Without Fear

Ryan K Lindsay – Writer

Tag: eric zawadzki

RKL Annotations – HEADSPACE #6

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

HEADSPACE #6 – 99c – all good.

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COVER

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

PAGE 1

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

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

PAGE 2

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

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

Dig that red panel, that’s all Zawadzki.

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

PAGE 3

Gil speaks Latin. Of course he does.

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

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

PAGE 4

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

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

PAGE 5

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

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

PAGE 6

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

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

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

PAGE 7

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

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

PAGE 8

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

Shout out to Tim McEwan 🙂

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

PAGE 9

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

PAGE 10

And our volume goes to 11.

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

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

PAGE 11

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

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

PAGE 12

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

BACK MATTER

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

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

Ambient Yeast link.

ESSAY

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

PIN UPS

Sandy Jarrell draws Gil and my heart swoons.

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

——-

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

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

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

RKL Annotations – HEADSPACE #5

HEADSPACE #5 is a 99c goldmine of feels.

Poor bloody Shane. Things just tunnel deeper every issue like he’s strapped to a Technodrome 😦

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Here are some spot thoughts on a journey through the issue – won’t you join me?

COVER

I love this cover. The concept, the white, the orientation, everything. And I think it’s the little people in that brain/maze that make me smile the most. Lil’ Gil, I hope he makes it out, ha.

Actually, how interesting that this cover gives me kind of a smile, when nothing then in this issue is really geared to making you feel better or comfortable. Way to go for the sucker punch, Zawadzki.

PAGE 1

Hrmm, clearly how I think some cheating Valley girl type might sound on the phone with her cuckolded bf in the room. That central panel of her laughing is gorgeous and yet so cruel at the same time. And Eric slays on the 9 panel grid +1

PAGE 2

I don’t write many splash pages, but this moment just tickled me, and it relieves all the tension built up on that crowded Page 1. You gotta build, then release, that’s part of a good narrative. Plus, on Page 1, it all looks relatively normal, so this moment is to really throw you off guard, I want you to not quite know what’s going on. You need to be as on edge as the person watching this scene (as seen in the next page).

Also, I scripted this visual a few ways, mere ideas for Eric on possibilities, and then he just went and did this. Those birds are fantastic, but Max’s smile, and posture, in the background is the kicker.

PAGE 3

Then we take a page to breathe, set the scene, explain the first two pages, and build towards the next page. I worry about these type of pages. I worry enough isn’t happening, that they only exist as exposition (SOUND THE JAMES REMAR KLAXON) but in the end, and as I read this, I see them and how they serve as part of the whole structure, how this page pauses, allows the mind to settle, so we can do what’s next…

PAGE 4

Man, this page is one of my favourite things Eric has done, and is also a shining example of why I love comics. We get to do this, how rad is that? Very little else in this world – perhaps nothing – can replicate exactly what is on this page. I love that Eric could pull this off. I asked him to lay it out like a boardgame (I sent him a pic of the old Hero Quest board game top – olde school Hero Quest fans represent!) and then I asked for as many rooms as I could. Then Eric fit them all in.

This page totally raises more questions than it does answers, absolutely, but in all it tells us the one thing – Max’s mind is messed up, and is a scary place in which to be trapped. From fighting hobo dogs to crazy gf’s to whatever the hell is happening in that room full of water…this page is all tone, with a hint of scene setting/world building and I’m so thankful for having Eric around to pull this off.

PAGE 5

And now we finally have the main mission laid out for Shane.

Day Keene – fantastic man, superior smell.

PAGE 6

I’m really enjoying how the art here from Sebastian Piriz, with colours by Marissa Louise, juxtapose so well from Eric’s stuff that I don’t have to caption the change of location/reality at all. That’s the dream, less didactic/non-diagetic stuff if we can avoid it.

That panel of Lois blowing on her coffee is all Sebastian, and it’s beautiful.

PAGE 7

If I had to give information to some killer/hitman/spy/whomever, I’d totally put it on some burner smartphone – recon pics, files in Notes. Surely this is already happening in the world, right?

