Tag Archives: james ninness

James Ninness Opens The Vault to Sci-Fi Horror

When the moon-bound crew of Gaia stumbles across an enormous alien vessel, more technologically advanced than their own, priorities change. The mystery deepens when the crew discovers the name of the vessel along the hull… written in English: Vault.

That’s the concept behing The Vault, the first storry in Storm King Productions’ new science anthology series John Carpenter’s Tales of Science Fiction.

Written by James Ninness, the first issue has a solid mix of the sci-fi space classics taking its queues from sci-fi classics and more building an atmosphere and experience that’s tense and just downright creep.

Graphic Policy: Reading the first issue the building of tension as the issue progresses really stands out. As the writer, how much of that build was a focus of yours? Was it something that just naturally happened or was it a conscious thing?

James Ninness: Yeah, that was planned. Glad to know it worked!

I spent months doing research and plotting out the story beats for Vault before I even approached Sandy (King Carpenter) with the idea. There was time to not only develop the themes, characters, and twists, but the gradual escalation of things throughout – and it (hopefully) only gets more tense as the situation gets more desperate for the characters.

Though it’s certainly a crossover of the horror and science fiction genres, there’s a solid dose of mystery in there as well: What is this ship? Where did it come from? What the hell is all that stuff inside of it? Letting the answers to those questions reveal themselves slowly and naturally helps to serve that tension from the horror/science fiction perspective. Thankfully, Andres and Sergio knew exactly how to approach the art to emphasize that gradual pacing.

GP: So, your idea came before the anthology from Storm King? Or was the anthology floated around and you submitted it to that?

JN: Yup. I had the idea for Vault about a year before I pitched it to Sandy. Most of the preliminary writing – outlines and research – was done before we spoke. When I was ready to start writing, I mentioned a bit of the plot to Sandy and she let me know about their anthology series, John Carpenter’s Tales of Science Fiction, something she and John had been developing for about the same amount of time. She liked Vault and asked me to send her more information. After that it was a matter of putting together the team and wrapping up the script.

GP: Usually with these types of stories you see if either lean heavily sci-fi or heavy horror. Yours feels more towards horror with a sci-fi setting. How do you see this type of story yourself when it comes to those genres?

JN: Most of my favorite science fiction works are set in a world crafted by the science fiction but driven by more natural means. Ray Bradbury’s The Martian Chronicles is a great example of this: each short story is set in a well-developed realm of science fiction, but the characters and stories are driven by good, old-fashioned human conflict and emotion — love, hate, frustration, curiosity, pride, etc. Black Mirror does this as well.

With Vault a lot of effort was put into the setting and primary gimmick: the ship was developed as both location and story device. The characters, however, are driven by more standard means: the need to understand, loss of control, and camaraderie with one another. And that’s where the horror comes in… In my opinion, the best horror creates fear in a proximity to real life; could the reader experience the tragedies and abuses experienced by the characters? That’s not to say that people will find a spaceship floating in space, but the need to understand and loss of control I mentioned earlier could certainly cause people to act in real life the way the characters behave in this book. To me, that’s terrifying.

GP: It kind of sounds like you wanted a horror story with conflict at its center that just so happened to have a sci-fi setting. Is there any particular reason that type of setting might benefit that sort of story?

JN: That’s exactly what I wanted to do. I think science fiction, as an overall genre, has more freedom than some other genres. The “rules” that apply to science fiction are broader than most. The suspension of disbelief that comes with science fiction, if put together well, is an easy pill to swallow. “How come this space ship can fly through space? Because according to Newton’s third law of motion every action produces an equal and opposite reaction, thus propulsion is possible without air.” Yay! Sometimes, when poorly handled, it’s a detriment to the story. “How come this space ship can fly through space? Because science.” Boo.

So, with Vault, I knew the theme of my story, the repetition of mistakes, but I needed a way to convey that without losing the audience. Horror is useful way to keep people engaged, while the science fiction setting, ironically, keeps the narrative grounded.

GP: Beyond these three issues, how much of this world have you sketched out? Might we see more stories set in it?

JN: Nope. This is it. I like self-contained stories. John and Sandy allowed me as many issues as I wanted to tell Vault and the story demanded three — no more, no less.

