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There’s someone left to fight… No One Left to Fight Gets a Sequel

The Comic You Always Wanted is BACK, from creators Aubrey Sitterson and Fico Ossio with additional colors by Racial Avila and letters by Taylor Esposito in No One Left To Fight II!   

This series picks up where the smash-hit, critically acclaimed first No One Left To Fight series left off—with the world’s greatest fighter struggling to find his place after all his battles have been won and while there’s still time left. This series features standard and variant covers by Fico Ossio, which combine into an all-new interlocking image!

Inspired by classic fight manga, No One Left To Fight is perfect for fans of Dragon BallNaruto, and One Punch Man.

No One Left To Fight II #1 (of five) will be in comic shops October 13, 2021.

Review: The Worst Dudes #1

The Worst Dudes #1

There seems to be an increase in gonzo comics lately. These comics take situations and put them far over the top with characters fueled by drugs and alcohol and featuring an ever-increasing body count. The Worst Dudes #1 is an example of the trend with a detective story at its core.

The comic revolves around a dirty cop, a drugged-up back-up dancer, and an angsty adolescent god. All of them are tied together by a missing heiress. The result is a first issue that’s vulgar, rude, and really weird. It’s a bit like 90s Lobo but rated-R.

Written by Aubrey Sitterson the comic continues his gonzo over the top storytelling. Sitterson is settling into a style that takes a story we’ve seen before but ramps it up to 11. Nothing is normal here. Every character is a caricature in some way taking a personality aspect and dialing it up to obnoxious levels. The results are an over-the-top delivery where the insanity is part of the fun. There’s a lot one can be offended by but that’s also part of the charm of the comic in that it goes for the raunchy aspects. It mines so many 80s films in that way with making sure each situation is never normal.

Tony Gergori has the impressive task of delivering all of the detail and raunchy visuals. Joined by Lovern Kindzierski on color and Taylor Esposito on lettering, the comic’s visuals are over the top. Sitterson sets up the joke but it’s the art that often delivers the punchline. There’s so much in the small details, it’s crazy what’s packed in. The color pops from the page emphasizing the depravity and forcing you to look and soak in the adult nature of it all. And it delivers laughs. There’s such exaggeration at times it’s hard not to.

The Worst Dudes #1 is a throwback comic in some ways. It celebrates the crazy, over-the-top comics of the past. There’s an almost underground quality about it in the writing and art. There’s also sure to be something to offend a lot of people. It’s a sex, alcohol, and drug-fueled start and I’m sure there’s only worse to come.

Story: Aubrey Sitterson Art: Tony Gregori
Color: Lovern Kindzierski Letterer: Taylor Esposito
Story: 7.85 Art: 7.85 Overall: 7.85 Recommendation: Read

Dark Horse provided Graphic Policy with a FREE copy for review

Purchase: comiXologyKindleZeus ComicsTFAW

Aubrey Sitterson and Chris Moreno Takes Us on a Stoned Kung-Fu Adventure with Stoned Master

Stoned Master

Aubrey Sitterson returns to Kickstarter, this time with his co-creator of The Comic Book Story of Professional Wrestling Chris Moreno. Stoned Master is about a burnout martial artist using stoned kung fu to defend his Los Angeles neighborhood of Chavez Heights from a rapacious corporation.

With the project now live, we got a chance to talk to Aubrey and Chris about the comics’ influences and what’s the best way to get stoned and read it.

You can back the project now before it ends on May 20.

Graphic Policy: From wrestling to stoned Kung-Fu. How’d Stoned Master come about?

Chris Moreno: I feel like it was a gradual process rather than a bolt of lightning moment, but I recall Aubrey and I had a blast working on The Comic Book Story of Professional Wrestling, and I mentioned how much fun I had drawing the action scenes, but because we were covering the entirety of the history of the art form I always had to move on to another subject when I would have loved to draw an entire fight scene. That spurred many discussions about doing an all-action/fighty-type book next, and then that led to talking about our favorite kung fu flicks. That’s when I recommended to Aubrey that we watch a little movie from 1977 called Death Promise, the story of two ass-kicking best friends who use martial arts to fight to save their NY apartment building from a syndicate of evil slumlords trying to force them out. It’s a real schlocky hidden gem (with a great titular theme song and a poster by Neal Adams, to boot!) and one of my favorite types of action movies, where it seems like they just got a bunch of stuntpeople and martial artists together and built a movie around them. But it also has this level that we really responded to, which was that it was basically a story about tenants’ rights, but the tenants using martial arts to fight their landlords instead of, say, starting a co-op. Then we started talking about what the better version of that kind of story could be.

