Without Fear

Ryan K Lindsay – Writer

Tag: Comics

Why You Should Subscribe To My Newsletter

I send out an email newsletter every week on the Monday – it’s called THE TWO FISTED HOMEOPAPE.

And here is why you should subscribe to it, if you already haven’t.

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This newsletter is all about my writing life. If you’re interested in me, this is The Place to get your up-to-date info. If you’re a writer, hopefully I can share some high quality writing thoughts, or link to good writing vibes, or just keep our minds collectively spinning on this writing game.

I honestly care about this newsletter. I realised a while back this infodump was my weekly therapy. This was where I shared and bared my soul. If you’re after honesty and insight, this is where you’ll find it most raw from me.

I drop all the latest news. This latest edition alone I’ll be talking about: this latest pitch I’m putting together, some of the awesome Patreon content I’m prepping [and how much damn fun it’s all been], why I keep on writing one-shots, why my next two books aren’t ready because of how awesome they’re gonna be, and why I maybe kinda quit twitter this week.

The newsletter is the safe place for all this, it’s the all-access behind-the-curtain champagne room in my writing club. IT’s the place that matters the most.

I’ll link you up. I keep a list of the good stuff I read this week, some good crowdfunding malarkey from around the traps, and why what I’m reading/watching is nudging me towards being a better writer/reader/viewer each time. I want to unpack my thoughts on paper [as it were], and I’m happy if that ever helps anybody else dislodge one quality thought in their brain.

I wish to be free of this wild wheel on which we find ourselves. Man, social media sucks. Trolls, algorithms, huge profits that have to be coming from somewhere [if you can’t buy a product then YOU are the product, etc]. I love twitter, but it’s also a sinkhole. I’d be stoked if I could survive on the newsletter, and then my Patreon [with the odd Kickstarter], and maybe Goodreads thrown in for good measure.

This is why I want to see you over at THE TWO FISTED HOMEOPAPE – because that’s where I want to call home. Safely in your inbox, ready for whenever you want, and hopefully a delight to read, a fuel for the brain, and an elixir for the heart.

If you’ve got a newsletter, let me know, I love reading ’em as much as I love writing ’em. And if you wanna know what any of these pictures below really are all about, you gotta come join me, we’ll have a blast!

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Hope this wets your whistle.

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BEAUTIFUL CANVAS #3 Out This Week

Tipping into the 4th act, this issue brings some madness, and some answers [and more questions].

Illustrated by Sami Kivela

Coloured by Triona Farrell

Lettered by Ryan Ferrier

Edited by Dan Hill

Presented by Matt Pizzolo

Written by Ryan K Lindsay

and published by Black Mask

This issue is near and dear to us all. I think the opening page, and the character insight it brings, builds a tension to the melancholy that escalates in a horrific way into the final sequence. After this, we wrap it up, so you know we’re going to end with some bloody emotion on the page.

I’m also truly exceptionally proud of the back matter Jam Session Dan Hill and I roll into. I won’t spoil the topic yet, but it’s a favourite flick of mine that’s a part of me, and now I wanna make it a part of you. Plus: another spot illo from Sami Kivela that’s just gorgeous.

BEAUTIFUL CANVAS #3 out September 06 at all fine comic emporiums. Hook yourself up, and if you need #1-2 then I’m sure you can just ask.

 

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 – 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.

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

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

 

RKL Annotations – CHUM #3

So quickly begun, is so quickly done.

And so here lies the end of CHUM

We hope you dug it. Making this comic was a long time – planning it out, working up pitch pages with Sami, getting the greenlight, having Sami score another paying gig so we waited, and then finally making the beast, working with Mark Dale for colours, Nic J. Shaw for letters, wrapping it all up, and then announcing, and soliciting, and now releasing. It’s been a section of my life, but only 3 months on the shelves – no doubt less with the delay of #1.

It’s strange because for the years of hard work and patience, sometimes all that matters is that final scattershot of release because a narrative massaged and held and planned is not complete until it connects with an audience. A story is a social contract that requires someone on the other end from the creators to catch it.

And CHUM has been well caught so far. Reviews and readers have been loud, and we behind the curtain have been proud. So, thank you, and we hope you accept this loquacious gift of process thoughts and oversharing wherein I deconstruct the last issue as something for you to enjoy after you thought you were done. This post is written to enjoy as well as somewhat instruct. We hope you get one good thing out of it, but ymmv.

Let’s go, roll the #surfnoir tunes one last time, pally!

