Category Archives: Crowdfunding

Retail Shops in The Age of the Direct Market: Visionary Comics New Kickstarter

by Jazmine Joyner
Co-Owner
Visionary Comics, LLC

Running a small comic shop in the age of the Direct Market is not an easy task. It’s especially challenging as a Black disabled woman in the white-male-dominated world of comics.

My name is Jazmine Joyner, and I am co-owner of Visionary Comics in Downtown Riverside, California.

We set out to open this shop in 2016. Bright-eyed and bushy tailed, filled with hope and purpose. Mine and my partner’s dream is to have a comic shop that is an all inclusive accessible community space. Where people can feel welcome and feel like they are apart of a community and not just in a retail space.

The harsh reality of opening a business hit us quickly. The fact that we are both minorities (my fiance and co-owner Nestor Gomez is Mexican) and in our mid-twenties, made it almost impossible to find realtors willing to take us seriously. Armed with a business plan and good credit we were still unable to have our find someone willing to respect our vision.

The building we are in now took us two months to lock down. With our realtor going back and forth with us coming up with arbitrary forms and proof of income to prove that we could afford the space. Going far enough as to losing all our paperwork making us have to resend everything. We were told the only available space was a 200 sq ft store.  We later found out that there was in fact a 500+sq ft space available that they had never mentioned. Though that slight stung we had our space finally, and we were determined to make it work.

Opening a comic shop is no easy task. In no other business do you have to spend tons of money on inventory weekly to survive? And at times you’re taking a gamble by ordering titles you’re not sure are going to sell. That’s why most shops take out a business loan. We didn’t have this luxury. After finding our live/work space, we went out and tried to find a loan for our business. To no avail, we couldn’t find the backing.

We are in a prime location with no immediate competition, have a strong business plan, and already acquired the retail space. Yet not one bank wanted to invest in our dream. So we did what everybody tells you not too when you start a business. We dove into our own personal capital to fund our business. Every penny we have has gone into to Visionary Comics. We bought books, furniture, all the bells and whistles you need when setting up a comic book shop, we made sure we had it.

The direct market is a fickle beast. With the one defining part of comics retail being that the books are non returnable so every order is at risk of becoming essentially dead stock. One week we can have books flying off the shelves, orders flooding in, and people coming in for all the events. Then the next week we will be lucky to make our quota and be able to afford next weeks books. It’s the nature of the beast, and with the rising prices of Marvel’s single issues and the lackluster storylines coming out of the big two, the waning interest of customers is visible. Particularly with the rise of digital comics.  It’s up to us to fill in those gaps and find stories they not only want to invest in but love enough to read the next issue.

Being a woman in this business is difficult. I have to regularly pass strange quizzes on obscure comic characters, deal with the nuances of mansplaining topics like “Batman and The Jokers symbiotic relationship.” Or my favorite “The who would beat Superman in a fight game” Pro-tip: If you don’t pick Superman every time during this game, you’re a noob. No matter how logical your reasoning is.

I get talked down to, asked to speak with “the manager” (and that’s code for can I talk to the man in charge), or completely ignored. The reverse is I get called “Sweetheart,” “Baby,” “Beautiful,” and had men trying to flex their comics knowledge out like an awkward mating dance. Hoping their expansive knowledge of the Watchmen Universe would woo me off my feet.

But once all the problematic people are weeded out we are left with the fantastic loyal customer base we have now. They have made it possible for us to consider expanding our shop into a larger space.

We have succeeded in making a completely inclusive space where people feel comfortable hanging out, buying and talking about their favorite books. We have movie nights where the all the kids and their parents can come and watch family friendly movies for free. We often hold gaming nights on weekends. Tabletop games, video games, and card games, all games are welcome on our game nights.This close connection with the community and positive impact has been one of the best parts of opening visionary and now we want to expand so we can do even more for our customers and our shop.

To move our store we needed to have some extra funding. We of course once again were denied backing by the banks after having more experience and breaking even our first year. We decided to go to the people we serve, our customers. So we created a Kickstarter in hopes to reach our goal of $6,000 to fund our move to a larger retail space. So we could have the shop we dreamt of when we opened in May of 2016.

We have come up against many obstacles and faced so many challenges, but creating Visionary Comics and making it the inclusive fun community space, it has become is well worth any hardship we had to push through to bring it to fruition. We now hope that we can expand and become an even better shop.

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House of Fear: The Grumpledowns Gang – It’s Kids vs Lovecraftian Horrors in a new, all-ages comic now on Kickstarter!

by Brandon Barrows
writer

THE House of Fear: The Grumpledowns Gang and the Case of the Mail-Order Shoggoths, published by Ten31 Publishing, is a comic I’m exceptionally proud of. You may have read my detective series Jack Hammer (Action Lab) or my horror graphic novel Mythos (Caliber Comics), or maybe not.  Those are, after all, both books targeted at specific audiences. But I’ve wanted to do something that appeals to the widest possible audience, something truly all-ages for a long time. Something anyone can pick up and enjoy, whether they’re long-time comics fans or just getting into them.

Why? Because I read a lot of all-ages comics myself, comics that are supposed to be fun and accessible to anyone. And while there are a lot of comics out there that claim to be just that, many aren’t. Too often, unfortunately, “all-ages” translates to “kids’ comics” in the minds of publishers and fans. Don’t get me wrong, a lot of what’s out there is perfectly fine for beginning readers, but kids confident in their reading and adults won’t find much to enjoy in them.

Truly all-ages books like Spongebob Comics, Mouseguard, The Stuff of Legend, and the Adventure Time comic, when it was written by Ryan North, are all-ages books that are not only that, but series I really enjoy. They’re fun, action- and story-packed comics that work on multiple levels directed at multiple audience so well that it almost seems effortless. They are also stories that meant something. They aren’t just fluff meant to fill pages and be forgotten once you’ve finished reading.

And that’s what I wanted to create, too. Targeting audiences is perfectly fine, and often a smart thing to do, but I wanted to do something different with my next project – something everyone can enjoy, regardless of age. Something an adult or a kid can read and enjoy on their own or that they can enjoy together.

When Ten31’s publisher, James W. Powell, gave me the chance to do exactly that, I had an idea, but wasn’t sure if I was up to the task of creating something on the level of what I was hoping for. Despite those misgivings, I took the idea I had and wrote a comic from it and, while it was pretty decent, James then helped me tweak and refine that script until it truly became one of the best I’ve ever written.

James then did an amazing job (seriously, he’s a fantastic editor and publisher) of finding the best artistic talent to bring it to life.

