Archive for the ‘Interviews’ Category

Catching Up With: Andrez Bergen

Posted: November 12, 2014 in Interviews

zigzag2-previewAndrez Bergen has been a friend of 8th Wonder Press since our first book.  He’s an incredible talent and a heck of a nice gentleman, so when we heard he was KickStarting his latest graphic novel with Under Belly Comics, it was time to check back in and see how he was doing.

Andrez, when we spoke last, it was when the first volume of ‘Uncanny Adventures’ came out last year, with your story “Zig Zag”. Since then you’ve released a short story collection (‘The Condimental Op’), two novels (‘Who is Killing the Great Capes of Heropa?’ and ‘Depth Charging Ice Planet Goth’), a graphic novel adaptation of  Tobacco-Stained Mountain Goat’, and two comic series. So my first question is: are you ever NOT writing?

Um… sometimes? Ha Ha Ha, I do try not to write, I swear, especially when my daughter Cocoa is around. She’s nine years old and has a strict catch phrase if I’m ignoring her: “Two minutes!” But actually I jest. Cocoa often lends a hand, especially when it comes to particular images or cover artwork I’m thinking about for the comic books. Writing is just something I love to do, whatever the medium. It makes me happy – which, I think, makes me  a better dad!

In all seriousness, you’ve put out a lot of work in two different media. Is there one you prefer to the other?

BULLET GAL cover issue 11Yeah, this is a tough question. Writing novels and comics are completely different propositions, but they do intersect and one often helps you when considering the other. Same with journalism – which is a great way to hone the skills of research, working fast, self-editing, and abiding by deadlines. Can I opt for all three? Definitely I prefer writing fiction, however, whatever the medium.

Your next project is a return to your Heropa characters, a KickStarter for the collected edition of the first 12 issues of ‘Bullet Gal’. Who is Bullet Gal, and why is now the right time for a solo series for her?

Bullet Gal is Mitzi, last-name-unknown, but I guess the question is: Who is Mitzi? Is she the character defined in ‘Who is Killing the Great Capes of Heropa?’, or is she closer to the protagonist in ‘Depth Charging Ice Planet Goth’? Truth is she’s neither. Those novels helped me to shape (in my own mind) the personality and idiosyncratic nature of this individual, but ‘Bullet Gal’ is definitely a stand-alone tale in which her particular journey is defined. She arrives in Heropa at age 17, flaunting twin 9mm automatics with the goal in mind of cleaning up this city – and then encounters a progression of ulterior characters that alter or enhance the journey she’s chosen to undertake. The fact that some of these people are gunsels, clones, Capes (superheroes), one-eyed cops, femmes fatale,  copy-cat Ant-Man types, and dangerous ballerinas adds to the equation.

I’m not sure that “now” is in fact the right moment for her voyage of self-discovery, but a progression of factors over the past century have enabled it to work better at the present time – from Dada a century ago, right through hard-boiled detective stories, pulp, the changes in comic books, and digital technology. Plus I simply love the character. She gives me room to breathe, as a writer and artist, especially the way in which she interacts with the oddball characters around her. Sure, this is noir in a purist sense, but it also runs with modern sensibilities and tongue firmly in cheek.

BULLET GAL sample 110

What is it about Heropa that makes it such an interesting place for you to visit?

I think that this city is an ideal, an urban fortress of solitude so to speak, with such an ethereal spirit – yet it contains all the flaws and hidden agendas of the people that made the place. There’s a grimier underbelly beneath the veneer, which is what I always loved about the classic film noir I grew up with. And the fact that super-powered beings also populate this place is beside the point.

And you’re handling the artwork also, as you did with the TSMG collected-edition? It’s a very novel art technique that you don’t see in many modern comic books. Can you tell us a little bit about how you’re putting it together?

Bullet Gal issue 4_COVER ART_IF CommixI decided to place any arty side in a straitjacket, of sorts – to refrain from too much drawing and/or painting – and bird-dog instead the idea of the collage-as-art, of using disparate ‘found’ images and somehow making them work together as a sequential tale. People have done this before, such as the Dadaists way back when, along with Terry Gilliam’s animation and Chris Marker in his 1962 film ‘La Jetée’. Also Jack Kirby and Jim Steranko applied some of the same techniques in the ‘60s, but you’re right – you don’t see this too much in comics now. It’s tricky and at times doesn’t work, so you need to constantly rethink how you apply images and words to paper. But with the digital technology available these days, this is much easier than the scissors, ruler, glue stick and photocopying machine that I used to use!

Once the Bullet Gal Kickstarter wraps, what’s next on the docket? More comics? Novels? World domination?

World domination sadly is overrated, especially in this day and age – yikes. So I’m thinking about a series of comics based on ‘Who is Killing the Great Capes of Heropa?’, with a combination of art by myself and Matt Kyme. We’re also set to start #4 of our comic book anthology ‘Tales to Admonish’ over at IF? Commix, this time with some talented new artists. And I need to get next novel ‘The Mercury Drinkers’ into some kind of order that makes sense outside my own headspace! Other ideas are floating about, but they’re intransient morsels at this stage.

andrezThanks again, sir!

No, thank YOU – you guys seriously gave me my first proper comic book break last year with ‘Uncanny Adventures’, so hats off straight back at’cha.

The Bullet Gal KickStarter runs until December 10th.

blog_header_3With Denver Comic Con, our first show of the season, almost upon us, the excitement is high and we’re very excited to start putting our books in the hands of readers.  In anticipation of that, we want to share an interview our Editor-in-Chief did with the Reel Nerds podcast last summer at DCC.

Ryan, James, and Brad are great guys who sit down and discuss a different new movie every week, as well as games, comics, and whatever else strikes their fancy.  We’re very happy they took the time to talk with us about the show and our Uncanny Adventures anthology as we were getting it off the ground.

Check out our chat with the Reel Nerds, and if you have a blog or news site that would like to talk to us about our projects or, well, anything, feel free to email

Now that Uncanny Adventures has debuted, we’re going to take a few minutes to continue speaking with some of the great creators in our anthology to give you a taste of what you can expect.  Dino Caruso and Shane Aden have put together a very cool murder mystery for our readers.  It’s got a great twist and is based on a true story (as all the best murder stories are).  This is far from Dino’s first comics work, having had stories published by Markosia, Ape Entertainment, Reading With Pictures, New Reliable Press, Crystal Fractal Comics and 215 Ink. Shane is a public defender by day and artist by night.  Together they…well, you’ll see.

Tell us a bit about Who You Are And How You Came To Be.

Dino Caruso – How I came to be is a mystery. I think it’s got something to do with a dying planet, a spaceship and kindly farmers. There are so many gaps in my memory of those days. Hopefully there’s a crystal or something lying around that’ll give me some holographic feedback. I’ll keep you updated.

But as for who I am, I’d say I’m a man of many contradictions… Barton PREVIEW 3

  • I’m Canadian but I love those two staples of American culture-baseball and comic books.
  • I’m a grown-up, but I can’t seem to shake a lot of the hobbies and interests of my youth.
  • I know that apple skins are good for me, but I peel them anyway.
  • The only way to get better at the guitar is to practice, but I don’t do it enough.
  • And lastly, I know it’s 2013, but I still have no idea how to purchase a digital comic.

Shane Aden – Well, that is the eternal question, isn’t it? I’m an attorney, live in extreme Southern Illinois, have been happily married for 16 years, with two very young children. I have been drawing since I was able to first grasp a pencil. I am blessed enough to be able to work part-time, and take care of my kids part-time.

How did you find yourself making comics?

Shane – I’ve been drawing comics and/or creating characters since I was in 6th grade. When I turned 40 last year, I decided it was time to either get serious about pursuing this as a career or give it up altogether. With some encouragement from my beautiful wife and my best friend Ryan, I put together a portfolio for the first time and took it up to Chicago Wizard Con. When the people I was showing my portfolio to did not vomit and throw things at me, I took it as an encouraging sign and kept drawing.

Dino – I’ve always enjoyed reading and writing stories, and comics have been my preferred means of doing so since I was a kid. Around 2006 I decided to take a chance and look for an illustrator for a story I’d written. I haven’t been able to stop since then. I’ve been in a bunch of cool anthologies, I’ve had a few solo projects and I’m always plugging away at more creator-owned stuff.

Without giving too much away, tell us about your story “The Barton Murder” and how you approached it.

Shane – Ah, the story? Dino I’ll let you handle that one. As far as the art goes, I did a ridiculous amount of research. The I found a picture of the police station back in the early 1900’s, looked up fashion, including the hats that young boys would wear at that time, looked at geographical maps of Hamilton, Ontario, found some pictures of Anna Eva Faye, and even some posters advertising her shows. I probably drove Dino crazy because I kept emailing him with my sketches begging and groveling for his approval.

Barton PREVIEW 1

Dino – It’s the story of an unsolved crime from my city’s past. It was lots of fun to research it, and it was a very rewarding experience to collaborate with Shane and see it come to life. As for how I approached it…I stuck to the facts, but I tried to add a few winks or question marks along the way.

What are you reading right now, comics or otherwise?

Dino – I just finished reading a non-fiction book about Roger Clemens and the steroid scandal in baseball. Before that, I read The Maltese Falcon. Just yesterday I read the first issue of IDW’s X-Files books. I think next up for me is going to be The Underwater Welder by Jeff Lemire

Shane – Right now I’m reading a lot of police reports — I’m a public defender. Comic-wise, I recently finished the trade of No Man’s Land.

How did you meet up, and what’s your creative process like?

Dino – We met up on a forum. It was either Penciljack or Digital Webbing. Hopefully Shane’s memory is sharper than mine. Our creative process was pretty smooth. I already had the script written, but Shane made some awesome and elevating contributions. That’s my favourite part of making comics…the contributions that all of the team-members make to help improve the finished product

Shane – Like most great romances, I met Dino on the internet. Just kidding. I did answer an ad he had placed on one of those “Writer looking for artist” websites. He emailed me, and I tricked him into letting me have the job. Only after I started the project did I find out that this guy had been published a bazillion times.

Barton PREVIEW 2I was also surprised that Dino wanted me to use this weird style of art I was experimenting with at the time. I had worked so many years to be able to draw realistically, and this guy wanted my first published work to be in an art style I just started playing with. I had never inked anything before, had never used grayscale markers before — I was a nervous wreck.

Creatively, I just try to sit down and get into the story, to feel the characters out. Music is incredibly important to me, so I look to see if I can find some songs that would work as a soundtrack for what I’m working on while I draw. Some stories are acoustic alt-folk rock, some stories are Viking metal.

What else is in the works for you, and where can readers find your work next?

Shane – I just finished up a four page story written by Dan Melnick from Nod Comics. It’s hopefully going to be in an anthology soon. I’m also working on project with [CENSORED DUE TO NON-DISCLOSURE AGREEMENT] for his comic [CENSORED DUE TO NON-DISCLOSURE AGREEMENT]. I designed the [CENSORED DUE TO NON-DISCLOSURE AGREEMENT]. It should be out before the end of the year.

Other than that, I’m just waiting for Dino to email me with another project.

Dino – I’m working on a few pitches for creator-owned projects, and also some short anthology stories. I post all of my updates in two places: and

Thanks guys!

Dino – Thanks alot for having me Jesse. This was lots of fun!

Now that zigzag2-previewUncanny Adventures has debuted, we’re going to take a few minutes to continue speaking with some of the great creators in our anthology to give you a taste of what you can expect.  Drezz Rodriguez is a Canadian cartoonist whose pages with Andrez Bergen  are dark, moody, and visceral.  His work for Uncanny Adventures — “Zig Zag” — set a dark noir tone by matching static illustrations  with the text.

Tell us a bit about Who You Are And How You Came To Be.
My name is Drezz Rodriguez, and I’m a creative director by day and an illustrator by night. Born and raised in Sudbury, Canada (about 3 hrs north of Toronto) I’ve been authoring comics since I was a teenager but didn’t really get into the webcomics game until 2010 with the release of my neo-noir online graphic novel, El Cuervo. I’m also a contributor and a podcast personality over at the Webcomic Alliance.

How did you find yourself making comics?
It’s an odd story, but it basically started off with a kid who lived across the street from me. He was a master swindler who would con younger kids out of their toys and sell them on the schoolyard. He ripped me off, his mom found out, and as compensation, I got a half-full longbox of comics – most notably, the Frank Miller run of Daredevil comics featuring the death of Elektra. That opened up my eyes to what comics ‘could’ be instead of the standard Archies and Richie Rich comics I was reading at the time. I felt it was something I wanted to do to – but struggled to find the resources to do it.

I was always more into alternative comics outside of the superhero mold, so I read a lot of Heavy Metal, Love and Rockets and Hate Magazine. They helped to influence my style and tell stories that showed the rotten side of humanity rather than following the formulaic ‘good guy wins out’ method.

Without giving too much away, tell us about your story Zig Zag and how you approached it.
Simple really – it’s a short story that takes place in one room, so I focused more on dramatic lighting to keep that sinister feeling. My style lends itself well for a story with this type of exposition.

What are you reading right now, comics or otherwise?
For comics, I’m actually diving back into my collection just to keep the gears oiled up. I finished reading Ball Peen Hammer by Adam Rapp, and I’m currently reading Garth Ennis’ Preacher – the ‘Gone to Texas’ trade. It’s been years since I read it and wanted to get reacquainted with it.

For regular reading, I’m actually juggling two books. The first is Stephen King’s 11/22/63 about the JFK assassination, and the other is an e-book version of Ian Fleming’s Casino Royale. I have the entire collection on my iPad and wanted to see how it holds up in the modern era. I actually have a little James Bond comic project I’d love to work on in the future, but that’s for another time.

How did you meet up, and what’s your creative process like?
Andrez actually gave me some good praise on my webcomic, and I’ve given a read to some early drafts of his work. We’ve struck up a friendship over e-mail since our tastes in literature and visual styles are similar. He asked me if I wanted to contribute some visuals for Zig Zag, and I happily obliged. I’m looking forward to future collaborations.

What else is in the works for you, and where can readers find your work next?
Right now, I’m opening up a digital portrait commission site called Avatar Noir (, working on the second and third acts of my latest story arc for El Cuervo (, and I have a few other comic projects I’d like to get off the ground conceptually before year’s end. I’m also in the midst of working on an online based crime-noir game set in the 80s called ‘The Fix’ with no scheduled release date as of yet.

Tell Communication Meltdown preview01us a bit about Who You Are And How You Came To Be.

I’m Paul Bradford and I am a comic book writer. I was born in Scotland, but currently live in Perth, Western Australia. I grew up reading British Comics in the 70’s and 80’s and these comics had a big impact on me. They were a great way to vanish into whole new worlds and live fantastic adventures. Nowadays however I like to collect comic book related busts and statues and have a large collection of these. I also have a few Aussie Muscle cars from the 70’s.

How did you find yourself making comics?

In high school, I teamed up with a few people who all had a common interest in creating comics. However the whole thing never really went anywhere and we didn’t actually produce any comics. I guess that sparked my interest in writing comics and I continued to write and develop ideas for stories. Roll forward a few years and I started submitting scripts to companies in the US and in the UK. That process however did not lead to any opportunities for me to write comics. The Australian comic book scene was pretty non-existent back then and there was definitely not a lot happening in Perth. At that stage, I wasn’t about to travel overseas to try my hand at submitting at conventions as I didn’t think that a writer would have much chance at being picked up that way. If I had been a kick ass artist, I probably would have tried that avenue. Roll forward a few more years and the whole internet thing came along. This gave me the opportunity to make contact with artists from around the world. Some of these connections went nowhere, whilst others thrived and my writing started to come to life in the form of comic books. I continue to use the internet to make new contacts with artists as well as publishers, such as 8th Wonder Press.

Without giving too much away, tell us about your story “Communication Meltdown” and how you approached it.

Communication Meltdown preview02Communication Meltdown was written with the general idea of having a historical event that in fact had something else going on, something that was coming out of left field. Once I had the general idea for the story, it pretty much wrote itself. I did do some research on the historical event though, in order to get the details correct that I needed to use within the story. The story itself was written as a done in one story with the hope of finding an anthology to publish it. I wrote it as a ten page story, which seems to be a little too long for a lot of anthologies out there. It was written quite a while ago and I am really glad to finally get this story into print. I have worked with the artist, Randy Valiente, on a few other projects since then and they have been printed, so we are both pleased to now see Communication Meltdown being published.

What are you reading right now, comics or otherwise?

To be perfectly honest, I have not been doing a lot of reading in recent years. My interest in collecting comic related busts and statues has taken over from reading and collecting comics. As a writer, I think that I may have made a conscious decision to stop reading comics as I used to read comics that had ideas similar to stories that I was developing. As I could not bring my comics to print, it used to frustrate me that a similar idea was published and I had to scrap my work. But I guess that happens to the best of us. Ideas would then be similar to movies and the like, so you learn to take those knocks and move on. After all you cannot avoid watching television and movies, well I can’t anyway. Having said that, I have recently started reading a few comic books again. I picked up IDW’s Judge Dredd, as I was a huge fan of 2000AD in my younger days, but these books are not really doing it for me. I am hoping that IDW’s Judge Dredd Year One really meets the mark. I have also recently picked up Tom Taylor and James Brouwer’s graphic novel The Deep: Here Be Dragons that was published by Gestalt Comics. This was a pretty damn good read and I am looking forward to picking up the follow up graphic novel The Deep: The Vanishing Island.

How did you meet up, and what’s your creative process like?

I originally made contact with Randy Valiente quite a few years ago now. He posted some of his art on the now defunct Heavy Metal Magazine Forum. I liked his style and contacted him through the forum, which then led to us working together. I have worked on a few short comics with Randy over the past few tears and hope to work on a few more in the coming years. The process, I guess, would be similar to anybody who wCommunication Meltdown preview03orks with others in different countries, I live in Australia and Randy Lives in the Philippines. Essentially, I send Randy the script, he does up some rough layouts of how he sees the pages, I give it the go ahead or suggest some changes and we move on. Randy will then do up the pencils and I approve or suggest changes and then he does the inks and then the letters and colors (if required). I am fairly open for the artist to make changes to the layout as long as the story still flows well. From my viewpoint, I think if the artist can have input into the look of the page, then this is more interesting for them.

What else is in the works for you, and where can readers find your work next?

I have been working on a few projects in recent months, some of which will be seeing the light of day very soon. I have also had some of my previous works reprinted in various anthologies. Keep a look out for the following, some of which are available right now: Astral Crusaders – The Standard Bearer available for download (CE Publishing – Megabook M2 and Emerald Star Comics Presents #1), Witch Hunters (soon to be published by Evil Moose Publishing – Moose Crossing Anthology #1),  Ultimate Man and The Night Errant (soon to be published by Source Point Press in Alter Egos volumes 1 and 2), The Last Knight (soon to be published in Indie Comics Horror #2) and Silent But Deadly (available later in the year in Indie Comics Magazine #7).  To keep up to date with new releases and info about my comics, please visit my blog at

Six Questions With: Mister V

Posted: April 20, 2013 in Interviews

With our anthology set to come out next month, we’re going to take a few minutes to talk to some our great creators to give you a taste of what you can expect.  Mister V is a Denver-area cartoonist whose strips are equal parts rage and comedy.  His work for Uncanny Adventures — “Revenge of a Portrait of the Artist as a Young Man” — brings to mind 90’s mainstays “Milk and Cheese,” “Hate,” and “Eightball.”

Mister V, tell us a bit about Who You Are And How You Came To Be.

My name is Mister V, but my friends call me V, or Matt. I’ve lived in the same city my entire life.
My wife used to be my next door neighbor. I watch Ken Burns documentaries and professional
wrestling for fun. I’ve been driving the same car for fifteen years. I own a Chihuahua named Angel Love.

How did you find yourself making comics?

Comics have been in the forefront of my life for as long as I’ve been able to read. I began
making my own comics in elementary school to combat my unending fucking boredom. Today making
comics is more of an obsessive-compulsive tic than a pastime. I couldn’t stop making them even if I
wanted to. I can’t imagine my life without them.


Without giving too much away, tell us about your story Revenge of a Portrait of the Artist as a Young Man and how you approached it.

In my personal life I have a lot of anger issues. One of the ways these unpleasant neuroses
manifest is though my unhealthy ability to hold grudges forever. I’ve been working on letting go of
some of these old, dusty peeves, and for some reason thought it’d be healing to do so in a public forum,
like a flasher on a crowded subway car. That’s all a flowery way of saying there was an art teacher who
fucked with me in college, and I never got to pay him back for it until now. And I did it in the way that
would have pissed him off most of all: I put him in a low-brow, Looney Tunes inspired comic. It feels
good …

What are you reading right now, comics or otherwise?

I read sooooo many comics. Right now I’m thoroughly enjoying Mind MGMT, The Manhattan
Projects, Saga, Rachel Rising, and Harbinger. Generally I pick up anything from Avatar. I read an
unhealthy amount of corporate comics too, like Wonder Woman and Ultimate Spider-Man. The last
really good graphic novel I read was Underwater Welder by Jeff Lemire. I’d probably read more than I
do today if I weren’t already habitually broke.

How did you meet up, and what’s rotpotaaaymPREVIEW02your creative process like?

I get ideas for comics like people get cancer. I wake up and that shit’s spontaneously inside of me, waiting to get cut loose. Craft-wise I’m fairly unorthodox. I script using the Harvey Pekar method (stick figures and whatnot). I draw on plain ol’ computer paper, and ink using pens that are only a step or two above your average bic. If I didn’t pour so much love into each page it’d be shameless how ghetto I am.

What else is in the works for you, and where can readers find your work next?

Oh so many things. My new book The House of Whorror debuts at Denver Comic Con this May, hopefully alongside my new mini Karl Marx Guide to Ultimate Revolution in 10 easy steps). I’ll be starting a new webcomic before the year is over called Poser. While attempting to keep The She-Ma’am
Fella Hatin’ Sorority produced on a quarterly basis, I’ll be introducing Arborcides Menage A Trois, yet another (hopefully) quarterly mini-comic. Plus I’m working on some other stuff too. Busy busy busy!!! Nearly all my comics can be read for free at my website . Go and see for yourself.

With our anthology set to come out next month, we’re going to take a few minutes to talk to some our great creators to give you a taste of what you can expect.  Andrez Bergen is one of the few creators who came to use with a completed story in hand, to show how dedicated he is to the tale.  His piece “Zig Zag,” with artist Drezz Rodriguez, is a moody tale that will remind you of Warren Ellis’ horror work.

Andrez, tell us a bit about Who You Are And How You Came To Be.

I’m Andrez Bergen, real name Andrew — I picked up the ‘z’ at school since there were two other Andrews in my class and I dug Zorro. Born in Melbourne, Australia, but moved to Tokyo 12 years ago. I’ve been making music (as Little Nobody and Funk Gadget) since 1995, and writing since I could hold a biro. I’ve worked with Mamoru Oshii (Ghost in the Shell) on the English translation of one of his movies, and published 2 novels — Tobacco-Stained Mountain Goat (2011) and One Hundred Years of Vicissitude (2012) — and have a third about to be released. It’s called Who is Killing the Great Capes of Heropa? and is a hybrid noir/sci-fi/pulp/comicbook beastie.

zigzag2-previewHow did you find yourself making comics?

I was making crap comics in primary school, since I loved reading them, I was mad about writing, and I enjoyed drawing. I did strips for high school and university newspapers. The drawing, however, took a bit of a back-seat as I focused more on music and words — and in 2011-12 I started working with a bunch of sequential artists who were far better anyway. Prominent amongst these was Drezz.

Without giving too much away, tell us about your story Zig Zag and how you approached it.

Zig Zag started off as a short story vaguely related to the noir, dystopian, near-future Melbourne I created in the novel Tobacco-Stained Mountain Goat, but it was a standalone piece that I realized didn’t actually stand all that well alone — something was missing. I loved the idea of it, but it needed oomph, something to bring it out of its shell. The first time I laid eyes on Drezz Rodriguez’s online noir comic El Cuervo, I knew what that something was.

What are you reading right now, comics or otherwise?

I’m going (again) through the entire series of Jack Kirby & Stan Lee’s Fantastic Four in the 1960s, and also reading Yukio Mishima’s Temple of the Golden Pavilion.

How did you meet up, and what’s your creative process like?

I contacted Drezz in February 2012, straight after discovering El Cuervo, and suggested working together. He didn’t know me from Adam, but luckily the guy was really cool and we chatted about ideas. I sent him the Zig Zag short story, and he came up with the incredible artwork we now have. The entire process was done via email as we live in different countries, but it sailed smoothly probably because Drezz is so darned professional and talented.

What else is in the works for you, and where can readers find your work next?

A reworking of the original Zig Zag story (the words rather than images!) will be coming out in my anthology The Condimental Op on July 22, via Perfect Edge Books. Also a different version of Drezz’s Zig Zag — along with the work of several other artists tweaking noir/dystopia — will be published in autumn in the anthology The Tobacco-Stained Sky (Another Sky Press). My novel Who is Killing the Great Capes of Heropa? should be published through Perfect Edge Books by September.