CHUM_Cover_03

COVER

I know that Sami’s cover for #1 was instantly recognisable, and it sold the book perfectly in one hot take, but this cover is my favourite from him. There’s something ballsy about going greyscale with a single colour shape over it. It shouldn’t work, it shouldn’t grab the eye, and yet I cannot ever take my eyes off this piece whenever I scope it.

There’s a lot to dig into on this one, oh, the portents. The world is grey, it’s fading, and Summer sits on a board and watches. Is she accepting a noir ending? And she’s kind of in the stomach of the shark, so is that about her death? Or is it a rebirth through blood, using the sharks to enact a transition to the new world [this grey expanse, as opposed to the brighter colours inside the book]?

Sami brought his cover game to town on this one, and all of his 3 CHUM covers, and I’d gladly put them on my wall and forever point at them whenever someone enquires about my #surfnoir neck tattoo.

CHUM_Cover_03B

VARIANT COVER

Justin Greenwood, ladies and gentlemen. Making it look simple, and crushing the game as always. This cover also uses that single red, and it puts us right into it, into the mouth of the beast. That sense of being eaten, being in your final moments, is palpable in this cover. Moving the logo/credits into the mouth is just a stroke of genius.

PAGE ONE

Another splash for Standard tiled with captions. The guy has his own motif now.

But I really put this page up front because I wanted to instantly show Standard is alive, and I wanted to hide his body so you didn’t see his hand just yet.

PAGE TWO

But then we cut away to Hannah, because I have not forgotten about her, I promise.

And this whole page shows the ineptitude of the Island. Hannah calls the cop to help her with the criminal and he’s at her house, because of course he is. He’s also still being a pain in the ass to her, despite his current situation. That’s commitment to getting your hate on.

PAGE THREE

A page balancing that line between exposition of where Summer is and the general issue start sitrep as well as giving you something to chew on and enjoy. The ‘stabbed you in the back’ offer and flip was always the mark to build up to before the reveal of how Summer could be gone if she was just handcuffed to Standard.

And if you’re wondering why Summer didn’t just unlock the cuffs, well, there are multiple explanations that fit. She didn’t care and wanted to done as quickly as possible. She looked for the keys and couldn’t find them either because Standard didn’t have them because he’s that much of a shit cop, or they weren’t readily apparent and so after a cursory glance she elects to speed things up a little because, remember, she is fleeing the island after having just snapped and attacked hannah.

PAGE FOUR

Hannah chases the story and Standard just wants to chase the person. These two characters always want different things.

This page got rewritten a tonne, just to get the beats and character out while still moving the story towards what happens next.

It also makes me laugh that Standard can’t find his hand – in my mind, Summer cut it off, felt terrible, and absently took it outside with her. It;s in someone’s yard now.

PAGE FIVE

“This island, man, fuck it.” – this is the explanation of Standard and what he does next. It’s personal, and convoluted, and weird, and stupid, but it’s also completely who he is.

I worked on this script for too long trying to ensure I had Standard’s motivations down right for going to track Summer instantly at that moment. But then I realised, this is the tipping point for him, the explosion of activity. He refuses to stand still, to call it in, to do anything rational. He knows he’s probably actually going to die, and so he’s just got to keep moving. People do dumb shit, especially guys with hurt pride.

Then we set up the singing like a bird segue into there being a whistle from somewhere/someone else. This transition was in an early draft and just remained because I couldn’t let it go. It strikes me as one of those early BKV things that’s a kaiju suit baring all of its seams and seals for you to see.

PAGE SIX

We cut back maybe an hour, maybe less, but I don’t tell you that. I let you figure that out by how this scene plays out at the end. I figure, if the timestamp will become obvious eventually then you can wait and earn it, and maybe even go back and reread just to soak it up all the more deliciously.

I mean, this is Summer, after cutting of her [ex]husband’s hand, calling her casual ‘friend’ to do whatever needs to be done with Standard’s body. It’s pretty cold on her end, especially as I like to believe she knew Standard wasn’t done and this would be the end of Penny.

See the comic he’s reading – CURRICULUM. Yeah, coming soon :]

Oh, also, he drives past a kangaraoo. That’s pretty awesome.

Penny sets up his own page turn, but…

PAGE SEVEN

…it doesn’t land like he wants it to.

Standard walks out, you can feel Penny’s head dropping the needle, starting to back peddle. That face he makes is amazing, and even his “She said she needed something planted.” line sounds dirty in my head as he says it, and makes no sense for that time of night.