The Grumpledowns Gang are kids, but theirs is a fun story that kids or adults or anyone in between can enjoy and get their fill of scary fun and action – and maybe even take note of a little life lesson tucked in there somewhere. And the art is just amazing. It’s beautiful, but more than that, it’s incredible to me that it’s virtually exactly what I saw in my head. Artists Rafael Loureiro and Josh Jensen make a powerful team on the interior art, James Hislope’s front- and back-cover pieces are creepily gorgeous and Matt Krotzer’s letters are some of my favorite in the business.

If you like comics, horror fiction or have a kid who likes either, if you’ve ever read any of my comics work or if you haven’t, but want to give it a shot, please check out the Kickstarter campaign Ten31 is currently running,  pledge your support and share the word. This is a very important book to me, with characters I care deeply about, and if it’s successful, I’ll do my best to bring even more of their stories into the world.

Check out the Kickstarter campaign here (including a fourteen page preview!)

And keep up with updates at www.ten31publishing.com and www.brandonbarrowscomics.com

Follow us on twitter @Ten31Publishing and @BrandonBarrows


House of Fear: The Grumpledowns Gang and the Case of the Mail-Order Shoggoths

Written by Brandon Barrows
Art by Rafael Loureiro and James Hislope
Colors by Josh Jensen
Letters by Matt Krotzer
Edited by James W. Powell
Kickstarter opened 5/16/17, closes 6/17/17. Expected to ship to backers July, 2017.

Fourth-grader Ben Grumpledowns has sent away for a package of grow-your-own monsters… just add water! But when his science teacher accidentally flushes them down the toilet, the school is overrun with huge, tentacled creatures! Ben and his friends must find a way to defeat the beasts before they destroy the school or worse – ruin the Halloween carnival! It’s kids vs. shoggoths in this all-new, all-ages, Lovecraftian horror comic!

3 Questions to Answer When Building a New Publishing Line

by Tyler James

Five years ago, if you told me I’d be publishing children’s books, I would have laughed in your face.

But if you also told me that the children’s book line would quickly grow to over six-figures in sales annually, I’d stop laughing.

And then I’d ask, “How the hell did you do it?”

Last week, Eisner-nominated writer Jason Ciaramella, artist Greg Murphy and I launched the 4th Kickstarter campaign for the C is for Cthulhu brand of Lovecraft-themed books and products, published by ComixTribe.

Our previous three campaigns, all successful, combined for over $120,000.00 on Kickstarter, supported by more than 2,800 backers.

Though we had high hopes for this latest campaign for a new book Sweet Dreams Cthulhu, a Lovecraftian bedtime story, even we were amazed that it has surpassed our previous campaign funding record in just 8 days.

The endurance and continued success of the C is for Cthulhu brand, as well as our ability to continue to grow and expand it to new heights, has caused me to reflect on a few of the things that we did right.

I’m sharing this article in hopes that other aspiring publishers and brand builders can follow in our footsteps.

Three Important Questions to Ask Before Launching Your Publishing Line

What follows are three important question you should ask yourself before launching a new publishing line.

And if your line is already underway, but maybe it hasn’t quite taken off yet, stop what you’re doing and answer these questions now.

Questions 1: Who exactly do you want to entertain? (The more specific, the better!)

To be perfectly honest, prior to launching the C is for Cthulhu brand with Jason and Greg, I had never read anything by H.P. Lovecraft and couldn’t even pronounce Cthulhu.

Jason, on the other hand, was a huge horror fan, and knew that there would be a market for a Lovecraft-themed alphabet book for all-ages, especially one that was exceptionally well-done.

While 99% of parents out there are like me and can’t pronounce Cthulhu, the 1% that can still leaves a market of hundreds of thousands of potential customers for us to sell to.

And what we’ve discovered about the Lovecraft/horror geek parents market is that they are, as Russell Brunson describes in his excellent new book Expert Secret, “irrationally passionate” about cool books and products when they find them.

And because of that, they share them with the 2-3 other Lovecraft fans that they know.

Who share it with their friends, and so on.

Now, before you dismiss the rest of the advice I have because you’re thinking, “Well, sure, you’re just building upon an existing brand (Lovecraft) so of course you were successful,” a few things…

First, no question about it, it’s easier to build on top of something that already has an existing fan base.

That was true for Robert Kirkman with zombies, it was true for Stan Lee with superheros, and it was true for Walt Disney with animated cartoons.

Second, while it’s true that Lovecraft stuff in particular does well on platforms like Kickstarter, simply throwing cthulhu in your campaign is no guarantee for success.

(I can point to about a dozen campaigns that failed this year with that strategy.)

The key is to plant your seed in already fertile soil and grow something new, different, and remarkable.

And that’s what’s the C is for Cthulhu line has turned out to be.

Question 2: How will you consistently reach that market?

Once you’ve found clarity on who it is you want to entertain, it’s your job to go out and find them and put your book in front of them.

If you’re waiting for your market to find you, you’ll be disappointed.

Because even though word of mouth from your existing fans and excitement and energy pumped up during a big Kickstarter campaign is important, to build an enduring brand, you need to have a plan for the other 92% of the year when you don’t have a Kickstarter going.

Our strategy outside of Kickstarter launches has been stupid simple.

But it’s also a strategy that’s involved doing two things that many young publishers are 100% dead set against doing:

  1. Giving away the product for free.
  2. Spending money on advertising.

Virtually every single day since that first successful Kickstarter has launched, we’ve given away free copies of the original C is for Cthulhu: The Lovecraft Alphabet Book in exchange for an email address.

Click here to get the original board book.

To date, the book has been downloaded more than 22,000 times.

What’s powered that has been an absolute commitment day in and day out to advertising on the Facebook platform.

This single advertisement, for example, has been running for months and reached over 100,000 people:

Most new publishing lines are reluctant to give their books away for free (even digitally) and don’t have the stomach to commit to advertising.

And I get that.

But I also know that a big part of the reason…

  • Our Facebook page has over 25,000 fans…
  • We sell books every single day on Amazon and on our CisforCthulhu.com online store…
  • We’ve made deals with multiple international publishers for foreign translation rights for our books…
  • Every single Kickstarter launch is bigger than the last…

…is because we’ve never stopped trying to grow our audience.

We get our books in front of new potential fans every single day.

Question 3: How can you get a quick win, and then stack your launches?

Now, once you’ve identified the market you’re going to entertain and found a way to get in front of them (preferably every single day, rain or shine) the next thing to do is to launch.

