The Indie Index is expanding

The Indie Index has been swamped with reviews, interviews and Kickstarter campaigns since the very first day of the announcement.

Up until now, The Indie Index was a one-person project headed by myself, Mike Speakman. It’s time to expand the ranks as I don’t have the time available for all of the incoming requests that I’ve been receiving. That being said, The Indie Index will move forward with the assistance of various contributors along the way.

The first of the new contributors are Aaron Magnuson and Steven Randall. They are each reviewing projects and will be published here through The Indie Index. Keep an eye out for their articles over the next few days.

I look forward to bringing more and more contributors onboard as time progresses.

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The Indie Index – Review – Hail #6-7

Hail issue 6 & 7 has successfully been funded on Kickstarter. And they have delivered. If you’re not familiar with Hail, do yourself a favour and go buy the previous issues.

Hail follows Lena, an aspiring lawyer who turns to glass when anxiety strikes. She learns to work through her anxieties and turn it into a strength to help those in need.

With so many superhero comics being released, it’s easier for readers to get superhero fatigue. That’s why Hail is so refreshing. It’s a story that has an honest insight into someone dealing with anxieties and depression. Lena is high functioning; she is successful at her work as an aspiring lawyer and is learning to control her powers. However, she is still overwhelmed by the daily aspects of life and battles her depression internally while battling the villains in the streets and on the rooftops.

Issues 6 and 7 are the strongest yet in the series. Richardson’s writing is fluid and well-paced. The character dynamics and dialogue are like a pair of well-worn slippers, comfortable and familiar. From Issue 1, Lena and her supporting cast have never felt stiff. I found myself smiling and chuckling as I enjoyed the company of Lena and her friends while they bantered and interacted.

Lam’s artwork, with her supporting art team, is at its most consistent in the series. Lam’s detail to character expressions evoke their nuances and emotions without dialogue. Lam also has the arduous task of conceptualising a character who turns to glass. I applaud her and her art team for achieving this. The line work of Lena in her glass form is detailed and creates a seamless look whilst also making her feel grounded in the world they’ve created.

Issue 7 brings to close the first arc of Hail’s confrontation with the serial killer, the Shepard. It packs in so much more for future issues, including a violent unknown vigilante, the revelation of a friend’s secret, and how the outcome of her battle with the Shepard will affect her future.

This is an Australian superhero comic leading from the front. Go get it.

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The Indie Index – Review – Tart #6

Sweet with just enough sass.


I must confess, I was a newbie to the epic adventures of Tart Acid, before yesterday that is. Written by Kevin Joseph, the quick paced action in Tart starts on panel one and shows no sign of slowing down anytime soon.  The first five issues are an excellent combination of the telvision show Quantum Leap meeting Kill Bill and tossing in a little Dr. Who.  Tart, the recently deceased demon hunter, has the unfortunate time traveling side effect of temporary memory loss. This leaves Tart in the same place as the reader, never knowing what could be coming around the next corner.

Catching up with the first five issues as I did, couldn’t be easier with the current Kickstarter campaign already fully backed for issue 6.  One reward has all past issues available for $8.00 in digital PDF format or physical copies for only $25.00.  But be warned, catching up means tagging along through 1950’s New York, a demon infested plane and even a glacial ice age French Riviera, as Tart learns the ropes of time travel, battling demons along the way.

After five beautifully illustrated issues with Ludovic Salle on art, issue six adds Karl Moline to the team to take over, which he does without skipping a beat.  This newest chapter has a tad more action in than the previous issues, and Moline’s first issue in the series doesn’t disappoint. Issue 5 ended on cliffhanger, as once again Tart struggling against three merpeople, who know her, but she has no memory of ever meeting.

Sprinkled among the issues like children’s teeth (the highest form of currency), writer Kevin Joseph leaves the reader with just enough clues to wonder what is truly going on in this strange, new, vibrant world he has created.

You can pledge to the Kickstarter campaign HERE.


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The Indie Index – Interview with Cy Dethan

Who are you and if you were to have any super power what would it be, and why?

I’m Cy Dethan – writer of comics, freelance nihilist and recovering professional magician.

As for picking a superpower (assuming that immortality and total invulnerability to all forms of physical harm are off the table), in order of preference:
1) The Midnighter’s ability to analyse and predict the outcome of any situation.
2) Karnak’s ability to find the flaw in any object, concept or strategy.
3) Uh… something awesome with lasers, I guess?Or Satanic Sex Powers, maybe. Either’s good.


Your first break was with Starship Troopers in 2006, how did that come about?


Arse-backwards. I was playtesting a miniatures wargame for Mongoose Publishing, based on the Roughnecks TV show (a spin-off from Starship Troopers). The company, as it turned out, also had the licence to produce Troopers comics, so I threw in a pitch. That ended up as about two years’ worth of comics work in their monthly gaming magazine, Signs & Portents. When their licence expired, I moved across to Markosia to take over their ongoing series. Right place, right time.



You seem to have a lot in the pipeline for 2018, can you divulge any information about any of your projects?

Okay, let’s see… right now I’ve got a book called Phantom Lung & the Garden of Dead Liars in the works at Markosia that’s been ticking over for a while. Hopefully the artist will be free to work on that fairly soon. I’ve just received the contract for another book, but I don’t have the green light to talk about that just yet.
I’ve got a story called Murderbox with Roland Bird in the next Bomb Scares anthology from Time Bomb comics and another for an upcoming volume of Jimmy Furlong’s S**t Flingers.
There are also two more one-shots and a graphic novel in the works for Barry Nugent’s Unseen Shadows project, three or four tentative collaborations brewing and about half a dozen graphic novels I’m currently shopping around.
I guess it actually does sound like quite a lot when you list it all out like that, but it’s the nature of the business to have a lot of creative balls in the air at once [insert generic “balls-up” joke here].

If you could only write one genre for the rest of your career, what would it be?

I honestly can’t say that I ever think consciously about genre when I’m writing or developing ideas. A lot of my stuff tends to get racked in the horror section, I suppose – but if I had to pin down a single genre to work in I’d probably go for crime.


Torsobear was quite popular on Kickstarter, why do you think that is?

I’d have to say that Brett Uren’s the main reason for that. Brett’s got a perfect combination of unrestrained enthusiasm and raw talent, which is precisely what it takes to push through a complex, multi-team project like Torsobear. When I first saw the plot bible he sent me, I was just blown away. He managed to keep a chaotic mass of creators focused through three volumes of the series, and I never once saw him losing his excitement.


What do you feel you did differently for Torsobear to gain the attention that it did?

I wish I could claim any kind of credit for that, I really do. I wrote three of the stories and did my part in promoting the series – but the real work of grabbing people’s imagination was done by Brett. That goes for getting other creators excited as much as for getting attention from backers and readers.



One piece of advice that you would give aspiring indie creators?

Your talent is a lock pick, not a battering ram. The comics industry is guarded by ranks and ranks of people whose only job is to say no to you – because the moment they say yes they’re risking someone’s money. I’ve almost never met a writer who broke into comics in any major way via hammering out blind written submissions.


Plug your work.

You can find pretty much all my creator-owned stuff on Comixology, or through Markosia’s site ( I strongly recommend checking out the Unseen Shadows site ( for a glimpse into the universe that Barry Nugent’s building over there. Brett Uren’s Torsobear site ( is the internet’s #1 destination for Fluff-Noir fiction, while Simeon Aston and Jeremy Biggs’ Metal Made Flesh project ( has provided me with some of the most intense and rewarding creative experiences of my time in comics. My website and blog are in great need of modernisation, but you can find them at and, respectively.

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Twilight Hotel tells the story of a 100-year-old West Florida hotel that has a very sinister secret. Built on land that was once the home of the most notorious plantation in all of North America, where thousands of African slaves and Seminole Indians were murdered in ritualistic ceremonies. It is also home to an ANCIENT EVIL DEITY named… “SHE”. With a supernatural ability to attract and influence people, she lures unwitting individuals to the Twilight where they are subjected to many horrible things including, MAN-EATING BED BUGS, PSYCHOTIC GANGSTERS, ZOMBIES, SERIAL KILLERS and worst of all… themselves.



A Kickstarter campaign in support of the comic book has already launched and the project’s creators hope to hit their fundraising goal by Nov 19th. Copies of the completed first volume and other very cool backer rewards are available so, anyone interested in lending their support can go to:…/twilight-hotel…/twilight-hotel

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Hawkman: Still Flying After Seventy-Eight Years


Revelation often comes with a thunderclap, and forces one to take notice. Sometimes it comes quietly, during a quiet afternoon, with a casual view out the window, a small bird, and a tiny twig. Whether it starts with a loud shout or a quiet flutter, a revelation can become something that grabs hold and never lets go. Starting with Gardner Fox’s inspiration in the late 1930s, a character quietly came into existence and even after seventy-eight years, with the amazing creativity and talents of many writers and artists, it still thrives to this day. Gardner Fox has told the story of how he was sitting in his workplace and looking out the window when he noticed a small bird fly by, pick up a twig and fly off. This was the inspiration for the hero we know as Hawkman. When Hawkman was created, there’s no telling how Gardner Fox expected the new superhero to be received by the public. Maybe the expectations were low. Hawkman was not the main character on the cover of the first comic he was in. That honor went to The Flash. The first Hawkman story was the third of six features. But there was something about Hawkman that made him stick around. The massive wings, the bare chest, the bird helmet, and the use of ancient weapons made him a figure that was hard to forget. Man has always dreamed of the ability to fly and here was a hero who truly represented that desire. By the time the seventh issue of Flash Comics came out, Hawkman was being featured on every other issue until the end of the comic’s run in 1949. During the Golden Age of comics during the 1940s, Hawkman never did get his own feature comic. He wasn’t without his own achievements though. He continued his run in Flash Comics and was also featured in All-Star Comics from the beginning. He was a charter member of the first superhero team, the Justice Society of America. While other heroes came and went, Hawkman was the only hero to be featured in every Justice Society adventure until the final issue in 1951. With the end of All-Star Comics, Hawkman disappeared for about ten years during the 1950s but Fox and Joe Kubert brought him back in 1961. While the new Flash and Green Lantern were given completely different looks from their Golden Age counterparts, Hawkman came back almost exactly the same. Even though he was now an alien from Thanagar, the wings, the bare chest, the bird helmet and the ancient weapons were still there. The imposing image of Hawkman is one of his greatest assets, and even though Fox and Kubert had the chance to completely change him, they stuck to what they believed appealed to the readers. Over the years, he has been given different looks and powers by writers and artists such as Murphy Anderson, Roy Thomas, Tony Isabella, Richard Howell, Timothy Truman, John Ostrander, Graham Nolan, Steve Lieber, Geoff Johns, Rags Morales, Joe Bennett and Philip Tan, but he has always returned to the basics; the wings, the bare chest, the weapons, his straightforward sense of justice and his relationship with Hawkgirl. Probably the greatest “asset” of Hawkman has been his partner, Hawkgirl. That term is used lightly, because Hawkgirl is nobody’s asset. She debuted even before Wonder Woman, and has become a popular superhero in her own right, with or without Hawkman. While other heroes have sidekicks, Hawkgirl has been Hawkman’s love interest, his wife, his partner, and his superior in many ways. Their love for each other, their ability to work together as a team, and their individual attributes are some of the greatest things about the story of Hawkman. Hawkman has been through several reboots, retcons and rewrites over the years. Many say that he has the most confusing origin in comics and are turned off by that. Hawkman has been in several comics over the years, but none have lasted longer than four years. He has been killed off multiple times, so often that many younger comic book fans believe that his superpower is his ability to come back from the dead. As of November 2017, he doesn’t have his own comic book, there is no movie in the works, and he has very sporadic television appearances. So why is he still around? Why do most comic book readers still know his name and have a general idea of who the character is even after 78 years? Hawkman represents many things to many people. He represents flight, one of the greatest desires of man. He represents strength with his bare-chested look and powerful wings. He represents justice with the huge mace he carries around. He represents order, in the way he is unwavering in his beliefs and effort to do what is right. He represents eternal love with his never-ending love for Hawkgirl. He represents a mythology that has yet to be fully told. What started with a small bird flying past an artist’s window has become an iconic and permanent part of American pop culture. As long as there are comic books, Hawkman will probably continue to be a part of it, big or small. Currently, there are plans for Hawkman. His story is a huge part of the Metal event by Scott Snyder that is currently running in DC Comics. There is an issue by Jeff Lemire coming out in December, which could be just the beginning. Hawkman is a story that started 78 years ago but the next chapter is just getting ready to start.

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“The Greatest Comic Book Covers” Series Preview

Geek Genie launches a regular series looking at the greatest comic covers of all time! Which one is your favourite?

Scanning the rows and rows of comic books on offer at your local comic book store, what’s the first thing that grabs your attention? Chances are that the cover of the book will go a long way in determining whether or not you’re going to give this book a shot.

“Don’t judge a book by it’s cover” is sound advice in general and even with comic books. But maybe more than any other medium, the cover in the case of comic books is often an integral part of the overall value (creative as well as monetary) worth of the book.

Comics are there to be read, but they’re also there to be looked at and admired. It’s a literary and visual medium and there are hundreds, maybe thousands of artists who have contributed to the long list of great comic book covers.

So stay tuned and look out for the start of an ongoing series as Geek Genie brings to you The Greatest Comic Book Covers! 


Do you have a favourite comic book cover? Let us know by following us on Facebook, Twitter and Instagram! Or better still why not contribute to the series? All you have to do is register on this site and hey presto! You’ll have your very own blog and can contribute to this amazing ongoing series! Well…what are you waiting for? Hit the “register” button on the top right of this page and get writing!

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With the highly anticipated release of Void Trip imminent, Geek Genie caught up with the creative team behind the series, Ryan O’Sullivan and Plaid Klaus.

GG: Can you tell us a bit about your background, how did you guys break into the comics industry and what other work have you done?
Plaid Klaus and I broke in together as it happens, working on the webcomic-cum-graphic-novel TURNCOAT. That was back in 2016. Was so much fun working on that one together. We broke all the rules with it. They always say make your first comic a small thing, you know, just a little thing to show you can do it. We made it 164 pages. Plus it was superheroes. It was glorious.
Since then I’ve mostly done licensed comic work, such as Eisenhorn for Games workshop, and Warhammer 40,000 and The Evil Within for Titan Comics. I’ve not let Klaus do anything else. Keeping him locked in the basement working on Void Trip before it was announced was pretty much my main purpose in life in 2017.
Basement? You said it was the Batcave
GG: How did you choose your creative team? Can you tell us a little about them?
Like all great love stories, we chose each other. Klaus’s artwork is perfect for the types of stories I wanted to tell in Turncoat and Void Trip. He’s cartoony, but uses a lot of black. Perfect for a comic one-part humour one-part existential angst. His colouring is beautiful – so beautiful that it can trick the reader into thinking that the life it represents is beautiful. But as we all know, life is nothing but suffering. Plus, he gets narrative. We came up with this idea together, so he’s as invested as I am in making sure that every page is a slave to the story.
It’s true we share a lot of sensibilities, both creatively and our dark sense of humor.  Also we’re both incredibly obsessed with making god damn good comics.  I’ve always wanted to run the full gambit artistically so I learned to pencil, ink, color and letter (I have bad lettering which is why we’re lucky to work with Aditya). Ryan’s writing chops are next level, but he also has impeccable formatting of scripts and trimming of story far.  So when I get a script it’s distilled to its literary essence which leaves me room to play around with world building and adding flavor.  Also ryan was the first partner to take the business side as seriously as I always have, so it’s a perfect fit.
GG: How did you come up with the idea for Void Trip? Did you always have this idea knocking around in your head or was it a collaborative effort?
When we were finishing up on Turncoat I was reading a lot of American literature. The counter-cultural stuff like Kerouac, Bukowski, or Hunter S. Thompson. But also, the almost culture-enforcing stuff like Melville or McCarthy. I saw both sides of America in the authors I was reading. One half was the American individual dreaming of freedom, the other half was American society limiting your dreams. The more I thought about it, the more I realised this was just describing humanity as a whole.
So I had all this whirling around in my mind when I approached Klaus about the book. He dug it, even back in its earliest stages. I outlined some ideas, we bounced it back and forth. He was more like an editor or a co-writer in the early stages. Void Trip is very much something we created, conceptually, together. From there I went ahead and started scripting, and then Klaus started drawing it. It was a great way to work, and I’m sure the next thing we work on would be the same way. It’s the best way to do creator-owned collaborative comics. From a writer’s perspective, working with an artist from the early foetal stages of a concept really helps to invest both of you equally in the story.
GG: Klaus’ art work is really cool! It’s got a very unique style to it. What were you looking for when you were thinking about the visual elements to bringing this idea to life?
Thanks. The alchemical special sauce is in the collaborative process. As a team, Ryan and I produce worlds that wouldn’t be possible without both parties involved.  I’ve come to feel like a good comic team is like a band.  Take the Beatles for instance.  Each member went on to make their own musical ventures, but none individual had the magic of the Beatles. Together we both put a life force int out project; each set of ideas one of us has spawns new ideas in the other.

GG: Without giving away too much for our audience, can you give us a run down or a “written trailer” of what the series is about?
Void Trip is the story of the last two humans left alive, taking a road-trip through the stars to the promised land of Euphoria. The problem? They’re a massive pair of hippies, more interested in getting high on psychedelic space froot than they are the usual sci-fi tropes. The bigger problem? An all-white, nameless, gunslinger is following them, leaving a path of destruction in his wake.
GG: What kind of themes do you explore in the book?

The entire book explores the question of “How can we be free in a universe, if the universe will always course-correct to limit us?” The idea that we are inherently limited in what we can do is something I find infuriating. So, I wanted to create a story about two characters who, theoretically, have unlimited freedom. They’re in space. They have a space van. They aren’t beholden to the human race (because it doesn’t exist anymore). Taking two characters like this, and having them explore what it means to be free in a universe like ours…it was eye opening.
GG: Tell us a little about the main characters, Ana and Gabe?
They’ve two halves of the same coin. Or maybe they’re just the same person a generation apart? Who knows. Ana is our lead, she’s a wide-eyed dreamer, intent on living life freely, following no rules but her own, never willing to compromise. Gabe is different, he’s a bit more long in the tooth. He’s been around the block a few times. He knows you’ve got to play along with the system a bit to be free. Gabe thinks he’s a realist. Ana just thinks he’s losing his fire a bit.
Which of them is right? Well, that’s up to the reader, not me.
GG: Do we get to find out what happened to the rest of the human race? Are these two humanity’s end?
No. The story is a road trip story first and a sci-fi story second. It’s about our two characters going from point A to point B. If we started talking about what happened before point A or…even worse…started worldbuilding outside of the road, then we’d completely lose sight of the point of telling a story like this. Everything in Void Trip is a slave to the story. Including Klaus and I.
GG: What is this promised land, Euphoria? Is it real, a metaphor?
It’s both. And also a potential spoiler.
GG: What are your hopes for the series? Are there a set number of issues you have planned out?
I hope I do it justice. There’s a story in my heart I want to tell with it, and I hope I actually tell that story. There’s always a risk when writing that things can get lost in translation. I like to think I’m hard enough on myself for that not to happen. But you can never be sure. Whether people actually like the story is much less important. It has to be that way, otherwise nothing would ever get written.
As for the length, it’s five issues. There’s always the possibility of continuing on if the sales numbers are decent. But the five issues are a finite five acts. It’s self-contained. Hmm. We’re marketing it as a five issue miniseries. Let’s go with that for now.
We’ve had a few networks approach us about the TV rights, but I don’t think this is something I’m interested in really. There’s this public perception I dislike about comics. The idea that they’re a stepping stone to greater things. I don’t like the “greater things” part of that sentence. I don’t consider other mediums greater. They can certainly be more profitable, but not greater.
So no, there’s no plans to pitch it anywhere. I’m open to discussing it, but Hollywood is not something I’m chasing.
Agreed.  When you make a work of art, the last thing you want is someone to give you green paper in exchange to appropriate the world you’ve built and cover it in diarrhoea to sell movie tickets.
That being said, if an amazing director ever expressed interest, we could certainly have a conversation about it.
GG: Finally, we have a lot indie creators who use our site. What advice do you have for them when embarking on a career in the comic book industry?
Just create in your own unique voice, be honest about your weak points, and develop them stronger (this means making yourself vulnerable to professional criticism).  Do the work as if it’s already your profession.  Also, don’t wait for an opportunity to be handed to you.  I’ve gone out and made every gain I’ve had as an illustrator and comic artist.  You have to make your own opportunities.
For writers? Be good at writing. Don’t work for free, unless it’s for yourself. Writing scripts is pointless unless someone is drawing them. Don’t ever be content with where you are, always strive to improve your craft and your career. Treat it like a career or it will only ever be a hobby. Always credit your collaborators, and learn the ins and outs of what they do. It’s important to have a working knowledge of everything in comics. Not just on the creative side, learn the industry too. As a comic professional you are a small business. You need to learn how to carve out your own piece of the comic industry, because no-one is going to give it to you. Surround yourself with talented driven people on a similar level to you. Have a healthy competition with them, it will drive you on. Always remember no-one owes you anything, so make it impossible for people to ignore you. Always make sure you work with great artists, they will make you look good, and they will make people think you’re a good writer. Spend everything you have, time, money, and energy, on making this happen. Sacrifice friendships if you have to. Better yet, sacrifice friends. Become a Satanist. Kidnap people. Murder is fine if you get away with it. Learn how to hide the bodies. Consider not hiding the bodies. Maybe make the bodies your friends. Maybe slowly kill your entire neighbourhood so that they become nothing but a cadaverous puppet-show. Make them wear outfits. The sort of outfits you could never pull off, but that you like to think your cadaver friends could. Colour matching is important, learn the colour wheel. Get caught colour matching outfits for corpses when an ex-girlfriend surprise visits you. Blame her for it. Let her take the fall for all the murders. So many murders. So many you have to change your name to Ryan O’Sullivan and start a new life writing comics in England. Be careful not to admit to anything in interviews. Not even as a cry for help. Not even if it’s because you miss your old life and the only way to express that is through roleplaying in an interview answer. Yes, you might miss the cadaverous puppet-show, but it was just that – a show. They were just bodies. They weren’t real friends. They were real friends before you murdered them. But not afterwards. Afterwards they were just meat. Always remember that. New comic writers don’t always remember that.
But above all, be good at writing. Otherwise, what’s the point?
Void Trip is available in stores on November 22. Order your copy today!
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The Indie Index – Interview with Stephen Kok

Introduce yourself.
My name is Stephen Kok and I’m a Sydney based graphic novel creator!
You’ve just had your fourth graphic novel, Word Smith, successfully funded on Kickstarter. You make it look easy! What’s your secret?
Lots of coffee and late nights! There’s a lot of planning and work that goes into Kickstarter and I’m always thankful of everyone who supports my creative endeavours.
Your first graphic novel Tabby is about a family of cats with nearly no dialogue. Can you discuss the challenges you faced writing this and finding the right artist to bring it to life.
After I finished the script for Tabby (and lots of lots of editing), I was ready to find an artist to collobrate. The artist who did the initial design (Canadian Eric Gravel) was unfortunately not available at the time. I posted on and it was over a 2 month selection process going through over 100+ applicants. Each applicant had to do one page trial. At the end of it, P.R. Dedelis was an easy choice and it won’t be the last project we collaborated on!
The release of Word Smith marks your fourth collaboration with polish artist P.R. Dedelis. Can you give us some insight into your creative process with Dedelis, especially with over 13,000km between you two.
According to Google, the distance is 15,716kms! A lot of work gets done before the panels eg. character designs, world designs etc. P.R. is the ultimate professional, we bounce back with different ideas on how to approach a page. I do take a lot of artistic guidance from him

You’ve received grants to help create 5 Seconds and Word Smith. What was the process to gain these grants and how important have they been in helping to produce your work?
Be prepared to spend the time putting together plans, budgets, references etc. There are artistic grants out there for all different purposes but it’s really making your project stand out from the rest. Be also very conscious of the time, I misread the end date, spent ages doing the prep work and forgot to submit on time!
You’ve mentioned in the past that you’ve always wanted to make graphic novels but you were forever procrastinating. You’ve now made four! What changed and how do you keep it up?
My daughter who’s 6 now. I’ve been telling my wife over 10 years ago all these story ideas but never spent the time to actually complete a script end to end. When my daughter was born, I want to be able to tell her to work for her dreams but I rather than just tell her I wanted to be an example. I was very fortunate that Tabby was well received leading to the other graphic novels!
Which current local and international comic creators inspire you?
In Australia, Queenie Chan who’s not just a talented individual but always trying to raise the profile of Australian graphic novels and Karen Dwarte an Inner West librarian who’s one of biggest champions for independent creators! She got Tabby into the first Australian public library. Internationally, Jeff Smith is an inspiration. He was able to bring to life the epic saga of Bone but still make it appeal to all ages audience. One of the best stories I have read.

What’s on the horizon for Stephen Kok – graphic novelist?
I’m working on a collaborative project with Melbourne publisher COMICS2MOVIES on a new science fiction series called Terralympus. Earth is a distant and the remnants of humanity now live aboard giant space stations. On the station Terralympus, Mia stumbles onto a conspiracy that could prove fatal. Other that than a sequel to 5 Seconds which I wrote as a trilogy. I’m hoping to launch this in Feb 2018 and of course spending lots of time with the family. My girl loves drawing and it’s awesome to hear her stories.
Interview conducted by Aaron Magnuson.
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Santa Must Die. Join the Execution.


Like dark humor?

RED XMAS: O HOLY CRAP! is a 56-page, perfect bound comic book collecting the first two issues of the series Starburst Magazine calls, “Brilliant reading whatever the time of year.”





“When Mrs. Claus dies in a tragic toy accident, Santa sets out to make all those little brats pay. Now, a Santa-skeptic FBI agent must team up with her wannabe-elf ex-husband to save their son–and Christmas!”






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