Perhaps one of the most unique takes on a kaiju story to date, Kaijus and Cowboys has been immensely successful thus far on their Kickstarter campaign. Site Lead Jacob Lyngle thought it was brilliant, combining the old Wild West with traditional kaiju action fare. Typically, kaiju movies are set in the current time period of production. Most kaiju attack cities, images of skyscrapers collapsing from the utter might of these creatures etched in fans’ heads. But, what if they were to attack the local town saloon, and the sheriff in town had to eliminate the threat? That’s what Frankie B. Washington and Matthew Blair have set out to do with their new underground indie comic. Jacob was joined by Visual Editor and co-chair, Rachel Kingery, of Gigantuan Design, to discuss the comic, their aspirations for it, and how they feel about the current indie kaiju comic revolution happening!
Interview
Jacob Lyngle
Hey, guys! Jacob here with Kaiju United.
I’m here with site visual editor and co-chair, Rachel Kingery!
Rachel Kingery
Hello, everyone! I’m the visual editor for KU. I’m excited to be here!
Jacob Lyngle
Anything visual on the site? Rachel does. The pretty logo on the page, the artwork, you name it..
Frankie B. Washington
Rachel representing the arts!
Jacob Lyngle
We’re here to here to promote Kaijus and Cowboys with artist Frankie B. Washington and writer Matthew Blair!
Frankie B. Washington
All right. Hey, what’s going on everybody?
Jacob Lyngle
Why don’t we start by having you guys introduce yourselves?
Matthew Blair
You want to go first Frank?
Frankie B. Washington
Alright, hey, everybody, what’s going on? Frank B here. Oh, boy. I’m all over the place. On Instagram, on Twitter, Facebook, Tumblr. I’ve been in the art industry for 30 going on 30 plus years now. And when I say Audit History, I’m talking about the bulk of work in advertising. I’ve worked in animation, production, film, trading cards, greeting cards. You name it!
Rachel Kingery
How did you get into commercial illustration?
Frankie B. Washington:
I’ve always had that hunger to have a very eclectic portfolio. That was my mission. And then two years after graduating art school, I got nothing. And I was at a crossroads. At the time I put myself to art school, I was working security for a security company. They really loved what I was doing, you know, and they were like, Hey, what’s your next step? And the next step would have probably been armed security and that kind of stuff. But my captain looked at me and he said, Frank, what was the whole reason for you going to art school? And I said, because I want to make a living drawing. He pushed me to chase that, just like how my teachers in high school pushed me to go into art school.
I looked at the heavens, and I said, please, all I need is one gig to drop in my hand. I need a drawing gig. And I’m jumping for it, regardless of what it is. And I did. Job came in for a new production company, and they said, hey, we need somebody to do storyboards. And I jumped right on it. And I did it part time with security work. And then eventually, I moved on full time with them. And then that was the start. And I never looked back.
Jacob Lyngle
What an incredible story. I know you did some work on Robot God Akamatsu with another writer, but how did you and Matthew end up meeting and collaborating on this project?
Frankie B. Washington
I come across my man, Matthew, here, Matthew content. Well, Matthew put out a post on our website, saying he was looking for an artist for webcomic. And I said, Oh, that’s pretty cool. That sounds like you know, a lot of stuff. I was still doing a lot of ad work and stuff. But I was like, God, I could probably bust this out, you know. And so, we connected with him. He liked what I had. We ended up doing this on webcomic that ended up being what do you think, Matthew? Was it? Like five years?
Matthew Blair
Five, six years? Yeah.
Frankie B Washington
Yep! We’ve been working together five, six years. We started by working on a webcomic called The Secret Lives of Super Villains, and it was tremendous. People loved it, and we did it free. It was easily viewable online! Matthew kept bouncing around with the ideas of trying to do something else like an actual flowing comic book. And then we started talking and Bingo Bango! Kaijus and Cowboys came into effect. I would say 2019, 2020? When did we start up, Matthew?
Matthew Blair
Yeah, 2019 was when K&C was born. 2020 as we know, everything was on hold. You could call it the formulations year! Ha-Ha. In 2021-2022 we made the first issue and launched the Kickstarter for it, and it was successful! Now we’re about to do another Kickstarter for issue 2, and we’re excited to talk about it!
