, man, it’s killed me to not share that image online because I’m so in love with it. Also kinda proud of that Movie Title panel I dropped in there.

And that’s the first issue. I hope it sells the next 3, right?

BACK MATTER

Truth, Beauty, Erudition – choose one

Coming up with Back matter Essay titles is hard to do, but damn if it isn’t fun. HEADSPACE had ‘Brain Waves’ and CHUM had ‘Get In the Fucking Sea’ [which always made me smile]. And this has the above, which I am still happy with – which is the main test to pass.

These pages will just be me being truthful, unpacking my head a little, and connecting with you personally [I hope]. This one was fun to write.

JAM SESSIONS

But then you get to turn the page and see Sami Kivela draw Philip K Dick and you know all is right in the world. This pin up is so gorgeous, I’d already preordered it from Sami before he even drew it. It’s my favourite author, and my favourite artist, jamming together, in a book that’s my best thing so far. I needed this in my life, and it’s already proudly on my office wall. I’d told him about the essay series we were thinking of doing, and hit him up to do a spot illo for it, Sean Phillips style, and he just dominated it.

The fact it’s followed by a Jam Session between me and longtime top mate Dan Hill is just pure candy in my pocket. I love chatting to Dan about stuff, he always makes me smarter, and I love doing these, so the whole back matter selection just fills me with gleeful joy.

THE TRUTH

Then there’s THE TRUTH page, which was a dumb idea I had, that Sami didn’t have time to execute – and then we did it anyway :]

I’ve made this page completely non-essential to the narrative, but gee it slips a lot of little hints in there you might like to further enjoy this world we’ve built. These newspapers are ‘in world’ items showcased here for us all to look at and enjoy, but also to study. Each story is picked for a specific reason, and they’ve been crazy fun to write.

And that’s the comic. If you picked it up, thank you. If you enjoyed it, well, thank you muchly. If you’ve told your mates, shared the good word, lent it out to a mate – that’s the good work from on high you deliver, praise be.

This comic is a work of passion, and it exists because the creative team is committed to making comics. We love that you wanna read comics, and read about comics, too. Thanks, and we’ll see you in 4 weeks for #2 – the opening pages are just dynamite.

BEAUTIFUL CANVAS Covers

BEAUTIFUL CANVAS #1 launches this week.

Months of prep since 2016 have led Sami and Triona and Ryan and Dan and me to this point. And we are so excited. We hope you’ve preordered, but feel free to drop into your LCS and hope they’ll have some shelf copies, too.

If you wanna get really pumped, just hit up our online preview now to see the madness about to unfold:

DOWNLOAD THE BEAUTIFUL CANVAS ASHCAN PREVIEW NOW

To celebrate the release, and because our final issue, #4, is up for preorder right now, I thought we’d look over the covers of the series.

We’ll start with the Christian Ward variant for #1, so then we can slide across all 4 of Sami’s covers without interruption.

Gorgeous, right? Hell of a way to launch a series, so we say thank you to Christian for being a supreme gentleman.

And just as good to have #1 drop Sami Kivela in as the A cover:

The fact we have two covers to launch a thousand boats says a lot to me. I love the meaning crammed into this cover.

But I also think maybe Sami’s cover for #2 might be better, or maybe it’s the colours that strike me more. I can never decide.

I know Sami then followed up with #3’s cover, and it’s dynamite.

Those symbol signs are just beyond awesome.

And then Sami actually followed this up with a cover to #4 that was amazing. But a week later he decided he had something better, and I think he was right. We tinkered with what colour to put where – blacks and greys and reds and orange – and we settle on the below cover for #4 and now I think maybe *this* cover might be my favourite.

Though, really, just look at all four covers and tell me Sami isn’t an absolute beast. This book is going to be a phenomenal presence on the stands, and that’s all on sami [and a little on Christian].

We are so proud of this book, and the next 4 months are going to be spectacular as they roll out.

We hope you’ll join us for it.

BEAUTIFUL CANVAS Digital Ashcan Preview

BEAUTIFUL CANVAS lands on shelves in two months, and Sami Kivelä and I are so passionate about this book that we have made a Digital Ashcan Preview for everyone to download completely for free.

DOWNLOAD THE DIGITAL PREVIEW ASHCAN RIGHT HERE

This PDF is no fool’s gold, either, because it’s 32 pages of everything you need in order to hook you and leave you knowing you need this comic in your life.

  • We are giving away 1/3 of of the first issue for free in these 7 preview pages
  • We have included the script pages for those pages
  • Sami has laid out some thumbnail/pencil/ink comparisons for key pages
  • I’ve written an essay about why BC matters to me
  • And a few other cheeky little extras.

Download the ashcan directly to your tablet and read the good word straight away – and then, if you haven’t already, we’d really appreciate you contacting your local comic shop and preordering the comic because we truly believe in this book and want to see it land in as many appreciative hands as possible.

BEAUTIFUL CANVAS is a 4 issue mini through Black Mask Studios, illustrated by Sami Kivelä, coloured by Triona Farrell, lettered by Ryan Ferrier, edited by Dan Hill, and written by me, Ryan K Lindsay – and it’s the best work we’ve ever done.

