Indie Comics Showcase #315: Tommy’s, Holmes: Undead, & 1000 Years of War

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!

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Check out the campaign here!

Chris Braly (CB): For those just hearing about Tommy for the first time, what’s the quick pitch—what kind of story are readers in for?

Charlie Clark (CC): Tommy’s is a horror comic set in the 1970s in the small town of Bitter Creek, New Mexico. Once a year, the town hosts a massive hippie festival that draws college students to party, take drugs, float the river—and, in some cases, disappear. When the daughter of a U.S. Senator goes missing, national attention turns to Bitter Creek.

An FBI agent arrives to investigate and is met with resistance from locals who depend on the festival’s money. As she digs deeper, she uncovers a pattern of missing youths and deaths under suspicious circumstances.

Tommy’s is a 32-page, black-and-white newsprint horror comic steeped in the grime, paranoia, and excess of the 1970s. This is an adults-only book.

CB: That’s a great hook. What first sparked the idea for Tommy’s, and what made you decide to take the self-publishing route?

CC: The whole idea for Tommy’s started as kind of a joke or test for myself. I wanted to create a comic book, or actually, I wanted to create six pages just to finish a story. I watched an interview with Mahdi Khene, and he was talking about just sitting down and doing something, and that’s where this whole project started from. As I finished those six pages, I began to really enjoy the process and the story that I was developing in my head. So every night I would sit down and continue to work on it and evolve the character as the pages were expanding.

CB: You’ve clearly tapped into a dark, grounded kind of horror. Who did you have in mind when you were creating this book—what kind of readers is Tommy’s made for?

CC: Tommy is for readers who like their horror a little unsettling and a lot psychological. If you grew up on the late ’80s and early ’90s boom of indie comics—or even those raw, early ’70s underground books—this will feel familiar.

It’s aimed at people who miss gritty storytelling, visible brush strokes, and traditional, handcrafted art processes. The kind of reader who wants to feel the ink, the texture, and the weirdness on every page.

The book is grounded in realism and built from disturbingly factual stories. I pulled inspiration from real-world killers like Ed Gein and Joe Metheny and wove in elements of the Texas Killing Fields highway murders.

Blending those influences, I set out to create a different kind of predator—a “new” type of killer that feels believable for the era. The term “serial killer” wasn’t widely used yet in 1976, so in this world, what’s happening doesn’t have a name. It’s just a growing pattern of disappearances and brutality that no one is quite ready to see for what it is.

CB: Let’s talk about your artistic approach. How would you describe your visual style and creative process as you developed Tommy’s?

CC: My style and creative process are still evolving through Tommy’s. I’m intentionally exploring darker subject matter and moving away from traditional superhero aesthetics and casual comic layouts. The focus is on mood, pacing, and atmosphere rather than familiar panel formulas.

As the story develops, the art develops with it. I allow the narrative to dictate composition, density, and rhythm, treating each page as part of a larger, considered whole. The goal is a fully thought-through book where the visual language, tone, and structure reinforce the realism and psychological weight of the story rather than relying on conventional comic tropes.

Well, that is my hope.

CB: Are you handling Tommy’s completely solo, or did you have a creative team behind you for this first issue?

CC: I’d love to have a full creative team behind this book someday, but from the beginning I really wanted to make this first issue completely on my own—start to finish. Along the way, a few artists contributed pinups, and that support was huge. Seeing other people get excited about Tommy’s gave me the push to keep going on the days when the pages felt slow or heavy.

If I’d had a team, this probably would’ve wrapped in three to six months. Doing everything myself, it ended up taking about a year for this one issue, which can feel like a long time. But now that the world, the characters, and the workflow are all built, I’m hoping each following issue will come together faster and more efficiently.

CB: That’s impressive dedication. What does your production setup look like, and where are you right now in the process?

CC: The production workflow for Tommy’s is largely self-contained. I handle the writing, art, and direction myself, which allows for tight control over tone and execution. My goal was to complete a full issue from start to finish before moving forward.