Kickstarter, in 2017 is the #1 platform in the world for creatives of all types, but especially comic creators, children’s book publishers, writers, and artists.

On the ComixLaunch podcast, for over 90 episodes, I’ve shared the mindset, strategies and tactics that work on the platform.

But the platform is always evolving, so I recently put together a brand new guide including 7 innovative strategies creators have used this year to get funded.

So, getting that first launch under your belt and making it successful is key.

And that’s what we did with the C is for Cthulhu Board Book Kickstarter.

But what many publishers make the mistake of doing is making their next launch for a completely different book or project… when 99% of your potential audience still hasn’t read that first book yet!

Instead, stack it.

Our second Kickstarter was for a C is for Cthulhu plush toy

But we sold hundreds more copies of the original board book during that campaign…

And we also sold hundreds more copies on Amazon that month because of increased awareness for the brand during that launch..

And our third Kickstarter was for a C is for Cthulhu Coloring Book

You guessed it, we sold hundreds more copies of the original board book and hundreds more plush toys during that launch as well.

And the coolest part?

Because we had an audience and we communicated with that audience regularly, we knew our launches were going to be successful before they began…

Because we were just making products that our audience told us they wanted.

And so, here we are, 10 days into our latest launch for SWEET DREAMS CTHULHU, and we’re already thinking ahead to the next one.

So, there you have it… three questions you need good answers to find success:

  1. Who do you want to entertain? (Be specific!)
  2. How will you reach them? (Every single day!)
  3. What will you launch first and then how will you stack? (And then stack again!)

The clearer your answers to those questions, the more successful your publishing line will be.

P.S. Interested in Kickstarter? Don’t forget to grab the New Free Strategy Guide – The Top Kickstarter Strategies of 2017.


Tyler James shares the lessons he’s learned managing ten successful Kickstarter projects supported by 6,000+ backers and raising more than $280,000.00 in funding on the weekly ComixLaunch podcast. Tyler is the writer of Kickstarter-funded comics and graphic novels including (The Red Ten, Oxymoron, Epic), and the co-creator and publisher of ComixTribe, an internationally distributed comic, graphic novel publishing company. He also runs the C is for Cthulhu Lovecraft-themed children’s book imprint that was successfully launched on Kickstarter and whose latest book SWEET DREAMS CTHULHU is on Kickstarter right now!

Tyler has also designed and produced award-winning learning games for companies like National Geographic and McGraw-Hill. He has an M.Ed in technology, innovation and education from the Harvard Graduate School of Education.

Contact Tyler via email (tyler.james@comixtribe.com), follow him on Twitter (@tylerjamescomic) and subscribe to ComixLaunch at ComixLaunch.com or on iTunes or Stitcher Radio.

Creator’s Corner: Running a Successful Kickstarter Part 3: Creating the Campaign Page and Video

Now that you’ve done your research and brainstormed rewards, you’re ready to create the campaign page, considering all of these attributes: clarity, concise writing, transparency, and an engaging video.

If you’re a potential backer, looking for a project to support, you have a lot of options to sift through, which is why clarity and being concise is so important. After all, why should you expect a backer to spend extra time trying to understand a project or read unnecessary details when they can easily click on one of the hundreds, maybe even thousands, of other options? The only people who would spend time trying to understand a project that is unclear and overly lengthy in its description are friends and family. But they’re not the ones you want to design this page for, since they’ll probably support you anyway.

Next, to avoid seeming like you’re trying to con people out of their hard-earned money, strive to be as transparent as possible, both in the initial page and any subsequent updates. You need to be honest about costs, both financial and time (to produce content, ship it, etc..), so that backers know you’re not asking for more money than you need. Kickstarters aren’t designed to pocket the money after all; they’re supposed to funnel the money into a product and experience for passionate supporters.

This is also true of updates: if you’re running behind or if you got an unexpected discount/rebate, let your backers know and pass those savings onto them or give them the new timetable. Chances are, if you’re running a Kickstarter, you need audience support for later projects (on Kickstarter or just further issues/books/etc…), and an audience is more likely to return to a project that continually shines a light into all the corners instead of a project that pushes imperfect things into the corner shadows. Those shadows won’t cover them up for ever, so you might as well beat some investigative internet troller to the punch. And don’t just take it from me; look at this advice from a writer for Backer Kit:

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Image/Quote from Backer Kit

Finally, and perhaps most importantly, you need to design an engaging video to sell your project to potential backers. If you’re like me, you’re probably thinking: But I just described it in the campaign details, so why should I do that again? It’s a reasonable and understandable question, and the simple answer is that most people–because of time, possible entertainment value, and ease of effort–prefer to get their information from a video source rather than a text-based one (I know, the English teacher and writer in me rebels at this idea, but ideals sometimes have to be set aside to deal with reality).

With that in mind, I looked at what a lot of other Kickstarters had done, and then pretty much preceded to ignore most of what I found, simply because I didn’t want to learn how to use video editing software on more than the most basic level. I knew a little–because I had to create some really bare bones videos for my students, especially the ones who had been absent and missed a lesson. But creating a video that delivers information clearly and creating a video that does that and does so engagingly are two different things. (Yeah, I probably should’ve tried to make them engaging for my students too, but time was an issue). After a few takes and some minor editing, this is the video I created:

Yeah, really impressive right? With a video like this I’m surprised I still raised enough funds. If I hadn’t had so much support from family and friends, I probably wouldn’t have. And this isn’t just something I subjectively feel: my video was played 118 times, but only 11% of people completed watching the whole video. (I found this out from yet another handy graphic/report available on Kickstarter after a project’s completion–see it below):

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I have no other campaigns to compare this to, so I don’t know for sure, but that seems like a very low number. Even if it’s not that low (relatively speaking, compared to other campaigns), there’s clearly a lot of room to improve. So take it from me, don’t learn the lesson the hard way, and instead, devote more time to actually making a creative, engaging video. Because, ultimately, this is your audience’s first chance to see what products you’re capable of making, and if you get off on your worst foot, how will you expect others to finish that journey with you?

You can also take advantage of something I completely ignored–well…actually didn’t know about, so it looks like I ignored it. Kickstarter Live is a way to interact–wait for it–live in video chats with backers.

kickstarter live image

Kickstarter live image 2.png

Images from Kickstarter Live

But, since we’ve got quite the journey ahead of us, it’s time for another break. I’ll see you on the trail shortly, for our next stage in that journey: promoting the Kickstarter for maximum return.

