W – Brentt Harshman A – Emilio Utrera C – A.H.G. L – LetterSquids
Another “short” comic (12 pages from cover to close) installment from writer Brentt Harshman, Mistakes takes on the crime genre by virtue of inner conflict. Mick, a criminal, wants to do right by his daughter. That’s a bit problematic for a guy that’s known nothing but a life of crime. I mean it’s kind of tough to try and be responsible when you’re literally sitting in a McDonald’s plotting a crime (which is how we open). It’s a bit hard to describe someone as “good” when they’re a criminal but Mick has that “itch” that only the conscience can bring about. As he’s readying for the next job his morality takes over and he pens a letter to his daughter.
The letter is the heart of the story. It exposes Mick for what he is … a man that knows he has to become someone he’s not, but also has to be true about the person he’s been as well as find a way out of being if he’s to make the change. It is made very clear that Mick wants to be who he should be and that his true inner self hopes nothing more than to find a way to be who he should. It isn’t just a fluff filled hope piece though. The truth of Mick, where he is (and why) is there. The 12 pages short when you hit the end as you want more to this little tale of internal torment. They’re long when you sit back and realize just how much the team was able to put in and how complete the story is (while also managing to leave enough for more). Mistakes isn’t just written extremely well. The pages look every bit the part of a book that you’d see on the shelves any given Wednesday. The closeness of the story is conveyed perfectly while also emphasizing the danger and action of the crime laden life Mick lives. The usage of panel structure, colors, and scaling of the mood of the page all come together to present a striking visual half of the narrative.
I’m quickly becoming a fan of Harshman and the creative teams he rallies to put out his stories. Mistakes is another short comic that has left me wanting more. There’s depth to the premise but plenty to make this a stand alone entry. I can go back and flip through just to take in the visuals as well as re-read and pick up subtleties (such as Mick’s letter being captioned on notepaper) that render even more relatability from Mick.
This is one I hope is being pitched.
STORY – **** ART – **** COLORS – **** 1/2 LETTERS – **** OVERALL – 4.25*
Fresh off of successfully funding the first three issues of the series, the Miskatonic High crew is back for the fourth installment. We've seen a field trip that was much more adventurous than a trip to a museum, found out that secrets can be unearthed anywhere, that having it all comes with a price, and now we'll be seeing just what a winner has to lose in order to protect his friends.
An urban fantasy/noir about Morgan le Fay in the modern world working as a detective for the secret magic underworld. After a battle with Merlin she woke up powerless in the modern world. Determined to get her powers back she has decided to work as a PI for the Fay World in order to find clues on what happened to her. Jessica Jones by way of sorcery.
32 pages of top notch art and rich colors present this intriguing concept.
the story of the Intergalactic Spaceship Bowie‘s Accounting Department. The comic follows a diverse team of misfits as they attempt to get through their work day without going mad. They’re not involved with any of the cool stuff happening on the ship but they still have a job to do and they’re going to find a way to do it before boredom takes their will to carry on. 24 pages of sci-fi office comedy.
*Driving Creators Top Creator Published Books List 2018
The third installment of the Silver-Age inspired cosmic adventures of the Father/Daughter duo of Captain and Kid Cosmic. This issue sees the menace of the Phantom Spaceman! This galactic filled superhero epic is back for more!
20 (or more) pages of full colored cosmic adventure.
A comics magazine for kids and adults alike. You’ll read about Monsters, Space Adventures, Alien Planets and an odd Robot Butler named Springworth. A project that will also benefit kids in long-term hospital care by supplying them with comic making kits to keep them from getting bored.
Ongoing magazine sized anthology comic for kids of all ages.
A mature themed adult comic of political intrigue, opression, and those with the power to do something about the world they live in. The only catch? Their powers are tied to an STD that'll kill them in six months.
An indie comic anthology inspired by Dante's Inferno. It's rough making your way in show business. Everyone wants something from you, and no one is cutting you any breaks. Your boss is a real beast, and you're performing for the dregs of society.
