Tag Archives: kickstarter

Public Domain Heroes Come Out of Retirement in Strange Burden

Right at the start of the COVID-19 outbreak, writer Scott Alan Gregory was diagnosed with a fungal lung infection, putting him at high risk for pneumonia and other respiratory complications. His wife, a nurse at the state prison, led Scott into an isolation lockdown in their guest room, sequestered off to one side of their home. For weeks he fought back anxiety and depression until an idea inspired him to get out of bed and start writing. Strange Burden: True Stories From the Archives of Burden Strange, with art by Thiago Motta and lettering by Micah Myers, is the R-rated sit-comic that readers have been waiting for!

A maniac is on the loose, and seemingly random people are waking up to find their feet have been surgically amputated. Some victims have even died from the shock. The Perfect Town Police have no suspects, no leads, and no theories.

Meanwhile, after 20 years in retirement, the once-mighty Burden Strange has returned to the adventurer-for-hire business, and it’s already more trouble than it’s worth. Along with two reluctant former team members and a handful of snarky new recruits, Burden struggles to find his place in a modern world that has moved on without him.

As the past catches up to them, and “The Case of the Mangled Ankles” becomes personal, can this new team get past their constant in-fighting, back-biting, and petty one-upping, and pull together long enough to show the citizens of Perfect Town there’s still some fight left in these old dogs? Or will they implode under the strain of their own neurotic dysfunction before even solving their first case?

Strange Burden: True Stories From the Archives of Burden Strange

Strange Burden: True Stories From the Archives of Burden Strange is cast entirely with Golden Age characters sourced from the Public Domain and is set in a rampantly anachronistic reality where ‘50s diners, ‘30s automobiles, ‘80s gadgetry, and ‘40s fashions collide. For an added kick, every issue in the series will be co-released with a supplemental one-shot spinoff focusing on a single member of the team in their own adventure, beginning with the wild 60-page graphic novel “Mr. Satan Goes to Hollywood”.

Backing incentives not only include comics, postcards, trading cards, posters, and stickers, but also the coolest of the cool include hand-painted art cards, your likeness drawn into the comic, a 5-page comic story starring YOU and your favorite team member—and even a customized Burden Strange action figure!

Strange Burden: True Stories From the Archives of Burden Strange Kickstarter will run from Tuesday, November 20th to Wednesday, December 21st.

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.

ComixTribe Reveals the Full Roster for Legends of the Wailing Blade, Over Two Dozen Creators

ComixTribe has announced the full list of creators contributing new stories and art that will be featured in Wailing Blade: Headtaker, the collected edition of its popular dark-sci fi fantasy mini-series released last year, which is currently funding on Kickstarter.

Wailing Blade is created by Rich Douek, writer of the IDW series Road of Bones and the upcoming Sea of Sorrows, and Joe Mulvey, artist of ComixTribe’s SCAM and Mummy’s Always Right and the upcoming Happy Hill.

Billed as Mad Max meets Masters of the UniverseWailing Blade takes place in a future dark age, and tells the story of a bandit prince who will stop at nothing to save a father sentenced to death by the hands of the legendary Headtaker… even if it means falling to the Wailing Blade himself.

The four-issue mini-series is being collected for the first time and will be available in a softcover format as well as a deluxe, die-cut foil-enhanced hardcover edition. The new trade will include an extensive cover gallery as well as an additional final scene not included in the single issues.

Wailing Blade: Headtaker

ComixTribe has also enlisted a murders-row of comic talent to help add even more fire-power to this trade collection. This collection features an all-new “Legends of the Wailing Blade” section including over a dozen tales of the origin of the titular blade. In this world, no one truly knows where the Wailing Blade came from or why it wails… but in every tavern, a different tale is spun.

The full roster of participating creators announced include:

