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Hello. And welcome to breaking the glass slipper.
I'm Charlotte bond, and I'm Megan Lee.
We have a lot of authors on our
podcast, talking about their books, what inspired them,
how they written and so on.
Quite often they'll get drawn into the Tv
series of films that inspired them, Stars trek.
But a medium, we don't often touch upon
is comics and graphic novels. Even though some
of my favorite short fiction stories are in
Emily Carr through the woods. And those us
who are sad that the cancellation of Firefly
often go and revisit our favorite character, is
in graphic novels such as the gospel according
to Jane, fall guys and my personal favorite
for the Shepherd tail.
So joining us today is Kari Grant, creator
of the worthy chaos redemption comics.
Hello, Chris. Thank you for joining us. Tell
us a little bit about your background and
what worthy chaos redemption is all about
Thanks for having me on. I really appreciate
it.
I
started
writing 17 years ago for fun.
I role play it a lot,
being d. I started as 1 liners, and
and then I kinda built up and I
went from 1 liners to now I can
sit and do 3 to 6000
words per sitting.
And
I wrote this... Story with a c writer
while we role played, and we actually wrote
about 13 novels,
for fun, this is not published or anything.
And so I didn't wanna waste an incredibly
good story that I'm extremely passionate about. So
I decided to release them as comics. And
with no knowledge whatsoever, I jumped into it,
like, a complete moron on and here I
am. So...
Well, when we were chatting before, you said
that series 1 is... 44 issues. And if
Series 2 gets to go ahead. It's 30
issues. So you really have it a lot.
Yeah. So
so serious, well this a pre wall that's
5 issues, and then there's the series 1,
which is 44,
which has a great ending. And if we
are gonna continue, I'm gonna have a big
warning that says do not read the epi
log if you like happy endings,
and then
everything goes to Little hell at the end
of that 1. And series 2 will be
30 issues. Series 3. We're still in the
middle of writing it. We're about
4 books in,
and
then series 4 is where everything
is
war and and
Egyptian gods, fight with Greek gods, with Celtic
gods and it's gonna be a whole war
on the war on the world.
So, yeah. This... It's a really long series.
Definitely doing the first 44. Those are my
goal.
Issue 11 is live now. Kickstarter, but we're
in the middle of drawing 17. So we're
we're moving along, and and I'm making sure
that the series gets done. So I'm a
lot of things within indie creators is that
they think that they're not gonna get their
issue. You know, a lot of people are
like, oh,
the series isn't gonna get done, Why should
I bother buying the book. But this series
is gonna get... Is gonna get done. And,
you don't have to worry about getting your
book because I do not start kickstarter until
the book is act... Actually in my hand,
so it gets shipped at within 7 days
of the kickstarter ending. And we have a
kickstarter every the month. So everyone can They
don't have to wait long because we're horrible
and and give cliff hangers every time. So
you don't have to wait that long for
the answer what happens.
I do. Hey. Cliff is that you don't
have to tag around for ages.
Yeah so. But we're, like, summer ones where
the show will do something really horrible and
you gotta wait, like, 4 months. I hate
those yeah.
But, I mean, that's a lot of comics.
So have you grown up reading comics and
graphic novels? Is that kind of where your
interest? Started? Or is it a relatively new
thing that has developed with the role playing?
How did you get get into it all?
So originally, my older brother had taken me
when I was a teenager to a kind
bookstore and I got into ghost rider.
I absolutely love ghost rider, and I read
that pretty much that end black black hat
were the 2 that I read the most.
And then I kind of, like, your threw
away from comics, and I didn't really do
anything about it and read him or anything
like that. And then I started playing this
game resident Evil too, and I became up
obsessed with Claire Redfield, which is the main
character, and that's actually who I role replayed
for 17 years. And while I was role
playing her, I got all these ideas for
the story,
And
when I... I waited so long, I was
trying to find like the best writer that
It could. Not the best writer. That's actually
she is to me the best writer, but
I I wrote with a lot of amazing
writers, but they just... They all wanted the
story and the role and I just couldn't
find somebody that fit. You know, the character
and all that stuff. So
the the thing that's unique about our story
is that 2 2 people wrote,
the main characters. So I wrote everything, Sarah
Fe. I write the story first. And then
my c writer will write Dr.
And so he'll write that point of view.
In that. So you have 2 chapters of
the same point of view, and then I
put them together for the for the comic.