It’s Alive! to Publish Family Man by Jerome Charyn and Joe Staton

Many years ago, DC Comics launched a non-superhero, non-science fiction, and non-fantasy imprint called Paradox Press, which produced such popular titles as Road to Perdition and A History of Violence.

One of the titles published by Paradox Press was an almost 300 page graphic novel (originally published as a three issue mini-series), entitled Family Man by Jerome Charyn and Joe Staton.

Family Man is set in the near future, when New York is a ruined city, the police are out of control and the Mafia families have all been wiped out. THE FAMILY MAN is Alonzo, haunted by the murder of his wife and children. His brother Charles is the leader of the police force and is coming ever closer to total power in the city. When Charles orders a round-up of all “criminal” elements into a makeshift prison camp, the various plots start to come apart and only Alonzo can save the city.

With the help of Eisner award-winning editor and designer Jon B. Cooke, It’s Alive! will take what was originally published in three digest-sized square bound comic books, and transform it all into a 300+ page, black and white, 8.25″ x 11″, hard cover graphic novel, with well researched historical essays about the creators, the imprint the comics originally came from, and the story itself.  A Kickstarter to help them raise the funds to publish this epic tale will be announced very soon!  Along with the ability to pick up a copy of the book itself, fans will have a shot at obtaining a page of Family Man original art, from the small handful of pages that Joe Staton will be making available. There will also be more original artwork and sketch rewards, donated by several incredible artists, including: Larry Hama, Paul Gulacy, Jamal Igle, Mark Wheatley, Timothy Truman, Batton Lash, Alex Saviuk, Scott Kolins, Rick Burchett, Ron Frenz, and many more!

Tee Franklin Talks Bingo Love

Tee Franklin discusses passion project Bingo Love, a graphic novella she created with artists Jenn St-Onge and Joy San. The project was posted on Kickstarter in mid-March and quickly reached its funding goal. Among other unique aspects, Bingo Love is a type of story that doesn’t exist anywhere else in comics–find out why you should check it out.

Graphic Policy: First, thank you for taking the time to speak to me! Would you mind introducing yourself?

Tee Franklin: Thanks so much for having me. I’m Tee Franklin, a writer with story in a few books, maybe you’ve heard of Image Comics’ Nailbiter and IDW/DC Comics Love is Love. I’m also the creator of #BlackComicsMonth.

GP: Your new comic, Bingo Love, is debuting on Kickstarter. Can you describe the project?

TF: Bingo Love is Black Mirror’s San Junipero meets Academy Award winning Moonlight. It’s got love, heartbreak, tragedy, and a honeymoon to Iceland.

GP: Based on the previews, the art and writing mesh beautifully. How did this creative team come together?

TF: The art and colors are absolutely a match made in heaven. I actually put out a tweet looking for LGBTQ women artists and colorists and Joy dropped her link in the tweet. Jenn and I have been trying to find the perfect project for us to work together on and Bingo Love worked out perfectly. After seeing the first page by both women, I knew this was going to be huge.

Editor Erica Schultz has been a great friend for years and she knows I have a phobia of the red ink, so she edits with various colors. Erica knew of Cardinal Rae’s lettering work and vouched for them.

We are The A-Team!

GP: You also have some great stretch rewards. Could you tell us about them?

TF: Oh goodness, we have skype sessions with Kelly Sue, Scott Snyder, Gail Simone and Steve Orlando. Script and portfolio reviews from Al Ewing, Kieron Gillen, Patrick Thorpe, Shawn Pryor, Bryan Edward Hill and Erica Schultz, Of course variants from Nilah Magruder, Genevieve Eft, and Carla McNeil.

I’m truly blessed that there are so many creators who were willing to donate their time to help Bingo Love come to fruition.

GP: You’re also curating the Mental Health Anthology, which is set for crowdfunding later this year. I’ve noticed you’re using two different crowdfunding platforms. Is there a difference in how each platform allows you to fund and market these projects?

TF: The Mental Health Anthology will be happening later this year or possibly next year, depending on how things go. I will say that I was not mentally prepared to read a lot of these stories that many have shared and I have to practice self-care. This anthology is still happening as it means a lot to me.

The reason for Indiegogo is because Kickstarter doesn’t allow funds to go to charity and this project’s funds are going straight to charity after printing and shipping expenses.

GP: Your works have also covered a number of different genres. How do these allow you to explore different types of storytelling? Is there a genre you haven’t gotten to write or draw yet that you’d like to?

TF: I’ve built several worlds in my head. I had a very rough childhood, young adulthood and adulthood, so for me, my escape was the worlds that I created. I’m blessed that I can write different genres and not just known as the “horror” writer or the “all-ages” fantasy writer.

As far as what I’d like to write, it would just be DC Comics Vixen. I’m not a huge cape fan, but boy oh boy would I love to get a chance to write Vixen. I even have the pitch ready to go upstairs in my head.

GP: What drew you to comics as opposed to other forms of storytelling?

TF: Comics are just so damn cool. I got into comics as a child and even though it was all superheroes, there was something that grabbed my interest. As an adult, I’m over the capes. I want murder, mayhem, horror, dragons, romance, mystery, robbery, etc.

Just give me anything besides capes and make sure that there’s representation in the book!

GP: What freedoms does crowdfunding allow you as opposed to traditional publishing?

TF: I wouldn’t consider it freedom, it’s just me writing from my soul. These stories aren’t stories that traditional publishers wants, because they believe it won’t sell. The problem is they don’t know how to market these books and truly believe that POC won’t buy any books that tell vital stories. Judging by the Kickstarter being funded in 5 days, I beg to differ.

Do better publishers, the people want these stories by creators of color. Representation Matters.

GP: I remember reading you saying during Oscar season that there were no comics out that reflected the themes or experiences of the characters in Hidden Figures, Fences, or Moonlight. What were some of the thematic influences for Bingo Love?

TF: Yep. I definitely did say that. There are books out there, but they’re written by white creators and it doesn’t have the same narrative as these Oscar-nominated books. A few days before the Oscars, I watched Moonlight, (I heard about it, but never got a chance to catch it until it came out OnDemand.) and realized that the movie reminded me of Bingo Love.

These stories are needed, not just for film and tv, but also in books.

GP: What are you most excited for readers to see with this comic?

TF: Everything! This love story is one for the ages, it spans across a lifetime so there’s a wedding, a honeymoon, and DRAMA! We want to tell this vital story and hope that it resonates with everyone. I’d be over the moon if a senior citizen reached out to tell me that they lived this story.