Frankie B. Washington
Hey, we’re having fun, and we’re creating things and whatever and such and such. And I was very grateful that Matthew was like, well, Frank, I want to do a story that that you want to do, and I was just like, well, look, I love giant robots, and I love giant monsters. I felt like right now in the marketplace the genre was getting a massive boost from MonsterVerse, and films like Pacific Rim. I’m thinking like, we’re right now amid this amazing period, where the genre is getting seen by millions of people. I mean, I had a chuckle.
Rachel:
When did you know the genre was going to have another boom?
Frankie B. Washington:
When I saw Pacific Rim, I was working at an agency and this woman who I worked with knew nothing about, nothing about the genre. She comes up to me, she’s like, hey Frank, I just saw this movie. And I’m like, yeah, what’s going on? And she’s like, it had Godzilla! You see, the way she said it, I was ecstatic, and it brought a smile to my face, because she knew nothing about it. But she just learned about it. And I’m like, that’s it. You know, no one that knows nothing about it could care less. But suddenly, they’re exposed to this thing. And when it’s done well, oh, man, it’s magic. It’s great.
I told Matt, dude, we are in this moment right now. And so, I don’t know where the title came from. I mean, me and Matt did talk about kaiju and cowboys. It was something that we floated around, and it just sounded right. We’ve had people trying to tell him the correct pronunciation of kaiju. We were like, yeah, we knew that. But we want to make it our own. That’s the whole point of comics, outlaw comics, underground comics. It’s about you pushing against what is the norm. Back in the day, I remember comics were often spelled coMIX. That’s not the correct way to spell comic. But an outlaw would be like, I’m going to spell it the way I want.
Jacob Lyngle
Yeah, like, Mortal Kombat Uses a K for stylization!
Frankie B. Washington
So that’s the whole point. The whole point for us is that we feel like we’re in that stage like something such as the Mirage Comics Ninja Turtles I mean, when the Ninja Turtles first came out, they didn’t look the way they look now. No, no way. They did not look like that in the Peter Laird and Kevin Eastman stuff. It was black-and-white, dark, gritty, and serious. That’s the kind of stuff that I love, because it’s just the artists being the artists and being very pure to the craft.
Jacob Lyngle
Can I ask you guys… where did the cowboy part come from? We know Frankie’s a gigantic robo fanatic, ha-ha. Is Matthew a western film fanatic?
Matthew Blair
Like Frankie said, the reason why we created this is because I wanted to write something that Frankie was a fan of, and that Frankie really liked. So, I don’t remember exactly what the email was, but we were hashing out, and Frankie sent me an email saying something like, hey, you know, I like the idea of incorporating kaiju into a Western. How could that work? I had to sit on that one for a minute and really think about it.
A few days later, I’m sitting at a bus stop. And I was thinking it over. And I had, like, I know that sounds cheesy as heck. But I literally just like it just popped into my mind. What if there’s a robot wandering around like in a Clint Eastwood movie, and he’s got a dust jacket?. And then I sent that and like, I know this for a fact I sent him like the character description of the main character and things like this. And he took that like, single sentence and scored a touchdown.
Jacob Lyngle
What was the name?
Matthew Blair
I think you know. He’s Clint Eastwood Robot! The Bot With No Name!
Rachel Kingery
Frankie, what was your reaction to the pitch Matthew emailed you about?
Frankie B. Washington
Basically, when Matthew sent that back to me, my first thought was I thought of three things that pop because that’s how my, my sort of inspiration comes. It’s very fluid. When I draw or do my artwork, especially comic related stuff, I’m really trying to imagine little Frankie. Little Frankie was very spontaneous. I try and go with what I’m feeling. I remember watching these Kajiu movies, even Westerns, and the big thing I got out of it was that I got an emotional feeling from it. And a feeling felt whatever, like, you know, if I saw Godzilla and I was like, “Ooh”, you know, it was like this feeling that you get inside.
I’m then able to transmit those emotions to my visual art. That’s the way I can explain it. And so, when, when Matthew sent me that description, I really saw an image of Clint Eastwood, of course, but combined with Jet Jaguar, and Jack Kirby’s Machine Man. And I said, Okay, let me start drawing. I knew with the face that I wanted it to bear some small resemblance to Jet Jaguar, because I’ve always loved the Showa era Mechagodzilla and Jet Jaguar kind of look. But then also, I wanted to mix that with Josey Wales. He’s a very mysterious kind of thing I love anime and I love manga. So, I played with his hat. So, the main bot’s hat is like 1000 sizes too big. And then of course, the dreadlocks. The dreadlocks are something that was my own little fantasy thing, where I’ve always imagined like standing on some top some hilltop and I’m in silhouette. All you see is my hair just sort of blowing you know, when like, like these tentacles flowing. And I said, there he goes. You know, that’s it. And that was the first immediate rough drawing that I did. I sent all of that to Matthew, and he was like “Woah!”.
