Welcome to Thrillbent 3.0!

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Two years ago, we launched Thrillbent.com, a curated platform/foundry for state-of-the-art comics in digital form. Looking back, I honestly can’t believe we’ve come as far as we have, but…wow. With the help, support, and enthusiasm of some of the most forward-thinking creators in comics, we’ve helped define what digital comics should be—can be—and we’re constantly inventing new storytelling techniques for the medium (mostly because I’ve been smart enough to ally Thrillbent with visionaries like Balak, Alex DeCampi, Tim Gibson, Jeremy Rock and others—you can see the full list here).

I’ve always been open with you, our readers, about not only our successes but our challenges—chief among them, how to pay for all this. How to streamline that social contract between us, the content providers, and our fans, who are willing to pay a fair price for what we provide so that we can keep bringing the new.

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Apr 23, 2014 In: Comics, Site News, Thrillbent News 28 comments

Hey! It’s Learnin’ Time Again!

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Last year, I blogged here about our own Christy (DAMNATION OF CHARLIE WORMWOOD) Blanch’s “Comics Through Gender” MOOC (Massive Open Online Course). At no cost, anyone with an internet connection could listen to Christy, an anthropology professor by trade, interview some of the best and most outspoken creators in comics about how they approach gender roles in their work. Terry (STRANGERS IN PARADISE) Moore spoke at great length about feminism. Matt (HAWKEYE) Fraction and Kelly Sue (PRETTY DEADLY) DeConnick talked about how having a daughter changed their perspective on how they viewed sexism in comics. Jonathan Hickman, Dan Slott, and others talked about who they considered to be the most masculine and feminine characters in mainstream comics today. Really, truly, it was fascinating. And free. All students had to do was sign up for the course online, then view the lectures and participate in the resultant discussions, do a little reading. It was a huge success.

Christy’s back at it again, with an online course that’s even wider-ranging and more fascinating: Exploring Social Issues Through Comic Books. As before, she’s got a crazy-impressive lineup of guest speakers and interviewees, including Denny O’Neil, Jason Aaron, Jonathan Hickman, Shaenon Garrity, Gene Luen Yang, and many others. They’ll be talking about how comics have, over the years, dealt with issues that are big parts of our lives today. The debate over immigration. Government v. privacy. Social inequality. Addiction.  Whether you’re a fan of comics or a non-comics reader interested in sociology, it’s going to be a fascinating course. You can read more about it here and here, or you can just cut to the chase and sign up here. Again, it’s a free course open to anyone who has internet access. Time is of the essence, however–the course begins next week! Go!

 

Mar 05, 2014 In: Comics 3 comments

Varney the Vampire

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Last week, observant Thrillbent visitors noticed that we stealth-launched a digital comic called Varney the Vampire by Scott Massino and Scott Kolins. Today, here, we give you (free for the reading, as always) the second and concluding installment of the first issue, all as part of an experiment in promotion for us: Scott M., who developed the idea and has been devoting enormous time and energy over the past couple of years towards bringing Varney to life, is running a Kickstarter campaign to produce further adventures of the world’s first vampire.

Knowing Massino and having worked with Kolins many times over the years (to my delight), I offered to help them get the word out using Thrillbent as a platform. Massino offered to cut Thrillbent in on a percentage of the revenue, but I’ve declined; I want you to trust that my enthusiasm and endorsement is 100% genuine. I’m very eager to see how much traffic we can send their way–not just because that’s information that’s valuable to us, but because I really, really like the project. I think you will, too.

If you’ve not already, click here to read Varney on Thrillbent, and if you want to show your support–and obtain some really amazing rewards by Darick Robertson, Mike Ploog, Frank Brunner, Glenn Fabry, Fred Hembeck and many, many other superstar artists contributing original prints, I encourage you to go here. Tell ‘em Thrillbent sent you.

