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Keenan Marshall Keller and Alex Delaney
619 Plays1 month ago
Shelia Knox awakes from a two week coma to find her life torn apart.
Her children have been savagely murdered. Her husband is missing. Her hand completely mangled and her throat slit to within inches of her jugular…Leaving her with nothing left to live for.
So, when the men responsible for taking her and her family, come after her to try and finish the job, they unwittingly let loose an Angel of Death, hell-bent on hunting down those responsible and making them all pay.
From the creative team of Keenan Marshall Keller (writer/co-creator of The HUMANS from IMAGE Comics) and Alex Delaney (creator of The Derelict and The Other Side of Town) comes VENGEANCE Is For The LIVING; A 4 issue mini-series overflowing with gritty exploitation action about the power of anger/loss and the clearness of vision that VENGEANCE can provide.
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Transcript
Introduction of Guests: Kenan Marshall Keller & Alex Delaney
00:00:22
Speaker
excited to have Kenan Marshall Keller and Alex Delaney on the show.
Comic Series Debut: 'Vengeance is for the Living'
00:00:27
Speaker
Before you're going to hear their voices, I want to tell you about their new comic series, Vengeance is for the Living, in four parts. Here's a description of the first issue, um and it's an issue I loved and folks have really enjoyed. Sheila Knox awakes from a two-week coma to find her life torn apart. Her children have been savagely murdered. Her husband is missed. Her hand completely mangled and her throat slit to within inches of her jugular, leaving her with nothing left to live for. So when the men responsible for taking her and her family come after her to try and finish the job, they unwittingly let loose an angel of death, hell-bent on hunting down those responsible and making them all pay.
00:01:13
Speaker
Damn. All right. vengeance is for the the Vengeance is for the living. And I was thinking about this show. ah There's just something feel, you know, I feel like ah times feel weird. Like politics feels weird. ah Things feel weird.
00:01:31
Speaker
Need to clear some space for vengeance for you know for for when folks have been so horrifically yeah horrifically ah wrong. um I wanted to ask you, um i i've ah I saw a great video in them ah Comic Lounge covering ah the first issue and I recommend that to folks on YouTube to get a little look-see at vengeance for the living. um Where did this ah project come from? I've enjoyed your work separately ah over the years and seeing this unholy, wonderful combination of you two and your talents. um Where did this project come
Origins and Collaboration of 'Vengeance is for the Living'
00:02:12
Speaker
from? Tell us a little bit about Vengeance is for the Living. Do you want to start, Keenan, or do you want me to? i'm Sure. I mean, it started
00:02:22
Speaker
It started back when Tom Neely and I were on the first tour for the humans and we were going up the west coast to go to like Rose City or one of those cons and we were doing some in-stores and The night before the floating world show we did it in arcane comics in Seattle and that place is awesome and I saw The derelict on the wall and I was like, what's that? It just kind of struck me and I pulled it off the wall and I was instantly like I'm buying this Who is he's like? Oh, it's some guy up in Portland um
00:02:55
Speaker
ah But I was instantly in love with it and talking to Tom about it all night. And then the next night in Portland, Alex came to our signing at Floating World. yeah And that's when we just started talking. I was like, holy shit, you're this guy. He was like, yeah. And then they had his other comic at Floating World. So I got that there, ah other side of town. And we just started a friendly relationship. And then he was like, you ever want to work on something together? And I pitched him like four or five like ideas. And he was like, that one. And that was vengeance.
00:03:23
Speaker
so Wonderful and Alex. um Yeah, the derelict it is striking It's like I saw you work Alex and I was like, holy shit, you know, like I want this stuff Alex about things about your Your your connection and you know meeting up with Keenan and ah working on vengeance. Yeah um when You know, I don't really ever get jealous of comics that people put out. But when um I initially saw The Humans, I was like, fuck, that's a really cool comic. Man, I wish I could do something with that. These guys, like I knew Tom already from Stumptowns and Henry and Glenn and stuff like that. um ah But I hadn't met Keenan before. And I was just like, man, they've got something really special going with this book.
00:04:13
Speaker
um And so, you know, when they were coming to town, I was like, hell yeah, I'm going to go and at least say hi and, you know, talk comics with them, if I can. And ah yeah, so anyway, it just kind of started off really natural conversation like Kenan was saying. And um um as we talked more and ah started putting some the
Vision and Aesthetics of the Comic
00:04:38
Speaker
wheels in motion for, you know, what does this book look like, you know, um and it went through.
00:04:44
Speaker
several different kind of iterations. It's like, okay, now it's going to change this part a little bit or um these things. But the vision was pretty clear from the start as far as like what kind of aesthetics we wanted to bring to this. yeah um If you're not into like hardcore grindhouse flicks, ultra-violence,
00:05:07
Speaker
You know, it's probably not the book for you. But if you like those things, if you enjoy that kind of entertainment that also has, you know, there's a lot of heart to the story, too. You know, people get caught up on a lot of the brutality of it. But this is a very human story, too. And um yeah, no, it was really exciting to kind of dive into that. Keenan's an awesome writer and creator.