PAGE 8

That line Lios gives here “No, Max, this is surgery. You’re a blade not a bullet.” I was so damn proud of that line. Then, tonight, I was ready the Parlov/Ennis FURY MAX and there’s this line: “We were a stiletto in the heart, not a baseball bat the army kept swinging blindly at the head.”

Ennis 1 | Lindsay 0

😦

Love the panel border and muted colours when Max uses the duffel bag full of cash as a silencer of sorts. Just love it.

PAGE 9

Hrmm, another page of structure and important words. Shane has his plan, and he has his opposition, but then he gets distracted and while he wanders off, we wander into the next page…

PAGE 10

…and here we confirm a bomb – that Max isn’t a killer, he’s something more. I wasn’t initially going to obscure this fact, we were going to be upfront about his status as a USAgent, but then the ability to paint him as some killer came up and it felt too right. because here, even with what we know of Max and have seen, here we confirm he isn’t actually a ‘bad guy’ per se, and so that should muddy up all our thoughts moving forward.

Also, showing this memory set as a movie was an idea I enjoyed, and once again Eric nails it. I took the screening room aesthetic, with the projector light carving through the room, from the cover/preview for a 90s Robert De Niro flick – which after googling ‘De Niro commies’ I can confirm is GUILTY BY SUSPICION.

PAGE 11

This scene was a little hard to write. Ever since *SPOILERS* the kid in RESCUE ME was killed, the thought that it can happen anywhere/anytime/anyhow freaks me to my core. Then having to watch how that might happen, well, that’d break my heart.

The Librarian’s line here just shows that we really haven’t known who is good/bad/in-between at all this whole time. Except Shane, he’s staunch.

PAGE 12

This page was hard to write, and took me a few goes, but then Eric just slayed it with the art as usual. I got in the inks for this and choked up looking at them on my iPad. That’s the power of Zawadzki.

BACK MATTER

Listen to the CRIMINAL podcast.

Read THE BROTHERS JAMES.

Listen to Sarah Blasko.

All hail Design Fu Supreme Chris Kosek.

Don’t let your children die.

Fear Dan Hill’s understanding of the Nuremberg Code.

 

And that’s it for another issue. I hope you dug it, a lot of feedback that came my way said people thought this was our strongest issue yet. I like that kind of feedback. Though I can’t wait for you to see #6, because Eric and Sebastian both step up in two huge moments. You’ll see, and you’ll know instantly.

We at HEADSPACE HQ thank you for spreading the good word – RTs, water cooler chatter, WoW flaming – it’s all good and helpful and so insanely appreciated.

I also hope 2014 has been good to you, and you’ll meet us in 2015 ready to finish this tale. We know we are!

🙂

HEADSPACE #5 on ComiXology

Chart a course for Carpenter Cove and set four colour phasers for insanity.

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HEADSPACE #5 is now available on ComiXology for 99c
This issue leads us on a tour of Max’s mind, messed up locale that it is, and then drops us into two interesting places by issue’s end, both in the Cove with Shane, and IRL with Max.
Sebastian Piriz and Marissa Louise finally close the first leg of Max’s journey IRL and we see who he truly is, and what his next step will be.
Then Eric Zawadzki delivers two very different and yet both astoundingly awesome splash pages to better let us understand where Shane is, and why it is indeed rocky terrain – and you can see both splashes in the preview Eric threw up on his site.
It’s this issue that slows everything down, for a breath, and then #6 begins the amped up descent into madness.
I’ll hopefully have some annotations up soon for this issue, I’m a little swamped with a script for another thing, so it might be late.
Otherwise, the usual rules apply, tweet it out, talk to your uncle on a long distance telephone call, gift a copy to your peeps, indie books live and die on the vine due to word of mouth.
If you’re scoping the book out, or just discussing its merits anywhere in the world, we thank you for your time.

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.

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.

RKL Annotations – HEADSPACE #3

HEADSPACE #3, you got it?

If so, dig in.

We give Shane a little light and then we bash him in the face with a black light LED on strobe. Poor guy. I really dig this issue as it gets Max moving and pushes Shane around when he just wishes he could get from point A to B easy and quick.