  • Michael Avon Oeming (Powers, The After Realm)
  • David Andry (Resonant)
  • John Lees (Sink, Hotell, Mountainhead)
  • David Pepose (The O.Z., Spencer & Locke, Scout’s Honor)
  • Liana Kangas (She Said Destroy, Black AF: Devil’s Dye & Trve Kvlt)
  • Ryan K Lindsay (Eternal, She, Negative Space)
  • Lane Lloyd (God Puncher)
  • Kenny Porter (Superman: Man of Tomorrow, Barnstormers)
  • Gavin Smith (Dead Legends)
  • Malissa White (Nightmare)
  • Russell Nohelty (Ichabod Jones: Monster Hunter, Cthulhu is Hard to Spell)
  • J Paul Schiek (The Lion and the Unicorn, Hush Ronin)
  • Tyler James (The Red Ten, Oxymoron)
  • Jarret Katz (The Foreigner)
  • Alex Cormack (Sink, Road of Bones, Sea of Sorrows)
  • Fraser Cambell (Alex Automatic, Ind-Xed)
  • Iain Laurie (And Then Emily Was Gone, The Edge Off)
  • Andrew Hahn (Powered by The Blood of Five Vampires)
  • Steven Forbes (Runners, The Proving Grounds)
  • Travis Hymel (Arkworld)
  • Rob Multari (Night Wolf)
  • Marc Thomas (The Monstrous Adventures of Beowulf)
  • Mario Candelaria (Killchella)
  • Daniel Earls (Hellfire, Tales from the Pandemic)
  • Matt Zolman (Epic)

The Wailing Blade: Headtaker campaign to raise $30,000 on Kickstarter to help fund the print run for the deluxe hardcover collection runs until Friday, November 20 at midnight. When funded, the books will ship in February, with digital rewards to be fulfilled in December.

Wailing Blade: HEADTAKER is available now on Kickstarter.

Urban Animal Goes from Webtoon to Print

Urban Animal from Justin Jordan, John Amor, and Micah Myers is going from Webtoon to print with a Kickstarter. Urban Animal is about a normal kid who finds out he’s not so normal when he turns into a sabertooth tiger. Things just get stranger for Joe from there. Much, much stranger.

Meet Joe Gomez. He’s got high school on lock – good grades, a cool band, and girls digging his vibe. But just when he’s got the world figured out, he goes and turns into a saber-toothed tiger. A shape-shifting nature spirit known as a Chimera, to be specific. Now Joe needs every single one of his new powers to help save the human race – whether he wants to or not.

Now, you can get a print edition of the webcomic. The first volume collects chapters 1 through 27 of the series which is about 200 pages of content!

The campaign is well past its goal so backing helps further guarantee its completion. You can get a digital PDF, digital artbooks, wallpapers, and script book for $12. For $24 you get a softcover print edition of the series along with other items. Other pledge items include a hardcover version, signed bookplates, and so much more. The campaign ends on November 18.

Urban Animal

The Peacekeepers is a Twisted Comic Book Love Letter to Crime Dramas

Out now on Kickstarter, The Peacekeepers is a brooding and decidedly wicked crime drama that pulls no punches, that suffers no fools, that repeatedly gets knocked down, but always gets back up again with a smile. It’s an utterly treacherous comic dance.

All hell breaks loose in quaint a northern Michigan community when a team of in-over-their- heads bank robbers kills a beloved Sheriff’s Deputy. In a small town with BIG secrets, local detective Richard Holton races to peel back the layers of a depraved down-home conspiracy before the bungling Federal Agents assigned to the case send everyone involved to ground.

The Peacekeeper is by writer Rylend Grant, artist Davi Leon Dias, colorist Iwan Joko Triyono, and letterer HdE… the same twisted team that brought you 10 rip-roaring issues of Action Lab: Danger Zone’s critically-lauded political action thriller Aberrant. That comic is being developed for television by 24 & Felicity Executive Producer Tony Krantz.

This isn’t Grant’s first Kickstarter campaign. He raised over $15,000 back in July with a high concept sci-fi thriller titled The Jump. This Kickstarter campaign has already passed its goal guaranteeing it will be funded. You can chip in $5 for PDFs of Grant’s past work and $10 gets you the first two issues of The Peacekeepers. $20 will get you the print edition. Other pledges include variants, signed comics, original art, and more. The campaign ends on November 19.

The Peacekeepers

Keep Track of 2021 with Sam Kieth’s The Maxx

Clover Press has revealed an upcoming Kickstarter project featuring Sam Kieth‘s The Maxx, a 2021 calendar!

Each month has different Maxx cover with art by Sam Kieth. Calendars are 11 x 17 0-wire bound and can be ordered on Kickstarter Nov 9th.

Need a gift for that Maxx fan in your life? Well the calendars will be delivered in December!

You can sign up now and be alerted when the Kickstarter campaign goes live.

Enter the Fantasy World of Winds of Numa Sera

In 2015, graphic novelist Morgan Rosenblum burst onto the sci-fi scene with a runaway success. His comic book debut, Treadwater Volume 1, delivered complex characters fighting an unwinnable battle in a pre-apocalyptic scenario. Then, in 2017, the long-anticipated Treadwater sequel was released to even greater acclaim, topping Diamond’s ‘Indie Bestseller’ list and bringing sales to over 10,000 copies.

