Welcome back to another installment of Indie Comics Showcase, the weekly blog where we signal boost a few truly independent comics that are currently crowdfunding their projects, crowdsourcing their funding in some way, or just completely self-publishing on their own. Every little bit of support for these creators matters, from a single dollar pledge to the twenty-five dollar bundle, and of course the higher tiers are usually fun too! Even if you can’t back a campaign or buy a book, you can share or tweet about these projects to your friends and followers.
On Indie Comics Showcase, we interview the creators, show off some art, and tell you how you can check out the product for yourself. Below we have some outstanding crowdfunding campaigns this week for you to learn about, enjoy, and hopefully support by backing one or more of them! Thanks for checking these out and for being the best part of Indie Comics Showcase. Let’s jump in!
Check out the campaign here!
Chris Braly: Nick, for readers just discovering Phantom Hawk, how would you sum up the heart of your story and what sets it apart from other indie comics?
Nick Garber: Phantom Hawk’s recent arrival in the dark city of Crestview finds him steeped deep in its underworld. It is there that he will have to fight through the criminal element and corporate espionage to find what he seeks: secrets of his past and a cure that may forever elude him. Two steps behind him are two cops investigating a murder that points at Phantom Hawk. A step ahead of him is a rival from his past who wants nothing more than to spill Phantom Hawk’s blood for recompense.
CB: You mentioned you created Phantom Hawk and his world, but collaborated on the story. What inspired you to build Crestview and this character, and why did you choose the indie route to bring them to life?
NG: While I didn’t write the story for Phantom Hawk: Resolute, I created the character and the world he inhabits. Phantom Hawk was born from my love of grounded, conflicted heroes—those shaped by trauma, navigating a morally gray world. The city of Crestview, where the story takes place, is a brutal and corrupt place I’ve been developing for years. It’s a reflection of Phantom Hawk’s inner battles as much as it is the setting.
The story itself was written by Matthew Jasso, who brought fresh depth and perspective to the character while staying true to the core of what makes Phantom Hawk who he is. I chose to self-publish so I could maintain creative control over the universe and work with collaborators like Matthew to build something meaningful from the ground up. It’s about keeping the vision pure and getting it directly into the hands of fans who appreciate what we’re building.
CB: Who do you see connecting most with Phantom Hawk: Resolute? What kind of readers did you have in mind when shaping this story?
NG: Phantom Hawk: Resolute is perfect for readers who love gritty, street-level heroes and grounded storytelling. If you’re into books like The Punisher, Daredevil, or Batman: Year One, this will be right up your alley. It’s a mix of crime noir, psychological drama, and urban action—with a focus on redemption, inner conflict, and survival.
We’re aiming this series at mature readers—teens and adults—who appreciate complex characters, realistic stakes, and morally gray decisions. It’s not just about action (though there’s plenty of that); it’s about the cost of violence, the scars of war, and what it means to stand for something in a world that’s falling apart.
CB: Even though you weren’t the artist for this book, you clearly had a vision for its look and feel. Can you talk about how you worked with Bruno Tyler to bring Crestview and Phantom Hawk to life visually?
NG: While I didn’t handle the art on Phantom Hawk: Resolute—that credit goes to Bruno Tyler—I’m incredibly proud of the visual tone he brought to the series. Bruno’s gritty, textured style fits the world of Crestview perfectly. His use of shadows, dynamic compositions, and emotional detail really elevated the story and captured the raw, street-level energy Phantom Hawk was built around.
As the creator of the character and the world, my process was focused on building a foundation that felt authentic and layered. I worked closely with the creative team to ensure the tone, pacing, and atmosphere aligned with the vision I had when I first conceived Phantom Hawk and the city he fights to survive in.
Bruno brought that vision to life in a way that feels both grounded and cinematic—fans of noir-inspired, hard-edged comics are going to love what he’s done here.
CB: You’ve mentioned a few key collaborators already. Who else is part of your creative team, and what do they each bring to the table?
NG: Matthew Jasso is the writer. Matthew has worked on several books within Grok Comics and their world. Bruno Tyler is my artist, and adds a gritty style to this work. Our colorist is Michael Woods, and he’s worked on several independent comic books over the years. His colors add depth, tone, and atmosphere to the pages he works on.
CB: How’s the production coming along? Can you give us a peek behind the curtain at your workflow and how close you are to the finish line?
NG: The art is complete for issue 1, colors are 25% done, as well are the letters.
CB: What’s been the biggest eye-opener for you as you’ve navigated self-publishing and crowdfunding? Any lessons or surprises along the way?
NG: Self-publishing and crowdfunding have taught me a lot—about the business side of comics, but also about building a community. Creating the world of Phantom Hawk is one thing, but getting it into readers’ hands is a whole different challenge. You have to wear every hat: creator, marketer, customer service, logistics… all of it.