And if you need a touch more to sway you towards our gonzo pulp comic…

Listen to THE CRYSTAL PLUMAGE – a podcast wherein I discuss the book and hopefully convince/charm/swindle you into laying down a preorder for this comic.

The Initial Order Cutoff is April 27, so preorder before then so your LCS gets the best price on the book and can ensure they’ll have a copy for you.

You can preorder whichever of the two covers you like:

Preorder the Sami Kivelä Cover A with order code APR171370

Preorder the Christian Ward Cover B – order code APR171371

BEAUTIFUL CANVAS – The Worldwide Preorder Tour

BEAUTIFUL CANVAS #1 hits shelves June 28, so you gotta hustle and preorder now so you don’t miss out.
This 4 issue miniseries from Sami Kivela and myself, with Triona Farrell on colours, Ryan Ferrier lettering, and Dan Hill editing, is coming straight out of Black Mask Studios and we do believe it’s our best work yet.

BC is about Lon Eisley, a hitwoman who discovers her girlfriend is pregnant and in the same week is contracted to kill a small child. From this initial crisis of faith, things just get worse and more weird. A gonzo pulp tale, we have animal/hybrid hit troupes, pyrokinesis, and lots of other elements that are Philip K Dick meet Shane Black, but at the core this is a book about a woman who is a destroyer and now she’s about to become a creator.

Because life is hard, no matter what genre your story is in.

Being an indie comic, we need you to preorder the book so we know what to set the print run at, and so retailers know there is support for the book and as such they’ll order a few extra because the market is probably there.

You can preorder the Sami Kivela cover, shown above, through your LCS with order code APR171370

Or you can preorder the Christian Ward variant cover, shown below, with the order code: APR171371

#swoon

In order to make preordering the book easier, we’ve even assembled a handy image form for you to print and fill out:


And you can find us in the Previews catalogue at pages 290-291.


You can access a whole stack of information about the book at our dedicated tumblr:

THE BEAUTIFUL CANVAS TUMBLR

And I’ve even assembled a DIY podcast all about the book over on SoundCloud and you can listen there to get hypnotised through your ears:

THE CRYSTAL PLUMAGE PODCAST

We all hope this goes some way to convincing you to drop your LCS a line and preorder the book with good conscience by the Initial Order Cutoff on April 27.

If you have any questions about the book, just hit reply, and I’ll get back to you, and hopefully we can get you as excited to read this comic as we are to make it and sell it.

June 28, gonzo pulp, get excited.

BEAUTIFUL CANVAS – coming in June

BEAUTIFUL CANVAS is coming from Black Mask Studios in June!

Sami Kivelä and I reunite for our 3rd miniseries as we are joined by Triona Farrell on colours, Ryan Ferrier on letters, and Dan Hill editing the show.

Preorder with your comic shop now using the following codes:

APR171370 for the Sami Kivelä cover

APR171371 for the Christian Ward cover

Oh, yeah, we totally stole a Christian Ward variant from the stars!

This book means a lot to us, it’s got meaty themes synthesised through some four colour gonzo strange, and we think a whole mess of you are gonna dig it. Here’s the synopsis, and thank you for checking it out:

Lon Eisley is a hitwoman hired to kill a small child a few days after discovering her girlfriend pregnant. In a bold declaration of uncertainty, she saves the boy and hits the road, despire the fact her boss clearly wanted him dead for a reason. This warped crime dystopia delves into the emotional dichotomy of creator/destroyer as Lon tries to connect the two very different worlds she now inhabits. From Sami Kivela (Chum) & Ryan K Lindsay (Negative Space, DC Writers Workshop) comes a gonzo tale of personal discovery, animal/hybrid hit troupes, and reactive pyrokinesis.

We hit shelves on June 28, so we’d appreciate your LCS preorder in by April 27.

Get excited.

INK ISLAND Kickstarter – Launch a Comic and a Teaching Guide

INK ISLAND is an all ages one shot comic by me and Craig Bruyn which is live on Kickstarter right now.

We are running a campaign to help fund the production of the comic in print form, as well as the dispersal of a Teaching Guide to go with the comic, for use in the classroom or home.

CLICK HERE TO SEE THE INK ISLAND KICKSTARTER NOW

This full colour 22 page one-shot comic tells the story of Parker and Elliot [my children] who live in a lighthouse and have the duty of keeping the disgusting monsters in the dark away.

When an attack during a blown globe results in Elliot being kidnapped, Parker must conquer his trepidation and travel out with his fearless stuffed frog companion, Williams, to mount a rescue mission to Ink Island.

The book is a personal study in how we overcome our worries, and how siblings rely on each other. It examines perceived gender roles, the power of inner strength, and the beauty of teamwork and partnership. It is also wildly imaginative and stupidly funny, so is sure to engage the children we know, and the ones we hide we still are.

Craig Bryun’s art in the comic is a phenomenal blend of the absurd and the amazing. Whether it’s delivering an emotional beat through a child’s face, or defining the pert yet hairy glutes of a dirty Inky monster, Craig can do it all with style, as he also colours all his own work here.