Ollie is on a quest for revenge on the father-murdering bastards of Davenport Amusements. Together with her adopted circus sideshow freak family, she's got the pedal to the metal in her haunted muscle car and nothing but vengeance in her headlights. Rockabilly, Vaudeville, and Tarantino all smushed faces basically.
Plastic surgery is free. London is gripped by madness, dominated by cosmetic surgeons, lifestyle coaches, and pill-pushers. On the run from cops and hitmen, an esoteric businessman sets to make amends while he still can. A Black Mirror Romeo & Juliet, if you will.
Today's society has made it clear that the Flame of Knowledge has been stolen. Free of his own imprisonment for stealing it originally, Prometheus must find the flame and once again right humanity's ship in this titanic John Wick style approach to the Olympians.
This ongoing series focuses on three agents from a small, internationally funded organization called Infinite Borders Security Agency (IBSA), a secret group of operatives who investigate alien encounters on Earth or in space. In this second issue the agents encounter a lifeform that defies description, triggering a tragic course of events that will drastically change their lives and reveal the dangers of the Infinity Zone that threaten the entire universe!
A brand new cast of characters joins the fun as Ragmop takes the reader on a roller coaster ride through the history of comics, genetically modified foods, conspiracy theories, Art House cinema, Tex Avery cartoons and the Jack Kirby Centennial! All this and more in the most outrageously hilarious, action-filled story since the previous Ragmop!
175 pages of side splitting laughing at our own idiocy.
A collection of short comics all of which are related to death in some way. The stories span genres of romance, crime, horror, and satire. Some were used to explore the medium of comics, while others make a specific point with their content.
Making its debut at Small Press Expo is Beth Barnett’s InfoGraphic Novel Dreamers of the Day. History lesson, travel log, diary, and comic are all rolled into one as Beth takes us on a journey of discovery about TE Lawrence.
It is a common theme among creators that they care about the subject they are taking on. So often they are labors of love. This is clearly another entry along those lines, but, it is so much more. How so? Well, Dreamers of the Day is actually the base upon which Beth will be building her planned three part bio-graphical take on TE Lawrence. The labor of love is evident as this is a take on the journey Beth took in order to research and truly find the story that lay within the life of TE Lawrence. It is her story of discovery about her subject and a bit about herself. The deep dive of a pilgrimage to Oxford uncovers riches of history that are almost exclusively ignored or glanced over as afterthoughts in the many pieces of media about Lawrence of Arabia.
Perhaps my favorite part of this piece is the absolute personal reflection and unabashedly candid peek into Beth’s feelings and the emotional journey she’s taken. What were surely the feelings she was having at the time of the various depicted events, we can see drawn all over the representative Beth on page. While documentative in nature and biographical in scope Beth presents this journey in a story type fashion that her artwork lends very well too. The book is about her search and discovery of TE Lawrence but the entirety is truly about TE. The scenes of running late for appointments or getting lost are related with candor.
The connection with not just herself, but with the importance of the endeavor she’s undertaken allows so much more to come across from the page. Even though there are more installments coming there is already very large pieces of learning for anyone that picks up this book. Most folks only know the Hollywood given bylines but the story of TE Lawrence is so much richer and deeper than most are aware of. The history involved with the man and his involvement in history is a lesson that will enrich your understanding of the world and educate you in ways you’re not expecting. The zest with which the journey is undertaken jumps off the page and brings you along for the ride.
Beth will be at SPX on SEP 14-15th! Dreamers of the Day makes its print debut at the Expo!
Jeff Martin’s web strip is coming to print. That’s the aim anyway as his KICKSTARTER launches on AUG 19, 2019 and will be a 30 day campaign. The KS aim is to get the 84 strips published into print and out to the masses. There will be two books, each with a 42 strip story arc. Published weekly since FEB 2018, the project already shows staying power and has been coming around to more and more eyes lately. So what exactly is Hell, Inc? It’s satire that plays on one of the most well known tropes out there. What’s more of a hell than an office job …?
