Its my birthday, so as per tradition, my new novel Death and Doubling Cubes is free today on Amazon :). Go grab a copy, tell your friends, and happy reading!
Also, if you REALLY want to make an author happy, go leave me a review on one of my books! That would really make my day.
FYI-- I'm at booth F48 all weekend at Wizard World Comic Con Chicago with Olivia Hinkel (the artist for "An Eloquence of Time and Space" and "Cryptos") come say hi!
Hi people who make Mass Effect Stuff, (Bioware, Titan Books, Dark Horse, EA)
I’m James Wylder. I’m the author of two science fiction novels, and seven other books. I’m also a huge Mass Effect Andromeda fan. With the news that ME:A will be receiving no further single player content, the story continuing in novels and comics, I want to be a part of that storytelling. Mass Effect has been on the list of dream properties for me to write for since its inception, but ME:A connected wit me on a personal level no entry in the series has before. With the opportunity to write official tales in the Andromeda Galaxy perhaps coming to a close as you figure out where to take the franchise next, this post is my Hail Mary Pass to be a part of the Andromeda story.
While I am not a well known author, and a post like this isn't the usual discovery method for new talent, I hope this post will convince you that I am a good candidate to help craft part of the upcoming stories that will continue ME:A's tales.
My professional credentials:
I am the Author of Nine Books:
My work has been featured in several journals and publications, including a recent story in "World Unknown Review".
I have completed work on a licensed a tie-in novella for a gaming property that is awaiting release.
I have toured to promote my work in 2 countries, 10 states, and 23 cities at numerous conventions and bookstores.
My work has been covered by the New York Daily News, the Elkhart Truth, and Barebones Entertainment.
My most popular work is an episode guide to the TV show Doctor Who, entirely written in the form of poetry.
References and example work can be provided upon request.
Existing Setting Knowledge and Fandom
As a long-time fan of the Mass Effect series, I am already familiar with the lore and setting, and would be able to jump into work quickly without the need to familiarize myself with the universe.
Mass Effect has been a passion of mine for years. I've made and kept friends through these games and stories, and its a universe I've written about before.
ME:A captured my imagination immediately: the game's focus on exploration and discovery enraptured me, and its exploration of difficult themes such as making reparations for colonialism were powerful. The characters are already beloved (PeeBee and Drack are my favorites), and I'm exited to see where the Andromeda Galaxy goes from here.
Since I've already completed some licensed intellectual property work, I am familiar with the process and expectations. While I'm a fan of Mass Effect, I am also a professional freelance writer and will work within all requirements.
So What Do You Want?
I want to be a part of crafting the next part of a story that deeply moved me, while I have the chance. Whether that's a novel, a comic, a short story, or something else.
Thank you for taking the time to read this. I wish you the best of luck in telling the rest of Mass Effect Andromeda's story.
Been thinking of trying out my books but weren't sure where to get them? Here's a handy list of links where you can find all of my books, organized by categories (fiction, poetry, and theatre works). You can also visit my authors page on amazon here to find them:
Death and Doubling Cubes (Science Fiction Adventure Novel)
10,000 Dawns (Science Fiction Adventure Novel)
The Dark and Splendid Diary of Danielle Simpson and Other Tales (Collected Short Stories)
Cascade (Collected poetry!)
An Eloquence of Time and Space (Doctor Who poetry)
Blackalope (Darker Adult poetry)
Cryptos (Supernatural Mystery)
God Save the Pres.! (Political Timetravel Comedy)
One-Act Septology (Seven short one-act plays)
Paper Gods (Weird Experimental play, included in "Cascade")
The following was written as a letter to a friend of mine discussing thoughts on Gamergate, years on. They thought it was a good piece of writing, and encouraged me to post it, so I am.
Then lets talk. I figure we may as well have it out on this--we've been edging around the bush for a while now. But I figure I should lay all my cards on the table here. This won't be a short reply, because my thoughts aren't a soundbite or a talking point. I honestly don't expect you to read this. So here they are:
Two travelers meet at a fork in the road, heading to the light. One path looks rougher, the other easier. Its hard to tell which is the shorter route, but one stops to look at the path, while the other goes down the path that's easier. The traveler who stopped finds a sign hidden behind an over grown branch, "Friend!" they yell back, "That's the wrong way!" but their companion is out of earshot. They walk down the trail to find their friend, but the light begins fading, and the road starts sloping down into a cave. With no light of their own, they turn back, going down the right fork. They can only hope their friend stops to read the sigh.