Issue 1 is fully complete. The writing, artwork, and printing are finished, and the book is currently in production. At this stage, I am only waiting for the physical copies to arrive from the printer.

CB: You’ve gone through the full self-publishing experience now. What are some of the biggest lessons you’ve taken away from it—especially balancing the creative and promotional sides?

CC: One thing I’ve learned from self‑publishing and crowdfunding is: give yourself time. At least a couple of months, just for marketing! Especially if you’re doing it solo like I did.

I tried not to lean too hard on other people for every little answer. Instead, I did the research myself. I found my own printer, produced the book, laid it out in InDesign, and handled the lettering every step of the way. I did it all. And it was a pain in the ass!

I guess once you really understand the full process of making a book—and how long each stage actually takes—it changes you. It can feel numbing and draining, especially when you’re deep in nonstop marketing, building posts and ads for Instagram and other socials instead of drawing.

I’m excited to get back to the art side again. But looking back, the whole thing has been fascinating: a whirlwind of emotional highs and lows that gave me a much deeper respect for what it takes to get a comic from an idea in your head to a physical book in someone’s hands.

I’m currently plotting Issues 2, 3, and 4. I have a core timeline in place, and I’m developing the story using a loose Marvel-style approach, filling in dialogue as the pages take shape. My primary focus is on panel composition and visual storytelling rather than locking in the script too early.

I design the book around strong page turns and clear narrative momentum, making sure each sequence lands on impactful action or revealing dialogue. This approach keeps the story moving and opens the book up to readers without overburdening it with exposition, letting the visuals carry the experience.

CB: Sounds like you’ve got a full arc mapped out. Beyond this first issue, what’s next for the world of Tommy’s?

CC: The plan beyond the first book is to complete the full four-issue arc. In parallel, I’m developing the in-world newspaper that appears inside the comic, designed as a 1970s tabloid-style counterculture publication. The intent is to release it as a companion piece, allowing readers to reference events, themes, and background details that unfold within the story.

Beyond that, there is no fixed roadmap. I may move away from horror entirely after this project. This book represents the first time I committed to something I genuinely love, followed it through, and completed it—rather than waiting indefinitely for the right moment or opportunity.

CB: For collectors out there—any extras, special editions, or behind-the-scenes goodies tied to this release?

CC: There are no special perks or tiers with this book. The focus is to complete it and get it into people’s hands. There is a behind‑the‑scenes add‑on for a couple of bucks extra that shows the making of the book. I’m adding a lot of the progress, the process, and the thinking behind why the pages are the way they are. I do hope people don’t read the behind-the-scenes before they read the actual book, since it would spoil some of it. Beyond that, it’s just going to be original art, and I may offer some sketch cards in the future, so that’s in the works too.

CB: Before we wrap up, is there anything you’d like to say directly to readers or aspiring creators out there?

CC: My goal with this project is to show that you can get big things done when you really focus. This book was hard to finish. I work a full‑time job like most people, and I also freelance on the side, so finding time wasn’t easy. It ended up taking about a year to complete, which feels slow, but I pushed as much as I could within that time.

Even with the challenges, the whole process was enjoyable, and I can’t wait to finally hold the finished book in my hands. I’m excited to finally tell this story in full, and I hope the book makes sense to readers. This is my first time writing and creating a book entirely on my own, so it’s been a real challenge. I just hope people enjoy it.

CB: Good luck on the campaign, Charlie. Thanks for sharing it with us.

Check out the campaign here!

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Check out the book here!

Chris Braly: For anyone just hearing about it, what’s the quick pitch for Holmes: Undead—what kind of story are readers in for?

Casus Belli : Killer Entertainment brings you Holmes: Undead! It’s like Sherlock Holmes meets Vampire: The Masquerade! hen you have eliminated the impossible, whatever remains, however improbable, must be the truth: Moriarty was a vampire, and Holmes had been bitten. Join us for issue number one of this new five-part series called A Study in Crimson!