The timeless reality that is hell on Earth has been used to high success many times over. Martin has added to the ranks of hilarious takes on the horrors and torture of the cubicle world. Humor that recalls the likes of Office Space is sprinkled about but the strip is entirely its own entity. We follow Doug, a hopeless everyman (demon) working for the big corp in literal Hell, Hell Incorporated. The premise itself (the office trope) is ripe with relatable instances and the humor in agony that many people go through day in and day out. While horribly human with his existence, Doug also finds that Hell itself is a multilayered storm. It has got to be exponentially more dire of an existence to be just a cog in the corporate machine when you compound that with the corporate machine being, again, literal Hell.
Keeping the humor relatable is what makes the strip overly funny. Despite being a demon Doug lives through every day human hells. Perhaps he was a corporate cog before the afterlife and is now living out his own personal hell by being condemned to run the cubicle rat race for eternity? That would just add that much more humor to the goings on over at Hell, Inc. The art delivers exaggerated depictions of the every day torture of the office life. From dreaming of doing the unthinkable to your co-workers, running and hiding from the boss, and attempting to feign importance we see Doug navigate his horrifyingly mundane afterlife with the same hopeless indifference many of us have experienced.
It isn’t that Doug doesn’t have an important job. He processes souls for Hell, Inc. Given that that is what Hell is all about one would think there would be a bit more shine to things. Not so much. There always seems to be something that keeps the experience from being what it could or adding to the misery of being just another office worker. The “adventures” have even gone so far as to give Doug an intern [a human one at that] that simply just has to be the secret 10th circle of hell.
Be sure to check out the Kickstarter LIVE NOW! Hell, Inc is a wonderfully done satire. The play on the situation makes it that much more humorous. You’ll thoroughly enjoy your time with Hell, Inc.
W- David Pepose A- Gavin Guidry C- Liz Kramer L- Ariana Maher w/Colin Bell
Big thank you to David Pepose for the Q&A leading into the release of GTtC #1.
Upon reading the solicit for this book you’re going to immediately have your mind jump to a certain movie scene. It happened to me. Seeing the cover of Going to the Chapel #1 (Lisa Sterle art) only reinforced that vision. Using the juxtaposition of attitudes and approaches from the bride and groom in the hours leading up to the wedding lures the reader into a false sense of security. While many are chuckling in recollection of their own wedding day (or memories of weddings of family members/that they’ve been involved in) this book is slowly stalking us in the tall grass. Without even realizing it you get a reveal before the hook on the last page. You’ll go back and go ‘well shit’ for not noticing because you’re flowing right along with the all to real emotions of the prevailing situation.
The RomCom genre capitalizes on several feelings to create an entertaining and fulfilling experience that runs up and down the emotional spectrum. They work because there’s something that tugs at or speaks to just about everyone. Even in the sappiest there’s either humor or a dark truth that plays to the most cynical among us. That’s just the thing with these ventures, it’s all about the hope and love winning out. Sometimes though that hope and love is fighting against the conventional “feel good” outcome. Hope and love doesn’t always line up with what would be considered as correct or how people on the outside looking in think things should go. And there in lies the humor, dark truth, and sometimes a little something else. Going to the Chapel has sown the seeds for that other route.
Yes, we get a wise cracking and delightfully crude grandma. The normal and expected jitters are present along with some typical “overly sure” feelings. The tropes of the hours leading up to the fateful moment of “I do” are all given face time and used expertly to paint a picture that’s just about by the numbers. Until it isn’t. All throughout the issue there’s something that eats at you as you read through the panels. There’s an itch that slowly grows but no matter how much you scratch at it, the damn thing won’t go away. In fairness to we, the readers, the book distracts from that itch as much as it causes it. Issue one is a great debut that does its job extremely well. It piques your interest and then hooks you with the last page. That itch goes full blown but it isn’t irritating. I mean unless an Elvis impersonating gang of robbers crashing a wedding irks you … but that’s just the primer for the hook. See, “love is the ultimate hostage situation” isn’t just a tag line. It’s an absolute truth.