GP: There’s lots of stories that are similar to this and each feels special in their own way. How conscious are you of what’s come before and how much of a focus is there to make your story unique.

JN: Well, there is some very direct nodding to three specific movies that I’m hoping people will pick up on: Alien, Event Horizon, and Sunshine. I love these movies and was heavily influenced by each of them. Rather than hope nobody would notice, I leaned into those references. Thankfully though, Vault is self-sustaining.

There are a ton of stories about being trapped with a monster, plenty of returning ghost ship tales, and more than a handful of “flying to close to the sun” cautionary narratives. I’ve read, heard, and seen many of them, but the trick here was to put this story together in a way that could be its own. I’m confident nobody has ever read a story like this before. I’ve had lots of people who have picked up issue one hit me up on social media with theories on where they think the story is going… Most are wrong. Many think it’s about a monster on a ship, while a few think that the ship itself is alive… All I’ll say is that I think issue two is going to throw readers a pretty big curveball. Hopefully they dig it.

If you’ve read any of my previous work you know I like to focus on repetition and the mistakes we, as humans, seem to make over and over again. I hit that nail a little too directly on the head with Samara, but the theme is ever-present in a lot of the stuff I do. Vault is no different.

GP: What is it about that theme of repetition and mistakes humans make over and over that you’re drawn to it so much?

JN: It’s everywhere I look, man.

I think our current political situation is a mess and it’s one brought on by personal fears. I don’t know how we, as a people, haven’t learned what shitty motivators personal fears are. Bigotry, racism, sexism, religious intolerance, ignoring the needy – these are all things we should be able to deal with by now. These are not problems we should have. A glance at history can teach us all enough to dismantle and avoid these problems in the future. And yet, here we are. I’m not saying it should be easy, but we should, at the least, not be moving backwards.

On a less grand scale, social media has become a place of pitchforks and torches. It has the potential to be marvelous. We can connect with old friends and family, share news, keep an informed populace. But, instead, some use it to spread hatred (see above point) and crucify anyone for making a mistake. There’s a gross lack of forgiveness in the world. Don’t get me wrong, people should be called out for their bullshit, but the fervor with which some are quick to admonish and cast out anyone who does something wrong is terrifying. I’m a world class screw up. I’ve made a long list of mistakes. It’s only a matter of time before some of them are unearthed and nobody gives me the time of day, no matter what kind of person I am now.

Mistakes happen. We should learn from them and grow together. Sometimes we do. Often times we don’t. That lack of learning? That has the potential to be our downfall.

Wait… I think I went off the rails there.

What was the question?

GP: Having three issues to work with, how’d you approach the story as opposed to some of your past work which was told over a longer number of pages?

JN: It was kind of the opposite, actually. After the research, character development, and world building, I started mapping out the story beats. I probably could have told Vault in four issues, but it only needed three. One of the criticisms I got when I first started (and rightfully so) was that I can tend to bloat my narratives a bit, so these days I err on the side of caution and try to tighten things up as much as possible.

GP: Which is strange since the comic industry seems to have shifted to a more decompressed style of storytelling. How has your process shifted to do the opposite?

JN: I graduated from Cal State University Long Beach with an English: Creative Writing degree. Most of my efforts were spent on short stories. I love them. There is a particular set of skills required for any type of writing: novels, short stories, poetry, screenplays, etc. Writers of each tend to understand that the toolbox required for any given style is unique. Some writers possess the tools to write them all, others only one or two. The short story has always been the one I gravitate toward the most.

Whenever I start a new book I try to throw everything on the board first. I have a yellow pad I use to put every idea possible on the page. Then I whittle. Everything that isn’t imperative gets cut. That’s the short story education in action: chop everything that doesn’t need to be there, no matter how awesome it is. I actually have a file on my phone full of cool concepts that didn’t fit into other stories.

It’s less about me trying to keep a story short, and more about me trying to keep things necessary. I don’t like it when stories wander. I like twists and turns as much as the next guy, but it should make sense and feel relevant in the context of the story. At least, that’s what I tend to enjoy the most.

GP: Every story of this nature relies on its visuals and Andres Esparza’s style adds to the story in so many ways. How’d he come on board the project and how closely did you two work when it came to the visuals?

