Category Archives: Crowdfunding

Enter the House of the Devil with El Muerto: Casa Del Diablo on Kickstarter

Discover the world of El Muerto with Javier Hernandez‘s Kickstarter for El Muerto: Casa Del Diablo Preview Edition. With it, you’ll get an early look at the next El Muerto graphic novel with exclusives.

Born on Dia de Los Muertos, Juan Diego de La Muerte finds himself completely unprepared for what he undergoes on his 21st birthday. A fateful car accident sends him to the Aztec Land of the Dead, where he becomes a pawn at the hands of Mictlantecuhtli, the god of death, and the great trickster god Tezcatlipoca! Thus begins the miraculous odyssey of El Muerto the Aztec Zombie!

El Muerto debuted in 1998 and the independent saw a film adaptation in 2007 and now it has launched its first Kickstarter campaign.

Casa Del Diablo has 26 pages completed, drawn and lettered, and they’re being made available in a special preview comic, the first part of the complete graphic novel.

Rewards include a $5 digital edition along your backer’snames on an appreciation page, $10 print copies, and up. Awards include original art and more.

The projects wraps on July 19, 2020 at 9pm ET.

Voting is Your Super Power With this Clover Press Indiegogo Campaign

Voting is Your Superpower

Clover Press and Yoe Books are putting together a 104-page collection of rare, cool, and vintage comics all about one’s duty to vote called Voting is Your Superpower. Voting is Your Superpower collects comics from the Cold War and Civil Rights era and features essential messages for today’s public.

The collection features an introduction by Julie Newmar.

There are all sorts of interesting extras like magnets, buttons, and t-shirts, including the new superhero for the times, General Election who is featured on the cover by Sanford Greene.

The collection features comics from the League of Women Voters in New York City, NAACP, National Research Bureau, American Heritage Foundation, and more!

The Indiegogo campaign runs for 18 more days and ends on July 20.

Magnetic Press Takes Us to Paris 2119 on Kickstarter

Today, exclusively through KickstarterMagnetic Press has launched Paris 2119a science-fiction graphic novel by French creators Zep and Dominique Bertail with an exclusive variant cover by in-demand cover artist Peach Momoko.

Paris 2119 is described as “Black Mirror meets Blade Runner,” a mind-bending cyberpunk love story in the proud tradition of classic science fiction authors such as Philp K. Dick, Isaac Asimov, and Arthur C. Clark.

This gorgeously illustrated graphic novel aims to spotlight current social trends such as overconsumption, climate change, social media, identity theft, and transhumanism.

The campaign also has several “stretch goals” planned for pre-sales beyond their starting goal. These bonus goals would be free to all backers and include such items as a 32-page limited-run Production Sketchbook featuring a behind-the-scenes look at the making of Paris 2119 for physical backers.

The Kickstarter runs until July 23.

Jump on Board with the Pixie Trix Comix Kickstarter

Now’s your chance to discover Pixie Trix Comix! Pixie Trix Comix is set in the universe of Ménage à 3, so if you’ve read that series, you’ll feel right at home, but if you haven’t, that’s totally fine too! Many of these characters are new and if old characters show up, everything is explained. Pixie Trix is written by Gisèle Lagacé and David Lumsdon, with art by Gisèle.

But there’s more!

You can also get Zii and the Troublemakers as they hit the road in a cross-country tour that takes the rock group out West. The comic’s plot is by Scott Duvall and Gisèle Lagacé, script by Scott Duvall, art by Gisèle Lagacé, colors by Anwar Hanano, letters by Taylor Esposito, and edited by T Campbell.

Eerie Cuties returns in this new-reader-friendly one-shot featuring three brand new stories starring Layla and Nina! Addictive gaming, family reunions, and dating are just a few of the things that bond these sisters, as well as drive each other crazy about the other! This full-color one-shot comic book is written by Scott Duvall, drawn by Gisèle Lagacé, colored by Nick Caponi, and lettered by Taylor Esposito.

That’s a whole lot of comics for you to choose from!

The Kickstarter runs until July 11 and has already passed its goal.