GP: Is there anything you’d like to discuss that I didn’t ask you about?

TF: Thanks so much for interviewing us for Graphic Policy. I know this is a different type of comic, but sometimes you need to embrace something that’s not the norm. Love is Love is Love is Love and this comic has so much love in it. We want everyone to be open and respectful to those who love differently than they do. We need more love and kindness in the world.

GP: Thank you again!

Frank Gogol Talks Comics, Kickstarter, and Grief

GriefIt’s not likely that Frank Gogol (The Comic Jam) is very different than you. He loves comic books, he’s known his share of tragedy in life. Like many of us, he has a love for writing, too. However, unlike many of us, Gogol has taken the numerous sorrows of his past and put them into comics. His new book Grief deals with the tragedy and loss he’s experienced in a relatively short life in ways that are fresh, varied and engaging.

In an effort to further pursue his dream, he launched a Kickstarter this week that you can view by click here. He took a moment to discuss the writing process, his inspiration and what has guided him during this time.

Graphic Policy: Grief draws a great deal from your personal tragedies in life. How long have you been writing these stories?

Frank Gogol: I feel like I’ve been writing these stories all my life, but the truth is I finished the first script, which was for the story “Embrace” in March of last year. I’ve always wanted to write comics, and had a few false starts over the years, but at the end of the 2015 I had to tell myself to commit or move on. So, I committed and signed up for the Intro to Comic Book Writing course with Comics Experience under the guidance of former Marvel and IDW editor Andy Schmidt. And it was like that class unlocked something in me. After that, the stories started to pour out and I wrote all of the stories in Grief in about six months.

grief 002GP: The stories in Grief are extremely varied in their content. Would you say this is a reflection of dealing with your singular emotional conflict in various ways? Or are each of these a catharsis of their own memories?

FG: The variety of the stories is both by design and by accident. Let me explain. When I had begun writing these stories, they were never meant to share space in any kind of collection. I had talked with Steve Orlando (Justice League of America, Supergirl) about breaking into comics, and his advice was to finish some stories, show some range, and get a portfolio in front of some editors, and so that’s what I tried to do. And it was about the time I had five or six of the stories that I started to see that, while they were incredibly different in terms of content, they did share a thematic link in that they were all about characters that were grieving. So, I ran with that and started crafting the next few stories to fit that thematic through-line.

The stories themselves, for the most part, deal with things that have happened in my or around my life. Some of them, like “Prayer” are essentially autobiographical, while others like “Cassandra” were inspired by events I witnessed and tied to stuff that was going on in my life. All of these stories, though, are cathartic. Stories and storytelling are how I’ve coped with and moved passed (mostly) my traumas.

GP: Drawing so much from experiences that are so tragic and yet unique to you, what do you think will appeal most to the average reader?

FG: What I think is so great about anthology-style books is that because there are a variety of stories, even if one story doesn’t speak to you, another might. There’s something for everyone. And I think that’s one of the virtues of Grief. If you don’t like stories that are dramas, there’s a couple of sci-fi stories in there for you. If you don’t like superhero stories, maybe the horror stories will be more your speed.

Grief is something that is universally experienced, so even if a reader doesn’t know first-hand what it’s like to raise an autistic son, they will understand how it feels to be frustrated or to feel like a failure.

grief 005GP: How has your life been changed as product of working through these stories?

FG: Truthfully, I think I’m in a much better place than I was before writing the stories. I had thought I had worked through a lot of the traumas in my life, but writing these stories really showed me how much further I had/have to go. I think certain terrible things we carry with us for the rest of our lives, but there’s definitely a healthy way to carry them, and I think that’s where I am now.

GP: Working with a wide variety of artists in this anthology series, how decide you assign them to each story? How much of the artist’s own personal trauma and tragedy were considered?

FG: One of the best and worst things about being a comic creator in the internet age is that you can work with virtually anyone anywhere on Earth. It’s great because you can find collaborators from different places and with different backgrounds. The downside is that it’s tougher to build relationships with your collaborators when you only ever communicate with them via email.

So, I don’t know for a fact that any of my collaborators incorporated any of what they’ve been through into their art, colors, or letters. But I am a firm believer that life experiences, good and bad, influence how creators make their art, so I’m sure that my collaborators’ experiences are there on the page.

GP: In the Kickstarter, Grief is an exclusively digital book. As a creator, where do you think the future of comics lies? Is a peaceful co-existence between physical and digital or will be left behind?

FG: I know that some people are concerned about digital coming in and replacing paper comics, but I don’t think that’s something to worry about. For me, each serves a similar, but different purpose. Paper comics are for reading, but also collecting and bagging and boarding. Digital comics, though, are for reading and re-reading. Over the last few years, especially as I’ve been studying comic writing craft, digital comics have just made more sense for me. I read comics, but I revisit the stories and study the art, so having them larger and on my computer screen really helps with that. I do still buy some paper comics, but it’s mostly writers I follow and my friends who are getting books printed. Otherwise, I stick to digital.

grief 001GP: Your Kickstarter looks amazing, by the way. Being your first, what help did you receive or what insight helped you to forge something as impressive as this?

FG: Thanks! I really was a labor of love.

If there is one person I am most indebted to for how the campaign page turned out, it’d have to be Tyler James from the ComixLaunch podcast. I started listening to ComixLaunch about a year ago, thinking that someday I’d run a Kickstarter, and the knowledge Tyler offers how Kickstarter is invaluable.

That said, many, many people helped me with getting this page right. I’m a part of a couple of online communities, and I reached out to the members of those communities often for feedback, and that was really helpful, too.

And, on top of all of that, it certainly didn’t hurt that by day I worked in marketing and have a background in graphic design.

GP: In terms of being promotion and getting the word out, as a new writer leading indie talent, I imagine it’s difficult to really get your project out there. What have been the keys to your success in that regard?

FG: That’s probably the biggest hurdle in front of any new creator. Those online communities I mentioned have been a big help with starting to build a following, though. Reddit communities and Facebook groups geared toward comic books are really great spots to share indie comics because they are extremely targeted to begin with. I think, for me, the key to getting people excited about my work has been interacting with them. It’s one thing to write a story and share it. It’s another, more powerful thing, to connect with a reader through a story.

GP: What advice would you offer to other people who are looking to get their own comic book project funded and developed?