Standard replies and I think I overwrote it. Nuts.

PAGE EIGHT

I always knew Standard hated Penny, and I knew it was just inherent. So while part of me always wondered if I should seed it in through a scene, the other part of me likes that we never showed the reason, but always showed the hate, and in the end Penny dies seeing the hate and never himself knowing the reason. It wouldn’t be fair if we knew and he didn’t. So Standard just confirms he won’t be telling Penny, and then…

PAGE NINE

…we get the outcome of the tense situation…within the same page spread. Because somewhere along the line I assume rewrites forced this moment off a page turn and I never found a way to get it back, I guess.

It’s a chump move from me, and a reminder that proofreading your script is about theme, and dialogue, and clarity for the artist, and all that, but it’s also page turns and a little counting.

I do love that SFX killshot, though.

Standard goes full pulp on this page, the pain meds are kicking in.

PAGE TEN

Hannah’s getting pretty mouthy at a guy who just killed someone. Yup, that’s who she is, she tenacious – and she knows Standard isn’t going to shoot her.

And we get confirmation Standard knows he’s dying, as well as that small beat where Hannah still offers to save him. Which is sweet, and I dig it, but Standard is unsalvageable at this stage.

PAGE ELEVEN

Hannah gets a moment of clarity and I hope I wrote that first panel with truth in it.

I also dig the caption response, like even the narrator is backing Standard.

When Hannah yells out her big reveal, that she found out Summer was pregnant, I consciously didn’t want to have this seeded throughout the comic. I wanted Summer to just be a femme, to be cold, but then the seed behind the plan moving forward NOW would finally trickle out. But it’s just the spark, the flame was something building from years of kindling.

You can read Standard’s responses a few ways. I take it in that stoic male way. Her words change nothing, and he wants her to know this. As it says, actions speak louder than words.

PAGE TWELVE

I take for granted how gorgeous Sami and Mark make everything – look at that night sky. This is why collaboration is amazing, because it’s take me half a page of words to get something that fantastic.

I love a silent panel, a moment of character contemplation, but I struggle to place them into pages where I feel they ‘fit.’ I always consider the weighting of the page, the balance, the symmetry. I can’t just have random panel 6 of an 8 panel grid be silent, I don’t like it, it doesn’t feel right. But here, Summer silent on the pier, Sami nails that idea of a sharp line down that’s silent, and then stacked to the side is words – that balances for me.

That idea that fed sharks won’t worry about someone in the water, or that they sleep at all, was something I wasn’t certain about. So I was going to research it, to keep authenticity, but then I realised this was Summer’s assumptions I was writing. If I could be unsure, so could she. It felt right that she wouldn’t quite know it all, or be wrong. So I googled nothing. It felt good. Your characters are allowed to be wrong.

The page ends with little flashback panels, and Mark nails the idea with the colour wash of those moments. I also wanted to have the present and those past shots loosely intertwine through a word or idea. Considering it would take her all night to paddle away on her board, and old Summer didn’t want to sleep was subtle, but it met my requirements for a linked scene change.

I’m just spoiling any fun to be had at all by this point, aren’t I?

PAGE THIRTEEN

And then the flashback dovetails neatly back into the present. Old Standard telling her she’s not alone, right as Present Standard arrives behind her is somewhere between unnerving and creepy. I hope.

By this stage of the comic, I’ll admit, I’m dragging things out. I knew plotting it, that Issue #3 had room to breathe, so I’m letting this whole water interplay take however long it takes. And considering how much ground we covered in the first two issues, it was nice to let something breathe.

Standard is shooting at her, and in flashback telling her it’s okay and they’ll work it out.

PAGE FOURTEEN

I like that Standard can swim so well with his stump hand, and the other holding a gun. I like that his gun fires in the water. But most of all, I like that he went swimming with that damn hat on.

It’s almost like a civil argument, but with bullets. In other words, it’s completely messed up, and it’s a look at how relationships go wrong, and toxic, and I know this part feels leaden but I like where it goes.

The flashback reveals Summer finally pregnant and it’s to Penny and that’s a kick to everyone involved.

PAGE FIFTEEN

Standard jumping out of the water here was a complete reference to the end of FRIDAY THE 13th.

And just the fact Standard isn’t shooting here, he isn’t even really trying to kill her, shows how much his actions were impotent rage [no pun intended]. It’s him totally unable to access, nor deal with, his emotions. It’s sad, as much as it is lame. But it’s all real, just through the hyper lens of a pulp crime tale.