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COVER

Seriously, Eric is pushing himself on these covers every single time. He refuses to rest on his laurels and he wants every one to be better than the last, all of them. It’s a tough ask but when he’s pulling it off with such aplomb I will not stand in his way. The map was something that came up in email discussion between Eric, Dan Hill, and myself. Eric then added the three figures so creatively placed.

Then he popped in some black background and it all came together. Getting these in my inbox is one of the best parts of this gig.

PAGE 1

Well in, Sebastian Piriz. Joining the team on the first page of your first issue, no pressure. Ha. Sebastian is taking over the Max IRL sequence because Chris Peterson has had to leave the project due to conflicting levels of mega-success. It’s sad to see him depart but we all wish him well and we know Sebastian will round out the creative team here at Carpenter Cove HQ.

This page is a pretty standard piece of business. It’s just setting up location, action, waiting for the page turn. The captions talk of other things, and people, though, so do pay attention.

I also really like those MUNCH sfx because they make Max look insane.

PAGE 2

The way Sebastian lays out Max inside his own head. The flow of those letters from Eric. Marissa’s gorgeous green pants on Max. Everything here is just as it should be.

PAGE 3

A touch, a past, an inevitable series of bad mistakes that you’ve been rinsing and repeating your whole life. Yep, just another day being human, guys. I really dig the way Sebastian draws Max with all those arms, and Marissa making those inset panel edges a colour is fantastic.

PAGE 4

This whole Max IRL sequence is just a vignette. Something to throw you off your pace. I wanted to show Max as a human. As a man with a real life, and interactions with normal people, and a possible shot at hope though it seems it’s just something he can’t take, or won’t manage to align. Either way, I wanted to humanise Max here and I’m really happy with this sequence. Max might be a killer but he’s also human. Sometimes a person can be both so I wanted to show that. I believe sometimes you can pause the jetpack narrative to slow and look and feel and touch.

PAGE 5

Now here we return to the Cove as Shane is told many a truth as we see the location, and see how weird it is. This is where Max’s memories are being harvested. I love the turning track/path Eric drew onto the page leading down. I also super dug on the DHARMA jumpsuits from Eric, yeeaaahhhhhh.

PAGE 6

Talking. Heads. I tried to boil the exposition down and maybe we were successful. I really like the body language given to Shane and the Librarian, these two guys are really interacting. I’m also always a sucker for someone taking off their glasses and cleaning them on the page.

PAGE 7

This page is so important. The Librarian reveals a foolproof plan to leave, the unconscious aspects of the Cove are explained (right back to that very first page, I told you to pay attention so don’t give up now, there’s more to come), and we see some of the grim reality around what’s happening.

I’m also impressed that Eric gets to recycle half an old page of art. Well in.

PAGE 8

Those red garbed foreground people in that panel of this page really set a new tone. It’s great because it’s a spot on way to do it. You should also look closely at what the Librarian says and if there are any nuances and how and why.

PAGE 9

I scripted this beat down but Eric really added some gravity and funk to it. This guy is a hard bastard and I almost don’t want to turn the page…

PAGE 10

The first panel really packs that punch in. Then panel two shows the man so angry he will barely remember who else was there after. Shane has to run after both of them absconding. This is the heart of Shane, his blessing and his curse – he’s a ‘leave no man behind’ kind of guy and doing that means you’re constantly running back into that which you have already escaped. It’s not the smartest battleplan.

PAGE 11

I love Max in the limo. I love how insane this scene gets really quickly. It’s a whole mess of things converging, a whole scatter shot of emotions on display and parts of Max’s brain around them all. I also really dig Panel Four as the limo speeds away from Shane. Eric drew that really damn well and shrewdly.

PAGE 12

This final image floored me when it came in. Mostly it’s the red sky but it’s also the posture of that beast. The way he’s weirdly stumbling through the building. I’m going to go out on a limb and say he’s drunk.

Also, this big guy only exists because Eric drew him in that splash of Shane flying above the Cove in issue #1. I saw him there and knew I had to use him later. So here he is, you’re welcome.

And as far as final splashes/moments go, I’m really happy with this one. It ups the ante from the normal-but-escalating scene we’ve just followed. And in a perfect world it’d be a full splash page but Eric’s time is money and I can’t keep him forever drawing my fancy pin ups. Plus, I kinda like it on this scale with some story beat above it, too. I have zero complaints.