Aubrey Sitterson: I remain immensely proud of what Chris and I accomplished with The Comic Book Story of Professional Wrestling. However, when you’re doing nonfiction – especially something with as broad a purview as CBSOPW – you’ve got a lot of masters to serve. We knew that our next project needed to be something we could cut fully loose on, leaning into all the action and comedy that we excel at, i.e.,  the stuff that makes a comic truly rip. Stoned Master fits the bill, and, like the best collaborations, exists in the big meaty section of the CHRIS & AUBREY’S INTERESTS Venn diagram.

GP: Be honest, you were stoned while making this, right?

CM: I can only speak for myself, but I was not under the influence of any substances while working on this project. I actually can’t draw while stoned, I just get really chill, sit on my couch, and watch movies like Death Promise all day.

AS: Dude, honestly; look at me. Do I look like a guy who gets stoned? Come on, now.

Stoned Master

GP: I’ve seen some of the art. How’d the visual style come about? I notice from the pages I’ve seen it’s very bright in colors.

CM: I was born in CA, but spent my whole life on the East Coast, which has its own beauty, though it’s kind of earthy and neutral compared to living in LA. There’s a vibrance of color everywhere you look– the buildings and local shops, the neighborhoods, the communities with full-wall murals. Even the clothes people wear or the cars they drive. It’s just a place that embraces color. When we talked about setting the story in LA, I knew I wanted to showcase that vibrance in every panel.

GP: The comic has a burnout martial artist using stoned kung fu to take on a corporation. Aubrey, your recent Beef Bros seems like it’d be somewhat anti-corporation. Going through a phase with that?

AS: I believe that all art is political, even self-proclaimed apolitical work, especially in the polarized time in which we currently find ourselves. But something else I’ve learned is that, when it comes to expressing my political beliefs, I need subtlety, nuance, even ambiguity, along with the space to work big issues out in all their complexity. Personally, I haven’t found a way to get any of that on social media, which is why I’ve been making such a concerted effort to explore this stuff in my fiction work, which is a medium perfectly suited to rumination.

GP: I see a comic of taking on an evil corporation in Los Angeles, and I go to Breakin 2. Is there something about Los Angeles being the location for these battles?

CM: Aubrey and I actually put together a “movie mood board” of films for inspiration and Breakin’ 2: Electric Boogaloo (one is obligated to say the entire title at all times) is definitely high on that board. Fights occur in our book similarly to how the power of breakdancing could make miracles happen in that film. That hospital scene where those surgeons start poppin’ mid-surgery and bring a dead patient back to life? We hope to hit that level.

GP: So, what type of pot would you suggest while reading this? Would you go CBD? Edibles? Leaf?

CM: Definitely edibles. Grab some gummies or brownie bites, something that allows you to have one hand free to turn the page.

AS: Every time Stoned Master readers open their mouths to laugh or gasp at the intense, hilarious, kung fu action, they should take a healthy bong rip. By my estimation, they’ll be fully obliterated about a quarter of the way through. Increases reread value that way.

Stoned Master

GP: Are you basing the “stoned kung fu” on anything real?

CM: Jackie Chan’s Drunken Master films are the primary inspiration Frankie’s style. Where Jackie had moves that were based off of drunkard’s actions (hands holding the cup, arms carrying the keg, etc.), Frankie’s moves are all based off the pothead’s actions (pinching the joint, rolling papers, lighting the hash pipe, bong rips). Jackie Chan and Sammo Hung’s “anything goes” improvisational styles from movies like the Lucky Stars films, Project A, or Wheels on Meals are a big reference for Frankie’s moves, too.

AS: After The Comic Book Story of Professional Wrestling, Chris is used to getting copious amounts of visual reference from me and we kept that proud tradition alive here. Most everything you see Frankie do in Stoned Master is his “Blazed Fist” riff on traditional drunken boxing techniques as seen in Drunken Master and other flicks.

GP: Any kung fu films and stoner films this is inspired by?