The comic itself means a lot to me, which is why I’m offering it in print form, but also why it’s also still a $1 pdf. Then there’s the Teaching Guide, which is months of hard work to pick lessons which unpack comics in the classroom in rich and meaningful ways. I’m really hoping this aspect resonates with teachers – especially considering I’m also offering an Audio Commentary that can totally be used in the classroom as I’ll unpack what we were trying to do in this comic, how, and why kids can learn something about storytelling or emotions or ugly monsters by studying this comic.

There are also options to get Craig to draw original art for you – you can get him to draw your kids V some Inky monsters, or you can just choose any old character you like.

The Kickstarter campaign will run for 30 days, so any link sharing on social media or verbal support you can yell out randomly in car parks and such is greatly appreciated.

Go to the INK ISLAND Kickstarter page to scope all the information and decide at which level you’d like to support the book.

CLICK HERE FOR THE INK ISLAND KICKSTARTER

RKL Annotations – DEER EDITOR #1

The issue that launched thousands of dollars of crowd fundraising for Sami Kivelä and myself. For a dumb comic idea, stemmed from a poor joke about typos, and written on my phone, I feel like DEER EDITOR has taken on a life of its own. And in all the right ways.

This issue was my first foray into crowdfunding and Kickstarter in a solo way, and it felt like another step up in my comic making career. I only had a few credits to my name so far, I was still quite green, and this was my first time dabbling in tablet pages – and I wish I could pinpoint the reason why I went for them here. I can’t remember why, the book has seemingly only ever existed in my head in tablet pages, but I’m crazy glad I did.

Then you bring in Sami and the whole things comes together like crisp morning Lego snapping into place.

I love DEER EDITOR. I love Bucky, and the world he is in, and collaborating with Sami, and I hope one of all of those things never ends. But for now, I want to celebrate what we’ve done and do something new – I’m going to write annotations over 2 years after the issue came out, and over 3 years since I wrote the script.

Let’s see how much I can come to hate myself over the coming pages, shall we?

For those playing at home, I’m going to number tablet pages, and I’m going to read from the Broadsheet PDF [which contained a tonne of extras and fun stuff] – so, drop the needle on them antler noir tunes.

DE_cover01_small

COVER

It’s probably stupid to say it, but this cover feels iconic to me now. The amount of times I’ve sold the red cover at shows, the amount of time I spent looking at it, and the quality with which Sami nails it.

I asked him to do something Saul Bass inspired, and this is what came back and I fell in love. That silhouette is killer.

You’ll also notice that Kivelä features after Lindsay on the cover. I asked him repeatedly to put himself first but he just wouldn’t, and the guy who controls the design controls those things. I vowed to get him back for this, and our two follow up series have had his name first, sucker.

But in total, the cover sells crime, death, urgent red, and a hint of an anthropomorphic beast.

CHAPTER ONE

I can’t remember whose idea it was, but we went with these chapter breaks in the digital version basically because why not? They look gorgeous – Nic J Shaw designed it simple and elegant – and it’s a PDF, you can go as long as you want, really, within reason.

I feel like the quote sets things up, build intrigue, but doesn’t give anything away.

PAGE ONE

I’ve come to love establishing shots, but not always of buildings and the usual fare. I want to know about a character, usually, so something about them gets a quiet moment to intro.

As such, Bucky is a journalist/editor, so we open on his desk. I scripted a lot of this, but Sami made it his own. I remember getting this page through and really thinking we were onto something.

I also wanted to denote the snowy Xmas vibe [because Shane Black is my jam – no, honestly, that’s why this issue is snowing] and I wanted to use the lyrics to SILVER BELLS, but I soon realised I couldn’t do that without incurring some hired goons on my doorstep, so I did the next best thing – I ripped the lyrics off and made them my own. Swapping the word time for crime is a personal career highlight.

I also really wanted a subtle double entendre in that opening caption where Bucky says he gets one phone call and suddenly ends up in the morgue because he then goes to the morgue to chase a story, but also because he’s going to ‘die’ in the end of this issue.

I know, Spoiler Klaxon, please, but most of you have probably already noticed that there are more issues in this series. Because Bucky is alive. But this comic initially started life as a one-shot, and I think the OG plan was for Bucky to die. So, had we never gone back to the well – and I assumed Sami would get busy elsewhere, and/or our Kickstarter campaign would do average at best – then I played it like this as all we’d get.

But the campaign did well. And Sami turned away some other work just to keep Bucky alive, so he makes it out of issue #1, but I still liked the foreshadowing of this opening caption, so I like that it remains.

As for the items on the morgue table, I wish I had added some other weird stuff on there, like a can of Spam or a torn out page of MOBY DICK, but I didn’t and now I never can. Oh well, I guess you’ll just have to imagine what movie John Doe saw before he kicked the bucket.

PAGE TWO

Anyone who pledged for the Radio Drama knows the coroner speaks with a thick Maine accent. Kinda.

I look at this page now and wonder why I didn’t start with the John Doe on the street, and then the Pinto clipping him, and his head getting bashed in. But instead we get another guy talking about all the action. Because I love to start comics hella engaging :[

The biggest thing this page gets right is building the page turn/swipe reveal of Bucky. Otherwise, this guy might as well be named Coroner James Remar [I hope some of you get that reference].