* * * *
I mean, it was literally about some guys harassing a woman because her ex-boyfriend was jealous she was dating another guy and said her wrote a review about her game...Which he didn't because that review never existed. I remember when the accusations were first made, when the videos first went up about it. I watched them and thought, "Well if that's true, that's quite the ethics violation," thing is, "if" is a mighty big word. I searched for the reviews that she'd apparently gotten, and they just...didn't exist. They weren't cached anywhere, they hadn't been deleted, they just didn't exist. And that made my skin crawl.
Because people just believed it. They didn't wait to hear the other side, they didn't look for facts, they just reacted. And it was awful.
I'm a nerd myself. My bestselling book literally went through every episode of Doctor Who ever. I dressed up as a character from a Star Wars video game when I was a kid and no one knew who I was. I love being a nerd. That doesn't mean I'm not going to sit by and let nerds be awful to people just because they're also nerds.
I've received lots of hate mail in my life, and a few death threats. I've even gotten death threats from feminists, even though I am a feminist, just like I've gotten the same from nerds even though I am a nerd.
Gamergate started based on a lie, and proceeded from there into massive hate and abuse to people. It crossed line after life, driving people into hiding and off the internet. People who strangely all happened to be women. Strange, how the men who supposedly wrote the reviews (that didn't exist) didn't get targeted. Strange, that they were all women. Almost like "ethics in video game journalism" wasn't really the point.
If it was, why wouldn't they be going after the companies that blacklisted Kotaku for reviewing their games honestly (and badly), and the gaming websites that posted positive reviews of games they hated to keep their clout with gaming companies? They didn't. They let that slide. That wasn't a big deal. But a woman making a game about her depression? Get her.
* * * *
In 2014, I received death threats about an episode of Doctor Who that had the Master revealed to have regenerated into a woman. These death threats were from trans-exclusionary radical feminists who hated trans people, and were sending trans kids, KIDS, death threats, encouraging them to commit suicide...ugh. It was awful. I spoke up about it, and received horrific abuse, threats... people trying to hack my accounts. False accounts made under my name. It was scary. Terrible. No one deserves to have to go through that.
But that's been Gamergate's modus operandi from day one. I don't agree with the views of all the people they've targeted--but honestly I could care less. When you resort to that kind of bare knuckled hate: to sending in threats you'll shoot up a school so they have to back out of an appearance, harassing their employers to try to destroy their livelyhood...I don't care anymore if you're "right". You're hurting people over nothing, and you're wrong.
That people these days defend people who agree with them who try to hurt and destroy other people's lives just because they agree with them is messed up. Is the world so divided that we can't look our fellows in the face and say "This isn't the way"? Well, okay apparently it is, but hey...
Not all gamers and nerds are jerks, but some are and I'll be damned if I'm going to turn a blind eye to it.
Not all feminists are jerks, but some are and Ill be damned if I don't see things are wrong when they are.
Not all, but some, and saying words when they are isn't a sin.
And if all is said, but some is meant, maybe we should be able to understand that sort of frustration.
People are afraid of being wrong, afraid of their beliefs being challenged, afraid of turning away their support from people who are awful just because those people agree with them and seem to have power. And that makes me sad.
Because I believe in people, as much as maybe I shouldn't. I believe we were created with goodness in us, and purpose, and light, and something worthwhile.
But things like Gamergate, or the harassment against me, its a crooked path to the holy land. The road promises purpose, uniting against a foe (but don't look to hard at the foe, if you do it might look human), but the path goes askew. Instead of the light, it leads down somewhere dark, and those pilgrims can only chant "I see the light" till they believe it, because otherwise they'd have to admit that the road they followed was the wrong one, and its easier to keep going down that dark road than to turn your back to it, and trek back to the fork to take a different path. Easy, oh that word, easy.
* * * *
There are a lot of places online that become echo chambers. And that echo is where thoughts often die. I'm sure you can think of a few. Where learning is memorizing the correct thoughts, and not the questions. There's plenty of it, in lots of circles. But Gamergate has been pretty egregious in that regard. From the moment I questioned its opening premise, and found it a blatant lie, and then realized that the people running it didn't care that it was, I knew it would be another forever. And it has been. Everyone who disagrees with it is a "SJW feminist cuck" and the like.