CM: Definitely the above films, Pretty much all of Cheech & Chong’s oeuvre, Kung Fu Hustle, Half Baked, Harold and Kumar, Big Lebowski.

AS: Obviously the Drunken Master movies and anything with Sammo Hung, but we also took a lot of structural and thematic influence from classic Lau Kar-leung & Gordon Liu flicks like The 36th Chamber of Shaolin, Dirty Ho and The Eight Diagram Pole Fighter. Those movies manage to balance aesthetically stunning action, pitch-perfect humor, and a shocking amount of thematic depth and were a massive inspiration for Stoned Master. Also, I’d be lying if I said there wasn’t a significant amount of Pineapple Express in the mix.

GP: Beef Bros was on Kickstarter, what lessons have you learned from that going into this one?

AS: The BEEF BROS Kickstarter was an absolute game changer for me. No hyperbole, it changed now only how I view the comics industry but what I want out of it. While I love working with my pals at Dark Horse and am so very stoked about The Worst Dudes, Savage Hearts, and my as-yet-unannounced third series launching this year, there are certain projects that, while a tough sell in the direct market for any number of reasons, have a ton of potential with folks on Kickstarter. BEEF BROS was one of those projects and so is Stoned Master.

GP: Any advice you’d give others thinking about doing a Kickstarter?

AS: Calling on my background as an Eagle Scout (shout out to Troop 747!), the absolutely best advice I can give is to BE PREPARED. Running a Kickstarter well is an immense amount of work and the only way to keep from getting overwhelmed during the campaign is by having a firm plan in place and getting all your schedules, spreadsheets, newsletters, Graphic Policy interviews, and sacrificial offerings done before you hit the LAUNCH button.

GP: Thanks so much! We’ll make sure to take a nice bong rip and click back on Kickstarter!

Aubrey Sitterson and Jed Dougherty Bring Romance Back to Comics

The next project from the wild and untamed mind of Aubrey Sitterson arrives at Dark Horse Comics! Co-created by Sitterson and Jed Dougherty, with colors by Lovern Kindzierski and letters by Taylor EspositoSavage Hearts is equal parts steamy romance, gut-busting comedy, and heart-pounding action.

In the tradition of your favorite will-they-won’t-they romances, Savage Hearts introduces readers to a brawny barbarian bruiser with a broken heart and a lonely beastman who talks to dinosaurs. What happens when they team up against an evil sorcerer? Sides and skulls alike get split and romance blossoms in this all-new jungle fantasy mini-series!

Exclusive to the print editions is the back-up comic No Kings, No Masters, Aubrey Sitterson and Goran Gligović‘s reimagining of Robin Hood! So be sure to preorder your physical copy at your local comic shop!

Savage Hearts #1 (of five) will be in comic shops on July 14, 2021.

Savage Hearts #1

Aubrey Sitterson, Tony Gregori, Lovern Kindzierski, and Taylor Esposito Introduce Us to The Worst Dudes

Noted reprobates Aubrey Sitterson and Tony Gregori along with colorist Lovern Kindzierski and letterer extraordinaire Taylor Esposito bring this hilarious, aggressively weird, and willfully vulgar detective story to life in The Worst Dudes!

In a new series that can be loosely described as Lobo meets The Big Lebowski, a dirty cop, a drugged-up back-up dancer, and an angsty adolescent god—the absolute worst dudes in the galaxy—are on a raunch-filled hunt for a missing pop star. And from there it gets very strange. Maybe inadvisably so.

The Worst Dudes #1 (of five) will hit comic shops on June 2, 2021.

The Worst Dudes #1

We Flex Our (Left) Muscle Talking the Himbo Beef Bros with Aubrey Sitterson and Tyrell Cannon

Beef Bros

Toxic masculinity and right-wing values are no match for the Beef Bros, a new comic series being Kickstarted now. The comic series has superheroes returning to their original origins as working-class champions moving away from the “supercops” they’ve become in recent decades.

Based on the idea that humanity works best when we work together, the comic is by writer Aubrey Sitterson, artist Tyrell Cannon, colorist Fico Ossio, and letterer Taylor Esposito.

It’s a leftist take on superheroes and everything we love including wrestling, action movies, video games, but without the hateful politics and ideology.

The campaign is currently ongoing and runs until November 26 already meeting it’s goal.

We got a chance to ask some questions to Aubrey and Tyrell about the series, their original take on stretch goals, and how Kickstarter can shake up the industry.