BACK MATTER

As always, all hail Christopher Kosek, Designer Supreme.

TRUE DETECTIVE really did blow me away and inspire me to want/need to do more. I love a good slice of fiction that propels me into more of my own.

ESSAY

I love Dan’s title for this essay: Dirty Wars & Messy Minds – We can forget that for you wholesale.

As for the actual content, man, whoa, its intense. Dan’s always pushing me to think more and really analyse the world around me. He’s good like that.

Another issue down, albeit a touch late. Thank you so sincerely much for wading this deep into Carpenter Cove with us all. This story is really getting murky and we cannot wait to show you the funk with issue #4. Trust us, things get deep and dark and will affect you.

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, 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 #4 soon. Til then, face front, true detective…I mean, true believer.

HEADSPACE #3 Lives!

You can scarper on over to ComiXology right now and click/purchase HEADSPACE #3 for your peepers right now. Enjoy.

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HEADSPACE #3, from Monkeybrain Comics, holds within it art from Eric Zawadzki and Sebastian Piriz, with colours from Eric and Marissa Louise, and Eric lays the letters down from the writing which I have wrought. Back matter is written by me as well as a slick essay from Dan Hill that will have you questioning the world around you, and it’s all designed by Chris Kosek.

I’m very fond of this issue as Sebastian draws an ethereal and emotional Max IRL vignette while Eric brings the pain to Carpenter Cove as Shane finds a way out and home but can’t stop himself detouring into doing something he knows is right but is going to go so so wrong. The scene escalates very quickly – look closely in that limo – and the final page is jaw dropping stuff.

I do believe you will dig what we’ve got for you. So click on over and enjoy.

Here’s a sweet Owen Gieni pin up while you wait!

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——-

To extra convince you, here are some sweet blurbs from fantastic reviews from across the world:

Headspace is one of those mind fuck comics. But believe me it is a damn good fuck.” – Comic Bastards
 
“A science fiction infused comic version of an unwritten, undreamt Rogers Waters concept album fueled by insomnia and Red Bull about a shred of “The Truman Show” that’s been soaking in a tepid Twilight Zone bath, this story truly is wide open.” – CBR
 
The complete package is a deal that’s too good to resist.” – Geeks of Doom
 
“The final panel plays the Abrams-Lindelof game of teasing us with a new mystery having just solved an older one. It’s a pretty good twist, too, one which has me interested in what happens next.” – Bleeding Cool
 
It is a weird sort of sci-fi psycho-drama that will leave readers wondering, “What happens next?!”” – Newsarama
 
Upon further examination of the pieces at work here, Headspace #1 is magnificent.” – All Comic
 
“Throughout it all, [Ryan K Lindsay’s] passion for the story is clear, and it’s quite infectious.” – John Lees
 
“The concept is brilliant and executed with such skill that’ll you’ll barely find time to take a breath. The pacing is perfect and the world building is insane. It’s as good as first issues get, and it sows the seeds of an infinitely more interesting world to come. I can’t wait to see issue 2.” – Bloody Disgusting
 
“Yes there is still intrigue by the shed load but Headspace balances it against the narrative rather than being led by it.” – MOMBcomics
 
“Headspace is the spray paint that’ll graffiti the names of Lindsay, Zawadzki and Peterson to the walls of your mind.” – Stash My Comics
 
“I actually look forward to reading more so I can solve the mystery.” – Word of the Nerd
 
I can’t remember when was the last time I read and looked at something equally weird and subconsciously disturbing.” – Trash Mutant
If you can spread the word, tweet it out, tell your friends in the boardroom tomorrow over lunch, whatever you can muster, it is all appreciated. Indie comics live and die on word of mouth and good vibes so as we trek into the depths of this story we’d love it if you’d all come along.

HEADSPACE #3 Pre-Order Is Up

Aw, yeah, HEADSPACE #3 is up on ComiXology for preorder right now. Head on in and secure your pixellated rights to rent my ideas and enjoy them on your iDevices.

Or don’t. Y’know, because you already subscribed to the series. And I thank you for it.