Its goals are ethereal, transient. They are firmly whatever it takes to get angry and harass someone this week. It asks for all gaming to fall under its list of approved thoughts, getting angry and offended whenever a game comes out that is meant for someone other than them to enjoy. They hold any criticism of what they believe as abuse, and any criticism of their precepts as heresy.
And its had serious consequences. Not just for the innocent people they've targeted with threats and hatred, but for gaming as an art form.
From the outside, Gamergate was perceived as exactly what it was, a viscous and immature attack on professional women. It made gaming look bad, and set back gaming's perception as a developing art form by years. Want proof? People having been trying to preserve old games for posterity: the history of gaming laid out for the future. Saving the code of games before the material they were saved on corrupts or wipes or blanks, saving the materials around their release...
Before Gamergate, funding for these efforts was increasing. After it, it dropped like a rock. Game archivists have been struggling since it, because why would you fund the preservation of a hobby when people are hearing about the awful things Gamergate did?
It should have been taken down swiftly, a slight blip that people realized was a hoax as soon as they googled to check the story and found it was a lie. But I don't thing Gamergaters wanted to know or believe the other side of the story. I don't think the people who sent me death threats did either. I think they were glad to be in the dark, whispering that they were in the light. Because not knowing was comfortable.
* * * *
In 2010 I was dealing with trauma. A friend of mine bought me an Xbox 360 out of his own pocket purely out of kindness, because he thought it would be therapeutic. It was. I was able to blot out my pain for a while with it. Later, I found I was able to blot out physical pain somewhat to. I could overwealm my senses. Take control of my body even as the massive aching pain creeping up my neck tried to blot out my ability to move. The injury hurt, but it helped.
In 1998, my teacher challenged me to get my math grade up. I was failing, and he said if I got it up by the end of the year to a B he'd give me his old NES. I worked hard, I studied. The math didn't make sense, but I kept working and I made it. He gave me the box, smiling, and told me that I'd earned it. He told me I hadn't actually believed I'd do it, but that he was so proud of me that I had. And I felt amazing.
I set up the NES in my basement, and hooked up some old record speakers to the sound output jacks. I played it on the old ripped couch, lovingly losing life after life in Super Mario, Zelda II, A Boy and His Blob... I actually didn't beat a single game. I didn't care. I had earned this.
In 2011 I became vice-president of my college gaming club. I organized "Games for Amnesty" the year before to raise money for charity. I brought the nerdy clubs on campus together to raise money for charity that year in my new role. I thought, being a gamer is good. It is objectively good. We're nerds, we're misunderstood, and so we know what its like to be misunderstood. I thought, this is who I am. I am a gamer.
In 2014, Gamergate happened, and every notion I had about what being a gamer meant was shattered. I was forced to confront so many things I'd ignored, so many dark moments. The boys we'd let stalk girls in our groups because they were just weird and that's how they were, right? The guy who led the creepy roleplaying group where he had his rpg character rape all of the women in the group's characters at the college. I looked back on all of these things with horror. Because we were nice, misunderstood, and we were not the people who'd bullied us, right?
But of course, we could be. And my eyes were opened.
Its 2017, and I love gaming. I love being a nerd. But I'm not innocent about it anymore: I've met vile people who are nerds and gamers, and I've seen what they've done. So it must be pointed out for the ill it is, not because I hate gaming, or being a nerd, but because I love it. Because I played that NES in the basement, because I played that Xbox and brushed away the pain. Because I know it can be good, so I won't simply accept what is bad.
Because in life there are roads, and someday someone will see a crossroad, and start down a fork where they think the light leads, and I can say, "Hello friend, I know that path looks easy, but why don't you come down this one? You don't have to stay with me the whole way, and it will be harder, bur I think you'll be happier in the long run."
I did an interview with the Elkhart Truth Newspaper about my new novel Death and Doubling Cubes.
You can read the interview HERE.
Remember to buy Death and Doubling Cubes when it goes on sale on 6/29/17!
