Without Fear

Ryan K Lindsay – Writer

Tag: christopher kosek

RKL Annotations – HEADSPACE #4

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Shane tries to do the right thing. He’s racing to protect someone. But he finds so often the world and many of us in it do not want to be saved. Then there’s Max, who doesn’t really understand what’s happening and here meets the woman who set him on this path, and what she wants him to do.

This issue is the midway point of the story, it’s a character study, and it’s also a place where the narratives of Shane and Max change gears, one going up, the other down a gear.

HEADSPACE #4 – get some

COVER

We finally get to the white themed cover. I like the way Eric laid out this Max composition. It’s nasty and oppressive, and feels like when Dave Johnson uses design to get across concepts present behind the story. Those piled bodies, man, damn.

PAGE 1

If you end the last issue with a cyclopean ogre creating some trouble you can be damn sure we’ll open the next issue with more cyclopean ogre shenanigans. Poor Shane here isn’t loving life. He should just be glad that club swing isn’t liquefying his bones and splattering his skull across the pavement. I love the way Eric has him breaking the panel wall – totally not scripted.

I keep looking at this ogre’s necklace and wondering if those little pendants mean anything? This is proof artists work harder than me, I bet Eric has a whole backstory worked out for that necklace.

PAGE 2

This is all just Gulliver’s Travels. The real one, not the Jack Black one…the Ted Danson one.

I’m also fond of that final line.

Oh, and this whole scene is to show that Max’s mind is busy, constantly, dealing with his demons. The Maxs here ignore Shane because they’re busy with something bigger. I wanted to have a moment where Shane sees he’s just a passenger in this huge opera.

PAGE 3

I think Eric transitions this page beautifully into the flashback but I’m still worrying I didn’t land this page just right in that structural way. I hope the emotion rings true, though. A man’s inability to cope with insane levels of feelings is certainly a real thing.

PAGE 4

That panel of Shane sitting and looking at his punching bag says so much and Eric slays with that body language. This is a man completely lost, completely helpless, completely stuck inside his own form which is unable to express enough to cope with what he’s got. All I can say is, I hope I never lose a kid, because I fear I’d be as useless as Shane is right here.

PAGE 5

Now we cut to Max’s story. I hope people don’t mind that rhythm. Some Shane story, another peek at Max, then back to the Shane narrative engine. I’ve crazily liked plotting out the story in such a manner, trying to find the right cut points. It’s been fun.

Do you know why I’ve named the bakery that? A No Prize for anyone who gets it – I don’t think it’s that hard.

And now look closer at that paper. The first headline relates verrrry tangentially to the overall plot, but that second headline, well, that second headline is continuity, son.

Oh, and she totally speaks like Death’s Head, yes?

PAGE 6

Yeah, so this sequence is talky. I feel bad for Sebastian, you should see the script pages.

PANEL TWO

Lois talks.

PANEL THREE

Lois talks at max.

Etc,

It surely wasn’t fun to draw but I wanted this scene to be static. So many other scenes aren’t so I thought this one could really slow down because I want you to pay attention to what Lois says, and how she words it. This is all very important and it all comes to a head next issue where a huge bombshell is revealed. This leads up to it.

I love the way Sebastian created Lois. She’s a very good looking character.

PAGE 7

My Blue Heaven, ha, I couldn’t resist. That’s the sort of line I could never cut.

I’m a sucker for a silhouette on a clear background.

PAGE 8

I loved writing that Lois would be open enough to Max to admit she doesn’t care about him, this has never been about saving him, and that she wants to use him for his specific skill set. Lois is not very nice but at least she tells you upfront how she’ll be.

Who is Zara Blackwell?

PAGE 9

Quick, go open HEADSPACE #2 and look at pages 7 + 8. Notice some of the slick parallels Eric drew between this sequence and that one? Yep, that’s all him. He’s just that goddamn good.

I really hope people think I could and would kill a major character here at this point. I hope people turned the page genuinely not knowing what they would find.