PAGE THREE

Bucky stands, proud, defiant, aloof. This first panel sets up a whole lot of who he is.

I introduce the sniffing aspect of his character early so we can use it later.

Bucky line of “Goddamn useless corrupt asshats.” still rings tinny in my ears, it’s a mouthful. I think your mistakes do haunt you on the page forevermore.

PAGE FOUR

And so our opening four page scene ends. The casual relationship between Bucky and the coroner is set up, so we can use it again effectively later, but it isn’t the kind of thing that’s a series opener, to be honest. But we live and learn.

This is all good, standard stuff, it works, but it doesn’t elevate. I’d completely restructure these pages now, if I had my druthers. But, for now, they set up Bucky, and they set him on the course.

PAGE FIVE

This page is about introducing the location of Walter’s Bar, but it’s also about introducing some voice for the book. This is a pulp book, I want it to have that prose voice over feel, like you just dug it out of an underground secondhand book store. It’s similar to what I was going for in CHUM, but maybe dialled back one or two.

I think I was still finding my voice with Bucky here, I didn’t have him quite so nailed down as I did by the time I got to scripting #3. I had my ideas about him, but it’s really only after having them go through a few things that you see how they react and how they truly are.

PAGE SIX

It’s during this scene that we hopefully get the idea that no one cares there’s a walking/talking deer just shooting the breeze.

I also dig the interplay with Walter and Bucky, they work well and he’s a blast to write. And looking back, I can see this issue was about bouncing Bucky through certain pulp levels to get him to gather the info he needs to proceed – like a lot of quality pulp does, and often needs.

PAGE SEVEN

I don’t consider myself a funny guy – on the page, in person, on social media – but Walter griping that he’s not a hidden mic and so didn’t record the conversation of two randos in his bar tickles me every time.

But then I come back down to Earth with a thud every time Bucky manhandles that ashtray. Gah, nasty shit makes my skin scrawl.

I’m also noticing, on this page and seven pages in, that each page doesn’t completely have as much to talk about and dissect as other annotations purely because each page is really half a page, and I didn’t want to jam pack every page because that would be rubbish for Sami, and it’s really not how tablet pages work. The norm seems to be 2 panel pages, with 3 the max, and yet I average 3-4 generally, so here I’m trying to keep it simple, give the page room for text, and make sure I build to some kind of reason to turn the page.

PAGE EIGHT

I wonder how many readers still have no idea who/what Jo Malone is? I probably could have worded that whole second panel better.

But the matchsticks led here, so then the credit card has to lead to her.

I also haven’t nailed down why Rachel was in Walter’s. We never explain it, though I know how to make it a few different things depending on what we might need it for down the track.

PAGE NINE

I really wish this page wasn’t killing a woman. That’s a big change I’d make to the issue, this could most definitely be a dude.

Bucky mentions his smell, again, and then he references John Doe’s key which was there all the way back in Page One.

I love Nic J Shaw’s white balloon against the silhouette.

PAGE TEN

Sami did great work on this page, considering the density built into it. There are so many little elements – and some of them are like her presence in Walter’s, we can use, or tweak then, as we see fit anywhere in the future if need be. Some of these things are locked in stone, but many of them were me just throwing things against the wall to see what stuck.

Of course, in a room with a dead woman Bucky decides to case the joint. Until the foot creak on the threshold, and this takes place on a real paper page turn, too, so it’s a properly set up deal, as well as for tablet.

PAGE ELEVEN

Adrian Brody flees the scene, and I love Sami’s designs on ‘other’ characters.

This page is just planting another seed to capitalise on later. Plotting this stuff out was hard work, I remember, ensuring so many things get set up, and connect in ways that might only ever matter to me.

And here the journalism puns begin, with Bucky talking about chasing down a story and having to literally chase this story on foot. It’s not high art, but there are a tonne of newspaper quotes and words in the world, and I slowly wanted to work them all in.

PAGE TWELVE

This page is pivotal for me because it shows the parameters of Bucky’s ‘powers.’ He can run super fast, but only in short bursts. Because he’s kind of unfit, the running wears him out. His antlers are pretty bloody strong, but he’s not a superhuman/deer.

PAGE THIRTEEN

I love the way Sami drew the newsroom, the cube farm aspect of it all. The depth and world-building Sami goes to always impresses me.

Here we meet Dan, completely modelled [in pretty much every aspect] on actual editor for this book, and great mate of mine, Dan Hill. Yet again, this scene provides Bucky with someone else to bounce off, but this relationship very obviously feels different to me than Bucky with the coroner or with Walter. There’s actual respect at play here, subtle, but there.

I’ll also make no bones about the fact Dan calls the killer the ‘actor’ and I stole that term from Richard Price who I first saw use it in FREEDOMLAND [a great book, though not his best, that’s still THE WANDERERS].

PAGE FOURTEEN

I dig that Sami went for tall panels on this one, it shows his range when using the tablet page. He’s so good at fitting everything in there and never really feeling crowded.