My second Novel, "Death and Doubling cubes is ready to go! I'm so excited you'll all get to read it soon. Feel free to use the facebook-sized banner above to help spread the word! Here's the full press release:
On June 29th, 2017, author James Wylder will release his second novel, “Death and Doubling Cubes.” The new book will take readers on a thrilling sci-fi adventure, taking them across the solar system and deep into the human mind. Told in the form of a report by an investigator into the novel’s events, the story follows a pair of teenagers fighting a strange creature called Memor that can steal people’s memories, seeking to gain the collective wisdom of all beings. Despite their conflicting upbringings, Aladdin, Anya, and Aegenor have to band together to stop Memnor, and save the minds of everyone they care about.
The novel features cover design and illustrations by Minneapolis artist Rachel Johnson, the illustrations fitting seamlessly into the book as investigative illustrations by the narrator. “I was amazed by how Rachel captured the feel of the characters, giving the book the aesthetics of golden age pulp sci-fi and comics with a modern twist,” author James Wylder said.
The novel was edited by Gwen Ragno, and will be published by Arcbeatle Press.
James Wylder is the author of the popular Doctor Who poetry book, “An Eloquence of Time and Space”, as well as two other poetry collections. Starting in January, he became the host of the live fiction show and podcast “Tales by the Blue Light” in Elgin Illinois through the Southgate Media Group. He has written several produced plays, and released one short story collection, as well as one other novel, “10,000 Dawns”. A resident of Indianapolis, James was born in Elkhart, Indiana, and is an alumni of Hanover college. Further info can be found at jameswylder.com.
He smeared paint over his face, the contacts had already gone in and an aide was spiking his hair up. The character formed in the mirror, red eyed and of no human color. More paint is slapped onto his back. Like the Tin-Man from the Wizard of Oz, he is completely covered up by costume and paint. He rises, and waits for the show to begin.
I first learned about the band Limp Bizkit as a child when I found a heavily scratched up copy of their album “The Chocolate Starfish and the Hotdog Flavored Water” in a parking lot. My parents let me keep it, since it was the censored version, and it was the first CD I owned that wasn’t the Beatles or Classical music. The album was almost unintelligible lyrically, as the censoring and scratches removed so many of the words it was very hard to follow. Here’s a good example of some of the lyrics of one of the songs as censored”
“Its a ___ world in a ___ place/ everybody’s judged by their ___ face. ____ Dreams. ___ Lives. ____ Kids with some ____ Knives.” -Hot Dog, Limp bizkit.
Now subtract maybe 10% of the words out of that from CD scratches and you have the strange art album I listened to over and over. I had no idea what the missing words were-- what was the meaning of the songs? It was only later that I learned what they were, and was massively disappointed. The songs weren’t quite as deep as I’d hoped, or imagined. Even so, Limp Bizkit held a weirdly special place in my heart: despite the lyrics being inane, there was something brutally honest about them. Like reading the first draft of a poem where someone has left all the emotion and honesty on the page without bothering to cut out the badly worded bits yet. It was raw and honest in a ways that more polished and dare I venture “good” music wasn’t. I was fascinated.
Under all of that though was some sheer musical brilliance. The drummer, John Otto provided a solid core, and the mixer/sampler DJ Lethal gave the band a fresh electronic edge. The band’s guitarist, Wes Borland, created clever and creative melodies under the lyrics, and the band’s bassist Sam Rivers played hard running and catchy baselines that carried the music forward in perpetuity.
Sam Rivers seems a decent guy, I actually talked with him on the phone for a few minutes once (more on that later) but it was Wes Borland who really captured my imagination. He performed in costume, slathering body paint on himself, making his body look ethereal and strange. Where other metal bands focused on looking either mega-dark or casual-cool, Borland looked completely different from anyone, even his own band. He changed up his own look constantly, finding amazing new visuals and abandoning them as soon as he’d mastered them. He was cross-breed chameleon peacock, ever changing and ever shifting to new forms. I was mesmerized. And then he did something that changed my artistic vision.
He left the band.
It wasn’t just that he left Limp Bizkit, though getting out of it certainly changed things, but it was what he did outside the band that really shifted my gaze. Instead of making the same things, Borland’s projects veered creatively into whatever the heck he wanted to do. There was “Duke Lion Fights the Terror” a comedy music album that told a loose and ridiculous story about a knight going on a quest to defeat foes like “the Blood Red Head on Fire”, and there was “Black Light Burns” his industrial music project that produced two strong studio albums, an album of covers and instrumentals, and then an album that plays as an alternate soundtrack to an art film. He also painted, producing some amazing works (my favorite is “This Guy’s Going to Eat Me Cause I Just Chopped My Head off” which is both playful and dark, while being artistically beautiful.) The sheer variety was wondrous. There had been this block in my head up to that point that an artist does one thing for the most part, that they were blocked into a genre. You wrote sci-fi. You painted and sculpted realistic figures. You wrote popular fiction. You drew comic art. You played rock. You played classical.