Clover Press and Digital Lizards of Doom Frontman Gabriel Valenin Laucnhe Digital Lizards of Doom: Dizzy Doom Level 1 on Indiegogo

Clover Press and Gabriel Valenin, the frontman of the indy pop band Digital Lizards Of Doom, are combining forces to publish Digital Lizards Of Doom: Dizzy Doom Level 1. This groundbreaking, earthshaking, jawdroppingingly beautiful book is a new take on the visual storytelling medium, with art by Ernie Najera and a special incentive cover by Mark Irwin. It features a foreword by Mike Towry.

Digital Lizards Of Doom: Dizzy Doom Level 1 is based on the YouTube space-fantasy adventure series, inspired by tabletop gaming, video adventure games and Saturday morning cartoon shows. With dialogue and page layout that creates a reading experience like a role-playing game, Digital Lizards Of Doom pulls the audience in with its dynamic storytelling system.

Digital Lizards Of Doom: Dizzy Doom Level 1 takes place in a far-fetched universe where profits outweigh common goodness and the only way out is to win. Part Matrix, part Moebius, and all innovative, this is a book unlike anything that’s been seen before.

Exclusive: Ethan Sacks, Anthony Breznican, and Jeff Edwards Talk “A Dangerous Lesson” from the Maybe Someday Anthology

Maybe Someday

Through June, A Wave Blue World has been running a Kickstarter for its latest anthology, Maybe Someday: Stories of Promise, Visions of Hope. The graphic novel anthology is a sequel to All We Ever Wanted: Stories of a Better World which received a Ringo Award nomination for “best anthology.” The anthology features twenty-five stories to lift the spirits of readers and instill the hope of a brighter future. You can find out more about the contributors at the link to the Kickstarter above or here.

We got a chance to talk to three contributors Ethan Sacks, Anthony Breznican, and Jeff Edwards about their contribution “A Dangerous Lesson” which features colors by Andy Poole.

The Kickstarter runs until July 2 at 5pm ET.

Graphic Policy: Ethan and Anthony, you both have backgrounds in journalism as well as other forms of media. Tell us a little more about that and how it led you into writing for comics.

Ethan Sacks: For nearly twenty years, I covered the “geek beat” at the New York Daily News, including comics and over that time I became pretty close friends with Marvel’s Joe Quesada. I ended up pitching him an idea for a story about Greedo. Yes, Greedo. Oddly, he loved it so much, he brought me to then EIC Axel Alonso, and the rest is history. But even though I ended up being a 43-year-old rookie, a lot of skills I learned in journalism helped me get up to speed — sticking to deadlines, an ear for dialogue, and working with editors.

Anthony Breznican: I covered the Marvel Cinematic Universe for years for USA Today and Entertainment Weekly, and had been on the set of so many of those movies, all the Avengers and Captain America films, Black Panther. I always loved the comics that inspired them, but that work immersed me in them in a new way. A comic plays like a movie in the mind, and they can bring such hopefulness and strength and escape to readers. I had previously published a novel and some short stories but had never tackled a graphic novel. It’s much more of a team effort, and Ethan was kind enough to invite me aboard as a rookie to be part of Maybe Someday and the story that would become “A Dangerous Lesson.”

Maybe Someday

GP: Was your story for the “Maybe Someday” anthology the first time you had worked together? How did that go?

ES: Anthony is not only a friend, but someone who I’ve looked up to as a journalist since the days I was covering entertainment for the Daily News. I wouldn’t call him a peer, because that’s like a dude with a guitar in a coffee shop comparing himself to Bruce Springsteen. But we gelled really well on this project, our first (and hopefully not last) collaboration. We used a shared google doc to trade ideas and did a skype summit with Jeff, too. There was no issue melding all our ideas in one story. Just a blast collaborating.

AB: Ethan is exaggerating here. I’m just another guy in a coffee shop, but we’ve known each other for years, and while we both followed the same trajectory in journalism, I was a lost little kid in the woods when it came to writing comics. He really guided me, showed me what needed to be done, how to think about writing for Jeff to interpret. It was Comics Writing 101 for me. It also happened at a time of upheaval in my life, so it was nice to have this fun project to work on, focusing on a glimmer of joy and possibility in the future.

GP: What were the challenges you faced writing a story that was specifically focused on positive visions of the future? Did you feel constrained by this in any way?