Graphic Policy: Where did the idea for Beef Bros come from and how did the team come together?

Tyrell Cannon: It was the classic ‘friend of a friend’ connection. Aubrey and I both know the amazing illustrator and comic artist Grim Wilkins, and he suggested we work together. Following that connection, we exchanged tons of emails about what we wanted to create, and BEEF BROS was the outcome.

Aubrey Sitterson: When working with someone new, I like to start by establishing a kind of venn diagram of interests, but with Tyrell and me it ended up just being a circle full of 90s superheroes, 80s seinen manga, professional wrestling, beat ’em up video games, and action movies. While geeking out about all those aesthetics, we started lamenting that the politics undergirding most of that stuff tends to not be terribly great. BEEF BROS is the solution to that problem.

GP: Aubrey, your previous project No One Left to Fight had lots of inspiration from manga and anime, what was the inspiration here?

AS: Manga and anime are definitely a part of it! Stuff like Fist of the North Star and Jojo’s Bizarre Adventure specifically, but pieces for BEEF BROS came from all over. We have an utterly deranged Pinterest board we put together, much of which I posted to social media during the build up to the Kickstarter launch. It’s everything from Arnold and Franco, to Bill & Ted, to the Stardust Crusaders, to Biodome, to the Barbarian Brothers, to Double Dragon, to 80s/90s surf fashion.

GP: The comic industry seems to be afraid to really wear its politics on its sleve today. Beef Bros not only wears it but flexes giant pecs at it. What’s been the reaction to it being unabashadly left and why do you think so many in the industry are chickenshit to embrace the political history, and especially the progressive nature, of comics?

TC: There are some folks that might argue mainstream comics have been political, which is true to some extent, but it results in one of two things: Extremely militant defenders of status quo and America-first politics or insincere pandering to more progressive ideals. The difference with BEEF BROS is that the main agenda of the book is to show something aspirational that puts superheroes directly in defense of those in need and against those who would abuse their power.

AS: Maybe I’m being too generous, but I don’t think people in comics are scared of letting their politics come through in their work. Most creators’ politics come through loud and clear , it’s just that they tend to be pretty blandly liberal in nature; lip service to the progressive ideals that Tyrell mentioned but still rooted in an ugly and servile commitment to the status quo and the systems that split us apart and hold us down. After decades of concentrated assault – the Red Scare, the triumph of post-war liberalism, the Cold War, the rise of neoliberalism – leftist ideas have been in retreat, not just in comics, but across our entire culture, so it’s no surprise that people are still a little wary of embracing them.

But the good news is that these ideas aren’t controversial; people are ready for them. BEEF BROS is an aspirational leftist superhero comic, but it’s based on a profoundly simple idea: People should help each other. That’s where everything – BEEF BROS, but also leftist politics as a whole – begins, and we know that’s been speaking to people from across the political spectrum because they tell us as much when they pledge to the campaign! That’s one of the things that I’m most excited about: The possibility of our big, gonzo superhero book acting as a kind of Trojan Horse, exposing folks from the right and center to a different way of looking at things.

GP: You’re going to take a lot of shots at the regressive and repressive structure in the comic as far as villains. Though he’s kicking and screaming Trump’s out of office. The chaos he sowed and structures he exploited are still going to linger. But, with Biden set to take office in January, will that change the series at all? The do-nothing, status quo middle can just as easily, and deservedly, be skewered.

TC: In my time as a working adult, I haven’t seen a new president from the “big two” parties make changes that dramatically shifted my reality as a citizen of this country. I truly believe that there’s always more work to be done to help our communities and we are the only ones who can do it. I don’t think the BEEF BROS would look to any candidate to save the world. And really, we should all be less dependent on those individuals to fix the problems we see around us.

AS: BEEF BROS is a political comic but it’s not a terribly topical comic; we never intended this thing to be about Trump or Trumpism. That’s because the problems afflicting the US – and the entire world – are far bigger, more foundational and tougher to combat than Trump. The institutions we’ve placed faith in are, at best, crumbling. At worst, they’re wholly oppressive and undemocratic! If we’ve got any chance of fixing things, it’s not going to be because the right politician got into office, especially since most of them are owned by the same corporate interests, with the same commitment to enriching the wealthy and keeping a boot on the necks of working people. No matter who’s president, the only way things are going to get better is a movement that acknowledges that humanity’s natural state is cooperation, not competition, one that sees communities banding together to protect, inspire, and uplift one another; that’s true in BEEF BROS and it’s true in the real world too.