One of the biggest lessons is how important consistency and communication are. You can have the best-looking book in the world, but if you’re not keeping your audience informed and engaged, you’ll lose momentum. I’ve also learned the value of collaboration—trusting your team, leaning on their strengths, and creating space for their voices to shape the project.
It’s not easy—there’s a ton of pressure—but the freedom to tell the story your way, on your own terms, makes it all worth it. And nothing beats the support from people who believe in your vision enough to back it.
CB: Looking ahead, what’s next for Phantom Hawk and the Apogee Universe? Is this just the beginning?
NG: This book is issue 1 of 4. We plan to continue this series to fruition, as well as expand the Apogee Universe with more characters and exciting and impactful storylines.
CB: For fans considering backing the project, are there any unique perks or features you want to highlight?
NG: Many tiers offer something for everyone to include T-shirts, Unit Patches, pins, as well as being drawn as a background character in the next issue.
CB: Before we wrap up, is there anything else you’d like to say to readers who might be thinking about checking out Phantom Hawk: Resolute?
NG: Just a big thank you to everyone who’s taken the time to check out Phantom Hawk: Resolute. Whether you’re a longtime indie comics supporter or just discovering this world, your interest means everything. This project has been a labor of love, and it wouldn’t exist without people like you who believe in independent storytelling.
If you’re into gritty heroes, morally complex stories, and grounded world-building, I think you’ll find something here that sticks with you. And this is just the beginning—there’s a lot more to come from the world of Crestview and the Phantom Hawk universe.
Thanks for the support—and stay resolute.
CB: Wishing you all the best, Nick!
Check out the campaign here!
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Check out the book here!
Chris Braly: Nathan, for folks who haven’t heard of Krokodil yet, how would you describe the story and what makes it stand out as a comic experience?
Nathan Danilowicz: Krokodil is historical fiction, and it takes place about 100 years ago. A small group of researchers/photographers travel to South Africa to study a remote tribe only to wind up getting entangled in a life-threatening predicament involving the tribe and their crocodile god. The comic is a self-contained 24-page story within a story that readers can enjoy in one sitting.
CB: You first created this comic back in 2001, and now you’ve brought it back in a new form. What inspired you to revisit and remaster Krokodil, and how has the process changed with today’s technology?
ND: Krokodil was originally created in 2001 and published in a very small edition– printed DIY and hand-bound. The original impetus for the comic came from responding to Scott McCloud’s call to create a 24-hour comic. Ultimately it took me a few days to complete the book, and I was utterly exhausted as a result. At that time, the book was titled “Killer Croc” (obviously not in any way related to the DC Comics Batman villain). Twenty five years later and now it’s much easier to self-publish and distribute comics online. This new technological era gave me the opportunity to essentially remaster the comic– altering some of the artwork, digitizing the lettering, and creating the updated cover design/artwork, and of course, changing the title. Now I can print as many copies as we want and hopefully get some traction via online sales, social media, and the website. None of these online avenues were available when this book was first published back in 2001.
CB: Who do you think will get the most out of Krokodil? Is there a particular kind of reader you had in mind when creating it?
ND: Readers who like historical fiction, horror, and crocodiles, as well as those who appreciate black and white indie comics!
CB: Your style blends a lot of influences. Can you walk us through your creative process and how your experiences and research shape your work?
ND: For quality output you need quality input. I read a lot of comics– all kinds and all genres. There is a lot of great work out there, especially historically, but you need to do some research to track it all down and avoid the piles of fan fiction that’s getting published on a weekly basis by the BIG 2. I also watch quite a bit of Youtube videos about drawing and digital coloring, interviews with creators, as well as reading books about creating comics. It’s amazing how much you can learn just by watching others and listening to other creators talk about their process. I also look at contemporary art, films, and read a lot of fiction. All that reading and research then somehow informs my work as a creator. Life experiences and travel have also been very informative to my work/process. From there, intuition and personality goes a long way to developing the look and the feel of the work.
CB: Since Krokodil started as a 24-hour comic, how did that fast-paced origin shape your workflow, and what changes did you make in the remastered edition?
ND: This comic was initially conceived as a 24-hour comic back in 2001, so needless to say, I had to work fast! I started brainstorming ideas for a story and then I remember going to the library and grabbing a pile of books to use as reference material for imagery (finding images online was not an option) as well as the story. All that was quite time-consuming. Once I started drawing and writing, it all came out very quickly. The challenge was to not spend too much time on the art, to avoid too much noodling, yet make it look good. Overall I was/am quite happy with how it all turned out. Thanks to Scott McCloud’s challenge, I learned a lot about the process of making a comic book, the importance of working within a framework, and not worrying about trying to make everything perfect– just get it out. You can always improve it 25 years later!