So when you're reading it, and they seem,
like, totally different people, it's as they are
That's a great way to. I like that
very 2 very distinct voices. Yeah. You could
definitely tell the difference because my character talks
non nonstop and barely thinks. And dr thinks
all the time the talk. So you can
tell which one's which.
Well, that certainly makes it easier for, you
know, trying to write characters with distinct voices
because...
That can be tricky.
Yeah. Because you think you're you're making people
unique and then there's... Sometimes it comes out
in the writing, everything
But we thought that, you know, this wasn't
intentional. We kind of just rh played for
3 years and we just love the the
story and the character so much, and And
when we had a whole,
series, we're were like, this is kind of
too good to waste. And mostly we wanted
the seat to come with to life. So
it's mostly for us.
Well, yeah. I mean, if you're not writing
for yourself, then what's the point?
So
I remember doing, like a script writing course
way
way back in the day. Let's pretend. It
wasn't that long ago.
And I remember sort of my teacher. He
he came from the stage and always very,
against
having, you know, stage direction and things like
that, and he said if Shakespeare didn't need
it than you don't, and I'm like, I
think Shakespeare was a little better than me,
but thanks.
I put me. Yeah.
And then I did, you know, like, a
Tv sort of script writing, and then he
was saying, you know, do a lot more
of the description, but don't do too much
that you step on, you know, the director's
toes, and that sort of thing.
So with comics,
generally, you have the comic book writer who's
sort of
you write the script and then you get
the artist to come in and draw the
panels. I mean, how much
option or direction do you put in when
you are creating that script?
So mine's very simple. There are many different
kinds of scripts. There's people that'll just give
the
artist, the whole thing to read, and they'll
pick which pages they want, which I is
extremely difficult.
This people that have, like you said, a
complete movie script where this is this and
the panel goes up, and the panel is
looking down and Blah blah
nope. I just do very simple. In fact,
we actually fought in the very beginning because
he had never worked in comics before, and
Had never worked in comics before. And, we
kind of butt heads, you know, like, he
wouldn't follow the script perfectly because he has
a vision and I had a vision. And
for the first issue, we were really
at each other's throats in my... You know,
but I I wanted to make it work
no matter what. So I actually wanna up
compromising originally, I would have 6 to 8.
Panels, which is a comic book is usually
about that much. But what I did was,
I I changed it to 4. So I
do 4 panels
of what needs to be in there. You
know, and then he fills it
does whatever he wants to, and he actually
wants up doing like, sometimes it's just for,
and then sometimes it's like, It could be
up to 12. Like, he'll just add... He
likes to add actions and panels and stuff.
So I compromised a lot and he worked
out amazing. He does absolutely...
Amazing panel work and action scenes and everything
like that. So I'm I'm... I do the
minimal of what
he needs to draw. It and it... That
way, I can have either really big panels
or really cool shaped panels and it it
worked that really well.
Well, I I feel like I've learned so
much about comics in the short amount of
time been talking there is so much detail
there and it's absolutely fascinating.
And obviously, you you work as a huge
team. But I was really interested in,
the relationship you have with the artist and
the kind of dialogue you've got going. And
how much Lie leeway the artist has for
their own vision and whether there any instances
when the artist drawings have kind of come
back and changed how you perceive your own
character? Particularly if you've been role playing it.
Is it a case like, no, This is
my role play character. This is how it
is? Or has they ask back and got
it and you've gone oh, Yeah. Actually, I
quite like that.
Actually, yeah. A couple of times, he's done
something
where I was like, That wasn't the vision
I had, but I kinda liked it.
It doesn't change the emotions of the characters
or anything. We're very, very particular about that.
But maybe a scene or or how
she fights or something because my character's... You
know, she's kind of a badass ass, and
she does a lot a lot of fighting,
and he kinda does his own little spin
on it. Which is nice because she has
some really cool moves and the way he
draws it is very action packed. So he
has a lot of leeway to do what
he wants when it comes to background
or
the action that they take and something like
that expressions.
I'm the 1 that says, okay, Dr raven
looks... Mostly Dr looks miserable well time or
Mad.
But, you know, she'll a concerned or upset
or Mad or whatever. So I do add
those in there. But as far as action,
he has a lot more leeway because he
can explain it more than I ever could.
You know I, sometimes I just write. Okay.
She beats them up.
And then you know, he could do what
he wants with that, and it works very
well. So... And she looks badass.
She does indeed. I really like look for
your comic. It's fantastic.
Wait do you see your fight in that
issue 4. I don't know if he's read
issue for, but I haven't got that far
yet. No. No. We're there we're they're surrounded
by some bar guys and and
that first, she's not allowed to fight, and
then, you know, she's able to and she
just kicks her ass. So...