ES: For much of my early comic career, I’ve been living in one dystopian post-apocalyptic landscape or another (Old Man Hawkeye, Kiss Zombies), and that’s par for the course with pop culture. Heck, it’s hard not to be pessimistic when you read that Siberia has hit 100 degrees and we’re going backwards with climate change policy. But we shouldn’t forget that there is a younger generation of Gretas stepping up and fighting the good fight. I think we owe it to them to rewire our brains and get off our butts. For this story, I think we looked to where we wanted to go and wrote a path to get there.

AB: I found it a little daunting because you need some conflict to make the story interesting. A field of wildflowers is lovely and peaceful, but it’s not dramatic. So what can we put into that tranquil setting that is exciting, but doesn’t ruin it? We came up with an idea (I believe it was Ethan’s) about a world where the biggest problems we face today have been solved. But how would a society make sure its next-generation doesn’t backslide? We came up with the concept together on a conference call, then Ethan kindly let me devise some characters and subplots for an actual storyline. After that, he took my overlong story and tailored it to fit the pages and the panels we had, and added his own spin to the dialogue.

Maybe Someday

GP: Jeff, tell us more about your background as an artist and how you got involved in this project.

Jeff Edwards: Well, I have been a professional comic book illustrator for about 9 years or so.  I’ve worked on a lot of indie projects, as well as worked with some publishers, but the story of how I got involved with this project is actually a pretty interesting one. You see my first published work was in an international magazine called Film Ink.  Think of a mix between Entertainment Weekly and Wizard magazine.  My role in the project was to illustrate the answers given by Hollywood directors to a specific question, “If you could direct any superhero movie, what would it be?”  Now the only caveat was that only directors who had not yet directed a superhero movie would be a part of the interview.  And who interviewed those directors?  Ethan Sacks.  My first published project, and my first international project, was written by Ethan.  And we have been friends ever since.  We have wanted to work together in the interim years but it just never worked out, so when he asked me if I would be interested I said yeah.  It was a win-win.  I would get to tell a fun and uplifting story that gives a view of the future in a positive light through a sci-fi filter.  I mean what’s not to like!  And on top of that, I got to work with my buddy for the first time.  So yeah, it was a win-win!  I had a great time on it!

ES: I literally stumbled on Jeff at an airport on the way to San Diego Comic-Con in 2010. He was sketching and just giving the drawings to the little kids that were engrossed by his work. Just a selfless, kind, talented dude. At the time, I was the movie editor for Wizard Magazine and I just thought, I’m going to make it my business to work with this guy.

AB: This is the first I’ve worked with Jeff, and he’s like this joyful barbarian, with a big heart, big energy, and a big bushy beard. I knew his work on Transformers and Batman, and we seemed to have grown up loving the same robots, monsters, and heroes. Every page that would come through on Maybe Someday was a mindblower. He’s incredible.

Maybe Someday

GP: Did you do much to adjust your style of storytelling process to fit with the direction of the script?

JE: Well as an artist who grew up on superhero comics, I’d be lying if I said I didn’t make changes to my process.  There are no capes, no superpowers, no fistfights. All of which I love!  But that wasn’t what this story was about. “A Dangerous Lesson” is about interpersonal connections and relationships. It’s about showing what might happen if we achieve the ambitious goal of a brighter, cleaner, more beautiful tomorrow.  And to be fair, I haven’t strictly stayed in the superhero genre my entire career. I have worked up stories that range from noir, horror, hard-boiled detective thrillers, to choose-your-own-adventure-style stories depicting a post-apocalyptic end of the world. So having that range served me well on this project. I wanted to focus on the person-to-person dynamics, the subtleties.  And from the beginning of the layouts stage, I was focused in that direction. I also had to change up my visual style a bit. I like to abstract, or cartoon my figures a little bit if the project is a superhero story.  I switch over into a bit more of the dynamic figure for my superhero projects. But with “A Dangerous Lesson,” I wanted to give the characters normal proportions. Which is a subtle change, but it’s there. It was actually one of the more enjoyable parts for me. I rarely get to draw a more realistic figure, I rarely get to do a non-superhero story, so the change of pace was fun!

GP: What makes this the right time for an anthology like this? Do you feel it can have a lasting effect?