“Why stay in one spot?” his art whispered to me, “Just do all of it.”
So I have. The urge to try new things, to veer wildly, has stuck inside me. After my first big success, “An Eloquence of Time and Space”, a Doctor Who poetry book, there was a lot of pressure to just become a poet who wrote books where I wrote poems about every episode of TV shows. Financially, I probably should have. I should have sucked it up and crapped out books that I didn’t care about and raked in the cash. But I created “Eloquence” because I had a deep urge to, and creatively pushed myself for a year to complete it. When it was done, I’d learned all I could from it. Every now and then I consider doing another one (a Star Trek one might still happen in a reduced form someday), but I needed to do something different. So I started trying to really refine my prose writing, and began work on the project which has become 10,000 Dawns.
I am restless, but I finish my work. I want to create. I want to try new things.
And that came from Wes Borland.
Most people I know would assume that love came from David Bowie, but I only really got into Bowie after I was already deep into Borland’s work. Bowie’s self-reinventions and recreations were a strong source of inspiration for me as well, and have continually pushed me forward, but it wasn’t where it started. It started with a guitarist in a band largly regarded to be terrible.
When Wes Borland left Limp Bizkit, the band carried on and made an album called “Results May Vary” with a new guitarist. The album is the most cohesive thing Limp Bizkit ever made: the songs have a consistent tone and flow throughout them, and the lead singer Fred Durst’s bare-faced poetry lyrics take center stage. But at the same time, the album pulls back too much, putting forth the worst sin of the band: their eye-rolling machismo.
Limp Bizkit’s lyrics are often notably sexist in that, “I’m a nice guy, women should like me, and I’d be nicer if it wasn’t for all those %$3@ing women” way that plagues a lot of music from the early 90’s. “Results May Vary” ends up taking this to a new level with a lead single about stalking a girl. Not that the albums before it were paragons. As time goes on, the lyrics have aged worse and worse. The songs bring back fond nostalgic memories, but also a there’s a cringe-worthy undertone I didn’t notice as a teenage boy. You can’t go home again. Or at least you can’t unsee sexism. Or at least I can’t.
The aesthetic lines their music videos throughout their history: scantily clad backing dancers wearing Durst’s trademark backwards baseball cap pop in and out, ornamentation gilding the dandelion.
Borland rejoined Limp Bizkit later on, and they produced music pretty similar to their old catalog on their last release “Gold Cobra”. The lead off video from the album has an older, grayer, Fred Durst dancing in front of a group of young women in sports bras, athletic shorts, backwards baseball caps, and ski-goggles. A man skateboards up some concrete. A woman in a bikini and boxing gloves jumps up and down, letting parts of her body jiggle in front of the camera. Durst points at a woman’s butt as she dances. My eyes roll far into my head. I see my synapses. They’re somehow managing to roll their own figurative eyes. These aren’t young men anymore, and its hard to watch as they replay the aesthetics of their youth with utter sincerity, even as they film the video in noticeably cheaper filming locals than the ones in the videos they’re trying to mimic. You have to wonder how much reflection there was on the past, on what was and what will be, or if they simply stepped out of a time capsule doe eyed and blinking into the harsh light of the 2010’s.
There are simply too many reasons to cringe.
They have been working on a new album together since 2012. It hasn’t been released yet, and there is no launch in sight.
Meanwhile, Wes Borland, after a birth and a divorce, left Los Angeles and moved to Detroit with his new girlfriend Queen Kwong, who is the lead singer of her own band. Together they record and tour, and restore the house they bought in that city. He seems happy. Good for him.
Not long ago, he put out a new album made by no one but himself. There are no lyrics, and none of his trademark guitars. Its purely instrumental, with the concept that its the soundtrack to a movie that doesn’t exist, and its wonderful. Playful, experimental, different. Unique. Its what I love about art, the new and the weird. Something unsafe that can fail massively and burn to the ground. Something new.