Enough of what I think, let’s hear from the writer himself:
-Let’s start with, the start, of this book. The inception of the idea. You’ve stated it was from Greek Tragedy-esque level shenanigans when you were a best man? Can you elaborate or change names/modify events to protect the innocent?
Have you ever been to a wedding that’s felt more like a hostage situation? We just made that literal in GOING TO THE CHAPEL. (Laughs) But yes, the initial spark of the idea came from my disastrous turn as best man for my oldest friend’s wedding — the bachelor party I planned was like the Hindenburg of bachelor parties, culminating in me actually missing the whole thing because I sent myself to the hospital.
While I was recuperating on painkillers, I thought to myself, “At least this didn’t happen during the wedding…” But then I thought to myself, “But what if it did?” That made me think of a lot of worst-case scenarios — at first, I thought it would be what if the father of the bride hired some leg-breakers to persuade the groom to call it off, but then I realized… what if the bride just got cold feet? That idea of commitment and choosing who to love felt like a really dramatic arc to explore — although I’ll admit, the Elvis-themed bank robbers didn’t hurt, either!
-Coming off of Spencer & Locke 2 (which again, absolutely brilliant) and the focus on trauma, this book is quite a different tale. Is this an intentional change of pace or just what happened to be next in the queue?
GOING TO THE CHAPEL, in a lot of ways, was written in response to SPENCER & LOCKE — I think the two books do share certain themes and sensibilities, but I think the tone and execution to get there are definitely different. The first volume of SPENCER & LOCKE, for example, was written with a really small cast in mind, so the first thing I wanted to do with my next book was to essentially write a team book full of diversity and representation — we’ve got 15 characters in the mix with this series, and confining them to a single location was an even greater challenge.
That said, I do think GOING TO THE CHAPEL has a lot in common with my previous books — we bring that same mixture of action and comedy to every page, and I also think they both tackle the general themes of having to face the heartache of your past before you can hope to move forward into the future. But most importantly, GOING TO THE CHAPEL brings that same sense of risk-taking as SPENCER & LOCKE — while my first books were about skewering one of the most sacred cows in comics, GOING TO THE CHAPEL gets to put a new spin on the romcom narrative, a genre that often has a lot of preconceived notions in the Direct Market. I’m hoping after reading our series, people will realize that everyone can enjoy romcoms — they’re just as flexible of a genre as crime, sci-fi or even superheroes.
-With some of the visuals and a little of the look in GTtC’s first issue I can’t help but get a feeling of a mash up of some cult favorite movies, and it’s great … when putting the pen down to write this, did you purposefully use some tie lines for familiarity or did the actual true accounts this comes from bare enough resemblance on their own?
Perhaps not consciously, but I think artist Gavin Guidry and I brought a lot of influences to the table with this book, from old-school Tarantino and Breaking Bad to Hell or High Water and Baby Driver. For me, I wanted to write this book without the crutch of narrative captions, and so I wanted to play around with the pacing and the storytelling in order to keep things dynamic and to keep readers on their toes. The idea of starting the book out with the song lyrics of “Chapel of Love,” for example, felt like a great way to set the tone of this series — a little bit stylish, a little bit dangerous — but using the least amount of dialogue possible.
My biggest influences on the book, though, were probably the films Dog Day Afternoon and Death at a Funeral — the idea of having a lot of people trapped in close proximity with one another has a lot of room for comedy, in my mind. I think we often wear masks of respectability when we’re with our extended families or at our jobs, but the longer you’re stuck in an uncomfortable situation, the more I think those masks tend to slip — we start getting a little more real, a little more honest, whether we like it or not. So the longer we go in GOING TO THE CHAPEL, we’re not just going to see Emily and her family start to slide deeper into dysfunction, but we’re going to see the line between the Bad Elvis Gang and their hostages start to blur.
-So, we’ve got some issues going on already. There’s clearly LOTS of background to the bride, head of our gang of robbers, and some other mess stewing about. How expansive is the background that these characters share and how much of it are going to get (IE – could there be a GTtC 2)?