GP: Your “stretch rewards” are very different from other Kickstarter campaigns. Instead of giving out chum, you’re focused on paying the team more and funding the next issue. Where did that idea come from?

TC: The Kickstarter ecosystem started out with a very different feeling, with backers wanting more “stuff” for their “donation.” However, I think it’s shifted and most backers look at the platform more as a way to pre-order the content they want directly from the creators they love. So if people love the content, the best thing you can give them is more of that content faster. Hence the goal of starting work on the second issue. In that same vein, backers follow creators they love and want to see those creators be successful so they can create more content. I have run most of my campaigns in a similar fashion, where the funds raised in excess of the original goal are divided between the creators in some way. I think most backers can understand this logic once they are out of the “give me more stuff” mentality and into the “support these creators so I can get more amazing content!” mentality.

AS: Full disclosure: I text Tyrell once a week trying to figure out a way that it makes sense for us to do BEEF BROS fanny packs. But whenever we start running the numbers, there comes a point where we realize that we’ve lost sight of the goal. We’re not trying to make a bunch of merch that’s going to sit in people’s closets until their next move; we’re trying to make COMICS. So, that’s what our Kickstarter is about, plain and simple. As for the stretch goals, we believe that people working on a project should share in its success. If we make more money than we planned, how could we justify doing anything but splitting it among the team and putting it toward the next issue? Paying people fairly, letting them share in the success of their work, these are moral issues and very much in keeping with the BEEF BROS ETHOS!

GP: What’s been the reaction from the community to it?

TC: People seem to be digging it. There are fans that are loving the ideas in the book, while others are gravitating towards the art first. And I’m willing to bet that Aubrey’s pitch video alone brought in some backers!

AS: What’s the reaction? Brother, we’ve got more than 1,200 people who, like us, want truly aspirational superheroes, with politics that won’t make them cringe. More than 1,200 people who want something better than corporate-owned supercops. More than 1,200 BEEFERS! I knew we had something special and I was confident we’d get funded, but I have been absolutely blown away by this response, especially seeing as this is my first-ever Kickstarter. I should have started doing this years ago!

GP: Without having to give exact numbers, can you give us hints as to the difference in how much you’d be paid for your work this way versus through a publisher?

TC: Sometimes, publishers can pay a higher page rate to artists for work-for-hire stuff that we’d make doing it for an individual or ourselves.  And really it’s only the LARGE publishers (the top two to three) that pay rates even close to a living wage. Sometimes that will include some royalties on the back end, but you only see that money if your book is a huge success, selling in the tens of thousands. Smaller publishers are rarely willing or able to pay rates that give creators the time or incentive to make something truly special. However, the major difference with what we’re doing (essentially self-publishing) is that we own the IP 100% and we can benefit from it and use it for years to come if we choose to. This is important not only in that we have access to the monetary gains, but also means we can protect the ideas and characters we’ve built through countless hours at the keyboard and drawing table.

AS: An excellent question, but a complicated one to answer, as publisher page rates vary wildly, from publisher to publisher, from project to project, often with varying degrees of ownership or royalties. Until we meet our stretch goal, however, I’m not making a dime off BEEF BROS; this was a decision I made in order to keep our goal lower and make sure the rest of the team gets what they need to make this book as awesome as it can be. If we hit our stretch goal – which we’re in spitting distance of – I’ll get a rate that’s right smack-dab in the middle of what I’ve received from publishers over the years. But the big difference, as Tyrell notes, is that we own BEEF BROS outright and get to luxuriate in that freedom!

GP: There’s a lot of talk and not a lot of action it feels like when it comes to creator pay and rights. This Kickstarter feels like a big Beef Bros flex towards that. Was that part of the point of this?

TC: My main experience in comics has been self-publishing and having all the rights and privileges as the creator. I mean… we do all the work, right?  So for me, BEEF BROS is just a continuation of what I think is the way it should always function: Those who create the comics should get the majority of the control/benefit and that should equal a living wage that feeds the next creative endeavor.