So obviously, you know, in the traditional comics,
you know, we think about, you know, drawing
something on paper, and then someone will pencil
in the dialogue, and then you have someone
ink in the pub. Dialogue. But in this
day in age, I suppose that a lot
of this is done digitally.
Are you, you know,
creating these comics digitally? Or are you doing
a more traditional
way? And do you know if, like,
how much this is changed in the industry?
Oh, it's all digital. Yeah.
I actually preferred digital. We just had this
discussion on Facebook because
Traditional is really nice. And when I I
have an obsession with my characters where if
there's an original art, I have to own
it. And if I can't afford it, I
won't let the the artist do the cover
because I need to. It's just a really
weird obsession of mine. So I do have
some original covers, but when it comes to
this... Comic itself. Everything's digital, which is nice
because if there's a mistake or you have
to redo something or move something. You know,
it's a lot easier to do that. Plus
it's a lot faster, you know, it's easier
on the wrist and and all that stuff,
and it's, know not a lot of paper,
and I don't have the pay and art.
So everything's digital, including the lettering, the coloring,
the inking. I, he doesn't even pencil anymore.
He goes straight to inking,
which is nice and and I I kinda
miss seeing the sketch out, You know, he
used to, like, for our hard cover book
2, you can see the sketch.
From from a very rough draft to a
little bit more enhanced to the inking. But,
you know, now that we're an issue 17.
He's like, I'm just gonna go straight and
dink it, and he does, and he does
it amazing and it's faster.
But sometimes I miss those little those little
details.
But, yeah, everything's digital and it's it's so
much easier. Like, I understand why people do
traditional, but,
man, when you just... I get 2 pages.
I get 6 pages a week about, and
I love it. So
and Fantastic, I love that the issue 17.
It's just straight inking. None of this pencil
rubbish. Just, yep. Know what I'm doing. The
line sorted. X. Yeah.
Yeah. Actually, since issue 3,
the first thing you say when he start
Issue 3 is like, okay. I know these
characters, I know we're the... Got what they're
gonna do most of the time and all
that stuff. I still surprise him though, and
then he doesn't like spoilers, and he gets
upset, like, don't tell me. And I was,
really, we but
he he knows them pretty well. On. And
he's just... He's pretty obsessed with it just
like us. You know, like, if we we
had a time where... He wasn't drawing from
Thursday to Sunday. And he gets paid the
same amount of time.
So he said to me, I can't stand
this 4 day break draw on this comic.
He has other comics to draw. So it
was just funny to hear him say that.
So now he has to draw on Monday
Wednesday Friday. So there's not a big gap.
So it's it's kinda cool that he's he
loves drawing it as much as we love
seeing it. And
sounds like a really brilliant team you've got
there.
I mean, we've been talking a lot about
Craft, and I really really have just learnt
so much, but I do kinda want to
ask about horror comics and graphic novels in
particular.
As a horror writing myself, obviously,
I use descriptions, involving the senses, scenery,
feelings, all that kind kinda. I've got so
many words I can employ. And when we
have,
horror films, have music sound and lighting. So
I was wondering when you come to build
a horror
scene or an element horror within your comic
graphic novel. What elements do you use to
build tension and the atmosphere and to create
the the sort of f on of fear?
What what elements
do you employ that some that aren't available
to us humble authors?
So some of the things I like, for
example, I actually just did a panel where
you see this giant cent,
you know, kind of... I know if you
know Cent is usually blind. So it's kind
of touching his face. And then
you you don't realize that something is it's
this on the side. You could see something
appear on the side of the panel. We're
not sure it was. And then in the
next panel, you realized that it was these
giant hands are just totally demolished this
cent pete, and the guts and everything went
all over the the guy that was in
front of it. So it's kind of like
that kind of adding little things in the
background in issue 1. You probably didn't even
notice this, but there's 2 things in the
background. So 1 when they first are... They
first see each other in the street, there's
actually an alligator in the sewer, which is
1 of my easter eggs because that's actually
it started the whole things. Alligator in consumer.
And then I think at the next page,
if you look literally all the way in
the back, there's this tiny an cloud and
these tiny shadows, and those are the ghosts
that are about to approach. So we plan
things that you could see in the background,
but, a lot of people miss them, But,
every
issue has an Easter egg, by the way,
of a horror,
Nightmare Elm street,
Friday the thirteenth, they're they're all in the
backgrounds.