FG: I’m not sure I have anything thing revelatory to offer that hasn’t been said before and often, but the piece of advice that really helped me was to start and finish a project. I started with very manageable 5-page stories, which allowed me to start and finish a project easily and learn the process. It’s got a domino-like effect. You finish one, and then you finish a second, and then a third, and it gets easier each time.

grief 003GP: Moving forward, do you feel Grief has helped you leave some of the heartache and pain behind you?

FG: Yes, definitely. I don’t hold it as an absolute truth, but I do think that a lot of people write because they have stuff to work through. It’s definitely true for me. Like I said earlier, some stuff we carry with us forever, but we can learn to carry it in a healthy way, and writing Grief helped me to do that with some of my traumas.

GP: What story are you working on next?

FG: I’ve got a couple of scripts ready to go right now. I’m always trying to do or learn something new when I write, so no two are the same, either. One story is Silence of the Lambs meets superheroes. Another is an all-ages story that deals with what it’s like to be adopted. There’s a third script about artificial intelligence and guilt. I’m not sure which will be next just yet, but I do know I have a lot of stories to tell still. Right now, I’m focusing on making sure the Grief Kickstarter campaign is a success and offers backers a lot of value.

 

You can check out the Grief Kickstarter here.

Patrick Healy is a writer/artist who makes pins and chews bubble gum. He has ample amounts of both. But you can find his pins here.

Creators Corner: Running a Successful Kickstarter Part 2: Rewards

Now, that I’d done my research (see my first post, located here), I started creating the project: first focusing on rewards. I followed the lead of Kickstarter and other advice found in my research, and I asked my artist Juan Romera what he could offer.  He offered a few things, but the winners mainly consisted of sketches of varying sizes.

Other than getting Juan’s suggestions, I had to consider a few more things. First, I had to be realistic about what Juan and I could do in a reasonable amount of time following the Kickstarter’s completion. While I might want to write a 50 page short story for every backer that gave me $100, it’s not realistic to do so.

In connection to this, I had to be realistic with the cost of rewards. It might be cool to print copies of the book for every backer that donated $1, but with a $3 cost per printed issue, that would only leave me in a worse financial position than I was in before the Kickstarter.

I also had to consider a fan perspective: while some behind the scenes stuff is cool, if I go too in-depth with those types of rewards, I would only entice creators, not fans.

After all this thought, I came up with what I believed were the best variety of rewards, balancing costs at the same time (for all of us: myself, Juan, and the Kickstarter backers)

I started with some basic rewards (pdfs of the first comic for $1, pdfs of the first two issues for $2, I’d follow you on Twitter or friend you on Facebook for $5, rewards that didn’t cost me much), and mentioning the backer in a closing acknowledgment or opening dedication for $10 or $20 respectively. Then I started jumping prices on the rewards more: $25 for a look at my first comic script ever, for an unpublished comic called The Eye of the Beholder, and a behind the scenes look at Rebirth of the Gangster–on sale at Amazon as “First Shot: The Making of Rebirth of the Gangster.

I followed these with my high tier rewards: popular ones like original sketches by Juan for $35 and $55 depending on the size (as limited offers, which made it realistic to ask this of Juan) and some other rewards that didn’t work so well, like naming Marcus’s grandpa, and feedback from me on a script the backer wrote. But my most popular and lucrative rewards were making a cameo for $100 and getting an interview with me for $125; the cameo was limited to three backers, so it also was realistic to add a few new roles in a 22 page script, and the interviews are things I would do to promote the comic anyway, so I wasn’t really hurting with a time-commitment on that one, even though it wasn’t a limited offer.

As a last note, all of my rewards were cumulative–if you paid $10, you’d get that reward and the ones below that. The only exception to this were the limited offer rewards that only let a few people purchase them; those limited offer rewards received everything below it, but rewards above them couldn’t get the limited offer reward.

One of the handy features of Kickstarter is that you can see how the rewards break down, both in terms of how many were purchased and in the context of how much that reward contributed to your overall goal. See below for some of my key results after my campaign succeeded:

Picinterviewreward-page-001.jpg

Piccameoreward-page-001

Picsketchreward-page-001

 

The above rewards didn’t have many backers–partly because they were limited offer rewards, only letting 2 or 3 people receive them–but clearly they helped my campaign the most, contributing to 62% of my total money raised.

 

Pic2reward-page-001

Pic1reward-page-001

The smallest donations for rewards–seen above–didn’t help my overall campaign fund much (only 3% of total funds raised), but I like to think they’re still useful, because they get more people reading my comic than would otherwise.

Reflections on my rewards, post-campaign

The success of my rewards hinged on a few things:

  1. Low cost rewards offer little risk to backers with the large reward of backers feeling like they made a project happen.
  2. High cost rewards were most attractive when backers were directly involved–and readers could see their involvement–in some component of the creation, like having a cameo. This was my most successful reward; many asked if I could add another cameo reward (and I added one, but stopped at that, because I wanted to save Juan’s sanity).
  3. High cost rewards were also attractive when they backers were delivered some unique product, like an original sketch from Juan
  4. Some high cost rewards–like the interview–didn’t attract people for the reward, just for the chance to feel good about supporting my project in a big way. I actually didn’t have requests from interviews for these backers–they were friends and family that supported in a big way.

The failure of some rewards popped up because of a few other reasons:

  1. Most people don’t want to pay money for social media connections. They probably realize that I would want to connect with them anyway, so I can have more options of getting the word out. This reward was mainly self-serving on reflection, and many backers saw that.
  2. The smaller sketch artwork was too small (I even had one or two backers change from that reward to the bigger one because they didn’t think about that size closely enough). Essentially, backers want a sketch that’s around a typical comic book size (8×11).
  3. Maybe because I wasn’t established enough, but the reward promising feedback didn’t work at all. I’m sure for established greats like Neil Gaiman and Alison Bechdel, that’d work. But then again, they probably wouldn’t be using Kickstarter.
  4. Although people were interested in the behind the scenes stuff, I didn’t get a lot of positive feedback about that: just positivity about the comic and the opportunity to support it in a more meaningful way than a few bucks.

 

Ideas for reward in next campaign, based on reflection (and assuming I’d do another campaign)

A few months back–about two issues away from being done with my first story arc and graphic novel–I started thinking about another Kickstarter campaign, only this time funding a printed copy instead of digital copy of the series. I always planned on releasing individual issues as digital copies only and then releasing graphic novels as both printed and digital copies, partly to save costs and partly because as a comic reader I really only buy trades.