Cover art by Frankie B. Washington
Matthew Blair:
You should have seen my face!
Rachel Kingery
The dreadlocks were my favorite part of the design, I thought it was so cool. And original.
Why did you guys choose to use Kickstarter instead of a publishing house?
Matthew Blair
Kickstarter is great, because like, for the first time in entertainment history, it has never been easier to make your ideas a reality and to give out to the world to literally anyone with a computer. And like I mean, even with like the original Ninja Turtles, they were still l printing it out, stapling it, and handing it out to comic bookstores, which worked for them.
Modern technology and means allow us to create our books with super high quality and in color too. That is mind blowing. Why two guys who came up with an idea of, you know, printing a color comic book and releasing it out for the world; making their own way in their own money doing it like that’s, that’s unheard of, like you can go back 20 years, like, that wasn’t going to happen. So, like, you know, Kickstarter, just crowdfunding in general has been like this, this fantastic avenue, it’s a great way for us to tell the stories that we want in the way that we see fit. And we’re in the middle of this boom of fantastic independent work.
Frankie B. Washington
I just wanted to add a little bit on what Matt was talking about as well, because I’m gonna keep it real, the thing about making comics; it costs money. It costs a lot of money. Like what when we think about the Ninja Turtles example we have been using, they were going to various cons, I during that time, I also went to college and stuff, and they weren’t as expensive as they are today. And so, if you’re talking about traveling to different shows across the country, and whatever, that starts racking up a lot of money. I think that’s the toughest part for any person trying to do this thing is that there must be the element of business, you must sit back and take a deep breath and examine it with that lens. How do you survive? You have got to pay bills and rent. Now, you’re going to say, I’m going to try to fulfill this dream, you start looking at the numbers, and the numbers don’t add up.
There comes a point where you can’t just go to a show. You’re sitting at a table that you spent $400-$500 at, and you’re going, wow, we just made 10 bucks today. That doesn’t make sense! Because then you put yourself in the hole. I’ve seen too many sad faces, people who just didn’t take the time to strategize, and try to say, well, what are the other options?
A huge option is crowdfunding. You must take the time you got to build your audience up. You can’t walk into with expectation that somehow people are going to just fly over and buy this thing. . Because yes, there’s a lot of other people out there with just as amazing, amazing books as well. So, you have to start sitting and strategizing going well, what do we have that can reach certain people? What can be that unique thing?
And for us, I think one of the things that we’ve been pushing the most is that we pay homage to the Bronze Age of Comics, that’s a great selling point. It’s a great way to tell people that this is what we’re doing with the style of this, the way it looks is, and the overall vibes. We’re trying to give that feeling of something that came before but clearly, this is 2023. It can still have that old feeling, and what did we get from the Bronze Age?
We got great stories. We got build-up. They felt like soap operas. The action was there. You felt like you sat down and ate a meal. A full meal.
Jacob Lyngle
I love bronze age comics. One of my favorite writers is Marv Wolfman. Of course, George Perez art is the best, but that entire age, stuff like Marvel Godzilla and Tomb of Dracula being my favorites, really resonates with readers to this day.
Frankie B. Washington
That’s what we want to do. We want people to have a full meal. When you read K&C, We want you to feel like yeah, we’re in this. That’s why anytime you see me posting, I’m like, come ride along with us, partner! The key thing is that I don’t want to scare people away. Too many people are scaring potential readers away because they’re creating this weird click mentality. You got to say, well, come on. Don’t be frightened of us. I’m not going to hammer on you just because you didn’t read Spider-Man issue number 360 If you don’t know anything about Godzilla or do not know anything about cowboys, that’s not my job.
My job is that we are creating entertainment escapism. Please come on. Don’t you want to escape? Whatever, whatever issue that’s in your life right now that’s causing you, you know, problems or issues. Well, you now have a book in your hand that will hopefully afford you a little bit of escapism for whatever amount of time you want to read it. And hopefully you’ll stick around for the ride. Totally. Period. That’s it. That’s the best pitch right there.
Rachel Kingery
There’s been a nice movement of indie kaiju and giant monster comics. Colossal Conqueror, Sector-7, and many others. How does it feel to be a part of this movement?
