Without Fear

Ryan K Lindsay – Writer

Tag: monkeybrain comics


headspace boxedThe HEADSPACE tpb from IDW landed last week and I’m insanely happy with the product and proud of the job the whole team at HEADSPACE HQ did to get this out.

I am also happy with the trade reviews we got, so here they are:

Holly Interlandi @ Famous Monsters of Filmland [LINK] gives us 9/10 and says – “It’s like Oscar Wilde took a trip into Dante’s Inferno and emerged with creepy scientists and puppeted madmen.

Ed Garrett @ TMStash [LINK] gives us 9/10 and says – “... the conclusion to HEADSPACE was the perfect finale to an excellent series.

Jorge Solis at Bloody Disgusting [LINK] gives us 4.5/5 skulls and says – “With a truly dynamic mix of story and art, “Headspace” delivers a compelling read that raises questions about human nature.”

Dan Tres at FA Comics [LINK] gives us 4/5 and says – “Headspace is a head trip.”

Polo Lonergan @ Nerd Underground [LINK] gives us 9/10 and says – “It’s not a book to read once and later abandon; it’s one that you should pick up, learning something new with each re-read.”

Callum Webster @ Big Glasgow Comic [LINK] gives us 4.25/5 and says – “Now, with hindsight, there are multiple reason for this title to be called Headspace, as it has certainly rearranged mine as the story progresses.

tim Finch @ Geek Chic Elite [LINK] gives us 2.5/5 and says – “Much like Inception and Lost did to viewers, Headspace asks a lot of questions and gives a lot of clues for which the reader never gets resolution.” – :[

I am humbled by such positive response. It was insane to see people dropping their FCBD swag haul pics online and having our book be among the fun they then bought. This book has been the gift that keeps on giving as readers have loved it and reached out to us, reviewers have supremely dug it and the average score is always high but the words accompanying are always erudite and on point. In short, thank you to everyone that had a crack at the book this past week and we hope you dig it upon rereads as well.


RKL Annotations – Headspace #8

The final moments, did you really think we’d get a happy ending?
HEADSPACE #8 available on ComiXology now for 99pence.

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

There are other worlds than these. There must be.

Creepy flat colours, blood, and I love the logo down the bottom. Because it’s digital, the logo can go anywhere, there’s no rack to slot the book into.

Two silent panels as Shane and the Id showdown. I can’t remember if I scripted it that way, it’s a slow open, and I dig that, because once things start, man, they rocket along.

Day Keene – again, if you haven’t, check him out.

Love the wardrobe of the Max Collective. So varied, so intricate. This is where Zawadzki makes his money, he puts that effort in.

Another quiet page, huh. Both sequences start off with a quiet page building to a moment that’s the ignition. I dare say I didn’t plan that at all, hashtag happy accidents.

That look on Max’s face, Seb and I discussed that further right before he drew it, and then he went and nailed it. Nailed. It. So creepy, and those two fingers hanging off the handle of his blade, that’s all Seb. I wanted it to look all as casual as possible. Max is about to slaughter two kids, in front of their mother, and it ain’t no thing to him. This is just part of the business. Chilling.

Such a talky page. Yakkity yak yak. But it just lays down that if Shane thinks there’s another way to change Max’s mind then he’s most certainly mistaken. That’s two dead ends for him. In two pages. Poor bastard returned to be the hero and it’s just not gonna happen. Here is where we steer away from the usual hero tropes, because if Shane could strap on a cape and become a superhero here, well, the usual measures would come up short. So what s left?

“All your other hippie bullshit love thoughts are half measures that suck.”
That’s me subtweeting the world through comics 😀

But seriously, getting that line just right so it’s not tooo mealy mouthed but so it gets across this frustration and annoyance was tricky but I’m happy with how it came out. I can say the line without it feeling ‘off.’

And look at the aggression on the Id’s face. Eric nails that emotional outburst and then the punch, with the jagged speed lines, is just superb. This moment here, we are done talking.

Zara Blackwell has only a few moments left. I can’t imagine being in her position.

Who is screaming? I think it’s actually her, as the zipline cuts her wrists, but I left it ambiguous on purpose. I think.

I love Seb’s inset panel of zooming panic on Zara’s face. Like Spielberg in JAWS showing the mounting terror.