I hope to make art like that. I hope to lead a fulfilling and moral life. I’ve never done anything as popular as the music Limp Bizkit made. I doubt any of my books have sold as well as the least of Borland’s solo work (though well, “Eloquence,” maybe). When I talk about how influential Borland was on me, I think people misunderstand that it was simply an influence on me when I was an angry young man hopped up on hormones an unable to grasp my own sense of the world, listening to angry music to temper my internal rage. Its hard to explain in short passing how he was such an influence on me as a writer. But he was.
I’ve wondered what he’d think of my poetry, prose, or plays. He might think they’re shit, honestly. I have no idea if I met him if we’d get along at all. I’ve felt in his art a kindred spirit, but a spirit isn’t a personality. I have no pretensions he’d like me. I got to meet another writer with a big influence on me, Garrison Keilor, a few years ago and I was very annoying I’m sure. Still, if there’s any living artist I’d want to meet, it would be him. Even so, I have no idea what I would say.
When Borland rejoined the band, Limp Bizkit bought a pre-paid phone and let die-hard fans call it. Different members would pick up and talk to fans for a few minutes. It was a great little treat for people who had stuck with them through thick and thin. I talked to Sam Rivers, the band’s bassist. I told him I’d never seen one of their shows. He said I should, naturally. I still haven’t. Time ticks on by, and where we end up changes. I’ve moved to Indianapolis, Borland is in Detroit. There are passing phone calls, and dreams of meeting our idols someday. But time drags the memories of our past work out in front of us. Lines we regret writing, things we didn’t understand in the past that make us cringe and moan. Being an artist means being a living breathing person who changes and is reborn, while stepping though concrete and leaving a trail of your footprints that you’re unable to wipe away. The worst you can do is be a timecapusule, to stand in the footprints you left and let your shoes sink into them.
Time may judge us, our work may fail us, but if we keep making art, there is always the hope we’ll be judged by the future rather than the past. I had one big success with “Eloquence”, and I’ll work for another one. Even if what I make is awful, I’ll keep marching forward. Time is chasing us all, so like Wes Borland, I’ll throw new paint on my back and take up a new song. I’ll toil and work, and craft, and write. Something will come of it. Something new.
That’s what being an artist is all about.
Bryan is a longtime friend of this site, and has done lots of interviews with me in the past. Its my pleasure to show you Bryan's new project: an awesome Comic Book Kickstarter you should all back!
Please introduce yourself Bryan!
Hello, I am the writer and creator of BareBones: Nice Nice Guys Finish Dead and I also run the entertainment site BareBones Ent.
So, tell us about your comic book?
The story is a dark, brutal and realistic take on the tradition superhero story. I feel that it really answers the question that if a victim of bullying acquired powers how would it change them? Would they fight for the greater good or seek revenge?
You’re a music blogger, what made you decide to merge that love with comics?
I have always been a big fan of both and have always been a writer so it kind of fit. I initially was just trying to create a mascot for my company and then my creative juices started flowing haha.
Who is the artist on the comic?
This awesome artist, Joseph Arnold, out of Colorado. We found each other on Reddit. I saw some of his prints and was sold on this print he had of the Power Rangers that was really sick. I knew my book needed him as the artist.
Why did you choose Kickstarter?
Kickstarter has really become such a great platform for comic creators, and we didnt have the money to fund ourselves.
Has this been an easy road so far or a struggle?
The comic part of it has been pretty easy, but the Kickstarter has definitely had a huge learning curve.
What’s the hardest part about this process been?
Bringing people in, for sure. You can have the best project in the world but it doesnt matter if no eyes are seeing it.
Does this comic relate to your own experiences with the music industry and scene?
Nope, not really. This all just came from my own mind.
What makes your comic special?
I think that it is a completely different take on traditional stories. Joseph and myself are trying to bring a whole new feel in the art and writing. How this series goes on, I don't think there is much else like it.
What were your main inspirations from comics?
Hmm..good question. I would say a big comic inspiration would be Polarity from Max Bemis that was released by Boom!
What about from music?
Nothing really from music. If you know movies though, later books are inspired some by Darkman.
So, you run BareBones Entertainment, could you tell us about that?
The site is an entertainment site that interviews bands, writers, etc. We also do reviews and features.
If you could get the finished comic into the hand of one musician: who would it be?
Max Bemis from Say Anything. I think he would dig it.
Where can we find your Kickstarter to back it?
Poet, Playwright, Game Designer, Writer, Freelancer for hire.