CB: That’s a wild twist on a classic! Where did the idea for Holmes: Undead come from, and what pushed you to self-publish it?

CBI: Holmes: Undead was inspired partially by Abraham Lincoln: Vampire Hunter but also by a television app trivia game I was playing with my daughter that had a question which sparked this idea. I can’t remember the exact question, but I daydreamed about a Christopher Nolan movie version of Holmes: Undead starring Christian Bale as a vampiric Sherlock and Tom Hardy and Michael Caine as a young and old Watson, respectively. I imagined Patrick Stewart as the ancient vampire Moriarty with his right-hand man Sebastian Moran played by Ian McKellen. Then I pictured Tatiana Maslany as the last of the Watsons—our original character, Gionne Watson.

I made some fan art drawings with my daughter at the time, and it was really just for fun, but I couldn’t let it go. I had self-published two comic books many years before this, and I decided to reignite that pursuit with Holmes: Undead.

CB: So who’s the ideal audience for this? What type of comic reader will get the most out of Holmes: Undead?

CBI: First and foremost, fans of Sherlock Holmes will be interested in this. We attempt to portray Doyle’s Sherlock as faithfully and respectfully as possible—but set in a supernatural horror scenario. Many stories have had Holmes brushing up against the other side, but we put the darkness right into him. Some Sherlockians may not like that, and to them I say: give it a chance. If it’s not for you, I completely understand.

Fans of vampires, vampire stories, and vampire lore will also find plenty to dig into. One of our taglines is (with all due respect), “It’s like Sherlock Holmes meets Vampire: The Masquerade.” Our writer is an author of RPG material, so there’s crossover appeal for tabletop fans as well. Ultimately, our biggest goal is simple: to make great comic books. So if you love great comics, Holmes: Undead is for you.

CB: Tell us a little about your creative team—who’s responsible for bringing this vision to life?

CBI: Holmes: Undead was conceived by me, Casus Belli—a martial artist, pro wrestler, and indie comics creator. I serve as editor and publisher. It’s written by Thomas Pugh, an author and farmer from Shropshire, England, and features art and design by Virgilio Calgagno, a rising star from the Dominican Republic.

CB: What’s your creative workflow like? And how far along are you on the next part of the story?

CBI: Issue One is complete and published. It began with a successful crowdfunding campaign on Zoop, and right now we’re in the final days of a Kickstarter campaign that’s already met its funding goal! We’ve also got copies in a few comic shops local to our team members. We’re working on broader self-distribution and taking Holmes: Undead on the road this year—starting with 221B Con in Atlanta in April and Comicpalooza in Houston this May.

The art for Issue Two is underway—we’re up to page seven and moving at a steady pace—while Issue Three is currently being written. Our process is pretty standard, but as we continue working together, we’re gelling more and more, and the product keeps getting better.

CB: What have you learned about self-publishing and crowdfunding through all this?

CBI: Honestly, that’s exactly what I’ve been learning—how to self-publish and crowdfund better each time. We’re learning on the fly and adapting as needed. We’ve come a long way, but there’s still plenty more to figure out, and I’m confident we’ll get there.

If I can offer some advice to other indie publishers: you’re going to have to spend money, and time, and you can’t quit. You have to be consistent and push every day. That’s the only way forward.

CB: Sounds like you’re in it for the long haul. What’s next after this first series? Are there future stories already in the works?

CBI: Oh, absolutely—there are more stories to tell. We already have a rough outline for a second series, and let me tell you, it’s wild! If you think Sherlock Holmes as a vampire is something, you ain’t seen nothin’ yet. We even have loose plans for a third series. There’s much more to come…

CB: For backers and collectors, are there any special features, perks, or extras tied to this campaign?