This two page scene with Dan shows me how much stuff I was burning through in this issue. All overall scenes were mapped out as 4 pages, so two print pages, and this interaction with Dan moves the needle a little and it’s only 2 tablet pages. I tried to get into scenes and bounce out. Partially because the genre demands it, but also because I figured if this was to be a one-shot then I could not dilly-dally, I needed to get things on the page and then move them off. Shit had to be done, so you rocket through scenes, you strip back, and you make shit happen.

This inset panel around the phone was possibly the first inset panel I ever scripted. It’s a device I love to use, I think I first consciously recorded it into my brain from Aja on his IMMORTAL IRON FIST run. Having the phone vibration in the panel gutter is just sublime.

PAGE FIFTEEN

I mean, look at this page, there’s no waddling about, it gets in, gives the info it needs, in a nice and interesting way, and it moves on. I know I didn’t script #2 as tightly, mostly because I knew it’d stand on its own but also form the middle of the triptych I knew I could build. I mean, and this is a long bow to draw, but consider THE EMPIRE STRIKES BACK, there’s no need for it to completely pack in and tie up as much as A NEW HOPE did because it comfortably knew it was the middle of the trilogy and it could lob up balls that wouldn’t be swung at until 3 years later in RETURN OF THE JEDI.

I’d love it if all 3 issues were this tightly plotted and delivered, but the 4 tablet pages per scene/sequence rule set up here was actually very hard to do because I was constantly trimming panels and refining dialogue and getting it just right. The next two issues I got to let the characters have moments, to take breath, and that in itself was another kind of challenge as well as favour.

I just scripted something about ‘white noise’ in Bucky’s caption, but wasn’t thinking it’d be actual final dialogue, but then Nic grabbed the idea and put that tv white noise screen into a kind of thought balloon and I fell in love.

PAGE SIXTEEN

Those envelopes are there purely to set up his escape in the third act of this issue. I wanted to seed this idea that people hated Bucky, like a kind of subtle racism going on, and that’s why he got shitty letters and eventually an assassination attempt via the cake. I don’t know who sent the cake specifically, but I know I’ll continue to use this idea in future tales [if we get that chance] because in today’s global climate, well, of course there’d be people who believe Bucky is an abomination.

The cereal test is a phrase used in newsrooms to gauge whether news is fit to print in the newspaper, or on the front page specifically, because if someone can’t stomach it over their morning cereal then maybe it’s a little too far. It was a term I dredged up and filed away in the very early stages and it definitely stuck so I’m glad I got to use it here.

When I started in on this book, I googled around for information about deer and journalism. I like to believe that’s what BKV does before he starts anything, too, so he can drop factoids into his work and look smart. I look smart, right?

CHAPTER TWO

Boxing references will always win out. Chess a close second, but boxing is just the greatest metaphor to strip. Plus, I find boxing fascinating. The idea it’s this gentleman’s game when it’s the most brutal form of competition you can imagine, and yet it does hold this rarified air, which fascinates me in its duality. I like duality. The way things are and aren’t at the same time is an endless source of inspection for me.

PAGE SEVENTEEN

I love Randy, he’s just one of those scenery chewing characters everyone loves to write because anything goes as soon as they open their mouths. I think I scripted the shirt but that hair is all Sami.

I scripted this grotto scene, because of course Randy rolls like this, but forgot this was set in a deep Shane Black winter. So Sami drew in those column heaters around the place and it’s such a glorious save and solution from him, but it also says a million more words about this guy and his place, and everyone else there, that I never would have known how to string together. Those heaters are one of those pure blinding collaborative moments that you wish for every time you hook up with an artist.

I’ve also realised that Randy is introduced with that thick black background behind him and above and I’m realising Sami also introduces another character in the third issue in the exact same way. I will have to keep an eye out for this trick now, because I love it, and want to be able to script it so Sami knows I pay attention and I care.

PAGE EIGHTEEN

Bucky being annoyed by the ‘horny’ comment and correcting to antlers was something that came into the first draft instantly as Randy’s introduction and it never swayed. I love it when a moment comes to you fully formed and survives all the edits and drafts and you still love it two years later.

So we’ve just met Randy and we’ve set up that he obviously knows Bucky, and now we push into Bucky getting to what he needs, and then we build to the page turn.

PAGE NINETEEN

The absinthe comment I like, but something about it, like 5% of it, just doesn’t quite click into place for me. I can’t even put my finger on it, and I dig 95% of it, but that niggle remains. I wish I knew what it was.

Bucky pretends to be drunk enough to just wander on by and the driver from earlier pulls a Lando reveal so we know he’s there. I love the Lando reveal.

PAGE TWENTY

The simplicity of this page, the way Bucky has played the angles, and pulled an audible when the guards where there and he knew they’d know him. I like writing Bucky as the smartest guy in the room. Sometimes.

I’m also astounded at how much Sami put into this page. From memory, I edited this page heavily down from 5, or maybe even 6, panels. Now, the door kicks and we cut straight to them looking out the window – I trust you’re smart enough to imagine them crossing the room in those gutters.

Then Bucky leaps off the roof and my heart swoons. This panel was one of those perfect collaborator moments where I realised I was in love. The body language, the silhouette, that snow, it’s all perfect – it’s also got that DARK KNIGHT RETURNS vibe rolling on and who doesn’t dig on that?