Look at how thick the Id’s arms are, man. I hope people notice that and dig it. The idea these Maxs are all different and this guy is just a bruiser, and one ever growing, was something I really enjoyed cooking up but Eric nails it so hard.

Also, this page is brutal poetry. None of it scripted like this, Eric just knows how to make good pages. Helps that he letters too because that caption flow is dynamite.

That lightning handover panel, pretty sure that’s all Eric. I love the page/colour break it offers, and then we get the final interaction.

It was actually while scripting this page, as the Kid Max talks, that I realised who Shane had to kill. Initially I had Shane killing the Id, like always planned, and I had him doing it because he came back the master of the realm and could also lift his power, or something stupid, but then as the kid got all Chris Tucker in his face FRIDAY-style, it all became clear, and then things all tie together so much cleaner across the whole narrative. And it all wraps up in so much more of a brutal way, but let’s get to those pages now…

Sitting back, this page is a masterpiece. The composition, the white bars, the centred text, the empty spaces, the colour change, the way she looks in those panels. This is one of my favourite pages of the whole book. Ugh, that sunset, everything Shane loves, all he’s given up, all he’s giving up. I love that Eric letters his own stuff.

Annnnnnd we get another masterpiece page.

Funny thing is, I scripted this totally differently. Totally differently. I had a really specific idea, and one I still love, and I can still see it, and yet Eric did something else. And I love this, too. And that’s the thing about collaboration. Sometimes things change. For me, the artist is the peep working on this page and staring at it for a solid day [and change]. I want them to be invested in it, and I want them to bring not only their flavour but also their expertise. Because I might have rad ideas, but they have rad knowledge. So Eric took this page, kind of took my scripted page as a launching point and ended up somewhere else and it’s so good. The red face inset panels are superb and really track the time of this kill so brutally well. And then we get the staggered little panels down the bottom, with the Kid Max shifting in each, and then white space, no words, just emotion [I guess].

Like I said, another masterclass. I’m always excited when we do new things with our comics, but even more excited when it’s with purpose.

The final page of Max’s story. It’s such an ignominious send off, almost like he’s just a prop in Zara’s page, really. I like that. Max’s story was always strange, and was never ever going to end well. I love the blood droplets in the first panel but the light in the second panel is just glorious synergy between Seb and Dee Cunniffe.

But it’s that final panel. Max, dead, that’s done so craftily. Look at the white space between, like the family surviving is an island away and Max is alone with his death. Except we know he isn’t alone. We know him dying is bad news for Shane. My greatest hope is that people read this issue slowly. Take the time, think about each panel.

It was long after the issue was finished that I noticed the fractured cracking coming out from Kid Max in that first panel.

And then Shane falls in silence. Only to be picked up one final time. I guess the white space in this issue represents emotion. I love how Shane’s son smiles in that frozen moment. We could almost end there, buuuuuuuut…

It was late in the game that we changed this to a double page splash. I’ve not been big on writing them since reading more comics on my iPad but this scene kinda just called for it. Again, emotional space is needed [something I’m fighting for in a current script this very week].

I use a word twice on this page and that spells out the whole oblique ending for me. Shane repeats the word ‘hope’ and for me, I think we can have hope for Shane. Or maybe just hope for the world. Hope for his wife, may she find many great years to come. If you think Shane dies within Max here, you’re right. If you think Max’s death causes him to get shunted out, and into his body, and he manages to escape the Rand Intl building self-destructing and he tracks his wife down, you’re right. If you think something else, something that would enable a sequel, yep, that’s my thoughts too. You are right 😀

I love a good open ending on a story. Because we don’t know what happens next, but we know we feel like Shane did the right thing. We feel like he’s redeemed.

[Note: in the seconds before I post this, I will admit, I overwrote this final page. I wish I had the son say his lines and that’s it. Sigh.]

And that’s everything. I really hope you enjoyed this story. I hope it made you think and feel. Maybe anger, maybe awe, maybe a need to tell someone you love them. This work is so important to me, and from the heart, that I want it to sledgehammer people in the chest upon exit. And not with a big shock, but more with the thoughts you still have about it tomorrow night in the witching hour.

HEADSPACE is over, but our thoughts upon it will be our present to take with us forevermore.