PAGE 10

To be honest, I’m sure people got that the kid was Max pretty early. Thinking I’d obscured that was probably a little false hope, but I like this reveal, the fact it was a Max memory all along, and there’s nothing Shane can do about this scene, it happened before, will always happen, and that’s just the way it goes down. because, as much as we all knew it was Max, Shane has been on the run through this insanity for about an hour, I guess, so he wouldn’t have known. Shane genuinely was trying to save someone and now he’s thinking maybe he’s inside an unsavable man.

That face comparison between two panels was scripted, but Eric is the mastermind who made the father’s face so much wider and more imposing.

PAGE 11

This page for me is how good collaboration lifts the work. Eric nails that look of horror from Shane, as well as the red background. It’s very reminiscent of the first issue’s last page.

Those SFX really came out well and get punctuated by Young Max really enjoying himself in that final panel.

PAGE 12

I don’t script splash pages often, nor do I do silent pages often. This page clearly means I want you to stop, pause, put yourself in Shane’s shoes, get comfy, realise you can’t because Shane’s life is permanently uncomfortable for the foreseeable future, and then wonder what you would do next in this situation.

I also scripted that specific statue into the page. Who is he and what does he signify?

BACK MATTER

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

HANNIBAL has become something I can barely stop thinking about. It’s enthused and inspired me to no end. And with so many TV properties gone four colour funny book lately I can’t help but think a HANNIBAL book cannot be far off.

Go watch OFFSPRING. Seriously, do this.

Barely any #headspacecomic tweets so I guess I can retire that thought experiment that only served to make me think I have no readership. Funnily enough, every time I put out the call for tweets, I’d get a 5:1 ratio of RTs to actual use of the bastard thing.

ESSAY

Dan Hill drops more narrative fuel on your fire, while also subtly hinting at themes of the book. The government can suck hard sometimes.

PIN UPS

Man, Sami Kivela has me wanting a Carpenter Cove sheriff’s badge so bad. I love his use of yellow here, the man is a master.

Then we get Justin Greenwood and Marissa Louise bringing some cover level insanity to the game. Justin really went full out on this one and he works so much into it. The man is great, so no surprise he’s doing so much rad work right now at Image and Oni.

Another issue down, and the halfway mark reached. I hope you are as excited as I am. #4 was our crowning achievement and I am so incredibly proud of it, but be prepared for #5 which will punch you straight in the gut, then on the bridge of your nose, and then repeat the experience until your eyes fill up with tears. It’s going to be a dark ride.

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

We’ll see you for #5 real soon. Til then, thank you. If you’ve made it halfway, you deserve a pause, a beer, maybe a counter meal down the pub with us, and it’ll all happen, in good time. Thank you.

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HEADSPACE #4 is on ComiXology

You can buy and download HEADSPACE #4 right now!

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HEADSPACE #4 with art by Eric Zawadzki, Sebastian Piriz, colours by Eric Zawadzki and Marissa Louise, letters by Eric Zawadzki, back matter and edits by Dan Hill, back matter design by Christopher Kosek, and written by Ryan K Lindsay is the halfway point of the whole story, and in it we stop and really assess Carpenter Cove and the madness around Shane.

This issue is something I’m incredibly proud of, it’s our best to date, and it’s a gut punch of a character portrait so I hope you get it, hope you dig it, and thank you for sharing the link, talking the book up, and giving us feedback.

If you are on the fence, I present a glowing preview of this issue by Tony Esmond that should bring you into the fold: CLICK HERE FOR WORDS.

DEER EDITOR KS – RADIO DRAMA

DEER EDITOR – a tablet crime comic about the editor of the crime beat who’s also a deer by Sami Kivela, Nic J Shaw, Dan Hill, Christopher Kosek, and myself – launches on Kickstarter in under a week.

I dropped the main beats on that earlier this week – click through for the downlow, the basic book pledges, and a preview of some pages.

Today, we talk about the pledge that is my favourite, the pledge I’ve never seen offered before, and the pledge that could get us across the line if people want some good times, are willing to take a gamble, and have a heart. I give you:

$20 – RADIO DRAMA

Ryan will record the entire issue as a ‘radio drama,’ with audio files sent to you. Comes with BROADSHEET PDF + RKL SCRIPT PDF.