ES: We’re in an era that is incredibly cynical, and it’s hard not to feel pessimistic about the state of the United States and the world. We wrote this story before the global pandemic, but it has felt like we’re hurtling towards the type of dystopian apocalyptic future that has long been predicted by comics, movies, and other pop culture. But then you see a younger generation really galvanized to march, organize, and advocate, and you start thinking maybe there’s hope we’ll get our act together. I think it is high time that we change the narrative that everything is bleak and hopeless and start doing something to make the world a little better. For us, this is just a start.

JE: Hmmm…  well, I don’t think there is a wrong time for a story that focuses on a positive future. Don’t get me wrong, I love a dark and gritty, post-apocalyptic tale!  But there is so much negativity constantly bombarding folks everyday in the real world. So I think that a story like this, an anthology with imagining the future in an uplifting way as the focus, I think it can help people today, tomorrow and always. Any time when there are folks out there who need a twenty minute break, or however long it takes to read the story, any time when folks need a break from all the negativity surrounding them, then that is the right time for a story like this.

I hope it can have a lasting effect, I really do.

AB: These guys said it. I think the hard thing right now is hopelessness. That’s where I struggle nowadays. “How are we ever going to get out of this?” I find myself much like Bill Paxton in Aliens — ”That’s it, man. Game over!” Ripley kept her eye on the future, on surviving. This story and collection shows you a better future. It’s a best case scenario, and aspirational, but perhaps it can play a hopeful song in your head: “Wouldn’t it be niiiiice …?”

Maybe Someday

GP: With everything going on in the world and how much the comics industry has had to change to adapt, are you still hopeful about the future of comics?

JE: I am hopeful yes. Actually I am more than that, I am confident about the future of comics. Let’s be clear, people have always told stories.  Always.  There are cave paintings that are thousands of years old, and they tell a variety of tales. There’s ancient paintings on walls and pottery. So we are a storytelling species. And I think that there are still a lot of folks out there who love their stories told in the comic book medium. So yes I am confident. The industry, like any other, will adapt, it will evolve and I am pretty excited to see where it goes!

ES: Comics have survived nearly a century, through the Seduction of the Innocent witch hunts of the 50s through the economic collapse of the ‘90s and beyond, and we’re still surviving. There’s no doubt that the pandemic really exposed some issues with the economics, but at the end of the day, many the highest-grossing movies in recent years have started in the four-color pages of the comics, so we’re just five to ten years ahead of much of the rest of pop culture. What annoys me is there’s so much more to this medium than superheroes and if we could get more eyeballs to see that, man what a treasure trove of visual literature is out there for the future readers.

AB: Agreed. Comics have proven their staying power. And they are the raw material, the scientific storytelling experiments that are like the research and development lab for other kinds of much more expensive TV and cinematic storytelling. As Ethan said, these are the cave paintings that contain our hopes, dreams, and sometimes nightmares. Once you visualize those things, you can wrap your mind around them.

GP: Is there anything you can share with us about upcoming projects or what to expect from you in the future?

ES: I am continuing with Marvel’s Star Wars: Bounty Hunters and I just launched a project I’m very proud of called, COVID Chronicles, for Axel Alonso’s Upshot imprint at AWA Studios. It’s first-person accounts of people on the frontlines of the global pandemic and it’s my first foray into non-fiction. I’m so proud of the work, but if I’m honest, it’s entirely buoyed by the people sharing their stories and the art of Dalibor Talajic. Anytime A Wave New World wants to work with me again, I’m there. That goes for working with Anthony and Jeff, too.

JE: For a while now I have been putting out covers, so there might be more of that in the future! I am also developing my own project, and I am extremely excited about it. I have other irons in the fire, but I can’t talk about them just yet.  But if anyone out there wants to keep up to date with my projects, the best place to go is my website or my social networks! I’m mostly on Facebook and Instagram. I have a Twitter but to be fair, it’s pretty anemic!  HA!

AB: I’ve been focused on my new work as a Los Angeles correspondent for Vanity Fair, which has been all-consuming, but is an absolute dream job. As with Maybe Someday, I find myself on one of the greatest teams ever assembled, and that gives me a lot to live up to. I like that, though. It’s a good thing to have friends and colleagues who inspire you. That’s how we live up to our better selves, and how we get to a better future like the one Maybe Someday shows us on a vast scale.