PAGE TWENTY ONE

This establishing shot is yet another one of those moments in my writing career where I worked out that artists work way harder than writers. This panel is ace, and no small feat, and it’s also beautiful. All Sami.

Whereas the second panel is a true marriage, my idea, but it totally relies on execution to work, and Sami’s character designs, even for the background, are always so varied and intriguing that I knew this would work. And it totally does, playing the scene out, giving us what we need, and other things.

This panel/page is an exemplary reason of why I like comics, and why comics can do things that only work so well in this medium.

PAGE TWENTY TWO

The mechanics of making this page work are all on Sami. Fitting the gun in the hand in shot, showing how the gun is hidden, using that middle gutter to split Bucky but not move him. That’s all Sami problem solving the page of script I gave him.

I also love how Bucky cuts through the shit. He’s straight up, and I think that’s a reflection of how I decided to script the book. If scenes are short, there’s no time for ball tickling. Bucky has to move things forward, constantly.

PAGE TWENTY THREE

Now, this gutter divide I did script, so the reader wouldn’t instantly look down, they’d be locked on the guy with the gun in Bucky’s neck, and not glance out of that panel. Then we follow down and realise he’s not in as much danger as you might have been feeling.

Again, notice this guy entered scene only last page, and now he’s gone, having played his part, and the next part of the sequence is about to hit Bucky.

That breaking a story/story breaks you line is another one of those things you jot down early on in the research phase and you know you’ll find a place for it. This one I’m 100% happy with.

Though, strange fact, I initially gave the guy grawlix as he ran off in that line, then I realised all the other shit that goes down in this issue and can’t remember why I thought I’d need grawlix, so you’ve ended up with the full F swear. I hope you’re happy.

PAGE TWENTY FOUR

I love the black panels, the pause for the words to soak in. It’s a cinematic device to me, the voice over on the black screen before the fade in [or after the smash cut out – or both in this case] but it’s also something that plays different in comics because we aren’t used to having panels devoid of illustrations. So white strips, black space, other colours, I’m having a play with all of them over time.

I seed in the girl’s jasmine scent here so I can speed up her next scene.

PAGE TWENTY FIVE

The first panel here is set up to capitalise on the hate mail Bucky gets and deliver the coup de grace – the poison cake for later. But look at how Dan delivers it, he knows it’s from Bucky’s hater and yet he’s still all smiles about it, and Bucky is not. In this panel, I’m squeezing in Chekhov’s cake as well as showing the difference between these two men – one optimistic, one pragmatic.

Having Dan hack into someone’s email and then discover someone else is also hacked in there and deleting stuff at the same time is actually a thing I’m quite proud of. Him taking screenshots and getting what he can before it all disappears seems like good journalism to me. I usually don’t feel inventive or even smart enough to come up with cool stuff like this, but this one time I feel like I nailed it.

No, I don’t know how Bucky uses an iPad with those nails.

PAGE TWENTY SIX

We have both Bucky and Dan off to chase the next lead, Dan exits, and then the next piece walks in.

This close up of Bucky with the nose bandage, blood showing through it, is my clearest nod to CHINATOWN. We are forever in debt.

The scent moment pays off, and we get one of those good panel/caption ellipsis hold overs. Even better on a page turn, but in this comic it’s all about compression.

PAGE TWENTY SEVEN

I never have Bucky hit her back, he never lays a hand on her. It’s all restraint.

This moment is one of those reversals they say you should do in your stories. Give the character something good, and then take it away from them by making it into a negative. It’s supposed to keep the audience on their toes, they say.

But I’ll be honest, as much as this helps the plot because ‘Jasmine’ here has clearly been affected by something/someone, it’s all just set up for the next page.

PAGE TWENTY EIGHT

Bucky flipping Jasmine over and then pinning her to the wall with his antlers was another one of those things I wanted to see the character do from early on. Antlers would have to be a great restraint, despite the fact Jasmine could be kicking Jesus out of him with her legs, surely.

I also like that Bucky stops her without hitting her, and also flips her completely over his head, somewhat hinting at his levels of strength.

A lot happens in the gutter between these two panels, and initially I scripted it with way more beats so the reader didn’t get lost, but here I think anyone can draw the connection easily and surmise what took place in the gutter for this transition to make sense.

PAGE TWENTY NINE

I think this is the only full half page split vertically and silent. There’s no ‘huge’ reason why I left this panel silent, I just didn’t think any caption/V.O. was needed when his body language sells it all so truly.

Then we catch up by having a talky panel next, the cop and Bucky, sparring, and Bucky getting in his great last line. Bucky, to me, truly is a man from an older time.

PAGE THIRTY

And yet, despite Bucky’s reticence, and his shot back, the cop is fine with him. I’m hinting at larger world connections where Bucky clearly gets on well with the cops – until he stops being helpful – and they’re gonna treat him relatively straight.

Bucky writes on the notepad and I’ll cop to me doing this to ensure everyone followed me along for the next two pages. I wish we had Bucky write more on that notepad. Oh, well, live and learn.

PAGE THIRTY ONE

This whole locker thing is a personal riff on the locker used in GET SHORTY. How I don’t have Dennis Farina in this comic, as a cameo, just baffles me now.