A lot of the fun of a book like GOING TO THE CHAPEL is taking these very strong personalities and seeing how they interact with one another over the course of this increasingly complicated hostage situation. Emily, our bride with cold feet, will be driving the story, and we’ll see how her past informs the situation she and her family are in today — but we’re also going to see how her fiance Jesse fits into the situation, as does Tom, the ringleader of the Bad Elvis Gang.
But the best part of having such a big, sprawling cast is that every character gets to leave their mark on this story — a hostage situation only goes as smoothly as your actual hostages will let it, and the Anderson family is so rich, so entitled, and so clueless that they’re not going to take captivity lying down. Imagine if the Bluth family from Arrested Development were caught in a bank robbery, and you’ll get the idea of where we’re headed — but rest assured, every character gets an arc in this series, and we’ll see some very interesting connections develop.
-The solicits give us details of course, but what is the central theme you’d hope comes across in GTtC? I ask because that last page is saying to me that this story is about those crazy feelings that the fist size muscle in our chest causes us to deal with.
I’d say the biggest milestones in our lives are the ones that often require the biggest leaps of faith — so if there’s any one theme in GOING TO THE CHAPEL, it’s about the ways we grapple with those fears of change and of commitment, and how we eventually have to confront these anxieties to move forward. You’re right that love is a big, crazy feeling, but it’s also a complicated one, informed by our wants and our aspirations and our upbringings and our heartbreaks. And we’re going to get to explore a lot of that in this wedding heist from hell!
-I couldn’t help but notice that the scenes in this first issue were very tight, in close. The characters were the focal point throughout and the actuality of where they were at any given time was nothing more than bare minimum. A church, a bar, a room. Is this a tool in the bigger telling of the story?
Yeah! A lot of that is based on artist Gavin Guidry’s personal style — he gives his characters so much expressiveness, so I think he really relishes getting to zoom in and show these wedding guests’ larger-than-life personalities. But at the same time, as this series progresses and we have our characters established, we’ll start to play more and more into the various elements of the chapel as a setting — in fact, I actually choreographed the whole story beat by beat, almost like a football play, so Gavin could then use that to construct a fully-rendered, three-dimensional chapel on SketchUp. This series is very much about trying to fit a ton of characters in an enclosed space, though, so Emily and her extended cast will definitely be our main focus.
-This is going to be a four-issue series. S&L was 4 issues in each of its two volumes. Is there something about four issues that allows you to do things that a “traditional” six-issue limited series doesn’t? Is the four-issue format something you prefer?
I like to keep my stories as tight and lean as possible — both because I don’t want to keep readers and retailers on the hook any longer than necessary, but also for my own sanity and wallet! (Laughs) But in all seriousness, I think a common misconception people have is that oftentimes many comics publishers will even consider a six-issue limited series to be a big investment — so keeping it at four- and five-issue arcs is a good way not just to make sure the storytelling is economical, but also minimizing a publisher’s risk of picking up the project.
-With S&L and now GTtC are we seeing a relationship brewing with you and Action Lab or are these books the product of an existing one?
Action Lab’s been a great home for my work, dating back to the first volume of SPENCER & LOCKE. I think there’s a lot of publishers who are very risk-averse, or who get very self-conscious about their brand and have a very narrow definition of what they’ll publish within those confines — I had a lot of publishers that told me they didn’t know how to sell a romantic comedy! But Action Lab immediately was excited about GOING TO THE CHAPEL, and unanimously wanted to go ahead with it. So I give them a lot of credit for taking risks with their publishing lineup, and trusting creators to tell their stories without micromanaging them to death. It’s a great relationship, and I’m excited to publish more books through Action Lab in the future.
-Is Goint To The Chapel a one and done, or is there a possibility that this initial series is just the start?
While I initially wrote GOING TO THE CHAPEL as a standalone series, the themes of the book feel universal enough that I think there’s definitely some possibilities for some other stories with these characters if the demand was there. So never say never — if Father of the Bride could pull off a Part II, who’s to say we couldn’t, too?