Dear lord, I’ve been wanting to do this for years. Now, take into account, this won’t be some slick production, but man alive is it going to be fun to do. I just hope I have the voice to carry such an activity. The SFX from my mouth might seem suspect at first but I’m certain they’ll win you over. For me, this is the heart of this campaign. If you’re looking to really support with your money and get something rad in return, here it is. Enjoy.

To listen to a sample of what the radio drama will be like, check this video here.

 

I am crazy excited to do this. It could end up terrible, who knows, but man alive it’s going to be fun. I really hope people dig down on this one hard.

UNDER ONE WEEK.

You’ve got yourself under one week to get excited, tell your friends, ask me questions if you want, and generally bring the ruckus. We launch next week, on Monday/Tuesday (depending on your relationship to the international date line), and will run for a month. All updates will run here, some updates will run at the DE HQ, deereditor.tumblr.com

Keep up with the story, don’t get gored.

DEER EDITOR KS COMING SOON – RKL SCRIPT PDF

DEER EDITOR – a tablet crime comic about the editor of the crime beat who’s also a deer by Sami Kivela, Nic J Shaw, Dan Hill, Christopher Kosek, and myself – launches on Kickstarter in under a week.

I dropped the main beats on that yesterday – click through for the downlow, the basic book pledges, and a preview of some pages.

Today, we talk about one of my favourite pledges from the upcoming campaign:

$7 – WEEKEND PDFs

That’s right, TWO PDFs. One is the BROADSHEET PDF, and the other is the RKL SCRIPT PDF, feat. scripts of MANY of my other projects.

The extra PDF will contain scripts to:

HEADSPACE #1-3 — THE MANY HAROLD HOLTS OF SPACE AND TIME — LOVESICK — SURVIVOR — My shorts for the OXYMORON +SCAMthology books from ComixTribe — JONBOT V MARTHA – the guest one-shot strip I wrote for the SICBA award winning Colin Bell and Neil Slorance’s webcomic — LITTLE MAN IN THE BIG HOUSE #1 – a short story about a prison for supervillains that is in the works — YELLOW – a short story I have coming soon — CAPTAIN HUMAN THE ROBOT, both the All Ages Edit and the After Hours edit — CURRICULUM #1 – a forthcoming sci fi tablet periodical — and a few other projects, as well as whatever else I can find floating about that isn’t terribly embarrassing. It’ll be worth easily over 200 pages.

I love reading comic scripts, they certainly help hone my own writing, so I hope some process junkies out there really dig on this beast of a package. I know I have pretty much every script available to download online so I’m always keen to see new stuff pop up, I hope you are, too. And it’s been fun to read through these old time capsules of my talent (imagined, and nascent, and never quite real, ha). This PDF is going to be monstrous, and if you like it, you’ll love it. You also get a peek at things coming down the pike, so that’s exciting.

UNDER ONE WEEK.

You’ve got yourself under one week to get excited, tell your friends, ask me questions if you want, and generally bring the ruckus. We launch next week, on Monday/Tuesday (depending on your relationship to the international date line), and will run for a month. All updates will run here, some updates will run at the DE HQ, deereditor.tumblr.com. Tomorrow I’ll run details of a high end pledge level, one of a kind, some original art.

Keep up with the story, don’t get gored.

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RKL Annotations – HEADSPACE #1

HEADSPACE #1 has landed on ComiXology and I could not be more proud of the work Eric Zawadzki, Chris Peterson, Marissa Louise, Dan Hill, Chris Kosek, and myself put into this beast. This is exactly the comic I want to read as well as create. This is my best work, to date, and as such I wanted to unpack a little of it for/with you.