It took me forever to work out a way to script the fact that Bucky already had a copy of the key made. I must’ve scripted it as like 5 panels and I slowly pared it down and now I’m really happy with how it’s all landed.

PAGE THIRTY TWO

The call in by the flunky is a textbook move, so I coupled it with the enigmatic darkened figure in their study plotting danger. I love his gramophone in there.

I fill this page with text but don’t actually show what’s in the bag. I think that’s a rookie mistake. A little touch of what’s there, a hint, something would have felt a little more complete. Though I do like the slab of captions juxtaposed against his one word.

And you can see here that these chapters really end on little breaks, a chance to get up and stretch the legs.

CHAPTER THREE

This quote has become the back cover quote for all the print versions and I kind of dig that. I think going through your issue and highlighting the lines you think are top shelf, the ones that sing, that sum up the theme or tone of the piece is a fun exercise. Especially if you can’t find one, because I think that says a lot.

It would probably be a good exercise to go through the comics of others and try to find that one line. I liked how Hickman’s FF run had those quotes on the front cover for the first little while.

PAGE THIRTY THREE

I love the building of The Truth. Sami doesn’t really know it, but the building he drew looks like it came straight out of my childhood, it feels like something I know, and that pleases me so very greatly.

A nice silent page, captions aside, that ends with a click. I’m trying to build tone here, I’m hoping you are a little worried. I’m also hoping you dig my whole tree metaphor. Sometimes I feel like I nail a line and that final line here just wraps up so much of what I want to mean about it all.

PAGE THIRTY FOUR

I hate the word “ain’t” – I always teach my classes that ain’t clearly isn’t contracting two forms of anything and as such it needs to die in a fire. But. I will put the word in the mouth of a character because I think it says a lot about someone if they use it, and also when/where/how they use it.

Again, the ominous tone on the page, the way the thug just walks in and sits down so confidently. It’s the way he carries himself that matters, not what he says. Which is why he says so little, and it’s not a threat. This is just matter of fact business for him, and that’s the biggest problem/sign.

PAGE THIRTY FIVE

I’m not one for writing a lot of tough guy dialogue, but I clearly hear this guy in my head and it mostly rings true. I can see/hear him going through these motions. I also had to work hard so it felt organic enough that Bucky would be able to introduce the cake into the scene.

Why did Bucky keep poison cake on his desk? Well, y’know, just in case.

PAGE THIRTY SIX

He’s saying no to the cake as he accepts a piece of it. That right there says a whole lot about this guy. Then the way he shrugs off his doctor. I like that he has a doctor, that he’s got problems. After writing this page, I felt I knew him a lot better.

Oh, look, Sami dropped another one of those half ink backgrounds.

PAGE THIRTY SEVEN

Did you know deer process toxins differently than us. They do it better. So I figured with Bucky being the weird hybrid he is he can have all kinds of special ‘powers’ and one of them is the ability to really shrugs off toxins.

The caption about them finding his body in the car was a scripting gaffe I tried to fix and failed. It’s meant to imply that Bucky is going to drag the guy down to his car and it was put in there after the art came in and I realised that him leaving the poisoned body on the press room floor might not be good for business. But the art had already come in. I tried to script around it, but nothing fit. Not even what I ended up going with. One of my biggest failures in comics, though it doesn’t kick in the guts as much as I thought it might. Huh, maybe time does work.

Wait, why is the Leaving City sign visible as you drive into the city? Man, I scripted that, this page is not my friend at all.

PAGE THIRTY EIGHT

Randy is so deplorable, it’s fun to write. Though it makes me look like kind of a hack, I’ll admit. Or, I’ll admit to worrying about.

I like that Bucky ignores his surroundings, he’s literally just there to hide out and do his job.

This set up to the page turn says a lot about who I think Bucky is…

PAGE THIRTY NINE

Y’see, Bucky’s an arrogant. Fool. He just rushes in, thinking he’s got the info so he’s untouchable. It’s a fool’s play, but it’s the kind of thing people do a lot before thinking all the pieces on the board through. And while I think Bucky is a great journalist, this story is also about him being overly sure and missing the story. It’s about his fallibility, and how he has to fix it.

PAGE FORTY

There are a lot of throwaway lines in the captions that explain away the need for extra scenes, or pages, or even panels. I don’t want to show Bucky threatening the mayor with his story leaking upon his death to establish that Bucky isn’t going to die here. I throw in mention of a ‘standard journalist/scumbag deal’ and it tells us all we need to know. Most of us have seen crime fiction where someone’s information will leak, to the police, or the public if they die or don’t check in by a certain time or use a specific code.

Mayor Jackson also not being worried about Bucky should be his first sign he’s stepped into the brown and smelly. But Bucky doesn’t read that stuff, sadly for him.

PAGE FORTY ONE

Nothing says cocky like ‘telling your villain how it is while munching an hor’s douvres’ cocky. Though Mayor Jackson’s ‘laughing in the face of this shit’ cockiness comes close.

PAGE FORTY TWO

Having Bucky walk his stupid ass right into the trap was a big moment for this book. I think like the pulps of old, I wanted this fallible hero, this fool, who mostly just stumbles into the right things while being beat up for the wrong things, and this page/moment was perfect for that. He never should have gone back, but here he is and here’s how they treat him.