AS: Tyrell and I knew we wanted to do a project together and we knew we wanted it to be BEEF BROS, so that was enough to get cooking; initially, we didn’t talk too much initially about where the book would “live.” But the further we went along, the more we realized how silly it would be to give a company 50% of a book all about pushing back against oppressive hierarchies, especially since, as Tyrell noted, most people aren’t getting rich off comics page rates and advances. It just didn’t feel right to give away ownership of a book as unabashedly left as BEEF BROS, nor did we feel confident that a publisher would be okay with how truly radical we plan on getting, in both senses of the word. Fortunately, Tyrell’s run a bunch of successful Kickstarters in the past and I’d been wanting to try my hand on the platform for years, so it was a natural fit. And brother, the experience has been so fantastic it has me recalibrating many of my views on the comics market and what I want from it.

GP: It feels like more big name creators are bucking “traditional” publishing and heading to Kickstarter post-COVID. Do you see their success as possibly creating leverage and force publishers to change how they treat creators?

TC: That’s a good question. I think what will happen is that those (formerly employed by “traditional” publisher) creators will find success self-publishing (through Kickstarter or somewhere else) and not want to return to work-for-hire. Traditional publishers will just find new talent (younger/less established) to fill those vacancies at a lower rate. My guess is that self-publishing will grow, with more “name” creators jumping in and creating incredible content like we’ve never seen before, connecting directly with their fans. Traditional publishing will continue on with goals associated with IP visibility and sound profit margins rather than creation of great stories/art.  They will become two vastly different animals.

AS: Right off the bat, I’m not opposed to working with publishers; I have three series coming out next year from Dark Horse alone and everyone there has been incredibly supportive of me and my work. Some of them even pledged to the BEEF BROS Kickstarter! There’s an enormous amount that publishers can offer creators: Funding, editorial guidance, production work, marketing, and, perhaps the biggest one, distribution. The trouble is, the deals most creators get offered aren’t exactly equitable; they end up handing over the rights to their creations for a pittance, with little to no support when it comes to actually selling the book. And I get it! The direct market, because it sells product to retailers nonreturnable, encourages a shotgun approach to publishing: Publishers throw a bunch of books at the wall and cross their fingers that something sticks. That’s a safe strategy for publishers, since they get to more or less print to demand, but it does nothing for retailers who end up with all the books that didn’t stick, and it typically does very little for creators, who, more often than not, see their creative labor get lost in a flood of content.

Obviously, it would be wonderful if publishers all realized that they needed to start backing up the Brinks truck to keep people from going the Kickstarter route, but, realistically, that would only end up benefiting the absolute biggest names in the industry. If we ever get meaningful, industry-wide change, it’s going to come with creators seeing the success of books like BEEF BROS, then reassessing how they value their own work and what constitutes an acceptable deal; creators need to learn their worth, acknowledge it, and stand firm in protecting it. As ever, no one’s coming to save us; we have to save ourselves.

GP: I look at crowdfunding as a way to “democratize” the market. How do you feel its change things in the industry and what do you hope to see that you haven’t yet?

TC: I agree! I feel that we’ll see some incredible comics from folks that have been previously ethered by work-for-hire gigs. I see fans fully supporting creators directly, emboldening them to push the limits of what they are capable of creating. I’m hopeful it will breathe some new life into a medium that has been primarily focused on tired 60 year old characters and IP’s that have had all the life sucked from them.

AS: What excites me the most about Kickstarter is the wide variety of content it makes possible. BEEF BROS is a perfect example, as doing a superhero book in the direct market is a challenge when the characters aren’t owned by Disney or Warner Brothers. Plus, with so many publishers looking primarily for projects to finesse into television shows or movies, a book like BEEF BROS – frenetically paced, willfully weird, and bearing no resemblance to a television pilot – was going to be a tough sell. However, when we put BEEF BROS on Kickstarter we found instant support, acclaim, and excitement, from hardcore comics fans and retailers as well as people who don’t read comics at all but heard about the idea, saw the art, and were all in. For far too long, there’s been a pretty established, staid idea of what works in comics, not just in terms of art, but when it comes format, size, and even pacing. I can already see Kickstarter shaking things up, empowering people to create weirder, more interesting art that doesn’t have to earn the approval of so many gatekeepers and get hammered into a “marketable” shape before reaching its audience.

GP: What else do you all have coming up?