I hope you dig process notes… 😀

COVER

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This wasn’t the first cover we had, nor is it the one we pitched with. That cover was good, this one is great. We were happy enough with the first cover but I think we all knew we had to launch stronger than that. I blame Ibrahim Moustafa and his insane work on the HIGH CRIMES covers each damn issue. So Eric went back to the drawing board and came back with this beauty. I love the angle and fishbowl style Eric brought to this new one. I love that both characters are represented. But mostly I love the colours, man, those beauties pop from anywhere in the room. This cover is truly iconic, hence me using it for all that pre-press and behind all the quotes. This cover is something to behold.

I also found out, and this was only once we launched, that the cover works beautifully as a thumbnail on the ComiXology landscape. It stands out from the crowd, is easy to decipher, and Ryan Ferrier’s simple and dirty logo is readable at any size.

PAGE 1

When I wrote Panel One, I was firmly thinking of Dan Hill’s Opening Contract column. I guess you can tell why, and over time it only becomes more of a solidified thought.

I like in media res. I kind of hope the audience doesn’t mind it. We don’t show the crime, we won’t show the crime, this isn’t what is important. Shane’s reaction and actions are what are important. I wanted to drop a fair bit of exposition into this first sequence but have it all be set in a sequence that also meant something else. Everything that happens on this page comes into play later. It is also a Rosetta Stone for the Shane character and what he’s all about.

When I first saw this page, and the first panel with Shane in it, I was floored by Eric’s design of him in action. He’s so damn good.

PAGE 2

More exposition, basically because I want the status quo of Carpenter Cove established as quickly as possible so I can go about destroying it. I feel like other books/creators would have made these first pages the entire first issue, and established this world and these characters and then ended with the cliffhanger of things going all crazy. I couldn’t tread that much water. I do it in 5 pages and then get into the gristle of the tale. Again, I hope the audience doesn’t mind. I like a story that doesn’t muck around.

Also, this sequence was initially written to showcase Shane, his stance, his actions, and his place in the Cove. But then as we broke the story I found a piece of this sequence and got to mine it for a moment later that’s just superb and I wouldn’t have got there if this sequence wasn’t already written and drawn. That’s some crazy narrative fu chaos theory at play.

PAGE 3

This page was written in because after some shuffling, I had a page to spare. And I am so damn glad this page got to exist. This page is just something else. That horizon. Those subtle circles in the water. The space. This is Eric just doing next level stuff. And interestingly enough, he thumbed a first pass at this page that was completely different and it’s one of the very few times I’ve ever asked for something to be changed and I’m so glad we did. His other thumb looked insanely good but it wasn’t carrying the emotion I wanted to convey. It was doing something else entirely, and doing it well, but it wasn’t where I wanted us at this page.

PAGE 4

Introduce Max. Man, if you didn’t dig the in media res of the first 3 pages then you’ll hate the entire Max sequence. Basically, no real information is given here. We don’t know who’s talking. We don’t know why. We don’t even know who Max is. And that’s kind of how I want you right now. Just rest easy knowing I know, and you will, too…soon.

Also, how good are Chris Peterson and Marissa Louise together? I feel like I’ve paired these guys up and now someone else is going to steal them and use them elsewhere and I’m going to die of jealousy. And out of this whole page, which I love immensely, I can never get past that raised hand in Panel Two. It’s just so good.

PAGE 5

There’s kind of a big hint to something on this page but you won’t even know where to start looking for it. Good luck.

I don’t even know what to describe those demon monkey creatures as. That’s all Zawadzki.

So is the curvature on those buildings which just gives the creepiest effect.

I still worry that those two ellipses in that final caption are too much. Oh, well, we must let go of our art.

PAGE 6

I love this page. This was the page that finished out our original pitch package and I think it’s such a strong beat. I originally wanted to show the spectacle of what was happening in the Cove and then I realised this all takes place in a brain, why not show Shane as well. That’s when the flying speed racer bike came into existence. I realised we can play with this landscape because why not? The Cove can and should be able to do anything so I gave Shane this crazy hover craft purely so he could witness what I needed/wanted to show the reader. From here, the bike has been a reminder to always drop the pulp when I can because it’s fun and creepy and better shows the Cove for what it is.