All hail designer supreme, Chris Kosek. I am going to miss getting these parcels from him :[

I list some peeps I dig. Track them down, fave their stuff, buy their books, enjoy the four colour world.
I did this because as much as I love to prattle on about myself, it’s nice to share the love.

Ah, MODERN WAY by the Kaiser Chiefs. One of the first songs I attached to this book. I love that song. Love that entire album, actually.

I can’t believe we finished our tale. Monkeybrain, and ComiXology, were a hell of a home. For one long year we hustled and made this book the hard way, to low returns, and now as we cross the finish line I can finally see all the places we could have stumbled. Because I’ve seen plenty of stories not get finished there – making comics longform on the cheap is super hard, so I’ve gotta thank Zawadzki, Piriz, Louise, Cunniffe, Hill, and Kosek for rallying on this one. So good.

If you bought all 8 digital copies, seriously, excelsior. If you are a print junkie, then have a think about our trade collection from IDW bringing you the entire story at the end of April [LINK]. It’s probably too late to preorder but hit up your LCS anyways. Land yourself a copy [if you are in Canberra, do it at Impact Comics on the 9th of May and I’ll be there all morning signing them and smiling like a loon].

We are done. Such madness brings glee.

And to steal lines from my back matter for the finish:

As ol’ Gil would say – “You don’t have to go home but you can’t stay here.”
*salutes* “Be seeing you.”

HEADSPACE #8 Review Round Up

HEADSPACE is all over, and sticking the landing is something so important, and notoriously difficult to do, so imagine my delight to see a few reviews, and all of them yielding perfect scores. I guess maybe the mad scientists at Headspace HQ did it.

James Ferguson at Horror Talk gave us 5/5 saying:

Headspace has one of the most satisfying endings I’ve seen in years.  Lindsay crafted an emotionally draining adventure through the mind of a killer that’s unlike anything you’ll see on the stands today.  It’s huge in scope and earnest as all Hell.”

Samantha Roehrig at Comic Bastards gave us 10/10 saying:

This is one of those comics you just want to read over and over again. The story is so complex but the goal is simple.”

Ed Garrett at TM Stash gave us 10/10 saying:

The whole HEADSPACE team deserves some accolades here for one of the best indie series we’ve seen in some time.

If you picked the book up, thank you so much. You are a deadset legend.

HEADSPACE #8 on ComiXology

HEADSPACE #8 – the final issue! – is up on ComiXology now for just 99pence [LINK]


See the art and colours from Eric Zawadzki!

Screenshot 2015-04-07 21.14.19

Feel the art and colours from Sebastian Piriz/Dee Cunnifee!

Screenshot 2015-04-07 21.13.33

This is the end of the whole mess. Everything has been building to these 12 pages. We hope and aim to satisfy. Our solicitation text reads:

Shane V the Id in a blood red Carpenter Cove. Max and the kids under a slow dull sky. Surely, in our final moments, we all wonder if there are other worlds than these.

I cannot stress how immensely proud I am of this book. The whole team has rallied to bring together something special and I feel like, a whole year after we launched, that we’ve done it. But only you can tell us all.

So, please, buy the issue, enjoy the book, give us a rating on ComiXology, let your friends know, tweet up a storm.

Also, preorder the trade paperback collection from IDW which drops on the 29th of this fine month, just days before FCBD! Through the link you can see the actual trade cover before we’ve officially announced/released it – go run 😀

And if you’ve even read this far into the post, no less read up to issue #8, I gotta say thank you. I wouldn’t be doing this from 8pm-12midnight daily if it wasn’t for you. Well, that’s a lie, I totally would, but you def make it more fun. Thank you.

Thank you.

RKL Annotations – Headspace #7

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

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

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

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

I also love how Eric draws hair.

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

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

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

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

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

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

Sebastian drew one hell of a severed leg.

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

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

So many thoughts to ponder.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Back on that pier, right where we started.

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

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

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

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

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

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

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

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

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

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

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

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

Dan Hill. Narratives. Reddit. References. Enjoy?

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

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

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

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

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

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

HEADSPACE #6 Review, and friends

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

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

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

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


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

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

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


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

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


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

RKL Annotations – HEADSPACE #6

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

HEADSPACE #6 – 99c – all good.