GP: Thanks so much and can’t wait to read this story and the entire anthology!

Check out the exclusive look at the story below:

A Wave Blue World Kickstarts Maybe Someday: Stories of Promise, Visions of Hope

Maybe Someday: Stories of Promise, Visions of Hope

A Wave Blue World has announced the launch of its latest anthology, Maybe Someday: Stories of Promise, Visions of Hope which is now raising funds on Kickstarter. The graphic novel anthology is a sequel to All We Ever Wanted: Stories of a Better World which received a Ringo Award nomination for “best anthology.”

Maybe Someday is a new full-color anthology presenting over twenty-five aspirational stories to lift the spirits of readers and instill the hope that a brighter future is possible. Maybe Someday also reunites the publisher with the editorial team of Matt Miner and Eric Palicki.

The Maybe Someday Kickstarter campaign, running through the entire month of June, offers a Kickstarter exclusive cover, which is only available to backers. The cover art is by Max Dunbar with colors by Espen Grundetjern. Logo and cover design are by Tim Daniel. A different cover by this same team will be featured on the direct market edition when the book comes out later this year.

Other rewards include a digital sketchbook, signed bookplates, and combo packs of previously published anthologies.

Check out the full list of creators taking part, it’s a who’s who of comic talent:

Natasha Alterici, Alejandro Aragon, Darren Auck, Max Bemis, Anthony Breznican, Ryan Cady, Mario Candelaria, Joe Caramagna, Tyler Chin-Tanner, Gab Contreras, Shawn Daley, Jono Diener, Jeff Edwards, Greg Anderson Elysee, Mike Feehan, Ryan Ferrier, Joe Glass, Isaac Goodhart, Adam Gorham, Hagai, Ray-Anthony Height, Josh Hood, Daniel Kibblesmith, Konner Knudsen, Michael Kupperman, Alisa Kwitney, Valentine De Landro, Robert Lee, Yasmin Liang, Mauricet, John McFarlane, Matt Miner, Christopher Mitten, Michael Moreci, Steve Niles, Eric Palicki, Emily Pearson, Stephanie Phillips, Curt Pires, Sebastian Piriz, Andy Poole, Nick Pyle, Rod Reis, Renfamous, Marco Rudy, Ethan Sacks, Phillip Sevy, Erica Shultz, Martin Simmonds, Aubrey Sitterson, Stelladia, Sally Jane Thompson, Zoe Thorogood, Bobby Timony, and Rockwell White.

Review: Scions: For the Kingdom of Earth Book 2

SCIONS: FOR THE KINGDOM OF EARTH BOOK 2

When it comes to mythology, most people forget that some parts are based on truth. Take for example, the accepted folklore of dragons, where most hold an accepted belief system that they never existed. The thing that is most baffling about them is that some amalgamation of dragons has existed in every culture since civilization has existed and no one has ever questioned why? This is the very reason why the Norwegian movie, Ragnarok was so fascinating when it came out in 2013.

It centers on two scientists who search for the mythological place in Norwegian Viking mythology known as Ragnarok. With the help of a guide, he, his research partner, and his two children head to where this place is historically, only to unearth something out of the runes, which no one could be prepared for. Sometimes, things long dormant should remain so. In the second installment of Scions: for the Kingdom of Earth, an ancient oligarch awakens and unleashes carnage.

Spoilers: Highlight the space below to read the text

We find Dagan experiencing unimaginable pain from migraines triggered by the rhythm of the HEPA (High Energy Particle Accelerator) beams slowly uncasing the discovered sarcophagus. Meanwhile, Dr. Vargas is using the HEPA to open the tomb, focusing on different points, before finally realizing that what is inside is alive. As the sarcophagus slides open, a body slowly descends from its aperture, onto the floor of Vargas’s lab. Vargas approaches the body in a MOPP suit, and immediately recognizes the need to put it in quarantine, as she and the military ponder who this person is, she gets called to Allied Peace Force HQ to brief Gen. Hutchison on what they have uncovered. As Vargas explains to Hutchison, the ramifications of such a discovery, meanwhile back at the Iraqi base; the body awakens, and decimates everyone within sight, leaving a trail of bodies and the base in ashes. By the book’s end, the reader finds out that the body is a long-dead monarch known as Prince Ninurtum and he has come back to claim what is his.