So there are little details there. But for
suspense and stuff, usually, it's kind of like
what's coming or...
You know, what... What's kind of behind them
that they don't see what you see. And
you know it's coming, but you can't... Just
like in a movie. You can't warn them
that they're right there. So that's that's kinda
how we do it by just... And we
do have sounds, you know, like moan and
groan that my my lovely letter adds in
wonderfully.
So, yeah, It's not it's not as
a movie is a little bit easier. You
just have the creepy music. So it's a
little bit harder to draw in suspense. So
and jump scares, but it's it's kinda nice
when you can figure out to do it
properly.
1 of the things I found amazing in
Adam Neville horror novel, the ritual was that
you managed to put a jump scare in
by you were reading something then you turned
a page and suddenly it was something massively
unexpected.
And I keep meaning to ask when I
came around whether or not it was deliberate
or it was just the way it all
felt. Would it occurs to me that when
it comes to comics and graphic novels. It
is possible to suddenly do a a jump
scare and kind of open the comic and
turn the page and there's something there. Is
that something you employed or is it just
2 tech Kate.
No. We we we love Cliche. Sometimes.
Yeah. There's a couple of it where
there's a monster there, and you don't you
know, you're... It's about to kill somebody and
then all of a sudden, the next page
this giant axe comes down, and you're kind
of, like, what the hell has happened. And
then you realize it's an actually bigger monster.
So does I like it. Bigger monster of
an. Excellence. Yeah. Diet ax that comes down.
So we do we do like to have
those little things and eat. Fortunately, when you...
I don't know...
I'm sure it's a way when you write
the novels. I...
When I wrote the novels, they weren't really
formatted. So I wouldn't have known what page
would be next if you did that on
I'm purpose. But fortunately, with comics, we do
plan it where there's 2 things we like
to plan. If there's a jump scare,
or there's as a cliff hanger.
We're very famous for Cliff hangers as much
as people might hate and love them at
the same time.
But we plan them so that you know
when you get to the last page you
you're like, what the hell.
I just had somebody that read issue 11.
Yell. At me. Plan because of the ending,
which I can't spoil because it's it's it's
on there now, But,
they they they get so invested in our
characters, which is such a compliment
And I even have my letter or get
scared because of 1 of our characters Chat,
which you won't even see so issue 10.
He's in love Chad. He's the cutest little
vampire chameleon bat. He's just like, he'll be
okay. Right? I was like,
alright. Sure.
I like this insanity there.
Fine. Yeah
I mean, you said that you likely share.
So this is the perfect.
Little s into asking about tropes,
because we love tropes. And, you know, they
they get a bad name
but obviously, on this podcast, you know, as
Charlotte mentioned, we tend to talk more
novels, short stories,
sometimes film and television, but comics really get
a look in. And,
you know, we've get things like the final
girl trope and
things that we're familiar with seeing
in these other mediums? I mean, are there
the same kinds of tropes in horror comics
or like it, does anything differ because of
the format
it's they're they're there. You know, we have
you know, some sequences that can be a
dream sequence.
And everyone hates them and and but then
they they love them at the same time.
You know, You're like, This a dream. Is
this not a dream. We have a couple
of...
Hits in the background. Like, they're... In in
1 through 7, there's something that's going on
in the background that if you don't realize
what's happening.
You're like, what the hell is going on.
And then when you figure it out on
issue 7, you're like, holy crap, Then you
gotta go back and read the rest because
you're like, oh, that's what was happening.
So we do like to have, like, the,
you know, things like that, like, little bit
cliche where it's like, it could be a
dream, more trick.
I think we had 1 that was a
a dream where
it was very brief, but, like, you think
somebody was killed or something and they actually
weren't.
Things like that. And we love the circa
sarcastic nature. We have a lot of sarcastic
ness and all that fun stuff. We have
the vampires and ours, those aren't ours are
called clutter and have a lot more rules
that I probably shouldn't take the time to
explain.
But, yeah, we we do like to have
the little
tropes. And, you know, she she says the
sarcastic things where she poke out the eye
of a of a zombie. And She's just,
like, it's all fun and games until you
lose an eye. You know, she likes the
the the cliche lines that you hear on
the movies, you know,
catch phrases and stuff like that. So, yeah.
We like to add those in. The Are
there any tropes that you try to avoid?
Because obviously, there are some problematic ones or,
you know, over the years maybe
certain tropes have been used to
kill off the...