As for the destruction in that big panel, man, isn’t it gorgeous? It looked great when we pitched but then Eric went over it after we got the greenlight and added even more insanity. That’s the sign of Zawadzki’s gift/talent/madness, he’s constantly wanting to refine to make it even better. And there’s one little thing in there that I saw and then instantly wrote into #3.

PAGE 7

The pacing on this page came out so well. This page is a masterclass in visual storytelling, everything progresses so damn well. And a lot of that was because of Eric. The whole use of that gun, and how perfectly its motions track, are on him. All I did was ask for the creature to be somewhat guided by Q THE WINGED SERPENT and I wanted those birds to look black because it felt creepier in that panel because to me they look like black pigeons, not ravens or anything.

I am also far too proud of the line: “Carpenter Cove always felt a little strange…but never like it was trying to kill us.”

PAGE 8

I wrote this page a few times. I wanted to get across that with whatever this is happening in the Cove, Shane is getting his memories of the real world back. This is where they start to bleed into his brain. I wanted it to be clear but not like I was spoon feeding. Treading that line is harrrrdddd.

I dig the hoodie Eric gave the fire escape victim. Like some sort of updated Freddy Kruger hipster chic.

PAGE 9

Eric designed the whole middle of the page/flashback sequence. Again, Eric knows what he’s doing, I just have to stand out of his way enough so as not to hinder him. Again, I wanted to fit a lot into this page without destroying the frenetic pacing we were building. We should kind of be as abused and bashed around by these memories as Shane’s frantic mind no doubt would be.

And then we end on another line I am proud of.

PAGE 10

Man, this bar. This. Bar. To me, this was Eric’s crowning achievement. This is proof he can world build and stage and deliver. This is my favourite location in this issue. Maybe even in this book. Look at that detail.

And then there’s Gil. Man, Gil was a kooky idea I cooked up – see the flying bike rule – and he made me smile but then Eric breathed life into his form and my heart was stolen. You can expect the Gil prequel comic – BEFORE HEADSPACE: GIL’S WAGER from me in 2015 🙂

Seriously, who wouldn’t love Gil?

PAGE 11

We finally cut back to Max and here we really see some of his true colours shine through. He’s a killer. Someone easy with dealing death. The ease with which he enters the fray was written to say a lot about him through his actions. He doesn’t get internal captions like Shane, and he doesn’t need them.

The pacing of this shootout is so damn fine and it’s all on Chris, and the progression of Marissa’s colours from yellow to orange to red won me over the instant I saw them in the dropbox.

PAGE 12

This page appears to be just moving the pieces but I also wanted it to juxtapose against the previous violence. This is Max in another gear. We don’t understand it but we should note how different it all is. And I love how Chris sells Max’s movements and face, and then Marissa drops that green water and it should be a postcard…but we know it isn’t.

PAGE 13

I hope this page confuses you. But I also hope you remember it. It’s all important.

I love the movie THEY LIVE so much.

I also dig how Chris + Marissa fill a crowd, such unique individuals.

PAGE 14

I asked for that weird little inset panel and Eric really slays it. It’s this weird deadend of storytelling, if you think about it, a sideroad that leads to a freakshow attraction but then you have to drive all the seven miles back onto the main road to get back on the path you need to be on. It’s an appendix of panels, and it is fit to rupture.

When Gil drops that line about John Sayles, man, Eric nailed the facial expression on Gil right there. That’s quality acting. The whole page is as Gil drops truth bombs.

PAGE 15

This reveal, of sorts, of the bar and the Cove is a very Twilight Zone sort of moment. I hope. This is where Shane kind of realises he’s in the story. And he still isn’t given all the clues to find the end of the tale but he is closer.

I just hope, beyond Gil’s killer line, that you are paying attention in Panel Five. This is one of the few visual moments that came from me, and then Eric naturally kills with natural skill.

PAGE 16

Oh, Gil D:

PAGE 17

And so things just kind of keep getting weirder. I didn’t want this issue to let up, I wanted it to drag us down the rabbit hole and then put a sack over our heads before we hit the thud at the bottom. But again, rest assured, everything you need is here and moving forward it all unravels.