Frankie B. Washington
Oh, it feels fantastic! Haha. And the best part is that they are all different. Tyler does something different than Boyce. We all do monster comics, but each brings something different to the table, so that anybody can read any of our books, and find at least one they really enjoy.
Matthew Blair
A little bit of background about me… I am not really a huge kaiju fan. I am like the least informed about, like, you know, the movies, the directors and all that stuff. Frankie made me a fan. I saw the American Hollywood Godzillas that have come out, and surprisingly, I saw the original Godzilla for the first time a couple of weeks ago. And I liked it. I think part of the reason why kaiju are so popular is because the genre is so diverse, it’s got a few broad ideas that are open to some fantastic interpretations. So, it lets you do different stuff. When I was writing the plot out for this story, I sat down and I thought to myself, “What is Godzilla?”. Godzilla is a monster comes out of the ocean, and flattens everything before him, and then goes back goes back in. He does to represent that metaphor, that this thing will absolutely destroy us if we don’t treat it with respect. Of course, the nuclear symbology too. And like, it also plays into Japanese ideas of respecting nature, the planet, and respecting the world around you. Because if you don’t, you will suffer.
On the other end, what is a cowboy? A cowboy is the complete opposite. A cowboy is a person who goes out into the wilderness and the lawless west and brings order to everything they see. It’s literally like two unstoppable objects colliding into each other. You have these opposing philosophies, these opposing ideals. Who comes out on top, who’s right, who gets to win; you see that metaphor played out in the most direct way possible, in the direct conflict and fighting between the kaijus and the cowboys.
Frankie B. Washington
Well, just to add, when I think of a cowboy, I think of one as an individual who does something crazy. When I grew up in Boston, I saw people doing crazy stuff like being chased by cops, doing whatever they can to escape, like hopping over the mailbox for more distance. That’s a cowboy move. They’re not dressed like cowboys, but they do things that we think in our mind of what a cowboy would do. Of course, instead of a horse, they jump on a train. They are faster to draw. Those can be cowboy moves to me.
Jacob Lyngle
The actions make the cowboy!
In your press releases, there is a lot of talk about the themes of colonization, something that is historically prevalent in the old west period. Growing up in Utah, we saw some of that with our indigenous Ute tribes and how they were treated. How do these heavy themes come about in your own comic?
Frankie B. Washington
Absolutely, you look at history, especially in the cowboy times, that was all there. That is the whole point of expansion. You go out and forcefully take somebody else’s land. Some folks are like, let’s just sit here and negotiate. Others may be like why should we negotiate? We got bigger guns. I mean, that’s, that’s just how history has happened. So, with our story, we’re just asking that question. I personally can say, I don’t know who’s right and wrong. I don’t know. Are the colonists? Or is it the kaijus? Because it’s a massive story. I am working on issue six right now.
Jacob Lyngle
Six issues! How do you plan on maintaining release schedules and multiple Kickstarter campaigns?
Matthew Blair
We learned from our previous comic a while back. We did that for six years and got so much learning and practice from it. For example, making sure that we have enough of a cushion to make sure we can release stuff on time, even if like something goes wrong.
Frankie B. Washington
I also look to other comics coming out. And sometimes I feel bad because I remember that comic books are a visual medium. I feel for writers who may have written an amazing story, but the art isn’t up to the same bar. I have gotten books from people where I was like, wow, man, the writing is on point! And the art just isn’t there, man. There must be a harmonious balance. You should never be rushing your product.
Think of like films, think of TV. Do you think that they rushed this stuff? They sit and they go, Okay, well, here’s the plan. We’re going to take six months to a year to get all the production done. I’m going to make sure the script is done; the scripts are still being worked on. Even if the shooting date, and then past shooting date, things will get tweaked again.
You must have that kind of mentality when you’re working on something you supposedly care about. I told Matthew this, I said, Matthew, I want to feel good. I want to feel like when someone reads a book, even if somebody may not even enjoy it, I still want to be like, well, I still gave 200% I want to feel like that, like I gave 200% with a big smile. You might not have enjoyed it for whatever reason. But I still want to feel like yeah, I gave 20%. I’m sure Matthew feels the same way. That’s all we can do. And if you still don’t enjoy it, okay, that’s okay. That’s all right. I’m sure you’ll find something out there that you will enjoy. But we know we did our part.
Rachel Kingery
Besides supporting Kickstarters, as we’ve discussed that part, what is the best way for the community to support independent artists and writers?