Krokodil was drawn and inked analog (traditional) and included ink washes. This remastered edition features digital lettering and some additional digital ink washes. At the time of creation I had been attending the Maryland Institute College of Art and studying with comic book colorist (artist) José Villarrubia. He taught a class that emphasized co-mingling analog (traditional) methods of working along with digital applications (mostly Photoshop). His class and his insight were a very positive experience. To this day I really enjoy combing digital and analog methods. Thanks José!
CB: What’s been your biggest takeaway from self-publishing and getting your comic out there independently?
ND: Indie comics is a labor of love, and the best thing is that you can create whatever the fuck you want.
CB: Are you working on any new projects or stories that fans should keep an eye out for?
ND: Without giving away too much, I am working on a comic book anthology featuring 8 different artists. The “plot” follows an anthropomorphic mammal who struggles to navigating a dystopian medieval landscape, with metaphysical Eastern themes.
CB: The cover of Krokodil is really striking. Are there any special features or details in this edition that you’re especially proud of?
ND: Yes, Krokodil features a wraparound cover that is pretty rad! The continent of Africa unfolds to become a crocodile!
CB: Thanks for sharing your journey and your work with us, Nathan. Any final words for our readers?
ND: Thank you all for your support!
Check out the book here!
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Check out the campaign here!
Chris Braly: Chad, for readers just discovering your work, what’s the core idea behind your comic, and what makes this story unique in today’s landscape of super-powered tales?
Chad Taylor: In a world where magic is becoming more common place five teens come together –after the first sighting of a super human or modified human being– to stop a former pharmaceutical CEO Eric Mason from collecting the gene data from a gene data base and making the soldiers of the future.
CB: Your story zeroes in on more grounded heroes. What drew you to this approach, and why did you decide to bring this project to life as an indie creator?
CT: From wanting to see heroes who seemed more grounded. Do these heroes want to being heroes day in day out? What other responsibilities conflict with that.
CB: You’ve mentioned this is a drama with young adults at the center. Who do you see connecting most with your comic, and what kind of reader did you have in mind as you wrote it?
CT: This is very much a drama for young adults. 14-21 Is the ideal audience people who are going through the teenage experience or know what’s it’s like to be an young adult and having survived that experience. Seeing the other side of the coin so to speak.
CB: Let’s talk about your creative process. How do you approach writing and developing your characters and storylines?
CT: I put character at the forefront and I put seeds n the story that reveal themselves later. I like to throw a few crib balls for the reader in some way. When you write you just let the characters reveal themselves. Usually when they do it leads to interesting places. I notice the words are more fluid when I don’t set in stone a character’s dialogue. The Marvel method if you will.
CB: Can you share a bit about your collaborators and what they bring to the book?
CT: Zen has been my letterer for a while now. He’s worked with a lot of other publishers. He’s one of the best Rafael has been my cover colorist for a while too and has colored one of my other comics “Sword of Tora”. Elioh Kortsarz does great background inks and she did the first few pages, she’s great.
CB: As someone who’s navigated the indie comics and crowdfunding scene, what’s one key lesson you’ve learned from the process so far?
CT: That is best to get ahead of things. You definitely want to put yourself out there as much as possible.
CB: Beyond this comic, are there any other stories or projects you’re excited to share with your readers?
CT: One of the rewards is a book I’ve been writing called “Soul or Keep”. It’s about a delivery truck driver named Nate that realizes he’s been blacking out and sleepwalking for two weeks and he’s under the control of his father’s old friend. He has to play Soul or Keep to get his life back. It’s fifty or so pages. It’s a pdf of the book in the Indiegogo campaign. I plan to have it on Amazon and Barnes n Noble as well.
CB: For fans interested in backing your campaign, what kinds of special perks or unique features can they look forward to?
CT: Soul or Keep pdf is the first rewards along with The 5ivefooters #1 anniversary edition of course. The duo trading cards are fun. Instead of getting the typical one character on a trading card you get more for your buck. The 2nd tier you get two out of three duo character cards.
CB: Before we wrap up, is there anything else you’d like to share with our readers or anyone thinking about checking out your campaign?
CT: Thanks for this. The campaign begins July 7th! Please follow us on Instagram @uni5icomics and chadtaylor.substack.com if you like short stories comics etc.
Check out the book here!
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That’s it for this installment. If you’re a creator ramping up your own campaign or have a comic available for purchase online and you want to be featured in our weekly column, click here so we can hopefully help you get more eyes on YOUR crowdfunding comic project. Until next time, support indie comics!
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