CBI: Yes! Backers get a few cool freebies. There’s a mini-poster featuring our Holmes: Undead Rob Liefeld homage pinup by JC Grande, and an original piece of music by our multi-talented writer Tom Pugh titled “Last of the Watsons.” One lucky backer will also win a fine art print of that same name featuring Gionne Watson. Most importantly, this is your chance to get in on the ground floor of this new adventure and our dark take on Sherlock Holmes.

CB: Before we wrap up, any final thoughts you’d like to share with readers?

CBI: Just join us. We need you. We want you. We want to share this with you. There’s a lot to love here. If you enjoy indie comics or want to support new and independent creators, this is for you. If you like Sherlock Holmes, or Holmes with a slick, modern twist—this is for you. If you like vampires… well, the dark game is afoot.

CB: Thanks for sharing this project with us!

Check out the book here!

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Check out the campaign here!

Chris Braly: For anyone new to your work, what’s the quick pitch for 1000 Years of War: Midnight Host—what’s it all about?

Hannah Rose Williams: Medieval wars retold in a “Mad Max” sort of post-apocalypse. I’m calling it medievalpunk. The original graphic novel was about Joan of Arc’s crusade, and it was nominated for a Realm Award. This prequel focuses on the Bohemian Reformation and Muslim invasions of Europe.

CB: That’s a fascinating mix of history and fantasy. What inspired this concept, and what made you decide to self-publish it?

HRW: For years, I’ve wanted to make vampires into monsters again—to return them to their roots as supernaturally cursed beings. Modern vampire stories tend to make them metaphors for queerness, sympathetic love interests, or a kind of virus, while often mocking the Christian symbolism Bram Stoker used to oppose vampirism. I want to explore a different question: “What if the vampire was truly sorry for what he was? What would happen if he took communion?”

CB: Who do you think Midnight Host will appeal to most? What kind of readers should check this out?

HRW: History nerds. My audience tends to be mostly white male millennials, though occasionally a tomboy girl will get into my work, too. I have a lot of Roman Catholic readers because of my Joan of Arc story. I’m not Catholic, but I wouldn’t call my work anti-Catholic. If it’s anti-anything, it would be anti-Mormon and ex-Muslim. But really, I just try to have fun and put out a good product.

CB: You clearly dig deep into historical details. Tell me about your creative process and how your style developed on this project.

HRW: I read everything I could about the Battle of Tours, the Umayyad invasion, Jan Hus, Jan Žižka, Joseph Smith, and Brigham Young. Then I tried to retell their stories in a completely different context—asking, what would our world look like if centralized government collapsed and we went back to warring medieval city-states?

CB: Sounds like a lot of thought went into the worldbuilding. Did you have a team helping you with this, or did you handle most of it yourself?

HRW: I have excellent friends who let me pick their brains with bizarre hypothetical questions—like, “What kind of weapons would you develop if you lived in ___?” But I made sure to be the sole creator of the final work.

CB: Let’s talk production—how do you manage the workflow, and what stage is the series at right now?

HRW: I tried to produce a new comic page every single day—for two years! The entire eight‑issue arc of Midnight Host is finished; I just need to cover printing and shipping costs. The original 1000 Years of War, which featured post‑apocalypse Joan of Arc, is already published in graphic novel form, and I’m super grateful to FundMyComic for helping make that happen. I tried Kickstarter first, and it sucked!

CB: Going through the process yourself, what have you learned about self-publishing and crowdfunding along the way?

HRW: I’ve learned that there are still a ton of people who love comics—they just want something with more depth than the “Current Thing.”

CB: And beyond this series, what’s next for you? Do you plan to keep expanding this world?

HRW: There are a myriad of stories that could be told. Honestly, I don’t know what’s next!

CB: Any special features or backer perks tied to this release?

HRW: I’ve printed a lot of nice stickers to give away.

CB: Before we wrap up, is there anything you’d like to say to readers or supporters?

HRW: You guys are truly awesome.

Learn more at Hannah’s Substack here
and visit her Fund My Comic campaign 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!