Feb 24, 2014 In: Comics, Site News, Thrillbent News 2 comments

Moth City and Thrillbent’s Commitment to Free

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First things first: rest assured that THE DAMNATION OF CHARLIE WORMWOOD will return in a few short weeks with Volume Two. The creators haven’t taken a break; on the contrary, they’re working ahead so we don’t lose any time come the holidays. We’ll announce the return date very shortly.

But we still want you back here every Friday, and to prove it, we’re giving something special away for free.

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Among the debts I owe Alex DeCampi is a big one for turning me on to MOTH CITY, a digital comic by an all-in-one talent from New Zealand named Tim Gibson. I visited Tim’s site at Alex’s recommendation and was immediately taken with how Tim was using the tools of digital to unspool his story. It was immediately apparent that, philosophically, we were of the same mind: pace it however you like, use techniques and layouts made for digital that aren’t effective in print, but always allow the reader to set the rhythm at which s/he reads. Here are some examples of where I thought Tim was getting digital storytelling massively, massively right.

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MOTH CITY goes through genres like Governor McCaw goes through indentured factory workers. Season One of Tim’s four-season story laid out the turbulent 1930s Oriental setting and set up the multiple factions vying for power. Season Two looks to resolve some of the early mysteries while diving deeper into the rabbit hole, about which more shortly. More action, strange alliances, new and violent horror elements and further insight into the cast of characters.

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Tim originally released MOTH CITY on his site a page or two at a time. I asked if he’d be cool with us serializing it on Thrillbent in larger chunks comparable to how we do our other ongoings (ten to twenty pages/screens per week), and the editor in me put in some time suggesting where I thought the most effective chapter breaks might be. My memory is that we went back and forth on only a couple, and of course they were only suggestions, but Tim remained gracious and enthusiastic all the way.

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I’ll be perfectly candid and offer another reason why I wanted MOTH CITY on this site: because it’s (a) not at all a story I would ever think to write and (b) totally beyond my predicted level of interest if you were to tell me what it was about rather than show me. In other words, it wasn’t the story which drew me in initially, but rather the way in which it was told. (I have since wised up.) Regardless, I really like how unique it looks on Thrillbent, and once I relaxed into Tim’s methods, it gripped me.

Tim wrapped the first volume (first season, he calls it) on Thrillbent a few weeks back with a terrific, gripping ending. If you followed it weekly, you know what I’m referring to. If not, we (thanks to Tim) have an offer for you. Today and through the weekend, right-click HERE for a FREE PDF download of the high-definition, DRM-free Volume One with some bonus material to help you catch up on this smart, smart comic. Normally, we sell this material on our storefront for a small fee; while we want to push digital sales to support creators, we’ve always balanced that with a for-free outreach philosophy to increase digital comic readership as well.

If you’re keen on what you’ve been reading here at Thrillbent in general, if we’re on your radar, then I know you’ll find MOTH CITY compelling. Read Volume One now, then come back next Friday for the debut of MOTH CITY Volume Two.

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What are the effects of McCaw’s bio-weapons and who took them?

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Why was McCaw’s chief scientist murdered and who was behind it?

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Just how will the world’s largest military, and their hardline representative Major Hong, respond as things on the island spin out of control?

And what if early bio-weapons were introduced to one of the world’s most devastating conflicts, the Chinese Civil War?

Find out starting next Friday.

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Nov 08, 2013 In: Comics, Site News 3 comments

The Eighth Seal returns

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Our monthly (and very popular) serial THE EIGHTH SEAL returns to Thrillbent next Thursday, but we’re trying a new experiment and reversing the distribution procedure. As always, the new chapter will be free to read–but if you’d like to jump on board today and read/download it ahead of time (and show your support for some terrific, groundbreaking work), you can do so in the storefront for a few coins. Worth every penny, says I.

 

Oct 24, 2013 In: Comics 5 comments

An Open Letter To Young Freelancers

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An open letter to young freelancers:

In the long run, the quality of your work is all that matters.