I brainstormed a new list of Kickstarter rewards, keeping the oldies but goodies and adding some new ideas for a wider reach and better fan appreciation. While I eventually decided to just go with Amazon’s print on demand service (since it saves me the financial commitment of purchasing a specific print run; it also saves me the time and cost of a Kickstarter campaign; and it ultimately avoids the issues of purchasing a specific print run–namely, buying too many or not enough copies of the graphic novel).

kickstarter rewards next campaign

 

Really, I decided that running another Kickstarter wasn’t worth the headache at this point in the graphic novel’s publication (and at this point of the school year–as a teacher, I know that the end of the school year is always the most hectic, so it wasn’t worth it to me to stretch myself so thin with another Kickstarter). I wanted any extra work done on my comic to affect my comic itself–the story and the art–not the publication of it. Despite this conclusion, I thought it would be useful to share with you my list of possible rewards and my reasons for keeping some rewards, jettisoning others, and adding some new stars.

Here they are:

  1. I wanted to keep the Twitter/Facebook rewards but with a twist. In my first campaign, I promised to follow/friend people, but it seems like people were more interested in a shout out of appreciation. I would change it to the shout out and reduce the price, since that would be a good small investment–others like the idea in my first campaign but not the price.
  2. I’d still keep pdf copies as rewards for small-time investors, although making them more expensive than the Twitter/Facebook rewards.
  3. Since people liked the cameo, I decided to add a “Suggest a Character” reward for about $10; that way I wouldn’t have to commit to a lot of characters if I only have room in the outline of a certain issue for a few, but it still gives backers a feeling of contributing to the project financially and creatively.
  4. I’d also keep the Acknowledgments reward, since I think people deserve a shout out on the graphic novel.
  5. I’d add a printed copy, since that’s the reward, and I’d price it at retail price, about $20-25. That way, I wouldn’t be losing money and backers would still feel it’s a deal, because they’d get the printed copy and the rewards leading up to it.
  6. For about $10 more, I’d offer a signed printed copy with either just me or just Juan signing it. Promising both would lead to big mailing fees and time concerns that wouldn’t be worth it to me.
  7. Although the interview reward worked well, I’d change it by lowering its price and offering a guest blog post as an alternative to the interview/podcast appearance. Some smaller websites prefer that since it adds to their site without too much time commitment from them. And, as I think I’ve mentioned, most people who backed this didn’t even request an interview, so I wanted to give another option to widen its appeal.
  8. I’d keep the cameos and sketches from Juan, unchanged, since those were the most successful.
  9. I’d add two videos: a director’s cut video for a specific issue and a director’s cut on how to create a comic in general. Stay tuned to later posts for some video analysis: it helps, but the one video I had on my campaign needed improvement, something I’d hope to do here too.
  10. My last two additions would be new rewards: I’d write something that looked like fan-fiction, creating a 5 page story of the backer in the Rebirth of the Gangster universe. I’d also offer a 2-page short story, unconnected to this universe. Because of the length, I’d ask for more for the Rebirth of the Gangster fan fiction style story. Both are short, because I wanted to balance reward with the time commitment on my part.

Eventually, I might use these rewards for a campaign later in the publication of Rebirth of the Gangster, or even in the publication of one of my other story ideas (The Others Behind the Wall, a mix between Lovecraftian horror and Stranger Things sci-fi, and A Story for Kari, a fantasy that uses my own long-term relationship as the basis for the romance). But before that day, there is still more from my first Kickstarter campaign to reflect on and use for future planning. But I’ll cover that in later posts in this series, so stay tuned!

Ryan K. Lindsay Talks the All-Ages Comic Ink Island

Ryan K. Lindsay is an Australian writer who has written the EIR all ages one-shot he Kickstarted with Alfie Gallagher, the critically acclaimed Negative Space miniseries at Dark Horse with Owen Gieni on art, the upcoming Beautiful Canvas from Black Mask with Sami Kivelä, the CHUM mini with Sami Kiveä, and he also made Headspace at Monkeybrain Comics/IDW with Eric Zawadzki + Sebastian Piriz/Marissa Louise/Dee Cunniffe on art. He wrote a short story for the Vertigo CMYK anthology and was blessed to see Tommy Lee Edwards illustrate it, his Fatherhood one-shot was once one of the top selling ComiXology Submit titles, and he once sold out to write a My Little Pony Rainbow Dash one-shot.

He has a brand new project, Ink Island, currently running on Kickstarter. I got a chance to talk to him about the all-ages comic.

Graphic Policy: Ink Island just went live on Kickstarter. Could you describe the project a bit?

Ryan K Lindsay: INK ISLAND is an all ages one shot comic that’s about two children – my own two children – who are the caretakers of a lighthouse whose function is to keep the monsters in the dark away. So when the globe breaks, they have to scramble to fix it, and in that moment, my daughter is kidnapped.

From there we have a story that’s about conquering fear, and gender roles, and sibling relationships. The book has some beautifully funny moments, mostly because my co-creator/artist Craig Bruyn brings an extremely expressive and cheeky art style to this book, but we also want to drop some real emotion in when we can.

Our campaign is allowing us to fund a print run of the book, and get Craig paid, and get a set of teaching resources into the hands of people who want to read and then analyse this comic.

GP: Craig Bruyn’s art is great! I know you’ve referenced Skottie Young when talking about the art, but it also reminds me of Justin Bleep, who has this really dynamic style. Besides gorgeous art, what does Craig bring to the story?

RKL: Craig brought a lot of heart to the story. The way he brings out the character moments, whether they be human or Inky, was such a delight to unfold. And then there’s his story capabilities, his knack for being able to take a page of story/information and tell it in a coherent and dynamic way. Craig knows from page layouts, and you can see he’s always working to get the right angle or showcase the best panel.

He’s also just the biggest gentleman to work with. He’s stupidly humble, he’s insanely reliable, and I love that the final beat of the issue was actually all his idea.

GP: In addition to the plot, what sets this story apart from other books aimed at a similar audience? In other words, are there things missing from the genre that you wanted to include?

RKL: I’d feel arrogant to say I’m crushing the all ages funk in a totally new way and better than others, but the things I wanted to focus on in this book were the ideas of overcoming fears, and what gender roles look like as presented to small children.

The main act change of the book revolves around Parker realising his sister, Elliot, has been kidnapped and then having to step up to mount a rescue mission. But we never see what Elliot is doing so we can’t confirm whether she really needs rescuing at all. It’s a big aspect of the comic I wanted to unpack in general, but also very specifically between my two children. My son is very thoughtful and empathetic whereas my daughter is a UFC-level weapon. But they both crossover in that they’d each help the other whenever they thought it was needed.