JN: Andres Esparza is a goddam genius. I met Andres through a mutual friend, Axur Eneas. Axur and I worked on the second Tales for a Halloween Night together. After Sandy and I spent several months hunting for artists and scouring portfolios, I told Axur what I was looking for and he introduced me to Andres. Andres did a few sample pages for Sandy and I and that was it – we knew.

Andres brought Sergio Martinez (colors) with him, and Sandy brought Janice Chiang (letters) to the party. I’ve been blessed. These folks are crazy talented and I’ve learned a lot working with each of them.

Early on Andres and I spent a few weeks crafting the tone. I knew what I was looking for and he brought his own ideas to the table. What we ended up with is somewhere in-between the two. It wasn’t hard to get to and it didn’t take a lot of work. Andres and I have been on the same page since the beginning, we just had to figure out what that page looked like.

GP: Working the John and Sandy Carpenter and Storm King is really cool, they’re beyond icons. How’d you get involved with the publisher?

JN: I was friends with Sandy for about a year before we worked together. She had read a book I did, in Sanity, AZ, and we were introduced through a mutual friend at Long Beach Comic Con. Most of that year was just spent getting dinners at shows or talking occasionally on the phone. Truth be told, I feel like Sandy likes hanging out with my wife more than me, but who can blame her for that?

A couple months before the first Tales for a Halloween Night was to be released, Sandy called me and asked if I’d like to be a part of it. I jumped at the chance. I called my pals Brett Simmons and Ben Glibert, and we knocked out “Some Grub” in just over a month. Thankfully, after the book came out, our story got decent reviews so we were invited back.

It’s been a dream come true to work with both Sandy and John. They’re lovely. Truly great people who I’m lucky to call friends.

GP: Was there any intimidation at all about that? Being involved with two icons has to come with some pressure.

JN: Oh, hell yeah.

Sandy and I were at a show in Las Vegas a few weeks back and we did a panel together. On that panel, she said that the way she approves materials has a lot to do with John’s reaction to the pitches they receive. If he shrugs and says, “That’s fine” then the pitch gets rejected. If his response is more like, “Wow, that’s fucked up,” then the pitch gets a shot.

I think that sounds funny, but it should seem obvious. John and Sandy have been in this game a while. When I got the chance to pitch to them I knew my pitch needed to (a) not be a Carpenter re-hash of anything they’d already done, and (b) fit the fun, violent, often-squeamish brand that they have built. The pressure to impress two people I’ve looked up to for a long while is nerve-wracking enough, but to write something that they believe is good enough to attach their name to is, well, daunting.

Thankfully, I’ve been working as a freelancer for many years and I’ve had clients from all walks of life. At the end of the day those clients don’t care about anything other than the work getting done, so I try to approach writing comics the same way I approach the freelance stuff I do. I identify what the client is looking for and do my best to fill that need.

Can it be intimidating? Totally. Does that ultimately matter? Not really.

GP: One of the things about sci-fi that I enjoy is the sci aspect of it all. When it comes to the science of things, did you do any research?

JN: Oh my god, yes. Those space suits our astronauts wear are based on experimental designs for increased range of motion from a couple years ago. The ships (both Gaia and Vault) are based on prototype mock ups from NASA for deep space travel. And a lot of the tech, including the laser bridge in issue #1 and the seekers (drones) are all taken from conversations I had with some engineering friends of mine.

I knew from the beginning that I needed some hard science for the world to be believable. From a storytelling standpoint, Vault begins just around the corner from our own time, as though it could be a world we live in five or ten years from now. By the end it’s bat-shit crazy. I had to ground that early on to get people to come with us on the journey — make them comfortable and then make them squirm.

GP: Do you see that grounding as shifting it from the fantastical to a bit more realistic in a way? An easier way for readers to get drawn into it?

JN: Totally. Every single fantastic thing that happens, whether in fiction or real life, requires a juxtaposition against something “normal” for it to feel fantastic. Nobody can feel awe if they’re always awed – at that point it becomes normal. Keeping the setting, characters, and situation as grounded as possible allows the wild stuff to feel thrilling.