Matthew Blair
I’d say, follow people on their socials; help spread the word out. It costs nothing, except maybe thirty seconds of your time. Also, it’s not just Kickstarter. We have used a crowdfunding site called zoop. They’re doing some pretty good stuff. Patreon is a great resource for creators, sites like that, such as Kofi. There are so many resources out there. It has never been easier. If you have an idea, just go out and do it.
There are many resources out there not only to create, but to monetize as well. And so, the difference, the people that are going to succeed, the people that are going to go on to be successful, are going to be the ones that care. They’re going to be the ones that are willing to put themselves out there. And they’re going to be the ones that can get people excited. And if you’re one of these people too, who wants to support wants to support us, like you know, I’m on Twitter, Frankie’s everywhere. Just follow us and if you have the means, support our Kickstarters.
Artwork by Frankie B. Washington
Frankie B. Washington
Building off what Matt said, I would also say engagement. Don’t be afraid to engage people, writers and the creators you support. But on the opposite side, writers, and artists, don’t be afraid to engage people, even if you don’t agree with them.
I think we’ve gotten to the point where we have all this great technology for communication, but no one wants to engage anyone. And when they do, they always want to be negative, and be contrarians, and that kind of stuff. Not me. All they’re going to get from me is Kaijus and Cowboys, or just positivity, plain and simple. I love talking about comic books and Bronze Age stuff. Just keep it positive! Some folks, for example, say do you read digital books? No, not really. I like floppies. I like physical comics. I’ve had people try to get me doing digital. And I still don’t look at digital stuff. You know, but if that makes you happy, then don’t stop. I fully support you to do your own thing.
If I owned a comic bookstore, I’m not going to try to kick somebody out. I will not try to talk them out of not buying a book, that’s bad business. I may not agree with you on certain things or whatever, but there’s some books back there waiting for you. You just got to take your time, get back there. Put a big smile on your face. You know, that’s what you’ll get from me.
Matthew Blair
Exactly. You can reach out to us, and you can disagree with us. We won’t bite your head off, I promise! When people say diversity is a strength, it’s true. If you want to reach out and say, hey, I don’t like this, I’m like, well, okay, what do you like? I want to learn. There are things I don’t know, and there are things for example, like we said earlier, things that Frank is an expert on that I have no idea about. But at the same time, it’s like, Okay, that’s interesting. Let’s put all that away for later.
Next time, I can bring that up in conversation with someone. For example, I’m still doing the nine to five gig to support this. But instead of nine to five, I’m doing 12-hour shifts. To my coworkers. I’m the comic book guy. I’m the kaiju guy. I’m the guy that talks when people want to learn about what’s going on with the Marvel movies. The first thing I ask is what their favorite superhero is, and that’s the easiest icebreaker.
Jacob Lyngle
Speaking of comics and artists, Frankie, who is your primary influence? There are always people like Kirby, Ditko, and Lee, who are just iconic on a fundamental level, but who is the one that really is the one to you?
Frankie B. Washington
Oh, it’s got to be Herb Trimpe. When I read the Shogun warriors, that changed the game for me. Herb’s art, and Doug Munich writing on the Shogun warriors and Godzilla was phenomenal. Those characters looked like they fit right into the Marvel Universe. They’re saving people, but they’re still giants. I mean, it’s like he has such energy in it. I love the stuff where he would where a character would be standing like, it looks like he’s standing on a whole city. So, the size is somewhat a little off and you’re like, Okay, I can live with that. It was always a little fun thing. Even with the Godzilla stuff, Godzilla had muscles. The characters had movement. They weren’t like a stiff mountain lumbering around, they put movement in it. And I think that’s what excites me more.
Jacob Lyngle
At the beginning of the story, there’s a character named Tezuka, who’s the inventor that has created all of these robots across the world of Kaijus and Cowboys. Is that referential to Osamu Tezuka? Or is that just a name that you guys came up with?
Matthew Blair
Oh, of course. The guy’s name is Ishiro Tezuka, it is mishmash. Ishiro Honda, as many of us know, is the guy who directed the first Godzilla movie. Osamu Tezuka, on the other hand, is basically one of the three godfathers of Japanese manga. I don’t know a whole lot about the history of Japanese manga, that’s Frankie’s love. I know a lot more about the history of Western comics, but Osamu Tezuka is an important name that comes up a ton in the history of manga.