TC: I’m currently working on the second issue of my comic sci-fi action comic ERIS. The first issue was funded on Kickstarter earlier in the year, and since I went over my goal, I was able to fast track production on issue #2. I will be running a Kickstarter to make issue #2 available in the spring of 2021. I also just wrapped up a short story with writer Matt Mair Lowery, which I believe will come out in 2021. Once ERIS #2 art is complete, I’m jumping on BEEF BROS #1! Very excited to bring the guys to life! I’m always doing mini comics and short form comics, all of which can be purchased on my website or found on my Patreon.

AS: Brother, 2021 is going to be an utterly massive year for me. Not only will BEEF BROS #1 be hitting backer mailboxes in April, but early next year you’re going to start hearing about those new series I alluded to up above. Plus, I’ve got my very first novel waiting in the wings and BEEF BROS’ massive success has already got me making serious plans for my next Kickstarter.

GP: Thanks so much for chatting! I’ve put my money where my mouth is and back the project and others can too until November 26.

Where’s the Beef? Aubrey Sitterson, Tyrell Cannon, Fico Ossio, and Taylor Esposito Bring the Leftist Superheroes Beef Bros to Kickstarter

Writer Aubrey Sitterson, artist Tyrell Cannon, colorist Fico Ossio, and letterer Taylor Esposito are bringing the leftist superheroes, the Beef Bros to Kickstarter. The comic series has superheroes returning to their original origins as working-class champions moving away from the “supercops” they’ve become in recent decades.

Beef Bros is based on the idea that humanity works best when we work together, cooperation over competition. The self-contained 32-page, the full-color comic is about Huey and Ajax Beef, a pair of neighborhood heroes willing to brawl with sadistic police, cruel landlords, and predatory corporations not because of any complicated college-boy theorizing, but because helping people out is simply the right thing to do.

The gonzo, eye-popping story is a revolutionary leftist take on superheroes! It’s everything we love about superheroes, wrestling, action movies, and beat ’em up video games, but with all of the mean-spirited, hateful politics and ideology stripped away and replaced with something kind, aspirational, and revolutionary.

The campaign runs until November 26 with a goal of $15,000. You can get a digital copy for $5, physical copy for $8. Further rewards include commissions, retailer levels, original art, and more.

Check out a preview of the issue 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: No One Left to Fight #1

No One Left to Fight #1

While I’ve had a digital review copy for a bit, No One Left to Fight #1 felt like a comic I needed to experience in my hands physically. Created by Aubrey Sitterson and Fico Ossio, the series is an homage and love letter to anime and manga. The series focuses on Vâle, a hero who saved the world and is now retired with no one left to fight. It’s an interesting beginning setting up what’s to come but really diving in to the tropes that make anime and manga fun and accessible.

It feels like Sitterson at times is going down a list as to what makes anime and manga successful and popular. We have the hero fighter. There’s the jealous rival. There’s two young kids full of energy. There’s the odd anthropomorphic friend. And there’s the token woman who’s capable and also an object of jealousy. This isn’t a bad thing at all as it feels like it comes from a place of love as opposed to a send up of it all.

There’s also something really smart and interesting about its use. It’s familiar which makes the entry into the comic, and it’s world, that much easier. We’re familiar with the tropes and personalities. With that there’s a certain expectation but also allows us to focus elsewhere. We can look at the art details a little more and examine the words said a bit differently.

And that art detail is key. Ossio’s designs are amazing with so much detail and colors that make it all pop. There’s not an attempt to copy manga style too. Instead, Ossio uses his own. Due to that, we can further enjoy the series as more of a love letter as opposed to a riff. With the detailed and colorful nature of Ossio’s art, that over the top nature might not have worked as well. It might have been too distracting in some ways as the art styles might have clashed. Like the characters and story, there’s absolute influence and it’s used subtlety.

Taylor Esposito‘s lettering is key as well. Much like manga, the lettering really is used to help deliver the emotion of a scene. It plays off of the art so you can “hear” the screams. Esposito’s lettering emphasizes what’s going on and pairs with Ossio’s art perfectly.

The first issue is entertaining and delivers an interesting debut that’s one anime and manga fans will want to check out.

Story: Aubrey Sitterson Art: Fico Ossio Letters: Taylor Esposito
Story: 7.95 Art: 7.95 Overall: 7.95 Recommendation: Read

Almost American
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