Turning things up to eleven can help keep people’s attention, but it doesn’t always keep their interest.

GP: Lots of science fiction works really well as allegories or exploring deeper themes. As a writer do you think about that at all when creating your stories?

JN: All the time.

I actually started writing as a kid in therapy. For me, writing has always been about grappling with concepts and realities I don’t understand. I find answers to a question only to find myself face to face with much bigger, scarier questions. That could be what attracts me to horror and science fiction so much… They serve as particularly wonderful mediums with which to end stories with more questions than answers. I like that. I don’t like stories that wrap things up as though life is simple. Life is far from simple, but that’s okay. We’re all struggling. Struggling isn’t bad. We should all be a little more honest about that.

GP: Any thoughts as to why science fiction works so well as allegories?

JN: Science fiction, when logically constructed, is a great way to make what should be an obvious point. Invasion of the Body Snatchers wonderfully highlighted the logical flaws in McCarthyism. Dawn of the Dead’s criticism of consumerism actually made people think about their behavior. District 9 is chock-full of references to handling refugees and race relations.

Science fiction starts every member of the audience at the same point. A situation is presented that unites the majority of the audience. That unity is bolstered by the events they experience. By the end, most of the readers and viewers will agree (or disagree, if that’s the desire of the creatives) with a protagonist’s actions and story’s resolution.

The real magic happens after all that. Any given audience member reflects on what they’ve just experienced and begins to see how it parallels the situations in their own life. Unlike other genres, science fiction can do this without being too on-the-nose. Is Godzilla really about the dangers of nuclear war, pollution, and nationalism? Or is it just about a giant lizard? You’ll enjoy it, either way, but if you start thinking about it too much it might change your perspectives a bit.

GP: Finally, what else can folks check out from you this year?

JN: Well, Vault will go until the end of September, and then, around October, I’ll have another story in John Carpenter’s Tales for a Halloween Night Vol. 3. I’ve got a few other pitches I’m working on, which I hope to talk more about soon…

I’ve got a couple more shows as well. If anyone is going to Long Beach Comic Con or New York Comic Con, I’ll be at both. Come say hi!

GP: Thanks so much for chatting!

Review: John Carpenter’s Tales of Science Fiction: Vault #1 of 3

When the moon-bound crew of Gaia stumbles across an enormous alien vessel, more technologically advanced than their own, priorities change. The mystery deepens when the crew discovers the name of the vessel along the hull… written in English: Vault.

John Carpenter’s Tales of Science Fiction: Vault #1 kicks of the brand new science fiction anthology series from Storm King Productions. Out in July, the first issue has a solid mix of the sci-fi space classics taking its queues from Alien(s), Event Horizon, and more building an atmosphere and experience that’s tense and just downright creep.

Written by James Ninness, the comic itself follows a familiar story of a crew coming across another ship and exploring it happening upon the horrors within. This first issue sets things up in a way that even though the experience feels familiar, the specifics stand out as unique blending in horror aspects along with the sci-fi setting. But, what’s most impressive is, I had no idea where the first issue was going and where it’ll all go from here. Where I expect something to zig it zags and leaves me wondering what’s next.

The art by Andres Esparza with colors by Sergio Martínez help creates a creepy atmosphere. But, what I particularly like about Esparza and Martínez’s art is that while the story is science fiction, their art also plays into the horror aspects of the comic and excellently plays into both aspects and does so really well.

Overall, a solid first issue that scratches an itch I have for this type of story. It’s one I really enjoy and the fact Ninness and the team have balanced what feels like a horror story in a sci-fi setting so well is impressive and has me excited to see what’s next. While using familiar tropes and experiences, we’ve got something that draws us in and keeps us off balance in the right way.

Story: James Ninness Art: Andres Esparza Colors: Sergio Martínez
Lettering: Janice Chiang Cover: Nick Percival
Story: 8.10 Art: 8.0 Overall: 8.05 Recommendation: Buy

Storm King Productions provided Graphic Policy with a FREE copy for review

Early Review: John Carpenter’s Tales of Science Fiction: Vault #1 of 3

When the moon-bound crew of Gaia stumbles across an enormous alien vessel, more technologically advanced than their own, priorities change. The mystery deepens when the crew discovers the name of the vessel along the hull… written in English: Vault.