Because Standard’s line to her shows this is all personal. This isn’t about the law anymore, this is a tantrum, the dying throes of a relationship gone supernova, and Standard has no idea what to do.

PAGE SIXTEEN

Summer screams “FUCK YOU!” and it’s the personification of her whole story. All this shit from Standard because of her actions and his perceptions of them. Damn, she’s no response to a man, she’s no other side of the coin. She has her own path to run, and she’s got her own desires. That he thinks he can control the situation and discussion is nothing but frustrating to her. As it should be.

Standard hits the board and it breaks open full of money and drugs. ‘This’ was the plan, load it all into a hollow board. ‘This’ was one of the first things I knew would feature in the story. The bag of drugs and cash gets taken, through force, and then gets hidden inside a board. To hell with what the physics of the situation might say, this was their plan. Now it’s ruined.

I probably didn’t make that completely clear. Maybe. I don’t know, show don’t tell, y’know?

PAGE SEVENTEEN

A moment for Summer to compose herself, a moment for Standard to go through whatever is happening below the water, and a moment for the reader to consider all of this cash in the water.

Remember, breathe.

PAGE EIGHTEEN

Standard reemerges, the shark dealt with, and he gets a final moment with Summer. All this bullshit and they get this moment, it’s perhaps overly lucid, but it builds to my favourite exchange in the book. Summer tells him she lost the baby – which says even more about her motivation to get moving now, doesn’t it? – and Standard’s dulled reaction is priceless. It’s dawning on him that there’s so much going on that he doesn’t get, he can’t continue to be that selfish, that myopic, he should have looked broader, been empathic, felt others. A great lesson, if perhaps too late for him.

PAGE NINETEEN

Standard hates on the Island, a personification of what they dislike about their own actions there, a Wicker Man into which they pour their mental bees.

The sharks fly in, Standard’s back is to them but he knows it, and both remain calm because this business right here is about them. Come what may, will come, but this is them connecting for the first time in a long time, and definitely for the last time.

It’s hard not to see Standard as sacrificing himself for her safety, which says a lot if that’s what he’s doing. Or maybe he’s just giving up, the Island wins, the Island and its shark enforcers.

But down Standard goes, down into the dark, true noir.

PAGE TWENTY

Standard maybe deserved this, or it was the best he could ever hope for. It’s certainly all he had energy left for. Poor bastard, poor witless bastard. And thus ends our tale. A tale of a man stitching himself up into his emotions so tightly that he’s basically embalming himself before death. A tale of a woman who needs to get away, and does it all to make it happen, and how is now so very close. A tale of darkness and terrible choices and the folly of man.

PAGE TWENTY ONE

Coda. Hannah at her desk, and she’s got all the stories – because from her perspective, how do you sort the wheat from the chaff?

I’ll be honest [refreshing after all the lies above?], I rewrote these final two pages many, many times. I had othertakes, followed other characters, watched other deaths. I had one with Summer in another place, another time. I watched Summer also die. I watched Hannah sit there, never writing anything, because she’ll never know. I took so many looks but I couldn’t figure it, which shit me to tears. I nearly always set out on a narrative with the coastline of the destination in the map. And I had the end of the final act, but not the coda, and this was where the meaning finds its resting place.

Every time I rewrote these pages, I hated myself a little more, and I kept leaving these pages on my ‘to do’ list.

Then, in deconstructing the story, and realising it’s very much Summer’s story, I came to some realisations. She shouldn’t die. She’s the femme, she has to win somehow, on some level. So I wanted her to live, but I didn’t want to tell you that, so I had to show you. Then the line about the sharks washing up dawned on me and it all made sense.

If sharks are washing up, they’re dead, so who killed them?

And who is inside them?

Hannah should get most of what she needs for her story, and we get to end on a splash of Summer in the water, unbeatable odds, and we get to nod and smile and know she manages it somehow. Because Summer Stanwyck can do anything, and more importantly, she will do anything.

Once I finally wrote ‘this’ sequence, I finally knew I had it stitched up. This made me happy.

PAGE TWENTY TWO

Which leaves us with the final page. I love an open ending. I love the ambiguity, especially when it dials up what the reader ‘hopes’ happened. If they project one way because of feelings, then that’s the complete victory for the tale and the team.

Again, this page took a long time to get to, through the redrafts, and the reworking of the previous page, but once we got it – we had it.