I love Max’s face in Panel Four, and that advert poster in Panel Five is gorgeous.

PAGE 18

When I scripted this, I wasn’t sure if I was being stupid or pretentious or ridiculous. But Chris nails the execution and I’m glad to have a silent (kind of) sequence where a lot happens and you have to piece it all together to really unpack it. It might not come at first but it’s all there.

And then another advert Chris kills. He’s the Don Draper of the current comics world.

PAGE 19

The design of the killer is so damn creepy. Eric never fails, ever.

Yes, apparently, the back of the tongue is where the bitter tastebuds reside. Research. (This is where someone proves me wrong now, isn’t it?)

I hope that final panel is a reveal, of sorts. I’ve seen it coming for so long that I honestly can’t even tell anymore.

PAGE 20

This page might be the thinnest in the issue, now that I’m looking over it all. But it’s still important and I wanted it to have these beats. This is, again, all about Shane. This helps us understand him.

PAGE 21

Look at those tentacles. And so Shane is not in a position to win, and he is lost, and that mayhem is right outside and inside, what to do, what to do…?

PAGE 22

That background red colour in Panel Two blew me away. That’s all Eric, and it’s genius. And he only gets better at it as the series rolls on.

And with this final panel reveal, we come to a pause. A moment to breathe, if you wish. This was always the end of the first issue. Things were going bad for Shane, and we make them worse by the end, but with this last panel I wanted him to hit rock bottom. As a father, this moment here rocks me to my core. This is the sort of thing that strikes on many levels. And will next month.

My aim was to make this issue breakneck throughout and then end on an even bigger note. I wanted the stakes to constantly be raised, whether it’s on a physical scale with the violence or on the emotional scale with that reveal. I wanted this to all trend upwards.

BACK MATTER

Look at that phrenology page design Chris Kosek dropped on us all. The guy put in great time and effort to help design these pages so they’d feel special, and kind of like they belonged in a real (and real expensive) magazine. I am consistently amazed and pleased with the design fu he brings to the table.

The structure for this back matter will pretty much always remain. A little wandering chat with/from me, some process stuff, etc. That’s the stuff I die to read so it’s what I want to offer. I hope the process hounds among you dig.

FINAL THOUGHTS

I have read this issue so many damn times. And I’ve been pleased with it every single time. I went through this brief period where I thought it would tank with readers and then I got past it. I think I realised it might not take with some readers but those who would dig it would absolutely love it.

This is the kind of first taste I want to produce, I want it to get right into the nuts and crackers of the narrative, I want it to cover some serious ground, I want it to raise questions and leave answers for later, and I want it to be about character as much as it is plot. I want you to come back to find out about Max and learn about Shane’s predicament as much as I want you intrigued about how anyone got inside the mind of a killer and what they are there to do.

I hope you dug HEADSPACE #1, if so please tell you friends, put the love into the airwaves because these indie books only thrive on word of mouth and recommendations. If you know someone who digs subversive narratives with covert plot threads and bread crumbs to collect and follow then send them to the book, or send them my way for a chat. But share your love because that’s how we’ll make more of the magic happen. And if you didn’t dig the book, feel free to tell me why. Always happy to chat.

And if you tweet your thoughts with the #headspacecomic hashtag then you might end up in the back of a future issue, if that’s your bag.

HEADSPACE #2 is coming, it’ll be up for preorder soon enough, and then you can see what truth and terror behold THE DEAD MEN OF CARPENTER COVE – 09.04.2014

#headspacecomic

HEADSPACE #1 Advance Reviews Round Up

HEADSPACE #1 launches on ComiXology in a few hours so if you are on the fence here are some advance reviews, that are non-spoilery, that should help push the tide up into your click-and-buy peninsula. You can go to ComiXology and preorder/subscribe the book now.

“Sitting somewhere between The Truman Show and Twin Peaks, Headspaceinstantly distinguishes itself by setting up how broad the titular headspace will be.  After an intriguing opening about a woman being ‘exiled’ for murder, our de facto Shane is introduced in a sequence that involves a hover bike, a dragon and a patrolling ogre in the distance.”