Frankie B. Washington
That’s the thing with these references. This is the whole point of outlaw comics, underground comics and indie comics, is the fact that we’re showing homage to what came before. I go back to the Ninja Turtles. Maybe it is the canister that blinded Matt Murdock. Or maybe it isn’t it, it’s just a fun thing that pays tribute to the past, but respectfully.
Matthew Blair
Yeah, it’s on record that the original Teenage Mutant Ninja Turtles started as a parody of Frank Miller’s run on Daredevil, which was happening at the same time. I think the reason the Bronze Age of Comics resonates with so many people so well is that it was the moment where comic books could like step out of the box that they made for themselves. Because like, you know, in the 50s, like, there was the Comics Code, and all that backlash, Comic books were the violent video games and rap music of their time.
You have the Comics Code. For those that weren’t around in that time that may reading this, it was basically a guideline of morality to uphold in comic books. If you violated the code you can’t distribute it. It started in the 50’s after folks began thinking that comics were corrupting the poor innocent children. A few examples — you could not show crime being shown in a relatable light. You can’t show Sex, you can’t show violence, you can’t show show drugs. This was the law in the comics industry for like thirty years. Then, the 80’s rolled around, and everyone’s sort of like, “You know, we got this “comics code” sticker on the books, but like, do we really need it anymore?”, And so they were like, how far can we push that?
There was a Spider-Man issue where, the government approached Marvel and asked if they could do a Spider-Man issue about drugs. And, and, like, Stan Lee said, Sure, we’ll do that. The comics code didn’t like that, and threatened to revoke the sticker and prevent publication. Stan was like, Okay, so we’ll just publish the book without the sticker. What are you going to do about it? The US government has given us the okay for this. Screw you! And so they did. But yeah, the Bronze Age was like, this wonderful time of experimentation and exploration, and we’re going to, you know, break all the norms down. And then, you know, comics became popular again, and then the 90s happened
Frankie B. Washington
Well, yeah, but that’s the thing. I think, a huge part of that was that, during that time, it was about escapism. It was about these vast these these stories that went out there. I mean, you had imagined that you have a team artists and writer who are on not just for comics, you know, for issues, excuse me, but they’re on 20 issues, 50 issues, and then occasionally, you know, they may have to bring some other guests people in but I mean, think about that. A writer or artist that actually had to work on one title. And they stayed on it and fully committed.
I took inspiration from that era, and suggested that we set a sort of a plate a milestone for us. Kaijus and Cowboys is 12 issues. Just like the OG Secret Wars was. But back then, that’s what you’d get. A huge epic story. Then, the 90’s came around, and you got 8 issues, 4 issues, just limited smaller, stories, and I thought, oh, we’re in trouble now. Then, you don’t have that sense of what I call loyalty, and a feeling that you’re gonna get a book, and it’s going to have the people that worked on it continuously, and you can invest in that journey of many, many issues.
In the modern age, a book’s only four issues, and then a new team may come in, a new writer may come in. The new writer may bring their own different flavor in; it may alter certain characters that readers love. Everything they liked about the book may change in an instant. I just see that now, where you don’t have a lot of that sense of loyalty, you certainly see it though, you start to see people coming in and doing stories, where you’re committed to that story, and the creators stand on it for the long run. I am hoping they’ll bring back more of the addictive nature of comic books, where it’s almost like a soap opera, where you just HAD to see what happens next time!
Art by Frankie B. Washington
Jacob Lyngle
Well said you two. Even as a younger comic book reader, I still flock back to the Bronze Age, because I think it perfected the two previous ages of comics, even if the legends and founders were no longer with us. But, I think it created new iconic creators and characters!
Well, guys, we’re nearing the end. Are there any final comments that you guys have for the folks at Kaiju United before we sign off?
Matthew Blair
Thanks for having us! I hope you guys enjoy the comic! Please be sure to back the Kickstarter! We cannot do this without you. You can follow me on Twitter, and the Kaijus and Cowboys official Twitter account. Don’t be afraid to engage, and to write! We went on this journey to get the first issue published, and somehow we managed to make it even bigger. They journey to this point alone has been phenomenal, and I really want to thank you guys for being along for it.
Frankie B
Thank you Kaiju United! You guys are putting spotlight on indie creators like ourselves, and that’s a very important thing. We totally understand how crowded it is at times. The fact that you have chose to promote us, we appreciate that greatly. And to fellow creators, we are sitting at the bleachers too! Thanks for promoting infant IP’s like ours! Like Matt said, support your indie and underground artists and comics. Have a wonderful time out there reading and enjoying. Thanks again for having us on here!
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