FULL BLEED: The Comics & Culture Quarterly

Hey Everybody! Don't forget to fill out your surveys!
about 7 years ago – Thu, Nov 30, 2017 at 08:45:19 PM

Hey all, and once again, thanks for your support of FULL BLEED! Lots of exciting announcements on the way... 

We went to print a couple of weeks ago! Volume one is on the way! Regrettably, there were some last minute shuffles, so it's going to arrive in mid-January rather than late December as expected. But it looks amazing!

A good 90% of you have filled out your surveys, but still waiting for about 100 of you to fill them out, so we know where to ship your books! Please update when you can, so you can get your copy of Volume one in the mailbox! If you have any questions on how to do it, feel free to send us a direct message. 

More coming soon! We're pretty proud of how this thing turned out, get ready for some serious content surprises. 

So, fill out those surveys! Now, here's a teaser screenshot of a spread straight out of Full Bleed Volume One!

The BackerKit surveys have been sent!
about 7 years ago – Wed, Nov 15, 2017 at 12:49:24 PM

Thanks for your support and your patience! You should have just received an email from us with a special link to your BackerKit survey. It’s important to respond to your survey as quickly as you can since we need this information to fulfill your rewards. You don’t need to create a BackerKit account to fill out your survey. When you receive the email with the survey, click the survey link to respond. Answer the questions about your reward preferences, provide shipping information, and purchase add-on items if you like. After you respond to your survey, you can go back later and change your responses at any time before we close the surveys and get our final counts. If you need to review your information or pledge status, you can return to your survey by clicking the link in your survey email or requesting your survey link under "Lost your survey?" on our BackerKit project page at https://full-bleed.backerkit.com -- If you used your Facebook credentials to log in to your Kickstarter account, the BackerKit survey is sent to the email address you use for your Facebook account. If you have another email address that you prefer to use, please contact support at https://full-bleed.backerkit.com/faq. -- Let me know if you have any questions at all, and can't wait for you guys to see this thing! - Dirk

Hello there, FULL BLEED people!
about 7 years ago – Sat, Oct 28, 2017 at 02:56:41 PM

Hi everyone, and once again, thanks for your support of FULL BLEED! And, thanks for your patience concerning updates and details. I am a one-man-band up here, and have been on a bit of a world tour (NYCC, Frankfurt  Book Fair, and the London MCM Expo). 

But that said, volume one is almost ready to go print! 

So, early next week, we'll be going live with Backer Kit, and you'll receive a survey verifying all of your details, etc.! Look for that to show up tentatively Tuesday. 

As it is, forging ahead putting the finishing touches on Volume 1, and a good chunk of the way there on Volume 2! Wait until you see this thing. It's going to knock your socks off. 

Thanks for your patience, more info coming early next week! Now see below, for a couple of quick screenshot teasers from Volume 1...

Viva Full Bleed! 

-Dirk

ALAN MOORE SNEAK PEEK!
about 7 years ago – Sat, Oct 14, 2017 at 08:59:23 PM

Hello everybody, and thanks for your support! As you may have noticed, we've blasted past 75K, so now FULL BLEED Vol. 1 will have some spot varnish on the cover, to really bring out the amazing cover art by Cassey Kuo... Now, there are 6 days to push for 100K, to unlock the Gabriel Rodriguez autographed prints! 

A little over a decade ago, the terrific Gavin Edwards interviewed the legendary Alan Moore for Rolling Stone magazine...and it never ran. We're lucky enough to be running this "Lost interview" in FULL BLEED Vol. 1! Gavin has added a new introduction and context to this fascinating interview, which clocks in at nearly 10,000 words... Here's a little excerpt to stoke your interest....Along with a new spot illustration from the inimitable Peter Bagge! 

Enjoy, this is just the tip of the iceberg! Tell your friends about FULL BLEED, still a few days left to subscribe! 

GAVIN EDWARDS: Do you remember your first trip to London?

ALAN MOORE: I think so. It was in a hired mini-bus with my uncle and my parents and my cousins and my brother. It was in the very early '60s and there were milk bars everywhere, which we thought terribly exotic.

GE: I've heard of milk bars, but I've never seen one outside of A Clockwork Orange. Did they literally serve milk, or were they ice-cream shops?

AM: I'm not even sure. I think it was a kind of café with coffee, tea, and milk. It seems strange looking back now—they can't have served just milk. It was very bohemian in London in the '60s. I presume they just didn't serve alcohol and there was presumably a pretty fast trade in pep pills going on instead. I remember going to the London Zoo and finding that a bit unnerving—I didn't like seeing animals in cages—except when there was an elephant that evacuated its bowels all over one of its keepers spectacularly. I shall never forget that. That was when I was six or seven. I didn't go to London again until I was a teenager and starting to get involved with the early part of comics fandom. I could never live there—it's a bit of a nightmare—but it's a fascinating city. I still go down about once a month.

GE: You referred earlier to Promethea as an American comic book—do you think of your projects as having a national identity?

AM: Well, my relationship with America and American comics has changed quite a lot. When I started out, there was an English comics industry and there was this glittering, colorful American comics industry over the sea. I'd grown up reading the British comics but I'd also grown up reading a huge amount of American comics: they were in color and there were more of them. I was really excited when, in my mid-20s, I was brain-drained and I went to work for America. Since then, I've seen the English comics scene more or less atrophy because most of the big talents went overseas. I have a much more jaded image of the American comics industry now. In fact, at this point I would say that the mainstream American comics industry is the single thing that poses the biggest threat to the comics medium. The American comics industry thinks of creators as fuel cells that are to be used and then thrown away, which is done with every major creator that has ever graced its halls. It has grown up and made concessions only when it absolutely has to—and if it had the chance, it'd claw those concessions back. I have a huge number of friends in America and they are wonderful people, but America as an entity is the ugliest I've ever seen it. It's come to me to feel as if the policies of the comic-book industry are pretty much American foreign policy, but writ small. It's the same mixture of greed and deceit and gladhanding. I have started thinking that perhaps it would be good to distance myself from the big American companies because I don't want to end up like Hergé; I don't want to be remembered for having made a fantastic contribution to graphic literature but too bad he was a Nazi collaborator. I don't want to be a Vichy comics writer.

GE: Did you name America's Best Comics yourself?

AM: Yeah, just because it sounded corny and archetypal. I wanted something that sounded like it had been around since the '40s. They're a lot more knowing than something like Watchmen—there's an ironic distance in the storytelling.

GE: Was the motivation for doing those comics, like Tom Strong and Top 10, that you wanted to expiate for the imitators of Watchmen?

AM: Yes, I wanted to at least leave the American comics industry in the state that I found it, as you would any hotel room. With all this dark stuff, I felt that it had, through no fault of my own, had an influence on the mainstream industry that I didn't like. It seemed to have removed a lot of the joy and imagination that attracted me to comics in the first place in favor of a relentlessly dark, pessimistic sort of phony cynicism—a knee-jerk cynicism that I didn't think that the innocent characters of American comics had really been designed to carry. It was an experiment: I wanted to reinvest the mainstream with some of those elements that I felt had been thrown out with the bathwater back in the '80s.

Stretch Goal time! Only two weeks left!
about 7 years ago – Sat, Oct 14, 2017 at 08:59:10 PM

We’ve got two weeks left to find as many subscribers as we can, so spread the word!

STRETCH GOAL #1 - Once we hit 75K, we’re adding spot varnish to the cover of FULL BLEED Vol. 1, to really give it that “pop feel!” This is inevitable, so expect that to happen soon.

STRETCH GOAL #2 - Once we hit 100K, everyone who has pledged $50.00 or more will receive a limited, autographed Sword of Ages print from Gabriel Rodriguez, infamous for his work on Locke & Key!

Thanks for all of your support, and let’s find some more subscribers! And if you’re in for Volume 1 only, round your pledge up to $50.00 even, and you’ll automatically be in for the autographed Gabriel Rodriguez print! More announcements for add-on items and fun stuff coming soon!

Here's the work in progress below on Gabe's print, which will be a retailer exclusive variant cover for his (amazing) new series, Sword of Ages! Discerning comic fans might recognize this tribute to Brian Bolland's work on Camelot 3000!