And that’s the complete tale. Whatever Summer gets up to next is her business, and we should respect her enough to leave her alone.

I’m thankful for everyone who stuck it out for 3 months on this title, or ordered the tpb landing this week [yep, this annotation is wicked late], thank you. Writing a comic is no joke, and making a comic is no joke, and having people read your comic is no joke. But having people dig the comic you make is better than any punchline in the world [not like when people hate your comic and you are the punchline].

Thank you, and good night.

EIR Kickstarter Launches

screenshot-2016-10-13-23-52-46EIR is here – an all ages sci fi one-shot comic for just $1

Enjoy.

THE CAMPAIGN JUST WENT LIVE – LINK

This all ages sci fi one-shot comic with:

Alfie Gallagher art

Triona Farrell colours

Ryan Ferrier letters

Dan Hill edits

and me writing is 24 pages of narrative we believe in.

And here’s why you should head along through the link and slap down some money, if you dig.

Backers in the first 24 hours at $3+ get themselves 4 extra all ages downloads that night for amazing books – MORE INFO HERE

This is an all ages sci fi story with a young female lead that’s got intergalactic adventure and is also deeply about how we deal with some of the hardest human emotions

If you make your own comics, you can pledge to get Alfie Gallagher to ink you one, and he’ll send you the art, while Triona Farrell colours the file and emails you that for use, strike quickly because this one won’t last – MORE INFO HERE

Oh, and every time we hit backer totals of 100 increments, I’m going to unlock 5 pledges to get:

EIR Post Parcel pledge level

@ $30, which will include:

  • EIR – the comic printed up
  • FATHERHOOD – a one-shot comic I wrote in 2013 for the parents out there
  • EIR Character Cards – I’ll print 3 character cards out, on card, just for you
  • EIR pin up print – an A4 print of the pin up!
  • A special, one of a kind, printed and signed script cover sheet with a 6 word story on it and a helmet sketch from Ryan K Lindsay.

So keep your eyes on my backer count and be ready to pounce, the first batch just went live, I wonder how long they’ll last. See you at 200, I guess.

This is my fourth Kickstarter campaign, raising over $10,000 for DEER EDITOR over 2+ years, and I’ve always delivered, and always make it a habit to make sure my backers get plenty and plenty of extras for their money.

This book is also insanely gorgeous, as Alfie/Triona just level up as an art team and bring everything out in beautiful four colour.

Still unsure, scope this great early review by LJ Phillips at Black Ship Books, where he says, “What makes the story so touching is the simplicity and sweetness of the conclusion. It ends with hope. Sometimes we don’t need to believe in monsters so much as to believe that we can defeat them.

Hit the campaign up, look around, get in cheap, get in for art, get in however you want, and please spread the word – indie DIY comics is a hard game, every recommendation matters, and books can die on the vine from apathy, so I hope we’ve excited you. EIR is something personal, and something wildly fun.

EIR KICKSTARTER LINK – $1 ALL AGES COMIC OR BUST

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EIR – Meet Your Next Comic Cover Team

EIR is an all ages sci fi one shot comic from Alfie Gallagher and myself coming to Kickstarter Nov. 01 – all basic details here.

screenshot-2016-10-13-23-52-46

In our bid to raise a little capital for all of us in the EIR Corp Building, we are offering a very special pledge level, exclusive to 1 [one], and it’s of particular interest to those making their own DIY comics. Yes:

Meet Your Next Comic Cover Team

For $180 [Aussie dollars], you can work with Alfie Gallagher on inks and Triona Farrell on colours, to get a gorgeous cover for your own comic, and Alfie will even send you the OG inked artwork in the mail.

Putting together a DIY comic is hard, then getting it noticed is sometimes harder. Having a legit A+ cover helps that, and you can see from above, Alfie/Tree are a dream team. Need more convincing? here’s a cover style pin up they’ve also done for EIR:

eir_pin_up_lowres

There are other opportunities to buy or request art from Alfie through the campaign, so scope his style here.

Our Kickstarter launches Nov. 01 @ 4pm EST [Australia] so set your alarms for that moment because I know this pledge will not last long, and it’s the sort of thing that will take your comic to the absolute next level, and also gets your office wall a superb slice of ink featuring your own character.

To consider Alfie’s level of cover game, just feast your eyes below. And prepare your November budget, because you will want this one, and want to get it quickly.

09 11 12 10

EIR – all ages sci fi comics for everyone, on Kickstarter, Nov 01.

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