John Carpenter’s Tales of Science Fiction: Vault #1 kicks of the brand new science fiction anthology series from Storm King Productions. Out in July, the first issue has a solid mix of the sci-fi space classics taking its queues from Alien(s), Event Horizon, and more building an atmosphere and experience that’s tense and just downright creep.

Written by James Ninness, the comic itself follows a familiar story of a crew coming across another ship and exploring it happening upon the horrors within. This first issue sets things up in a way that even though the experience feels familiar, the specifics stand out as unique blending in horror aspects along with the sci-fi setting. But, what’s most impressive is, I had no idea where the first issue was going and where it’ll all go from here. Where I expect something to zig it zags and leaves me wondering what’s next.

The art by Andres Esparza with colors by Sergio Martínez help creates a creepy atmosphere. But, what I particularly like about Esparza and Martínez’s art is that while the story is science fiction, their art also plays into the horror aspects of the comic and excellently plays into both aspects and does so really well.

Overall, a solid first issue that scratches an itch I have for this type of story. It’s one I really enjoy and the fact Ninness and the team have balanced what feels like a horror story in a sci-fi setting so well is impressive and has me excited to see what’s next. While using familiar tropes and experiences, we’ve got something that draws us in and keeps us off balance in the right way.

Story: James Ninness Art: Andres Esparza Colors: Sergio Martínez
Lettering: Janice Chiang Cover: Nick Percival
Story: 8.10 Art: 8.0 Overall: 8.05 Recommendation: Buy

Storm King Productions provided Graphic Policy with a FREE copy for review

John Carpenter’s Tales of Science Fiction Coming Out from Storm King Comics

Storm King Comics has announced its next series, John Carpenter’s Tales of Science Fiction coming out in July. An anthology, the series will focus on one story at a time but rotate after arcs. The first, John Carpenter’s Tales of Science Fiction: Vault #1 of 3, is written by James Ninness with pencils and inks by Andres Esparza, colors by Sergio Martínez, lettering by Janice Chiang, and a cover by Nick Percival.

When the moon-bound crew of Gaia stumbles across an enormous alien vessel, more technologically advanced than their own, priorities change. The mystery deepens when the crew discovers the name of the vessel along the hull… written in English: Vault. Vault (#1 of 3) is the first story of John Carpenter’s monthly anthology series Tales of Science Fiction.

Storm King Comics is the comic company started by John Carpenter and is wife Sandy King.

Halloween Nightmares Come To Life with John Carpenter’s Tales for a HalloweeNight

Storm King Comics has announced a horror comic anthology entitled John Carpenter’s Tales for a HalloweeNight that has been put together by the King of Darkness himself, John Carpenter. The anthology includes an epic line up of artists and writers including John Carpenter, Steven Hoveke, Sandy King, Steve Niles, James Ninness,Trent Olsen, David Schow, Tim Bradstreet, Buzz, Federico DeLuca, Leonardo Manco, Darick Robertson, Tone Rodriguez and more. The book will be full color 100+ pages and will be released by October 31st 2015. Fans can get sneak peak at the book Saturday October 17th at 2pm at Barnes and Noble at The Grove 189 Grove Drive K30, Los Angeles, CA 90036. John Carpenter will be signing advanced copies of the book in time for Halloween!

Fans should be able to pick up the title at their local comic shops as well as the Storm King Productions booth at New York Comic Con. The second graphic novel in the Storm King Comic’s series John Carpenter’s Asylum will be out in early 2016.

From the man who brought you the movie, “Halloween” and all the scares beyond, here comes the ultimate graphic novel anthology of tales to warm your toes by on a dark and stormy night in October.  Carpenter brings together story tellers from the world of movies, novels and comics and in these pages lie tales of graveyards, sunken ships, creepy crawlers and ghosts to haunt your dreams at night.