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


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

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


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

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

Dig that red panel, that’s all Zawadzki.

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


Gil speaks Latin. Of course he does.

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

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


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

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


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

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


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

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

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


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

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


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

Shout out to Tim McEwan 🙂

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


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


And our volume goes to 11.

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

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


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

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


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


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

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

Ambient Yeast link.


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


Sandy Jarrell draws Gil and my heart swoons.

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


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

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

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

HEADSPACE #6 Out On ComiXology this Wednesday

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

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

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

Tell Your LCS HEADSPACE Is Coming

El peeperinos, I come to you asking a favour.

HEADSPACE – the Monkeybrain comic by Eric Zawadzki, Sebastian Piriz, Marissa Louise, Dan Hill, Chris Kosek, and myself – is about to be collected in its entirety by IDW and it’ll be in stores April 29.

headspace tpb cover 1

But — it’ll only be in stores if those stores think they can sell the book. They won’t magically order 15 copies and assume you’ll all turn up with fistfulls of cash by the fire drums screaming “500 ON RICHARDS!” – no, they’ll order what they think they can sell. So if you go in and tell them you will buy a copy, they’ll order a copy. Hell, they might even order one more – just in case. If 5 of you hit your shared LCS and preorder with the store, they might order 8 copies to have 3 shelf lurkers – because if this book has 5 peeps pre-keen, then it’ll surely move, right?

But, I’ll stress this again, if no one preorders it, the store will assume this things a bigger fizzer than a bath bomb and will proceed to order none so their business remains financially secure. Fair play, and all that.


Go into your LCS [Local Comic Store] and follow the following script:

“Hi, shopkeep, would you mind ordering and setting aside a copy of the HEADSPACE trade from IDW in April, I’m pretty sure the Item code is FEB150469. Cheers, boss/mate/muscles/cobber/captain/[insert cool nickname here].”

Conveniently, for you, that scripted sequence can just as easily be copy+pasted into an email to your LCS.

I’ve constantly said that indie comics like these live or die on the vine based on word of mouth and I appreciate every kind thing anyone has said about our little story that could.

If you are on the fence, hit the digital issues on ComiXology for 99pence each, or take the word of Christopher Sebela, because he’s a good dude:

“From page one, HEADSPACE takes the quiet life of small towns to some strange places. And once you’ve gotten your bearings, it giddily saws all the legs off your chair and sends you tumbling down a vertiginous hole of guns, monsters, dead folks, betrayal and that inescapable feeling that you’ll never know which way is up again.” — Christopher Sebela (HIGH CRIMES, ALIEN VS PREDATOR)

Or if Sebela has wronged you, sample these fine testimonials:

Zac Thompson at Bloody Disgusting said: “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.”

And Pipedream Comics named us the 3rd best Monkeybrain book of 2014 as they said Headspace’s: “-dark fairytale mixes elements of the Truman Show, Hannibal and The Prisoner to create a brilliantly surreal take on the world of a small town sheriff.”


Head to your LCS stat and preorder the HEADSPACE tpb for April. We aim to please.


A Few Review Links

I love reviews. Good, bad, helpful, snarky, whatever. A review gives me something to work with, and that something is external feedback, an extra set of eyes. A review is always fascinating to me.

And, yes, I do read the reviews. I want people to read my work, it’ll do me well to know if I’m serving them well in my role.

So I have some reviews to link to below, and one of them I didn’t see for weeks. You’d be surprised how much I do not google myself. As such, if you review my work, drop me a tweet @ for it, or something. I wanna know your thoughts, and am happy to share them.

Without further ado – the links.

DEER EDITOR #1 gets a glowing review from Zander Riggs over at Destroy the Cyborg

He says, “But this is the kind of story I wait for.  This is the kind of story that I search desperately through the release lists for. This is the type of comic I wish would get more attention. This is Deer Editor.

Consider me stoked.

HEADSPACE #5 gets a 9/10 review from Ed Garrett over at TMStash

He says, “Issue #5 takes the story into territory that is both heartbreaking and horrifying.


To say I’m flattered by great reviews undersells it. I’m flattered when someone remembers my name. I’m floored when someone digs my stuff.

So, these have both found their way to me in 2015 and made me happy and excited for make more comics. Which I’ll go do now.

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