As a professional comics writer, I sold my first script twenty-nine years and what feels like three separate lifetimes ago. Despite not being especially good early on, I’ve been steadily employed since the beginning, which stretches the laws of probability far beyond the breaking point.  In terms of career longevity, I have enjoyed good fortune exceedingly disproportionate to my level of actual talent. If I could tell you how to replicate that luck, I would, happily, but I can’t. All I can give you, an up-and-coming comics freelancer trying to make a living in 2013, is my honest, absolute admiration at your fortitude and perseverance, because It’s Not Supposed To Be This Way.

Ever since history’s first cave painter got notes from his tribal leader, freelancers have been complaining about “editorial interference.” Thus will it ever be. Look, Siegel and Shuster got notes from their editor.  We all get notes. No one’s work is perfect, and no one is immune from criticism, especially when the critic is also the one paying a writer or artist for his or her services. And I have been a publisher and an editor almost as long as I’ve been a writer, so I am sympathetic to both the check-writer and the check-casher. There’s always some give-and-take tension between creative and editorial.

And there are a lot of good comics editors out there, probably more than ever, and I applaud them. But there are, likewise, a growing number of (1) good editors who are not allowed to be good editors by their bosses, and (2) outright chimpanzees.

What I see a lot of freelancers going through today in the work-for-hire arena is just unreal, and the horror stories of personal and professional abuse I’m hearing from the trenches on a regular, almost-daily basis are mind-blowing to me–not only because I’m sympathetic, but because every single one of their experiences is utterly antithetical to the creative process.

If you’re a young freelancer, here are some things you ought to know:

First, if you feel like you’re practically being hazed, you’re not struggling through Business As Usual. If you’re fairly new at this, do not let anyone tell you that bullying is excusable in any way whatsoever or that it’s part of any “learning curve” or “breaking in.” This is a business; you have a right to be treated professionally. If you have produced a script or artwork in good faith that was accepted but, a week or two later, the editor calls you to ask for some minor revisions, give him the benefit of the doubt that he’s not trying to annoy you but is just sincerely trying to hone the work to everyone’s benefit. On the other hand, if approved work, through no fault of yours, suddenly became retroactively “unapproved” and needs a heavy rewrite or a total redraw, a lot of you are being required to do that work for free, over and over again, desperately racing to get to the end zone before someone moves the goal posts again. That’s bad form; when you’re not at fault, you’re supposed to get paid for substantial revisions. Your time is valuable.  If you’re not being compensated for redo after redo after redo on that has nothing to do with quality and everything to do with editorial whim, that’s unprofessional and unacceptable and you’re being taken advantage of.

Similarly, if you’ve done work based on reference supplied to you, upon agreements made with your editor, or upon approved outlines and then been asked to make major, time-consuming alterations because “things have changed,” you should be entitled to charge for rewrites and redraws. If you’re discouraged from standing up for yourself under threat of losing future work–and so many of you have been and are–that’s unacceptable behavior, and don’t let anyone tell you otherwise.

If you are being bludgeoned with non-disclosure agreements–not just asked to sign one as a matter of course, but having them lorded over you threateningly like a caveman swinging a club–that’s unacceptable. That comes top-down from a place of fear and a pathological need for control, and I don’t have to tell you how poorly fear and control facilitate creativity. (Also, be aware that in this industry, NDAs are almost impossible to legally enforce and always have been, which is why we got along 75 years without them.)

There is no guild in comics, no union, no ombudsman for freelancers. You’re on your own when dealing with publishers, and given the current state of the industry, I can tell you without hesitation that if I were just starting out today and had to deal with half of the nightmare stories I hear from you guys about what it’s like to work at certain places–executives flat-out lying to your face, higher-ups demanding loyalty from you while offering none in return, editors calling you at the eleventh hour to demand 180-degree changes in stories that have already been approved and then acting as if the fault is with you–if that had been the Way Things Were 29 years ago, I’d just be getting out of prison about now.

There are some really good reasons to do work-for-hire. It’s a valuable way to build a reputation. It’s probably not wise to devote 100% of your time to it, but only you know what your priorities and appetites are, and no one else has a right to judge them. And, yes, every job has its drawbacks and moments where it’s better to be flexible than absolute. I truly, truly understand having to take work you don’t love, or work with folks you don’t love, in order to make the rent. And early on, there are things I put up with that I now regret, and there are opportunities I lost because I pushed back, and there are still things I do sometimes to be a get-along guy that aren’t always in my best interests. Everyone’s threshold is unique, and sometimes you let someone take undue advantage because the cupboards are bare or because you’re dealing with a friend who’ll get yelled at if you don’t toe the line. I get that. Circumstances are circumstances. But if you never listen to another word I say, and I talk a lot, please know this: the only one watching out for your future is you.

Be professional. Be a problem-solver. Be willing to compromise in the face of a solid argument.  Be willing to lose sometimes because you’ll learn more that way than you will by always winning. Ultimately, if a client is paying you for your services, he or she has every right to set the specifications, just as you have a right to your integrity. But when people jealous of how you make a living try to rag you with that old truism that every company employee has to eat shit now and then, remind them that you are not an employee. You’re a contractor. You do not receive health benefits, sick days, pensions, vacation time, or any of the other considerations traditional employees receive. Your clients have zero ethical or moral ground to lie to you, to denigrate you, to cheat you, to demand more from you than they’re paying for, to unapologetically walk back on promises or treat you maliciously, or to exploit your need to put food on the table. The good ones won’t. Never trust the bad ones.

Have a sense of humor and maintain a cool head. Pick your battles, but don’t pick fights–even if you’re in the right–because it’s easy to get a reputation (even when you’re punching up, not down) as a loudmouth who can’t go on the internet and tell anyone what time it is without it being characterized as “another rant.” (So I’ve heard.) Take the notes sometimes, even if they seem to be change for change’s sake, be genial…but always protect the work. Know that, five years from now, as fans or prospective publishers are looking over your published pages, no one will care that the comic they’re reading sucks because the publisher moved the deadline up or because the editor demanded you work an android cow into the story. All anyone will care about is the pages they see in front of them, and they will hold you responsible for them, no one else. Mediocre work will follow you around forever.

Bad editors and publishers will ask you to type their stories, not help you tell yours, and sometimes that will seem like a small price to pay for a steady check and to bank karma as a “good soldier.” In the moment, it’s often very hard to know if you’re compromising in a way that might bite you down the road. All I can tell you is that the better your work is–both as submitted and as printed–the more opportunities will come your way, and sometimes that means–politely, professionally, without rancor–saying no or turning down the check. It can be nerve-racking,but while I cannot name names without embarrassing them, I can–purely off the top of my head–think of at least a dozen freelancers who hit every impossible deadline ever asked of them… who were pleasant to work with and always professional even if their editor was a jerk…and who always did exactly what their editors asked them to do, even if it was obvious to a blind man that the quality of the finished work was lessened, because they were trained to believe that their first priority was to serve their editor and do so in a timely manner, and whatever creative voice they brought to the table was secondary. They were good soldiers. They were great soldiers.

All of those people have been unemployed for years.

The quality of your work is all that matters. That’s what buys you longevity. You’re sweating the future because you had one disagreement with your editor? Neal Adams helped get Superman’s creators money and recognition by shaming Warner Bros. in The New York Times, dude. Neal’s not selling cars for a living today. You’re being given an absurd deadline and you think you’re better off turning in crap than being late? We used to literally stand over the fax machine at the DC offices while Neil Gaiman sent in his Sandman scripts in batches of exactly one page. Not admirable, but twenty years on, no one remembers how slow Neil could be, just how phenomenal the stories were.

A quick favor for a good editor here, incorporating a pointless note to keep the peace there…yes. Be flexible, not overtly defiant. Don’t be what a reasonable, uninvolved party would define as “difficult.” But be good above all else. Stand up for your work, and whenever push comes to shove (as it will), never let anything get in the way of you doing your very best, every time. In the long run, the quality of your work is all that matters. That is your only resumé.

Don’t let anyone scare you. Don’t let anyone bully you, ever. Some will if they think they can, but you teach people how to treat you. You can be confident and show integrity without being argumentative. And for God’s sake, don’t be so afraid to explore your options that you keep turning in work that makes you wince; no good decision was ever made primarily out of fear. You can always walk away from any monkey house if you have drive and talent. There are still plenty of places in comics to do work-for-hire without being poorly treated, and there are huge opportunities to self-publish and build a faithful paying audience through the web. It’s hard work, but it’ll be better work, and it’ll be the work you’re remembered by.

If any of this applies to you–if I’ve struck a nerve and you want to talk more about this–I’m not hard to find. I’ll listen when I can make the time, and I’ll give you what advice I can, but truthfully you don’t need me. You just need to know that being taken advantage of is, full-stop, unacceptable and that your work may be for hire, but your dignity is not.

 

Oct 02, 2013 In: Comics, Strife 75 comments

Aw Yeah, The Other Shoe Drops

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Remember how I said that Monday’s announcement–that I’m now a comics retailer–was only part of the story? Here’s the rest of it:

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 l-r: Artie, Marc, Jason, Christy, some clown in custom Superman sneaks, Franco

Y’know who else owns a store? Franco Aureliani and Art Baltazar, a.k.a. Art and Franco, a.k.a. the Harvey- and Eisner-Award winning geniuses behind Aw Yeah Comics! (which you can get right here!), Tiny Titans, Itty Bitty Hellboy and many other fine all-ages comics series. I’ve been to their retail shop in Skokie, Aw Yeah Comics!, several times and I love it. Clean, well-stocked, well-organized, super-consumer-friendly, run brilliantly by their business partner Marc Hammond. One of the best-known and most well-respected shops in the USA. Known these guys forever, have adored them just as long. All three are on the short list of people I’d take a kryptonite bullet for.

When Jason, Christy and I opened our new Alter Ego location a few weeks ago, we asked Marc and Franco to come down for the day and give us their two cents about the way we’d set it up and the way it was run. (We asked Art, too, but one of us had to work that day.) Happily, the boys were really impressed. So much so, in fact, that they asked–quite seriously, money on the table–to invest in our store. Very flattering.

We counter-offered:

How about we make it a true partnership and invest in each others’ store?

I think Franco’s head exploded, but in a good way. Marc pointed out that, to our knowledge, no one had ever done anything quite like this before in the comics retail community. Some people are dissuaded by the phrase “no one has done this before,” of course, but to the six of us, that’s just fuel on the fire. A sizeable share of our store in exchange for an equal share of their store. A six-way partnership between some of the most prominent and vocal figures in the industry. The Image Comics of Brick-and-Mortar.

We couldn’t wait to get the papers drawn up.

We’ll still maintain our individual identities–one store isn’t being absorbed by the other–but we can pool our resources in unique ways. We can design an Aw Yeah Comics!-branded, kid-friendly “boutique” into Alter Ego that mirrors the Skokie setup. Conversely, we can build more Thrillbent promotion and outreach into the Aw Yeah Comics! storefront. We can meld print and digital in double the locations and strengthen both the stores and Thrillbent.

So now you know the rest of the story (true story!). The big news isn’t that Mark Waid now owns a comics store. It’s that Mark Waid, Art Baltazar and Franco Aureliani own two comics stores…and counting.

I think that’s revolutionary. It’s pretty thrilling. Or, as Artie loves saying:

AW YEAH COMICS!

Next: Why Death-Marching Through The Monthly Order Catalogue Reinforces My Love For Digital.

Sep 05, 2013 In: Comics 10 comments

Mark Waid, Comics Retailer

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“I bought a comics store.”

“Why? So you can burn it down?”

As some of you know, I’ve been living in the Muncie, Indiana area for a while now. Good people here. One of the best is my friend Jason Pierce, whose shop Alter Ego Comics has been my store of choice for some time. Alter Ego’s been pretty much a one-man operation forever; Jason’s been aching to expand, to move the storefront, to grow the store’s market and its community outreach…but while it’s always been a worthwhile enterprise, Jason could never stretch his time and resources enough to both run the store and evolve it.

Meanwhile, I–having to, on a daily basis, explain to most of the industry that championing digital comics with Thrillbent isn’t the same as “hating print”–had been thinking long and hard about what I’ve been preaching for a while, that print and digital can not only co-exist but feed one another for the overall health of the comics business. It sounds good to say, and I believe it–but with Thrillbent, I had the tools to actually prove only half that equation.

So I’ve put my money where my mouth is. Effective immediately, you can trust me when I say I want comics retailers to thrive, because now I am one. I said, I AM ONE. (I had to raise my voice there a little to drown out the screams of rage from anti-Thrillbent retailers like Phil Boyle. Hi, Phil!) Along with my partner in life and now in business, Christy Blanch, I’m logging inventory on Tuesdays and running the register on weekends and navigating the ordering process at our brand new location. This isn’t a vanity purchase, a symbolic gesture, or a silent partnership; Christy, Jason and I are each equal shareholders in Alter Ego Comics. I have skin in the game, and I’m eager to see what there is to learn about the only side of the industry I’ve never involved myself with.

How does this impact you? As with all things digital, what I learn as a retailer, I’ll pass on to you, here. Retailer Brian Hibbs writes a regular column called TILTING AT WINDMILLS; I am likely going to refer to my columns informally as NUKING WINDMILLS because, frankly, you would expect no less of me. I’m genuinely champing at the bit to, with your help, synthesize all this information now pouring through my unnaturally round head into some sort of Unified Theory of Comics. How best can digital comics advance the medium without kneecapping brick-and-mortar? How can physical storefronts best take advantage of the outreach digital provides? How will I ever stay ahead of my Daredevil, Hulk and Green Hornet deadlines? How many times a week will I have to promise Peter Krause that this week’s Insufferable really is “almost written”? This is going to be a hell of an adventure, and you’re along for the ride.

While you’re waiting for me to report in, there are a couple of things you can do for which I would be quite grateful:

First, please don’t leave this site without deep-diving into the Thrillbent catalog of free-to-read digital comics I’ve been personally curating for over a year now. Weekly, Peter Krause, Troy Peteri, Nolan Woodard and I bring you Insufferable, which asks the question, “What if your superhero sidekick grew up to be an asshole?”–and that’s not even the best of the bunch. Check out The Damnation of Charlie Wormwood. Prodigal. The Endling. The Eighth Seal. Moth City. Arcanum. And our many, many other exemplary offerings, which can be read here and purchased for a tiny sum as DRM-free PDFs here.

Second, if you’re in the Northeastern Indiana area, stop by the store. It’s at 111 E. Adams Street in downtown Muncie, and it is 1200 square feet of nifty. Even if you don’t want to buy anything, it’s probably worth stopping by just to see all the props and memorabilia I’ve brought from home. Who else do you know who has both a full-size Phantom Zone projector and a scale-model replica of the Batcave?

Lastly, come back to this blog Thursday for the other half of the announcement. “Wait,” you say, “the fact that Mark Waid, sworn enemy of print, now owns a comics store–wasn’t that the big news?  Isn’t that enough?”

 First Reveal

Not quite. It’s bigger than that, and Thrillbent’s reach is greater. There’s even more to the story.

Seeya Thursday.

 

Sep 02, 2013 In: Comics, Thrillbent News 28 comments

Why I love THE ENDLING

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If you’re a fan of THE ENDLING, as I am, fear not its temporary absence–I asked them to take a break this week to make up for time lost around the San Diego Comic Con. (Production time, not creative time–Jonathan, Cecilia and Jenn roll right along and bring their “A” game every week, but we asked letterer Troy to accompany us to SDCC and, editorially, I’m running a little behind, too. That’s all.)

They’ll be back next week, which is great. THE ENDLING is one of the first series I green-lit here a Thrillbent, nearly a year ago–a mutual friend, artist J.G. Jones, had put us in touch and I loved the pitch. And then Jonathan wouldn’t stop sending me scripts (because he was having a blast telling the story) and I didn’t tell him to stop (because I was enjoying reading it). The world-building that Jonathan did in those scripts impressed me mightily, as did his flair for dialogue. The suspense built, the payoffs were logical and yet unexpected, the storytelling was top-notch. All I really ever had to do as an editor was tell him to stop making every installment 95 screens long–not because they weren’t great, but because at that rate, we’d never find someone to illustrate it before we died of old age.

Jonathan found Cecilia, who gave it life and is, I think, beautifully suited to the story, lending it charm and humanity and humor. Lori found Jenn, and we are never letting her get out of our sight. It’s a good team, and if you’ve not yet sampled THE ENDLING, I encourage you to check it out here. If you like (the excellent) SAGA, I trust this’ll be right up your alley. Let us know what you think; I’m really proud of this series.

 

Aug 01, 2013 In: Site News 11 comments

At Long Last, Storefront

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Today’s the day. Effective immediately, you should find a new button on our page to click. “SHOP” will take you our new Thrillbent Storefront, where you can buy downloadable collections of your favorite Thrillbent comics in PDF form, DRM-free–you buy the files, you own them, simple as that. Read them on whatever device you like, at your convenience.

Digital comics distributors like Comixology and iVerse continue to be great and valuable partners to us, and our comics will remain for sale through those platforms, as well. I get fully that there are plenty of comics readers who value the convenience of cloud-based services like the ones they offer (and–value-add for us–we genuinely like the people who run those companies). But we hear constantly from readers who prefer to own and collect the comics and files they buy so they’re accessible with or without an internet connection, and we’re happy to oblige.

Weekly CBZ files are still free to download for now, but buying the PDFs gives you exclusive bonus content designed specifically for each comic, including new covers, clickable hotlinks, behind-the-scenes essays and art, and more. Moreover, if you like what we do here at Thrillbent, these purchases are a relatively inexpensive way to show your support if you’re so inclined. I’ve said it a thousand times–we’re in this to make comics, not to maximize personal profits–but receiving money from fans and readers who feel like we’re giving them something of value in return, that’s what allows us to keep going.

With that in mind, all the collections of our flagship title, Insufferable, will be “pay what you will,” allowing you to set your own price when you buy. Yes, this means there’ll be people who will just download it for free; what we’re banking on is that there are enough of you out there who appreciate our work and our efforts who’ll maybe chip in a little more here or there, from time to time. We’ll do the work; you determine its value. If we’ve done a good job, everyone will win and we can expand this model across the Thrillbent line. I’ll let you know how the first few weeks goes.

Also of note on the storefront:

  • Collections of Pax Arena and The Walking Pandas/The Panda Show will include both English and French language editions. We’ll watch the downloads and expand Thrillbent into other languages if there’s a demand.
  • Comics aren’t just for adults! In addition to the familiar Thrillbent titles, the storefront will proudly spotlight the kid-friendly, all-ages Aw Yeah Comics! series by Art Baltazar and Franco, creators of the award-winning Tiny Titans and Superman Family Adventures. Unlike everything else, you won’t find Aw Yeah Comics! on the main Thrillbent site–it’s going to be the cornerstone of our soon-upcoming Thrillbent For Kids site because (a) DIGITAL COMICS FOR KIDS!, and (b) I don’t want some four-year-old blundering around the main Thrillbent site and stumbling from Aw Yeah straight to The Damnation of Charlie Wormwood. Go figure.

Launch titles on the storefront include collections of Insufferable, The Damnation of Charlie Wormwood, Pax Arena, The Eighth Seal, Moth City, and Aw Yeah Comics!, with many more to come. Click here to check it out!

Jul 30, 2013 In: Thrillbent News 6 comments