Writers:  John Carpenter, Steven Hoveke, Sandy King, Steve Niles, James Ninness, Trent Olsen, David Schow and Duane Swierczynski.
Artists:  including…Tim Bradstreet, Buzz, Federico DeLuca, Leonardo Manco, Darick Robertson, and Tone Rodriguez
Edited by Sandy King

John Carpenter's Tales for a HalloweeNight

Kickstarter Spotlight: Reach

Reach_TPB_FINALBy James Ninness

REACH is a three-part adventure that follows a family line over three distinctly different time periods as they pursue a particular type of mythical treasure. We begin in the time of King Richard, through to the samurai of the Sengoku Period, and eventually arriving in the American West.

A different team tells each of these tales. We’ve worked together to ensure that the elements that need to link the stories are there but outside of those links, these stories couldn’t be much different…

Joe Pezzula (Where the Witches Lurk) and Scott Irwin (SAMSARA) kick things off with a medieval heist tale. If Ocean’s Eleven and Ironclad had a baby, and that baby drank five or six cups of coffee a day, it would look something like their tale.

Next up, Michael Drace Fountain (IN SANITY, AZ) and Chris Burkheart (The O.D.D. Chronicles) take us on a journey through the Sengoku Period with some samurai seeking a mythical flower… Remember that movie The Last Samurai and the white guy who saved everyone? This is like the opposite of that.

Finally, Mike Vasquez (MikeGoesGeek) and I (Hammer Down) track some pioneers across the American West. Brigands, wolves, and shootouts await an unfortunate family of British folks hoping for an escort across some fairly ominous desert. Ever see City Slickers II: The Legend of Curly’s Gold? Our story and that movie have almost nothing in common.

Three distinct stories, each self-contained as a stand-alone tale, connecting over the centuries to manufacture a single narrative of warning to all those who would overextend their…reach.

This Kickstarter campaign is for the entire book. All three stories are here. It’s done. If we get this thing funded, REACH is finished. So don’t worry, you won’t have to wait for another volume because there isn’t one. Support this and get the whole shebang. The finished book will be between 80 and 100 pages.

To entice you even further we’ve lined up rewards from everyone involved in the book, including colorist and letterer Ben Glibert (IN SANITY, AZ).

Not enough? Fine. How about art from Joel Gomez (Detective Comics), Livio Ramondelli (The Transformers), and Vincent Kukua (Liberator)?

Still not enough? Okay. We’ve got stretch goals from Ray Anthony-Height (Midnight Tiger), Axur Eneas (The Adventures of Aero-Girl), and Andy Taylor (Bigfoot: Sword of the Earthman)?

We’re pretty excited about the book and we hope you’ll take a moment to grab some goodies and help us make the REACH: A Graphic Novel Kickstarter a successful campaign, for all our sakes.

01 Cover_Final_HIGH

While we’re no longer picking crowd funding projects to spotlight on our site, we’re allowing project creators to make their case for their project on our platform. We remind individuals, we don’t endorse any of these projects, and that by supporting any crowd funding project, you’re taking any risks associated with doing so. – the Management

Review: in Sanity, AZ #1 and #2

iSA_2-COVERWelcome to Sanity, Arizona. It’s a small town where everyone knows everyone and the natives are happy to live and let live…unless you’re visiting. The residents have developed their own systems of law, politics, ethics, religion, and morality. Left on their own, Sanity would thrive outside the view of our world, content to live their lives in their own way. Unfortunately for all involved strangers do occasionally find themselves in Sanity, AZ.

The Kickstarter project has recently seen the second release of the anthology series, in Sanity, AZ, continuing the strange tales of a town that’s so, so, so off. Anthologies are hard to do, especially from a large amount of folks such as this. It’s difficult to pull off, like herding cats or trying to rub the wolf.

As I’d expect the quality is mixed, but overall the digital release overflows with quality, especially when it comes to price. For $1.99 you get almost 60 pages of story. That’s impressive and a hell of a deal. Thanks Kickstarter!

What I like about projects like this are quite a few things. One, get to see a bunch of different visions for a common theme or a united world. Two, you get to see a lot of different talent, and there’s a lot of that here. There’s some solid storytelling and art, and a lot of potential and talent I’d expect to see greater things from down the road.

The concept on in Sanity, AZ is fun. There’s some some characters strung through and a world the stories shares, but there isn’t an ongoing story (that I’ve picked up on). There’s interweaving parts and some stories tie together, but that’s it. So, you have all of these characters and a world interpreted in different ways, in both tone and look. That’s a lot of fun as a comic reader. And all of it is twisted.