Richard Gray at Behind The Panels gives us a 9/10 score

“We are inside the mind of a killer, a man who has no qualms about killing the constructs in his head, and Shane is an inhabitant of that head, though not an original thought. Lindsay has created a world where anything can happen. He has asked and answered that age-old philosophical question, “what if God is crazy?””

Brad Gischia at Bag&Bored gives a really thought provoking and well written review for us

“Tomorrow, MonkeyBrain Comics launches Headspace, a sci-fi/thriller that does the fandango inside your skull…Headspace is the spray paint that’ll graffiti the names of Lindsay, Zawadzki and Peterson to the walls of your mind.”

Chip Reece at Stash My Comics gives us a 9/10 score

“We are only scratching the surfiace of a very twisted mystery as we go through issue 1 of a series that should be a very wild ride indeed!”

Ed Garrett at TMStash gives us an 8.0 score

“Headspace #1 is a good one to take a look at if you like books that are a little off-kilter and challenge your imagination.”

Jonathan Pilley at Omnicomic drops kind words on us

“I actually look forward to reading more so I can solve the mystery.”

Ani Gonzalez at Word of the Nerd gives us a 7/10 score

Preorder, or just buy, then tell your friends, talk openly about it online. Indie books survive and thrive through word of mouth so thanks for whatever you can manage for us. It is all appreciated.

#headspacecomic

HEADSPACE #1 Available on ComiXology for Preorder + Subscription

HEADSPACE is a comic by Eric Zawadzki, Chris Peterson, Marissa Louise, and myself coming out through Monkeybrain Comics on ComiXology.

PREORDER AND SUBSCRIBE TO HEADSPACE ON COMIXOLOGY NOW 🙂

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In the book, the inhabitants of Carpenter Cove discover their strange town is actually a construct in the mind of a killer. Shane, the sheriff, wants to get back to his real life but one dark connection between him and the killer is going to make him rethink everything.

This comic is a sci fi infused pulp thriller centring around two very emotional character arcs. There’s some crazy stuff going on in Carpenter Cove but it’s happening to some very real people. There’s also a robotic dog bartender named Gil. He’s rad.

The art by Eric Zawadzki – in the eponymous headspace – and then Chris Peterson/Marissa Louise – on inks/colours for the IRL sequence featuring Max the killer – is astoundingly sublime. The whole package was edited by Dan Hill, with a logo from Ryan Ferrier, and the back matter is designed gorgeously by Christopher Kosek.

The #1 issue comes out on Wednesday the 5th of March and it’s 22 pages of sequential narrative for only 99c, and there’s also the two pages of back matter where I prattle on for a bit about some stuff. There’s also this cover from Eric Zawadzki that’s just amazing:

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You can preorder the issue now on the ComiXology website so as soon as the book is available your iDevice will automatically start downloading the issue and have it waiting for you. No reason not to, really.

You should also know, every sale made on the ComiXology website cuts out the 33% bite out of profits Apple takes if you buy via the app on an iDevice (and I believe the Android platform takes a comparable wet bite out of the cashflow through their apps). So, the more sales we get via the site, the more money the creative team can share in. But if you can only purchase via the app, well, welcome to the family anyway, bud, there’s always room.

I should also let you know, while preordering this bad boy, you can also SUBSCRIBE to the series. This ensures every new issue downloads to your iDevice instantly, your money goes straight to us without being laundered through the Apple Laundromat, and a fairy from beyond will be granted its razor wings.

You can also head to the HEADSPACE dedicated web home at headspacecomic.tumblr.com where we’ll drop news, info, sneak peeks, process bombs, and general mindpoopery for your approval and edutainment.

This is the work of our career, no doubt about it, and we hope you dig it. Preorder to show your love, spread the link around because indie comics only survive if people talk about them, stay tuned for more teasers and fun for all in the coming fortnight as we prep for launch, and we hope you enjoy the ride.

#headspacecomic

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