Spoilers End

Overall, an action-packed second issue which gives the story a proper villain. The story by Lewis Sarmed Alsamari is palpitating with excitement. The art by Ezequiel Femia is magnificent. Altogether, this is the issue the reader will get hooked into.

The issue is currently being funded on Kickstarter. United Kingdom’s top creative entity, Arts Council England has already funded issue#3

Story: Lewis Sarmed Alsamari Art: Patricio Ezequiel Femla
Story: 10 Art: 9.7 Overall: 9.6 Recommendation: Buy

Graphic Policy was provided with a FREE copy for review

Duncan Jones and Alex De Campi Open a Retailer Level of the Madi: Once Upon a Time in the Future Kickstarter

Madi

Z2 Comics unveils multiple tiers geared toward comic shops in the Kickstarter campaign for the third chapter of the Duncan Jones directed saga he began with MOON!

In just under two weeks, the campaign has already raised over $275,000, making this one of the most successful comics Kickstarter campaigns in recent history! This unique project pairs Jones with some of the biggest names in comics, as assembled by the multiple-Eisner nominated writer/editor, Alex de Campi, and has now proven to be one of the most anticipated releases of the year.

MADI is a 260-page road trip graphic novel set in the future, by film director Duncan Jones and writer Alex de Campi, and drawn by some of comics’ most exciting artists including Glenn Fabry, Simon Bisley, Duncan Fegredo, and Pia Guerra.

Madi Preston, a veteran of Britain’s elite special operations J-Squad unit, is burnt out and up to her eyeballs in debt. She and the rest of her team have retired from the military but are now trapped having to pay to service and maintain the technology put into them during their years of service.   They’re working for British conglomerate Liberty Inc as mercenaries, selling their unique ability to be remote controlled by specialists while in the field, and the debts are only growing as they get injured completing missions. We meet Madi as she decides she’s had enough.  She will take an off-the-books job that should earn her enough to pay out her and her sister, but when the piece of tech she’s supposed to steal turns out to be a kid, and she suddenly blacks out… she finds herself on the run from everyone she’s ever known.

In a globe-spanning adventure from Shanghai to Soho, Madi has to stay one step ahead of the giant corporations closing in on her from all sides…

MADI will be published in softcover by Z2 Comics in November of 2020 and is now available for comic shops and their customers to preorder in hardcover exclusively through Kickstarter, with a special discount of 55% off of cover pricing with a valid Diamond account number.

Blacking Out Takes You on a Dark Noir Ride

Blacking Out

Comics industry veteran Chip Mosher and legendary artist Peter Krause have launched the Kickstarter for Blacking Out, a 56-page graphic novel presented in the hardcover European album format. Colorist Giulia Brusco, letterer Ed Dukeshire, and designer Tom Muller join the pair in this sucker-punch tale of a disgraced ex-cop, Conrad, unraveling an unsolved murder during Southern California’s fire season.

In Blacking Out, Conrad follows a lone clue—a discarded crucifix—to unravel the death of Karen Littleton, whose body was found amid a blaze that scorched 10,000 acres. Conrad’s search leads him to clash with the victim’s father and prime suspect, Robert Littleton, as well as hostile former colleagues on the local police force. All the while, Conrad combats his alcoholism and fading faculties. 

Though known most in the comics industry for his work in marketing, publishing, and editorial, Mosher has been developing Blacking Out for years. In late 2016, Mosher recruited Krause to bring these self-immolating characters to life in a tight one-and-done graphic novel. The finished book will include gorgeous endpapers and spot gloss on the case wrap, making Muller’s weathered logo pop against the inferno consuming the SoCal horizon, as illustrated by Peter Krause.

A print set of 11 cinematic lobby cards featuring characters from Blacking Out will be offered as rewards. These lobby cards are illustrated by acclaimed artists Francesco Francavilla, Eduardo Risso, Mirka Andolfo, Dan Panosian, Emma Ríos, Jacob Phillips, Patric Reynolds, Ryan Kelly, Jamal Igle, and Elise McCall.

Other rewards include an original drawing from Peter Krause, with the top-tier reward being a tour of L.A.’s most notorious crime sites with Mosher. The Kickstarter campaign lasts until June 24, 2020.

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