I’m a huge proponent of supporting and promoting independent comics and one that has so many folks, so many visions and so much talent is absolutely worth checking out. Start here or the first issue, do yourself and do an insane thing, and buy in Sanity, AZ.

Story: Michael Drace Fountain, Marcel Losada, James Ninness, and Joe Pezzula Art: Scott Irwin, Rich Kuhaupt, Lance Sawyer, Jorge Sevilla, Collin Fogel, Chris Collins, and Frank Luna
Story: 7.5 Art: 7.5 Overall: 7.5 Recommendation: Buy

Preview: in Sanity, AZ #1

in Sanity, AZ #1

Story: Michael Drace Fountain, Marcel Losada, James Ninness, and Joe Pezzula
Pencils/Inks: Scott Irwin, Rich Kuhaupt, Lance Sawyer, Jorge Sevilla, Collin Fogel, Chris Collins, and Frank Luna
Colors: Ben Glibert
Designs: Shannon Forrey
Cover: “Big” Chris Wood

The first issue of the Kickstarted horror anthology is finished. It’s time for us to share in Sanity, AZ.

in Sanity, AZ #1 features the stories: “Snowglobes and Albatrosses”, “Broken Water I”, “Murder”, “Burgers And Shakes”, “Friends”, “False Idols”, “Inning Five”, “Honor Parents”, “Confusion”, “Sea Of Sanity”, and “False Witness”.

The series is created and written by Michael Drace Fountain, Marcel Losada, James Ninness, and Joe Pezzula. Pencils/Inks in this issue are by Scott Irwin, Rich Kuhaupt, Lance Sawyer, Jorge Sevilla, Collin Fogel, Chris Collins, and Frank Luna. Colors by Ben Glibert. Designs by Shannon Forrey. Cover by “Big” Chris Wood.

The book will be available digitally on Tuesday, July 9, on both the Quad Shot website, and Amazon.

Digital, 54 total pages, $1.99 US – RATED 18+

iSA_1-COVER

Preview: Free Comic Book Day is Going to Be in Sanity, AZ

Free Comic Book Day is almost here, and we have a preview of one of the comics you might find at your local store. The recently Kickstarted comic in Sanity, AZ will get a preview comic, showing off a peek at the eclectic art and writing that’s in store for people.

Welcome to Sanity, Arizona. It’s a small town, near the middle of the Mojave Desert, run by a different type of human. The natives of Sanity move a little bit slower, smile a little bit longer, and eat sausages made of tourists. This horror series follows the story of a different type of society, one that functions of its own accord and would rather be left alone than participate in the world the rest of us dwell in. Unfortunately for them, and everyone else, people tend to find themselves in Sanity, AZ.

iSA_FCBD_Cover1

The three issue series will be released in July, August and October with a trade paperback collecting them all in December of this year.

Welcome to in Sanity, AZ

James Ninness today announced his newest project, in Sanity, AZ. Along with Michael Drace Fountain, Marvel Losada and Joe Pezzula, in Sanity, AZ is a new comic horror anthology. The project began in November 2009 as the team wrote the book in a cabin in the woods, a perfect setting. After delays as the project went through various publishers, incarnations and production issues, it’s now here.

Ninness and his team have turned to Kickstarter to take the project the rest of the way for the entire project. If the project is successfully funded, all three comics will be released digitally and be sold for $1.99, the smallest of books clocks in at 52 pages. Afterwards a trade paperback of all three issues will be released. The single issues will be released in July, August and November and trade should be out in time for Christmas 2013.

So, what is in Sanity, AZ about?

The book focuses on a small town in the middle of the desert. You know the town. The same town you drive by every time you cross the country or hustle through the desert. The kind of town that causes you to stare from the comfort of your car and think to yourself: “who in the hell would live out here?” This particular town is a bit further down the highway, a highway not often travelled. It is as lost in time as a grain of sand in the desert. And to the natives of this town, that’s not a problem. They have adapted. They have their own way of doing things.