Any gay characters? Or, you know, these kinds
of things. I mean, are there any specific
tropes, that you try to avoid including
or
if you kind of wanna talk about
overturn them. I mean, that sometimes people do
like to include them, but sort of flip
them on their head.
Yeah. We did
we want to avoid
the whole,
it's a dream thing, but we kinda did
something
around it that was similar to it, but...
So it wasn't. And I can't explain it,
otherwise, it'll it'll
it'll give it away. But
we didn't wanna do that. All we woke
up and everything's fine. You know, or it
ever really happened or any of that. So
we tried to avoid that. That was a
big 1 because we didn't want people to
kill us and be like, you know, that
was a whole dream,
but we did something that was a twist
on it,
where you think that it might be a
dream, and
you think you know what's happened happening or
what's gonna happen and then we kind of
turned it around and been like, no. That's
not what we did. So, yeah. We did
we did something like that. That's actually a
big trophy Is the the wake up and
it's a dream thing, because it's so easy
to do that. You know? And we don't
we don't wanna just kill somebody off and
then
You know I don't know if you've guys
ever seen the show supernatural.
Everyone that dies pretty much comes back. And
we are fully onto that because we are
very supernatural. So you kind of know... You
which characters coming back and which and which
wouldn't. And I don't like to be too
mean, but we did do
you know, a t on, time travel. So
we have that 1 which I actually hate
time travel
in movies, but I used it anyway because
I wanted to
So that's a big intro for where it's
like, oh, we'll just we'll go back in
time and fix it. So, yeah. We do
we do have that later on.
I have to say I do like me
a bit supernatural natural. And I know what
you mean about the favorite characters come back
and and things like that. So the best
part. Walking dead is like the opposite of
supernatural. It's like, they kill of everybody and
Met then your character's gone. And I loved
walking dead, but I'm still mad about Glenn,
and I I hated certain things that happened.
So, yeah. I I can I can do
the things that I want in my story?
After admit with... The bit where Maggie kills
1 of the girls. Oh, my god. I
sold my heart out with that. I don't
know if you remember that 1. But it
was
care. Remember Carol. Sorry Enough my flowers.
Yeah. Oh my gosh.
Yeah. That was that was a that was
a bit harsh. Yeah. Yeah. That was Love
Carol. I mean, she turned into... She's my...
I think she had the biggest growth. That's
to go tangent. Yes. Yes. She Went from
this, I'm
this was woman who will do as my
husband says, to. I'm gonna kill everybody. So
you know, there's some growth there.
So I was gonna ask,
you've obviously written, like you say some novels
previously.
And you've done this comic.
I just wondered given
how comics and graphic novels are a huge
visual medium as much as they are sort
of written. And whether you would ever think
of diversifying into making a little mini horror
film or a little mini horror shorts. She
only find those amazing ones on on Youtube,
like, 5 minutes and they're absolutely terrifying. I
love what she weighs. Or even something longer,
you know, like a little series, and I
know it has a huge amount of of
different
talents and you have to to get active
in and you have to get lighting and
all this kind of thing. But it does
strike me that the way you write the
comics and just how
striking the images are. Have you ever thought
you know what? I can't like to do
a horror.
I...
Actually, my dream is to have it be
a rated...
Violent animated series.
Oh cool.
I think you could do so much with
it.
It's a very long series. I don't have
to worry about the actors aging, for and
you could do things that you normally couldn't
do. I think the... Like you said it's
very visual, and sometimes it's lost, you know,
in in in live action, And I love
live action. Don't get me wrong.
I have favorite movies and But I'm very
full of emotion and, you know, things like
that. So I think I would love...
To have that that emotion and the animated
characters and and being able to see the
monsters just come to life and not worry
about Cheesy Cgi
or, you know, actually, out prefer practical effects.
But,
you know, all that is very expensive and
all that. But if I had to choosing,
if I had all the money in the
world, would be awesome.
I would definitely do an animated series. And
it I would have to be in charge
of it. I will never license this out.
I will never sell it. So it have
to be something that I have complete control
over because I will never have this series
I'd rather have nothing than have it completely
ruined or destroyed or, you know, turned into
something that I have no idea what they
did do it.
So let's switch gears again.
Because, you know, just as you get really
comfortable that we're talking about 1 thing, I'm
gonna take you somewhere else.
So
when it comes to comics and representation of
women in comics.
In the stuff that I read, I've been
reading a lot more
create own comics that are written by women,
and so you tend to get a bit
more, you know, body image diversity. You get
more interesting characters that aren't just like massive
tits, tiny waist,
impossibly beautiful.