But I think, for me, it wasn’t about bringing something incredibly new to the genre because it was more about proving I can also play in this genre. Most of my other work is so dark and brutal, I wanted something my kids could read. Something my class could read.

GP: You’re also no stranger to Kickstarter–this is your fifth! For you, what is the draw of a crowdfunding platform like Kickstarter?

RKL: I love Kickstarter. That ability to connect with your readership directly is amazing. I specifically love it because for one month you can offer a slew of special items that will only ever be available for that month. I’m doing an Audio Commentary for this comic, and have done so on previous comics, and those have never been available again.

You could sell the comic on your site forever and a day, but there’s no excitement, there’s no necessity. With Kickstarter, you create the excitement and immediacy through a well-run campaign, and readers respond fantastically well.

GP: How does your experience as someone who teaches comics influence how you create them?

RKL: It influenced me many years ago because I didn’t just try to write comics, I studied them first. I studied, I learned by doing through dozens of unpublished [and unpublishable] scripts, and then I started branching out from there.

Now that I’ve written a few things, I do try to write with an eye for the things I like to analyse in the works of others, but I try not to be too obvious about what I’m aiming for. You want it to feel natural, not forced. And I don’t want to be didactic in my narrative approach or explanations. My stories better not read as lessons, they should grab an emotion before they then slip up into your brain.

GP: That’s really fascinating–the balance between writing comics that can be used as a teaching tool and comics that are interesting and gripping, plot-wise. On the flip-side of this, why do you think comics make such a great teaching tool?

RKL: Comics are exceptionally great tools for teaching reading because there’s so much reader engagement required. It’s a great medium to have story/information presented – through text and images, and how they interact – but then there’s the subtle stuff that’s there, so it’s not blindly inferred, but it’s still up to the reader to analyse, such as colours or how much is skipped over in the gutters. There are so many elements to a comic that you can spend a long long time pulling the threads apart.

I also think there’s the aspect that comics don’t feel confrontational. They are inviting, they’re pretty, and people mistake that for meaning they are for struggling readers, and while you can see why they’d appeal to someone who doesn’t want to stare down a wall of text in a novel, that does not necessarily equate to comics having easy or simple stories.

GP: Do you have favorite comics to teach?

RKL: I teach young kids, so I love using books like HILDA, because man-oh-man do I love Hilda. That book is phenomenal, and so easy, and yet so textured and layered. I also dig BONE, and THE SMURFS and certain superhero books if they aren’t too violent.

If I’m teaching adults, you can’t go past BATMAN: YEAR ONE. I’d love to teach THE IMMORTAL IRON FIST, or PAPER GIRLS.

GP: I took a class in college where BATMAN: YEAR ONE was on the book list, but not required, and I always find it interesting to see which books people choose to teach because it varies so much. Are there certain things you think we can learn from superhero books versus creator-owned books?

RKL: I believe the only thing you learn from comics is how to makenglod comics, so cape or by shouldn’t matter – however, having just completed the DC Writers’ Workshop with Scott Snyder, there is one big difference.

Superhero books can play more operatic, the stakes can be elevated. There’s nothing like the literal fate of the world to make a comic sing, whereas sometimes you don’t need that and you just need a personal take.

Consider THE VISION against DAYTRIPPER. Themes crossover but one book gets to play against the might of every Marvel hero, whereas the other is real that it can better grind your heart up.

GP: What’s the biggest challenge of creating an all-ages comic?

RKL: Not killing a bunch of characters off at the end. I love noir, and my mind skews to warped endings, so that’s a big one. Then there’s the matter of making it engaging, having some big “Oh, cool!” moments, because I never feel like I do that part all that well.

I want to use rich language, and I’m happy if kids have to pause to ask a parent what a word means, but I don’t want the verbosity to drive anyone away. There’ a balance, and I’m sure I’ll find it one day.

GP: Ink Island is also a huge departure from many of your other comics. Do you have a preferred genre? Do these different genres allow you to experiment with different types of storytelling?

RKL: My preferred genre is a sci fi/crime blend. It allows me to play with broken noir characters, but in a world that incorporates the fantastic. I love shattered endings and I love creating my own tech that I can explain however I want without being tethered to actual real world limitations or research.

I try to experiment with my storytelling all the time. I’ve used first person narration captions, omniscient third person, and no captions. All are different muscles for me. I like fracturing timelines, or using unreliable narrators. It often truly depends on the lead character and the tone I want to set. Those are the two keystones to lock in that inform all choices beyond that.

The Goon and Fear Agent Come to RPGs

Pinnacle Entertainment Group has launched two Kickstarters running simultaneously for the pulp scifi setting Fear Agent and “zombie Noir” The Goon comics. Both were funded in less than 90 minutes and have already passed numerous stretch goals!

The Goon RPG for Savage Worlds

Multiple Eisner-award winning comic The Goon pulls no punches when Goon starts swingin’—usually at the chug-heads, changelings, and snake-riddled rival gangs what get in his way. Now your strangers, weirdos, and ne’er do wells can join his crew, make Lonely Street a bit less zombified, and even save the Town in the dramatic Plot Point Campaign “From Hell’s Heart We Bite at Thee!”

The Goon was created by Eric Powell and published by Dark Horse Comics.

Fear Agent RPG for Savage Worlds

The Earth is decimated in an alien invasion—then the “backwards” survivors are invited to join the United Systems as a sort of half-hearted apology. Just like the star of the comics, the “Last Fear Agent” Heath Huston, your heroes are stuck cleaning up the mess in a planet-hopping, time-traveling, conundrum-unravelling journey against the strangest and weirdest aliens the Deep has to offer. And all with a few twists worthy of this phenomenal series!

Fear Agent was created by Rick Remender, Tony Moore, and Jerome Opeña, and published by Dark Horse Comics.

The Goon RPG and the Fear Agent RPG for Savage Worlds Kickstarters each offer a core book, GM Screen with adventure, Bennies, dice, and amazing miniatures sculpted by Bronze Age Miniatures. A copy of the Savage Worlds core rules is required to play ($10 at www.peginc.com).

If you are new to Savage Worlds, Pinnacle announced an Un-Stretch Goal: PDFs for Deadlands, Rippers Resurrected, The Last Parsec, and East Texas University. Digital or higher level backers on either Goon RPG or Fear Agent RPG Kickstarter get these PDFs for FREE after the Kickstarter. That’s a terrific way to get a feel for the variety of genres Savage Worlds can handle.

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