Remnants Trade Paperback
Remnants Trade Paperback
A horror/street crime comic set in Louisiana; a cross between Sons of Anarchy and X-Files, but written as Tarantino would have done it.
A horror/street crime comic set in Louisiana; a cross between Sons of Anarchy and X-Files, but written as Tarantino would have done it. Read more
About this project
We want to publish an innovative modern horror story about a man who discovers a book; a road map to various strange and magical artifacts; remnants from a forgotten but still relevant age.
It is intended to be an ongoing series, set to complete in approximately fifty issues. This kickstarter is to finance the trade paperback of the first eight issues.
The overall story is done and most of the plots and story arcs are complete, with full scripts written for the first eight books.
Nick Dealtry has returned home to confront his demons; both figuratively, and literally. To him was bequeathed an ancient tome filled with anecdotes and histories of powerful, magical relics; remnants of a forgotten age acquired through sorcery, subterfuge or chance. But as Nick is learning to believe in a great many things, chance is not one of them.
Deciphering mere fragments of the text, Nick begins an arduous journey, treading paths both spiritual and magical. He shows a natural aptitude in assimilating the lore but each discovery unearths new questions. Each relic bestows the curse of temptation… or the guilt of abstinence.
Realizing the significance of so many recent finds, and predicting an imminent day of reckoning, Nick has organized a diverse group of friends, mercenaries, archeologists, zealots, terrorists, and like minded philosophers to scour the earth for similar artifacts. His crusade has not gone unnoticed by international government and military agencies, corporate capitalists, extremist cults, and other enemies yet unknown.
Where to start...
Maybe the Dark Conspiracy RPG, or H. P. Lovecraft's writing, or Hellblazer, Sandman, or Preacher. Anything Vertigo. Maybe Tarantino's amazing dialogue skills or Garth Ennis' endless supply of over-the-top, borderline ridiculous characters.
But I think it really started in New Orleans for one of the most amazing bachelor parties ever. You walk down an empty street and you see this building, where a building has no possible business being, and you think: Jesus. What if there was a sniper in there... Where the hell would you run? Or you visit the French Quarter after three nights of drunken debauchery and find the most ridiculous knock-off replica of some African staff and you think: What if something was in that? What if it got out? Or you visit one of the state's oldest cathedrals, admiring the stained glass windows while fidgeting with a Catholic rosary and you wonder: What would it look like if something terrible; unspeakable; thrashed it's way through that window into a crowd of armed people hiding out here because they thought it promised them salvation...
The thing was done. Alex and I would not shut up about it and the story really wrote itself.
Neil Gaiman taught me to have an ending before I write the beginning.
Garth Ennis taught me that there is real horror in making the bizzare seem ordinary.
George R. R. Martin taught me that simple characters are a waste of everyone's time, especially the reader's.
Alex taught me to stop working in stereotypes. You should have seen the original Merrick and Dillan. (Strickland was going to be a dude.) Alex summed it up perfectly when he said: Jesus, Scott. They even look like Laurel and Hardy. It was a wake up call.
So what you've got left is a series of complex, over-the-top, bizzare characters encountering the violent, the gratuitous, the unspeakable, in a plot which is, in all due humility, fucking amazing. We have spent the time and the effort to do this right.
We are not wasting your time.
Where We Stand...
We have completed the first few issues and have a contract up through number six with published artist, JM Ringuet with plans to go much farther with him. We plan to complete the first eight issues whether or not we raise a single dime.
But to continue, we need help to absorb costs for the artist and printing fees.
If we are picked up by an Indy publisher, great. But more likely, we'll need the support from enthusiastic fans who crave an original idea with strong direction, complex and interesting characters, and thematic artwork, all done in a strange hybrid of H. P. Lovecraft meets Quentin Tarantino meets Garth Ennis and Steve Dillon.
The money for each issue is broken down as follows:
- 23 to 25 pages at $160 per penciled, inked, colored, and lettered page = $3680 to $4000
- 1 or 2 covers per issue at $160 per page = $160 to $320 per issue
- $3.50 to $3.80 per copy printing costs at ka-blam.com Print On Demand site + shipping costs = $600 to $700 for approximately 200 printed issues (at 24 or 28 pages).
- $15 to $16 per copy printing costs at ka-blam.com Print On Demand site + shipping costs = $600 for approximately 40 trade paperbacks (comprising the first four issues)
- $27 to $28 per copy printing costs at ka-blam.com Print On Demand site + shipping costs = $1200 for approximately 40 trade paperbacks (comprising all eight issues)
- Web hosting fees for remnants-comic.com and other miscellaneous promotional fees = approximately $100 annually.
- $1200 anticipated fees here at kickstarter.
- $600 annually to cover convention table fees
- $300 annually to cover business cards, tee shirts, flyers, promotional cards and other printed supplies.
Total cost approaches around $43,000.
Minus the nearly $30,000 we've already invested in printing costs, artist salary, web hosting fees, convention costs, business cards, tee shirts, etc...
We're looking at about $13,200 to seal the deal. To at least give us a real shot at delivering a trade paperback with all eight issues and several inter-related story arcs which would give publishers and fans a good idea of what the story has in store.
Risks and challenges
The risks, frankly, are that we'll run out of money.
Although we could never replace JM's amazing work on the series, should something unforeseen occur, we've got other options for artists who've expressed interest in drawing for our series.
We use ka-blam printing but there are other, local alternatives should the need arise.
We really just want a chance to present this awesome story to the world.Learn about accountability on Kickstarter
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