And you’ll notice the crowd doesn’t care. No one ever questions anyone in power, they let all sorts of shit fly.

PAGE FORTY THREE

And with that, the Mayor spits on Bucky [metaphorically] and has won. Because it’s always darkest right before the dawn, right?

That placement of the “I’m an idiot.” caption is just genius from Nic J. Shaw because it’s almost hidden, and a lazy reader will skip it, which they can and the book will still work, but as an aside beat this works perfectly.

PAGE FORTY FOUR

Huh, I just realised Bucky goes to sit on his car and stare at the horizon to centre himself exactly like Standard does in CHUM #2. That’s subconsciously weird – though I do like to sit at the surf and just look out, so I guess it’s me projecting my own safe/calm place. Who knew that happened?

Bucky drives a convertible because of course he does.

This page is Bucky gathering himself and then firing himself into the final launch, but it really doesn’t read as too stirring. Nope, not at all. When you are supposed to be asking yourself what does each scene/page do, why does it exist, I may have failed on that one. I mean, it allows for the transition to get him to the house, but I think it does it poorly. There should have been something else that sets him in that direction. Lazy.

PAGE FORTY FIVE

In the first script, Bucky drives up the street, he screeches his breaks, he reverses towards the woman, and then he gets out. It was just too much. Having him screech his tyres here – subtle as it is – is more than enough. Eliminating that ABCD storytelling and just dropping crisp single letters is the most important aspect of editing/rewriting. Well, it definitely was for a younger Ryan still wobbly on his green legs.

This page has much better build, it goes a new place, builds a new tension. Much better, more effective for the reader.

PAGE FORTY SIX

A big conversation – that took a long time to edit just right – and another build to a tense moment. This final scene at least hits a decent stride.

The idea he can smell and hear the tiniest things that hint at truth, lies, etc means Bucky is my antlered Matt Murdock, and I’ll never shy away from admitting he totally is. I mean, they are actually two very different men, but that idea of the truth at their core, and many of the abilities, is totally swapping over and that’s no accident.

We end on a boxing term, because of course we do. I’ll run out of them eventually. Or I’ll just study harder to find more obscure ones.

PAGE FORTY SEVEN

I have Bucky react to what he’s figured out, but I consciously chose for him to not tell us. I didn’t want to completely spell these things out. He mentions it about ‘family’ in the second panel and I’m hoping people make the connection, especially if they’ve worked out how much of an influence CHINATOWN is on all of this.

The tiny ‘PFT’ sfx pepper the page, the blood blooms on her coat, and, again, the reader is expected to keep up.I really went back and forth on whether to be so obtuse, but in the end that’s the kind of thing I like to read, so it’s mostly what I’ll always write. There’s nothing wrong with a reader having to do a little work.

PAGE FORTY EIGHT

We end on a splash, and this moment was always the point of the issue. Bucky is so certain, and he finds the connective tissue he wants, so he takes it at face value and assumes he’s nailed it. But that’s just not how it works, so he’s overly confident and it gets him shot.

Then we end on that red bar, mostly because this was a digital only Kickstarter campaign, and you can do whatever the hell you want with a PDF so putting that red panel isn’t going to alter print prices or specificities so we went ahead and did it.

And that’s the end.

BACK MATTER

THE TRUTH by Ryan K Lindsay – an essay

I often bang on about how I wrote this comic on my phone while walking the summer streets of my neighbourhood at night with my baby daughter strapped to my chest.

I mention it a lot because it was my moment where I realised I would not accept excuses from myself. It was when I realised I was a writer, and always would be. It was a nice feeling to just power on, despite the world seemingly telling me I couldn’t at that very moment. The world’s a dick, what would it know?

You find yourself in weird places, you have weird places you find within yourself, and if you wanna make those two things connect and make art – then you can.

DEER EDITOR is one of my favourite things to have created, partly because of what it is, partly because of how I did it, and partly because of when it came about for me. But mostly because it started Sami Kivelä off on a relationship that’s lasted a very very long time, and only gets better with age.

I hope these thoughts have been of some help.

CHUM tpb in stores now

The surf noir miniseries from Sami Kivelä, Mark Dale, Nic J. Shaw, and me – published through ComixTribe – lands in stores globally this week.

chum-tpb

Be sure to hit up your LCS for this complete crime comic from the smash hit pairing of DEER EDITOR, and the forthcoming BEAUTIFUL CANVAS. The book is sleek, it’s cheap, it’s gorgeous, and it’s all of our hard work and love of pulp crime wrapped up in the one package.

If you’re a fan of the Phillips/Brubaker library, old Gold Medal crime paperbacks, or TERRIERS, this book will be your jam.

You can download a 24 page exclusive ashcan preview of the series here – LINK

You could drop us a rating/review on Goodreads – LINK

You can scope out our reviews, as we sit on an aggregated 8.5/10 – LINK

You can read my annotations for CHUM #1 – LINK

Let us know what you think of the final product, buy a few for Valentine’s Day, and have a good week.

CHUM_Cover_01

 

%d bloggers like this: