NEW SERIES: The House in the Wall


If you like THE EIGHTH SEAL, this is a very good day for you.

Writer James Tynion IV (Eighth Seal, Batman Eternal, The Woods) today launches the first chapter in his new Thrillbent horror series, THE HOUSE IN THE WALL. Joining him are co-writer Noah J. Yuenkel, artist Eryk Donovan, and colorist Fred Stresing, and together they creep me the hell out. Or, rather, their work does. You know what I mean. I’m sure they’re lovely people. I am willing to overlook the fact that James frequently, frequently giggles with a pitch, tone and volume identical to everything that ever gave you a nightmare when you were five. On the plus side, his table manners are impeccable.

THE HOUSE IN THE WALL is a ghost story stripped of all the hoary tropes and infused with a macabre edge familiar to Tynion’s fans. It’s about a recurring dream, a series of corridors, an impossible house, and a very brave woman scrambling to survive. It is awesome. And, like EMPIRE, it comes to subscribers every two weeks. For your $3.99 a month, that’s yet another comic delivered under the Thrillbent banner to join THE DAMNATION OF CHARLIE WORMWOOD, EMPIRE, ALBERT THE ALIEN, our full 300+ library of “back issues” of our various other series… and more new series to be announced in the next couple of weeks. I would pay that just to read one James Tynion IV comic, and I’m saying that with utter sincerity. Given all that comes with that… you shouldn’t miss this. THE HOUSE IN THE WALL. Check it out here.

Jun 20, 2014 In: Comics, Site News, Thrillbent News

The End


So The Endling has reached its ending. Naturally, I couldn’t resist ending on two more cliffhangers. Nature of the beast, I suppose. Can’t honestly say I’m sorry.

At the risk of having the MPAA orchestra play me off, I want to thank Cecilia Latella for knocking out gorgeous, human, exciting, expressive artwork week after week after week. Not to mention serving as de facto editor and compiler of our amazing collected issues (which you can and should check out at the Thrillbent store). You should keep an eye on whatever she does next, because it’s going to have a hell of a lot of heart. Paul Mounts helped kick off the series with his colors for the first four issues and for that I’ll always be grateful. Jenn Manley Lee somehow pulled off both a smooth transition from Paul’s style and a quick, distinctive, glorious style of her own. Months later, some of her and Cecilia’s most striking work remains vivid in my mind. If you can’t recall any panels, go back and read the thing again—you were going too fast the first time! Troy Peteri lettered the entire series—on one end putting up with my nitpickery and on the other going above and beyond with thoughtful, exciting, dynamic sound-art that made panels and sequences work that had no business working when the script left my computer. Great work by great folks.

Mark Waid and John Rogers made it all possible—not only helping to find much of the creative team but also cheerleading all the way. Praise from those guys? If you’re reading this, I know you can imagine what a big deal that is. And unsung Thrillbent reality-maker Lori Matsumoto never faltered no matter how kvetchy or grumpy I got.

When I started this, I had done two Batman stories for DC. I googled constantly for feedback after they came out. With The Endling, I was gratified that you guys shared your thoughts with us in Thrillbent’s comments section, on our Facebook page, and on Twitter. We even got to meet honest-to-goodness, real-life  Endling fans when James Tynion IV graciously let us squat at his NYCC table last year. Dave, Brad, Darryl,, and many other folks let us know week after week that we were blowing their minds and that’s what got us through all the technical and production hassles that are part and parcel of any endeavor like this.

So…what was The Endling all about? I didn’t want to say anything before, but as you’ve probably figured out by now, it’s basically an origin story. It’s the story of how Amber Black and The Endling form an uneasy partnership to save humanity from humanity’s future. It’s a story about how people behave when the stakes are the highest possible—and the ways evolution does and doesn’t serve us in those circumstances. I became much more attached to these guys than I expected and killing some of them off gutted me much less than leaving them all behind does now.

What’s next? Beats me. As far as I’m concerned, I hope to write more comics. I have ideas for other series—so if you’re an artist who wants to collaborate on something, hit me up. And The Endling? Right now, this is it for him and Amber and their world(s). I’d love to write the story of their race to stop the Primogenitor some day. But that’s not going to happen unless more people get exposed to this story and there’s a demonstrated demand for new ones. So if you want more Endling, his future—like the world’s—is in your hands.

Thanks again to Cecilia and the Endling crew and Mark and the Thrillbent crew for making a lifelong comics fan’s dream come true. The only thing better than the time I had creating this story has been seeing the enjoyment our readers have gotten it. Thanks for sharing that with us.

PS: It’d be great if everyone could pitch in and save the real world, too. Climate change is real. Please vote and act accordingly.

Jun 12, 2014 In: Comics, Site News, Thrillbent News

The Return of EMPIRE


Fourteen years later….

In 2000, artist/collaborator/friend Barry Kitson and I launched a mini-series called EMPIRE, which answered the question, “What happens to the world if the bad guys win?” EMPIRE was the story of Golgoth, an armored despot who succeeds where every other super-villain in history has failed. Before the series even opens, Golgoth has conquered the world. He’s eliminated all his enemies, he’s snuffed out all opposition, and now he rules the Earth from a vast citadel sitting in what used to be Central Park. Now his enemies come not from without but from within; his counselors and court ministers, all bound to his side by a mysterious and hyper-addictive performance-enhancing drug called Eucharist, plot against him. His teenage daughter, innocent and guileless, has her own ideas about what the future ought to be. And an alien race who has been patiently waiting for Golgoth to finish consolidating Earth’s power under one crown now prepares to make its move.

It was a 192-page Eisner-nominated ride–our futuristic science-fiction Game of Thrones, if you will–that was a blast and one of the best things I’ve ever written. Unfortunately (and staggeringly), the collected edition has been out of print for years, but Barry and I have finally reclaimed the publishing rights and, as we’d always planned, are launching its sequel, a story over a decade in the making.

And we’re launching it here, today, at Thrillbent, as a flagship of our redesigned site–the first of many new launches in the upcoming weeks. Subscribe now for the price of one monthly print comic (the same as you’d pay for EMPIRE VOLUME TWO in print, if that existed) and not only will you get new chapters of EMPIRE VOLUME TWO every other Wednesday, you’ll have access to:

  • Weekly installments of our ongoing Thrillbent series THE DAMNATION OF CHARLIE WORMWOOD (every Monday), ALBERT THE ALIEN (every Tuesday), and THE ENDLING (every Thursday);
  • Extra-length chapters of the creepy horror chiller THE EIGHTH SEAL by James Tynion IV and Jeremy Rock;
  • Tynion’s new series, THE HOUSE IN THE WALL, which launches Friday, June 20th;
  • EVERSTAR, a jaw-droppingly great comic about an eleven-year-old girl who’s the bravest starship captain you’ll ever meet, launching August 1st;
  • The first-ever comics series by the acclaimed novelist Seanan McGuire;
  • The third volume of INSUFFERABLE, at which Peter Krause, Nolan Woodard, Troy Peteri and I are already hard at work;
  • More new series to be announced in the coming weeks;
  • And, of course, full access to our library of the 300-or-so comics we’ve published on Thrillbent since we launched more than two years ago.

Oh–and, for subscribers–remember how I mentioned that EMPIRE VOLUME ONE was long out-of-print? Subscribe now and you’ll get a downloadable, DRM-free PDF of the ENTIRE Volume One collection immediately.

Frankly, that seems like a pretty sweet bargain to me, and we think you’ll agree. You get all that for $3.99 a month, the price of one print comic, and you can subscribe through our website–or, if you have an iPad, you can download our Thrillbent app and sign up there, whichever you prefer.

Enjoy Empire. We can’t wait for you to see what Barry and I have been cooking up for Golgoth these past fourteen years….

May 28, 2014 In: Site News, Thrillbent News

Talk To Me AGAIN About How I “Hate Print”


This is neat. Because our own Christy Blanch is a guest this coming weekend at Motor City ComiCon–in part thanks to her work with Chris Carr and Chee on THE DAMNATION OF CHARLIE WORMWOOD–she wanted to have something in-hand that she could use as a sales and promotion tool to target fans unfamilar with Thrillbent or WORMWOOD. So we did a little (okay, a lot of) production work to assemble the first five digital chapters of the Blanch/Carr/Chee masterpiece THE DAMNATION OF CHARLIE WORMWOOD into a 32-page print comic.

It’s a small run of 300 because as I keep saying, print is expensive. Plus, we had to pay a high premium for a rush job (because we were learning the finer points of print production as we went, on the fly, and that took time). I bring this up not to complain (or to taunt completists who have no way to buy a copy because they’re not at Motor City), but to explain why we don’t (yet) have print copies for sale beyond those 300–

–and because next week sometime, I plan to write a comprehensive blogpost about how we retro-engineered from digital to print given all the non-duplicable digital techniques Chee uses. It was a fascinating process, even if it did shave years off my life. I’ll run some compare-and-contrast examples. Stay tuned. And in the meantime, if you’re at Motor City (or in Muncie at our store, Alter Ego Comics, co-publishers of the print comic), feel free to purchase a signed copy, and we thank you for your support.



May 14, 2014 In: Site News, Thrillbent News



When I was in high school, I understudied for the lead in BYE BYE, BIRDIE. The reason you can’t picture me in a Dick Van Dyke role is because I was, at the time, 130 pounds soaking wet, and ten of that was hair. Also, I would have been terrible. I can’t act. But I still know all the songs and I can’t hear the name “Albert” without humming “An English Teacher” and OH, MY GOD, WHAT IS HE TALKING ABOUT AND WHAT DOES IT HAVE TO DO WITH THRILLBENT AND WHO THE HELL IS “BIRDIE” sorry, it’s just that this is about school and (another) Albert.

Faithful Thrillbent visitors have been following the serialized adventures of ALBERT THE ALIEN for some time now. It’s great work, funny and charming. Trevor Mueller and Gabriel Bautista are a good team. And now they’ve launched a Kickstarter campaign for a print edition, and I heartily endorse it and implore you to check it out. It contains bonus content including new stories in addition to those you’ve read here, sketches and behind-the-scenes looks, and more. Anything you can contribute to the campaign is welcome, whether you want one of the books or simply want to show your support to some of Thrillbent’s hard-working creative partners. Check it out.


May 13, 2014 In: Site News, Thrillbent News

Comixology, Amazon, and Saturday


Man, I wouldn’t want to be Comixology this week.

Let me preface what I’m about to say by reminding you that I am friends with many of the Comixology crew, and I hold them and what they’ve built in great respect. I don’t always agree with their business decisions or strategies, but they don’t always agree with mine, either. Moreover, beyond the personal affiliation, they’ve been good business partners to Thrillbent; we’ve been selling collected editions through their app and website as well as through our own for over a year now, and they’ve been very eager to work with us as we’ve experimented, in ways none of their other partners yet has, with strategies (like pay-what-you-want) which don’t fit the Comixology business model at all. No reason that needs to change. I really value those folks.

But I would not want to be them this week.

On Saturday, years after having repeatedly established itself as one of Apple’s top-grossing iOS apps but about a month after having been purchased by Apple rival Amazon, Comixology sent out a blanket surprise e-mail to its thousands and thousands of customers. Effective immediately, we were told, the iOS app was being retired and replaced with one that stripped out (a) the easy, one-tap ability to make in-app purchases, (b) referrals to other comics you might also like to buy with one button-tap, (c) any indication of what you ought to read next if you were in the middle of a multi-issue storyline, and (d) everything that made the Comixology app a gateway for new and casual readers of comics. You have an iPad and you want to buy some of these comics and graphic novels you’ve been hearing about with your iTunes account? Sucks to be you.

Within hours, Comixology’s customer base revolted, and given the way corporations work, there was only so much spinning they could do. I don’t know this for a fact, but I cannot imagine this was a decision enthusiastically embraced by the Comixology masterminds. This had to have been handed down either by Amazon or by Apple. No content distributor or provider, particularly one that’s been at the forefront of consumer outreach for an entire medium (and, seriously, we should all be grateful for that),  deliberately (much less abruptly) seeks to remove functionality from its system. The objective of any commerce, web-based or brick-and-mortar, is to reduce friction and make purchasing as easy as possible. I repeat, no one with an internet business intentionally makes it harder to buy from them unless they’re not getting a say in the matter. This wasn’t done on a whim, and whether you like what they do or not, Comixology’s creators are smart and, in my opinion, ethical men. Whatever their decisions may be going forward, they’re made under the combined weight of Apple’s sometimes-Byzantine policies, the policies of their new corporate overlords, the impending possibility that Marvel will pull away from them, and other factors we’re not privy to.

But, man.

In the long term, this development may be a mere blip. Make comics harder to buy through Apple, but make them easier to buy through Android, which outside the States makes up at least 70% of the mobile market. Sure. In theory, this will eventually be a net gain. But in the short term, it’s a disaster because it cold-shoulders an impossibly large number of potential new customers for comics.

Yes, I’ve heard over the last two days from dozens of fans who “don’t get the big deal” and sneer that “smart” comics readers have always bought from the website anyway and so it’s a few extra steps to get your comics, so what? If you’re one of those voices, if I were strong enough to lift your massive sense of smug self-entitlement, I would beat your high horse to death with it. You already buy comics online? Good for you. You’re not the ones we need to be worried about.

Seriously, you can look down your nose all you want at in-app purchasers and gloat to your heart’s content that only Luddites couldn’t figure out how to go find the website and then set up an account and shop through the website and then download their comics separately through the app, it’s not all that hard, that’s how the Kindle buying works on my iPad, yes?, and you’re absolutely right, it’s not that hard, but guess what? That doesn’t matter. What matters is that it makes buying comics–makes finding comics–more difficult for new readers discovering the medium, not easier, and that is pretty much the last thing anyone in comics needs right now. Long-term, because this means Apple no longer gets their 30% cut off of comics bought off an iPad because you can’t buy them that way anymore, that means more money for comics publishers and comics creators. That’s great. It’s also something that no casual consumer gives a rip about. Short-term–and I will happily report back to you if I’m wrong–there’s no way that 30% bump will compensate for the sudden loss of impulse buyers who were buying with one button tap and/or using iTunes cards because they’re too young to have credit cards or PayPal accounts.

This will probably change and stabilize somewhat in the months and years to come–one hopes–as Amazon continues its march to ubiquity. If it somehow streamlines the comics-buying experience internationally, I know I wouldn’t turn down that money. And, admirably, Comixology is working overtime to suggest as many workarounds as possible to readers. And they still have a brilliant user experience interface in place. Don’t not go there. We like them. They have done a lot, a lot of good things for this medium.

But I would not want to be them this week.

A couple of takeaways for you:

One: Over the past two years, we’ve amassed nearly 300 comics on the Thrillbent site and–I swear this is not a dig, I just don’t know any other way to say it–we’ve moved Heaven and Earth to make buying and reading it as friction-free a process as we know how (and we’re still refining it). If you’re a subscriber who’s deep-diving all-access through our material, we’re not only making it easy to join, we’re offering you a free 191-page EMPIRE graphic novel (by myself and Barry Kitson) for signing up. If you’re eager to read offline, you can purchase inexpensive Thrillbent PDFs here that (like EMPIRE) are DRM-free and yours to own. I repeat, this is in no way a slam at Comixology–their business model isn’t our business model–but I would be failing all our fine Thrillbent contributors if I didn’t take a moment to remind you that you can subscribe or purchase some great comics directly from us. We truly appreciate your business, especially as we continue to push new formats, new distribution models, and experimental comics that require your support to see fruition. Thank you for helping us create.

Two: If you’re chuckling over all this because you think it proves something about print’s stability, enjoy your print comics while you can–because if you don’t think Amazon’s Comixology acquisition was their first step towards building some Kindle-like comics-reading hardware to replace brick-and-mortar stores, you’re nuts. Print comics are still pretty healthy right now, absolutely; talk to me in a couple of years when they’re all 4.99, but Amazon’s selling downloads for half that and swallowing the margin loss in order to sell hardware.

Three: We, on the other hand, love you and will always be here for you. Subscribe.


Apr 29, 2014 In: Comics, Site News

Welcome to Thrillbent 3.0!


Two years ago, we launched, 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.

Continue reading

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

Varney the Vampire


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

Digital – The Time is Now


I’ve missed out on a lot in comics.

I missed out on the ‘all genres for all people’ pulp period of the forties and early fifties. Then I missed the ‘needs more antihero’ excess of the nineties. Heck, I even missed the explosion of ‘webcomics for gamers by gamers who can’t game anymore (because drawing).’

I missed all of these great times to be a comic creator because I was either non-existent, was repetitively drawing vases in art class, or repetitively playing Diablo. But that’s ok, because I think now is the best time to be a new creator in comics and I’m going to tell you why.

Disclaimer: while some of us can buy comic book shops to calm the digital/print seas I have neither the capital nor the guts to do the same. So while I’m going to assign today’s excitement to the ‘digital revolution,’ I’m just going to say that I want Moth City to be printed. The thing is I love books. Plus you know, trees, yuck – the way they just stand there making you feel short and horribly reliant on their life-giving oxygen. Bullies.

In fact I hate trees so much that I make vertical, print-ready versions of every single Moth City page I do. Its arduous work, a true commitment to climate change, and you can see examples below:


So now that I’ve calmed the people who printed this post out before reading it, let’s talk digital.

Just the fact that I can talk to you about comics at all is a reflection of what digital comics can give us. I’m in New Zealand, the place that TV shows use to stand in for ‘incomprehensibly faraway.’ If someone in a spy drama is digging too deep into their own division’s shadowy ops, they’re probably gonna be sent here. (KIWI FACT: spy castaways made up over 10% of our population at last census).


So yeah, I’m far enough away from most places that I break out in sweat every time I have to pronounce aluminium/ aluminum, and if I was making Moth City ten years ago you never would have seen it, weird spelling notwithstanding.

Mark would never have seen it either, and I certainly wouldn’t have had the chance to introduce so many people to my favourite bigot, Governor McCaw or (more this season) my favourite hired killer, Jun.


It doesn’t sound sexy, but distribution is everything now. The ability to disperse comics to waiting readers all over the world for effectively no cost has the power to change the way we tell stories. I’m not talking about our fancy Thrillbent swipes and doo-dads, I’m talking about risk-taking.

Everything I’m doing with Moth City is ill-advised. Period piece? Marketing will hate it. Wait, what the heck is the Chinese Civil War? Nah, no way. Who’s the protagonist? You don’t have one? Well at least tell me that you stick with one genre… oh, a crime/horror/thriller/alt-history/Kung Fu action? We’re not printing that… The first scene is a business meeting?! Get outta here kid.

(Note to self: Imaginary Editors are probably right about starting a comic with a business meeting, even if the characters are discussing Bio Weapons and one of the workers has a knife just begging to be used.)


Would Moth City have more mass-appeal if I didn’t make these decisions? Of course, but no one else was going to write it like I wanted, were they? While today’s ‘Creator Owned’ print tag means the best of experience, in digital it reflects a largely indie crowd that naively avoids Marketing 101. Just look at the stuff coming out on Comixology Submit and on Thrillbent – what a diverse little eco-system.

Will our ideas always come off? Of course not. But we get critical feedback quickly, we get analytics by the minute and download numbers instantaneously. We can learn fast. Cost to creator? Sweat. Benefit to readers? More creators from all over the world, working in more genres and taking more risks.

You’re ignoring the vast diversity of Webcomics you say, sure – but I consider Thrillbent a webcomic collective. A rare place where you can read long-form webcomics in a format that works. And the stories plug into lovely PDF or Comixology chunks to be absorbed in blocks while blobbing out on the couch, or (according to Comixology) on the toilet.


I’ve said it before, digital can be the new pulp – risk-taking content, by professionals and noobs alike, dispersed widely for affordable prices. And we could all do with some more pulp in our lives. With Moth City I’m offering up a genre mash that shows you characters that make mistakes, damaged people you’ll grow to love, antiheroes you’ll grow to hate, and a setting you’ve never seen before.

The new season just launched, you should check it out.

Nov 15, 2013 In: Comics, Site News

Moth City and Thrillbent’s Commitment to Free


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.


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.

mothcity01_01_020 mothcity01_01_021 mothcity01_01_022 mothcity01_01_023 mothcity01_02_001 mothcity01_02_002 mothcity01_03_001 mothcity01_03_002 mothcity01_03_003 mothcity01_03_004 mothcity01_02_007 mothcity01_02_008

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.


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.


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.


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


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


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.


Nov 08, 2013 In: Comics, Site News