A long time ago, deep in the deserts of Arizona, a mayor by the name of Cambridge decided to build an asylum for the undesirables. A place the people of color could receive the mental help they needed away from the eyes of civilized society. It was a dream that turned into a nightmare. Things went wrong, as they are wont to do, and the inmates revolted. Over time the inmates settled the desert, carving out land and making it their own. Utilizing a sign from the asylum, the citizens settled on the name “Sanity”.

The Kickstarter campaign will feature a bit more information, as well as some sneak peeks of the art to come and will launch on Friday, February 1, lasting 30 days.

in Sanity, AZ #1
JULY 2013
Collecting the first eleven stories in the in Sanity, AZ saga: “Snowglobes and Albatrosses”, “Broken Water I”, “Murder”, “Burgers And Shakes”, “Friends”, “False Idols”, “Inning Five”, “Honor Parents”, “Confusion”, “Sea Of Sanity”, and “False Witness”.
Written by MICHAEL DRACE FOUNTAIN, MARCEL LOSADA, JAMES NINNESS, and JOE PEZZULA.
Art by CHRIS COLLINS, COLLIN FOGEL, BEN GLIBERT, SCOTT IRWIN, RICH KUHAUPT, FRANK LUNA and JORGE SEVILLA.
Cover by “BIG” CHRIS WOOD.
Colors by SHANNON FORREY.
Digital, 52 pgs, $1.99 US – RATED 18+

in Sanity, AZ #2

AUGUST 2013
Collecting the next ten stories in the in Sanity, AZ saga: “”Ham Tickle”, “The Motel In Sanity”, “Lords Name”, “Pointer”, “Raw”, “Breaking Water II”, “Cuckoo Clocks”, “Covet”, “Lollipop”, and “Sabbath”.
Written by MICHAEL DRACE FOUNTAIN, MARCEL LOSADA, JAMES NINNESS, and JOE PEZZULA
Art by CHRIS BURKHEART, COURTNEY CAMACHO, COLLIN FOGEL, KEVIN GEMSER, BEN GLIBERT, RICH KUHAUPT, DONALD POQUIZ, and BRIAN SORIANO.
Cover by “BIG” CHRIS WOOD.
Colors by SHANNON FORREY.
Digital, 64 pgs, $1.99 US – RATED 18+

in Sanity, AZ #3

NOVEMBER 2013
Collecting the final eight stories in the in Sanity, AZ saga: “The Orchard”, “Steal”, “Kids And Their Treasures”, “Adultery”, “Lullaby”, “Dog Tricks”, “Other Gods”, and “Broken Water III”.
Written by MICHAEL DRACE FOUNTAIN, MARCEL LOSADA, JAMES NINNESS, and JOE PEZZULA
Art by BEN GLIBERT, RICH KUHAUPT, JOHN NARCOMEY, JED SORIANO, MIKE TEMPLE, and DANIEL TOUCHET.
Cover by “BIG” CHRIS WOOD.
Colors by SHANNON FORREY.
Digital, 60 pgs, $1.99 US – RATED 18+

in Sanity, AZ (TPB)

DECEMBER 2013
Welcome to Sanity, Arizona. It’s a small town, near the middle of the Mojave Desert, run by a different type of human. The natives of Sanity move a little bit slower, smile a little bit longer, and eat sausages made of tourists. This horror series follows the story of a different type of society, one that functions of its own accord and would rather be left alone than participate in the world the rest of us dwell in. Unfortunately for them, and everyone else, people tend to find themselves in Sanity, AZ.
Written by MICHAEL DRACE FOUNTAIN, MARCEL LOSADA, JAMES NINNESS, and JOE PEZZULA
Art by CHRIS BURKHEART, COURTNEY CAMACHO, CHRIS COLLINS, COLLIN FOGEL, KEVIN GEMSER, BEN GLIBERT, SCOTT IRWIN, RICH KUHAUPT, FRANK LUNA, JOHN NARCOMEY, DONALD  POQUIZ, JORGE SEVILLA, BRIAN SORIANO, JED SORIANO, MIKE TEMPLE, and DANIEL TOUCHET.
Cover by “BIG” CHRIS WOOD.
Colors by SHANNON FORREY.
Print, 180 pgs, (Price TBD) – RATED 18+

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