Now, Rosenblum is back, along with co-creator Jonny Handler, with Winds of Numa Sera, a medieval fantasy graphic novel series. The first volume in the series is currently on Kickstarter looking to raise $15,100. The campaign ends on November 23. The series features art by Eduardo Mello, color by Valentina Taddeo, lettering by Voodoo Bownz, character concept design by Andrea De Dominicis, environments/sigil/lore/logo design by Bark Bark Studio, and map design by Luigi Aime.

Winds of Numa Sera is set in an elaborate fantasy world, which features an expansive cast of multi-layered and, above-all, believable characters. As their disparate backgrounds and motivations put them on a collision course with one another, the protagonists of one story become the antagonists in another. This lends the readers deeper insight into each character as they watch their seemingly separate storylines slowly weave together into a large cohesive narrative.

It is said that truth is the first casualty of war and this holds true for the Empire of Numa Sera, whose glorious founding mythology is slowly peeled apart as the protagonists discover the truth behind the legends. The grand narrative plays out over multiple generations, in which villains become heroes, history is rewritten, the mundane becomes mythical and the truly legendary becomes mere superstition.

The tone of the novel strikes a unique balance between that of a lighthearted adventure story and a ruthlessly realistic political drama, which takes place in a world rich with fascinating lore. Confronted with violence, treachery and political intrigue, the charismatic heroes of Numa Sera do what they can to survive and succeed. As they continue on their journeys, long forgotten truths are rediscovered and ancient forces are reawakened.

Owing to the breadth of its story, the depth of its characters and the splendor of its lore, a graphic novel of this scope is necessarily an ambitious undertaking. Fortunately, the novel’s illustrators, both of whom had worked for Marvel, do it complete justice. Finally, after several years of meticulous work, Rosenblum and Handler are ready to share their newest story.

You can get a PDF copy for $20 and a hard copy for $30. Other rewards include signed editions, collectors edition, and even being able to be drawn into the comic!

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!


Just in Time for Halloween, Ghost Are People Too by Cartoonist Peter Ricq

Just in time for Halloween, cartoonist Peter Ricq is bringing Ghost Are People Too to Kickstarter. The 42 page illustrated book, about a simple ordinary ghost named Ethan Alby, is written and drawn for spooky living people of all ages and perfect for Halloween.

Ethan has a family—just like you. He likes playing with toys and his dog, Mini Ricky. Sometimes, though, Ethan gets scared. In Ghost Are People Too, Ethan shares what scares him, how difficult it is to share a home with a living girl he’s fallen for (when she doesn’t even know he exists), and why we shouldn’t be afraid of one another.

Ghost Are People Too is a charming spooky book for readers of all ages, especially young readers, adolescents and adults who love Tim Burton’s books and films, as well as the novels and picture books written by Neil Gaiman, and most especially fans of Edward Gorey’s The Gashlycrumb Tinies.

The Kickstarter campaign runs until November 20 and has a goal of $15,000 goal (Canadian dollars). You can get a PDF copy for $10 Canadian (about $8 in US dollars). The hardcover copy is $20 Canadian (about $16 US dollars). Other rewards include autographed copies, doodles, more art, and more.

A Luchador is on a Quest for Revenge in La Mano del Destino

La Mano del Destino is a 6-issue mini-series about a Luchador’s betrayal and superheroic quest for revenge and Faustian bargain; set in a swanky 1960s Mexico told in a Silver Age style. It’s currently being funded through Kickstarter.

Created by Jason Gonzalez the project ends on November 3 and is still short of its $39,242 goal. The series is complete and this is to fund the 400+ page, Bilingual collected edition’s printing. The collected edition is a Bilingual flipbook! You get both versions in one book.

La Mano del Destino tells the tale of a once-champion Luchador – who, after being betrayed by his friends and unmasked in the ring, agrees to a Faustian bargain with a mysterious promoter. He gains a new power and the identity of La Mano del Destino in order to exact revenge upon his betrayers. Set in a swanky, 1960s Mexico where Lucha Libre is intrinsically woven into all aspects of society and are the most important events that happen within this world, this tale winds its way through the machinations and motivations of all types who inhabit this unique setting.

Can La Mano del Destino get his revenge while remaining the champion he knows himself to be? – Get the complete arc here to find out!

You can get a PDF of the trade for $15 or the printed collected version (plus PDF) for $35. Other levels include a screen print set, doodles, single issues, and even your own Luchador mask!

La Mano del Destino
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