So
like, what do you find
is kind of the the most common thing
that's still seeing? Are you still seeing the
kind of...
Ridiculous portrayal of women or
yes. Is it? Okay.
You know, and and you know,
they sell. They sell on kickstarter, They make
hundreds of thousands of dollars.
But I didn't go that way. My my
my story has no nudity.
I did add a couple sexy covers, but
never top list, never anything. She's just... But
She's just sexy. She's a sexy girl.
She's does... She's
not... She doesn't have huge boobs.
She
She does wear a nurse outfit fit, but
I'm gonna be completely honest with you that
was not on purpose, and it wasn't for
the sexuality of it. It's because
my my artist has a horrible memory, and
he kept forgetting to draw in a wound
she had, and I had to think of
a way to get rid of it. So
to do that, she was an trapped in
a and a haunted asylum. I couldn't think
of a shirt she would wear, so she
had... She put on a nurse's outfit it.
And then it just became her thing. So
it wasn't intentional, but guys obviously love the
nurse outfit it. So... Yeah. They were just,
like, what made you do that? I was
like I... My artist has a horrible memory.
Was not on purpose.
But, I mean, was there anything, You know,
you you say, She's... She's beautiful girl. She's
amazing, She kicks us, etcetera. But were there
any specific things like that you did say
to your artist or that you really wanted
to make sure that you...
Didn't
do in sort of the the treatment of
your female characters
or something maybe that you definitely wanted to
make sure that they did.
I said never
never top
and never over.
It was like 1. I don't know what
he was thinking. There's a a ghost nurse
and han asylum. And I guess, like, I
let's say there's a nipple slippage,
but
her shirt was too low or weird and
the artist,
I guess had put her nipple there, and
I had to have the color... Take it
out. I was you can't you can't have
any in there. So I tried to avoid
all,
top list covers, all top less anything.
And I wanted it to be
not too low cut and not too tight.
Like, her. She's got a nurse's outfit it,
which is sexy, but it's not like,
really super tight to her. Granted did some
of the covers. They're super tight,
because I give the artist that do the
covers freedom to do what they want. Of
course they chose incredibly sexy succeed in your
yourself. But in the story yourself, it's a
normal nurse outfit that goes, like, down to
our knees, You know, it's not like this
completely
sexual outfit.
So that was a big thing.
And also,
you know, Ser
is not a dams. You know? I mean
Raven wants to protect her. And
you know, she kind of lets them sometimes,
but generally,
she does things in her own. You could
tell a growth between them because in in
issues went through 7. She won't allow them
to do anything. Like, she runs in the
room without them, and
And even in 17
or 6... Scene. She runs into a room
that pisses him off because she's just like,
let me do it. And she's like, nope.
I got this.
So mostly, she is a a stronger character.
You know, She's not a dams. She doesn't
She's not gonna wait to be rescued. You
know, it might happen now and then because
they're in a very dangerous situation, but she's
she's still... She's not the type to scream
for help, you know?
So do you find that there are more
women writing comics these days? And
if there are, like, are they the ones
driving
change when it comes to the representation of
women in comics?
I only know of 1 other 1,
Laurie C,
which
she's actually would help me come out because
you know, as as being a woman Write?
When I first started this, I did not
tell anyone, I was a female, I would
just have my logo from my you know,
picture. I did no videos and no audio
I did no interviews. I thought that I
would not be taken seriously because not only
am I a woman in comics,
I do her. And I didn't know if
I would be taken seriously. So I did...
I I kind of avoided that. And then
she came along and she does,
zombie Cowboy. She has a a western zombie
apocalyptic
story. And I... It was like, well, if
she can do it, then I can do
it.
Fantastic. Thank you for that. And, obviously, I'll
give another shout out for Emily Carroll through
the woods which I absolutely adore is a
horror. It's so it's so cool. I'm gonna
have a look better. Yeah. Oh, definitely. It's
very good. It is It's good.
In fact, didn't I send it to you?
Audio do sent it to me a can't.
You got it from me. Yeah was so.
Brilliant, Well, thank you so much for joining
us Chris. It has been amazing to talk
to you, and I feel like I've learned
so much.
You're gonna join us on Patreon for a
few minutes just to answer some questions about
running a kickstarter, which is really fantastic. So
that's our patrons, but For everyone else, I
want to say thank you so much for
coming and chatting to us today.
Breaking the glass slipper is written and produced
by Megan Lee, Charlotte Bombed, and Lucy.
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