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Preorder will end on Wednesday the 11th of June whereupon the issue goes on sale for young and old. And of the two, I’ll probably be the latter due to Wednesday the 11th of June also being my birthday and my skin suit will age considerably over that day.

Now for those who don’t know, HEADSPACE is a book I’m writing with art from Eric Zawadzki and Sebastian Piriz, with colours by Eric and Marissa Louise. It is about a man who realises he’s stuck inside the mind of a killer, and he wants to get out (natch). We show some pretty warped visuals, crank out some nasty ideas, but it’s all grounded to the emotional journey of our man on the spot, Shane.

As some of you will have noticed, that art team roster has changed. Unfortunately for us, Chris Peterson had to set sail into the waters off Carpenter Cove due to other commitments. He won’t be a fixture at HEADSPACE HQ anymore, but you need to scope his other books like GoGetters right now. To handle his sequence, we’ve brought aboard Sebastian Piriz and he’s good people. His work with Marissa on colours also pops really well.

In this issue, we point Shane in the direction of his salvation, and then we throw a problem his way that he can choose to avoid, were he the avoiding type of guy. Then, as the kids say, insanity ensues. Eric brings the ruckus with a nasty chase sequence and the final page will have your jaw hitting your iPad as you drool with awe at the beauty of it.

Needless to say, I’m really proud of this issue and I think you’ll dig it. So head over to ComiXology this week and preorder if you’re that type of person.

Also, seeing as it releases on my birthday, maybe do me a Birthday Solid and tell a friend about the book, maybe even gift them the first issue, or just scream from your old timey telescopic megaphone how much you’re digging the series. Do so at #headspacecomic on twitter and see your words in the back of the next issue. You all know indie books live and die on the vine due to word of mouth and such so any Birthday Solid given my way will be remembered and thanked and returned in kind over time.

Thanks, hope you enjoy, and here’s some preview pages to dig on.

#headspacecomic

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RKL Annotations – HEADSPACE #2

I am really proud of this issue and happy with how it came out. We drop more knowledge and we further warp the world of Carpenter Cove. For as much as we want you to know more, we want to confuse and discombobulate you. Let’s do a little of both right now.

And if you haven’t read HEADSPACE #2, then head over to ComiXology right now and hook in.

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Cover

Man, when Eric dropped this one on me I was floored. Talk about capturing the tone of the issue and laying it out in one simple image. This cover is working on many layers and I’m in love with it. I like a good minimalist design sense and this uses it to drown Shane and really ratchet up the tension. The blood in his mouth is ghastly and really brings this to life. In a word: perfect.

Page 1

I wrote this page a few times. I knew what I wanted to get into, I knew the back story, but I was being passive. I wasn’t allowing Shane to really address the situation with fresh eyes. Once I got onto this final draft, I could see I was really baring Shane’s soul.

And it’s important to note, I’m theorising on this subject. I’m wondering how I’d feel if I were in his position. The closest I’ve come is what happens early on in RESCUE ME (spoilers).

Page 2

What greets you on Page 2 is indicative of how I want to throw this comic at you. I never want you to get comfortable, I always want to try and slip in the weird business as much as I can. And I am in love with Eric’s delivery on this piazza, and the dead men of Carpenter Cove are creepy as hell.

Page 3

That wave is crushingly good. Initially, I scripted what caused the wave but we didn’t really have room on the page so I wondered for a while what we could do and then I realised we’d just not tell you. It’s the Cove, man, anything can happen. Dead men having brunch, now a giant wave. It happens.

Page 4

Ah, Max’s brain cutting loose in the only way it knows how. It’s trying to cleanse his brain, it’s reacting but blindly and violently. This montage of sorts needed to feel brutal but also warped and with just a hint of the absurd. I think it ticks all those boxes.

Then there’s the captions. I like the flow of them, the slow pace of giving them out. I wondered if maybe the page might look and feel different with all the captions in the first panel, or in the last. These are the questions I ask myself forever and ever. In the end, I like words with images so I opt to put one in each panel. I’m not much for writing silent panels, pages, or sequences. It’s just not how I deliver narrative.

