Behold, REDWOOD, our horror comic with a broken heart. Here’s a preview and a sneak peek of the art and tragedy within. Indeed, as someone once wrote (hint: totes Shakespeare), never was there a tale of more woe…
Chadwick and I kicked REDWOOD off wanting to make a genre book with a dramatic core and the result represents an artistic transition from the short story approach of our previous release DEAD ENDS to a more startling aesthetic and a mainstream 24-page structure. My story began with the mental image of two teens climbing a cursed tree- the result of researching the star-crossed lovers motif while reading a lot of Stephen King. Chad then reined in his typical cartooning style to aim for a more dramatic approach, balancing western and manga illustration elements for a more mainstream looking book. The final story takes a stab at young love and revisits the burial ground curse trope, with plenty of horror ephemera for fun. In fact, here are the elevator pitches we’ve been trialing so far…
Elevator pitch #1: Romeo and Juliet meets Stephen King
Elevator pitch #2: Saga meets Evil Dead
Elevator pitch #3: Piranhas 2 meets Proust’s Remembrance of Things Past (this one is, admittedly, quite misleading)
Of particular note with this release is the startling cover by digital artist, illustrator and good friend Chris Green. Chris contributed the sequentials for the story Wings in DEAD ENDS and has gone on to illustrate for some impressive properties. We were over the moon that he could lend his considerable talents to create an atmospheric and detailed piece of cover art.
REDWOOD wouldn’t exist if it weren’t for the generous support of those who bought, read, enjoyed and lamented DEAD ENDS. Also, special thanks should go out to Emmet O’Cuana for the feedback and print-broker Brendan Halyday. REDWOOD represents the strongest work Chadwick and I have produced yet, a moody genre book with an effective story, and a taste of things to come.
Come grab a book at Supanova Adelaide this weekend. Further distribution details to come… once we finally find the energy to do all the boring stuff inherent in actual publishing (seriously, it involves emails and post offices and invoices. So boring).