Page 5

Remember the alligator we show in the background and mention off hand last issue, yeah, CRUNCH. Which is not actually the SFX I scripted but Eric did his own thing and improved us as always.

Page 6

I found this page hard to script and it went through various incarnations. I finally settled on something I liked but sometimes, when you’ve drafted something a dozen times, you either end up absolutely nailing it or you just finally get to a place where you are happy enough. For some reason, this page was hard to write. I’m glad I went silent in that big panel. It’s not really a reveal but it is a lead up. And I dig how Eric makes the movement all work, over quite some ground, so quickly across a handful of panels.

Page 7

This is another turn point, another place where we fall further down the rabbit hole. These marionette Maxs were creepy to write but then Eric drew them and they came out even more disturbing. I love them. The puppets are talking about things, snippets into Max, and it’s important to his character what we see and more importantly hear here.

Page 8

The first panel is one of my favourite things in this book. The way everything flows together, the caption, the flag, the abyssal black behind them. It’s this brilliant quiet moment and then the gator destroys it again. I can only imagine this will slay in Guided View on ComiXology.

Page 9

Eric decimates this alligator with style and flair. And then we meet The Librarian. Does he look familiar to you? He was initially designed to look more like Mandy Patinkin in Homeland but then I had a vision and asked for him to be changed. Eric obliged. Also, that gun, I scripted it to look like that ridiculous beast Nick Fury comes with toward the end of SECRET INVASION. I dig how it looks on this dude.

Page 10

That little kid walking the marionette Max away in the background of Panel One was not scripted, and it’s so damn creepy. I love that Eric does things like this with the book. I also dig that he drew all those books. Note to self, and others: don’t script in a library because your artist will go nuts drawing shelves and filling them. And then you will feel bad, though the page will look rad.

Page 11

We get a talky page and Eric does well to make it work and mix up the angles. That reaction panel down the bottom certainly worked well.

Page 12

I love Eric’s reactions on the faces of his characters. Watching Shane break down a little is sad. That final panel could be its own splash, if I had more real estate and artists who would work for me on an unlimited basis, but I don’t think I’d ever write a face to say a line filling its own splash. That’s just not my bag.

Back Matter

I admit what a sick mind I have. I beg for forgiveness. You can see how behind on things I am as I read NORTHLANDERS and THE MIGHTY THOR while watching JUSTIFIED well behind the rest of the world.

Essay

Damn, Chris Kosek designed these pages too and he smashed them. I feel like we’re making some kind of online novel back here, I hope you all dig. Dan Hill is bleeding research and erudition on the page. These essays support the themes of the book as well as just fill a space with something I would want to read as a reader of this book.

So, thanks for picking up the book. I appreciate every damn sale and you are keeping my dream alive 99c at a time. By this stage, all the scene setting and first act malarkey is over. Next issue, we really get into the chase and broaden the scope of the comic. Next issue, it’s brutal, and Eric sends us out on one of my favourite panels of all time from a book written by me. It’s sublime and gorgeous and perfect and better than scripted. Stick around and you’ll see, and no doubt agree.

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, 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, or actually phone a friend to talk about Headspace, or gift the comic to someone. It’s all appreciated.

We’ll see you for #3 soon to take a TOUR OF CARPENTER COVE. Til then, be safe.

HEADSPACE #2 Out on ComiXology Today

Headspace #2 from Eric Zawadzki and I lands on ComiXology today.

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We’re really proud of this issue so we hope you go take a gander, you take the plunge, you dig it, and then maybe share the thoughts with your friends quietly in that staff meeting or on the social media platform you most dig (except for MySpace, we actively don’t want to be mentioned on that site, please ;).

This issue sees Shane journey deeper into the mind of Max in order to try and find his son, while Max’s mind offers up a multitude of horrors – the marionette men and alligator being my favourite – and then in the back I chat a little and then Dan Hill drops an essay all about THE PRISONER. The art from Eric is dynamite from cover to final page, Chris Kosek’s back matter design is stupendously good, and Dan Hill’s words are airtight. All for 99c, how could you go wrong?

If you have any thoughts feel free to hit me (@ryanklindsay) or Eric (@ericxyz) up on twitter, or use the #headspacecomic hashtag if you like.

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