00:05:32
Speaker
um So it was just like a no-brainer. I mean, I'd always kind of done my own thing. I'd worked with people in the past with not as exciting results, maybe, I might say, for for some of those interactions. But ah with Keenan, it was just like everything felt very natural.
00:05:57
Speaker
um I think a lot of things we think about very similarly, um we have some similar touch points as far as like influences or things that really appeal to us.
Working Relationship and Collaboration Process
00:06:10
Speaker
so um we have just all our sense of humor to yeah very much love know it It worked out really well. and um you know The communication was always ah fine.
00:06:26
Speaker
with this book, I feel like it was just kind of like, Hey, what if we did this or this part needs to, you know, be adjusted or something like that, you know, um, it was a very, um, a very good working relationship and, you know, also really good friendship too. So. Yeah.
00:06:43
Speaker
Yeah, thanks thanks thanks for that for that ah backdrop.
Floating World Comics and Cultural History
00:06:47
Speaker
i yeah um you know Talking of Floating World and the publisher, you know i've done this show I've done this show for over five years and I've had a lot of fun with it. or ah Art, philosophy, a lot of comic creators. For me, yeah For me, what you find in in in in the work that that you do and folks do, there's just there's just world right there that people adore and love. And ah I think with Floating World um and Alex, I know, you know, with the you can regularly find actually both of your comics there at Floating World Comics and Lloyd Center in Portland, I've talked about
00:07:20
Speaker
I've talked about that shop and publisher a few times on the show because I've had great creators who they work with the high quality of the print the gorgeous color um and and seeing um the artwork in and seeing this ah creation just like there's a there's an attention to the detail as creators and as Publishers that is like that's what they have. And um so I ah even recorded one episode with them with an artist outside of Floating World for the ambiance of Deloitte Center. which is
00:07:55
Speaker
share place supporting you the you know um the The zombie mall coming back to life with idiosyncratic stores in ice skating. and when Anya Harding I think used to skate over there way back when for that dated reference for the figure skating, but um Yeah, yes. Yes. So ah ah Tanya Harding I believe trained of course the famous ah figure skater um Depicted an I Tanya skated at there was ah facilities over by Clackamas I believe with what they call Clackamas Town Center now in the Lloyd Center. She used to practice and
00:08:33
Speaker
and a graduate of Milwaukee High School where Alex has spent some some time. um So a little bit a little bit of the of the the cultural history there, but yeah um with floating with with Floating Worlds as the publisher, you know big plug for them. um So I wanted to ask you, we'll tell folks we're recording here and in fall, ah near autumn, ah September, 2024.
Updates on 'Vengeance is for the Living' Series
00:08:59
Speaker
And the recency of the issue, ah number four,
00:09:02
Speaker
for vengeance, for living, coming out race ah right now. Without giving away details, can you just mention about like the series as a whole and um you know with the with the ah the new issue out? Either one? ah Maybe Kenan? Sure. um It's issue three that's just coming out right now. I'm sorry, issue three. No, it's fine. Issue four will be coming out in December because we staggered it every three months. Awesome.
00:09:29
Speaker
um But yeah, I mean, I'm not sure exactly what you'd would want me to say ah about the series. I just want me to...
00:09:41
Speaker
I mean, it's a three so far we had three issues out of four and ah each one's progressively gotten bigger with more story, more pages ah until we're coming out with the fourth one in December. But right now the third issue is out, which is probably, I mean, each one I love more and more because Alex, like his work just blossomed in with each issue.
Artistic Challenges and Personal Journeys
00:10:03
Speaker
And so this third issue's got some of my favorite spreads. And um he spent a lot of time designing Limbo's, which is the arcade that is the setting for a lot of the issue. And I'm just blown away by those series of pages and how much fun it was to like, because every video game in the arcade is a reference to a comic book or a creator, basically. so ah Wonderful. Yeah, it's really, that's one of the things I'm most excited about this issue, just um
00:10:31
Speaker
Coloring it was a nightmare. Sorry about that. Tell us. Color was a nightmare. i yeah ah the um That was one of the more striking features. And i like I mentioned with that video there, just like ah that. and But it was ah is a difficult process ah for you, Keenan. Oh, I'm just, yeah. ah It was enjoyable. i like It was great to learn. Because I've never done, I've never colored another artist's work before.
00:11:00
Speaker
Um, and it was just, it's just nerve wracking because Alex has worked so good and all I don't want to do is fuck it up. I just don't want ah don't want to like ruin it or, um, muddy the intentions or like the tone and stuff. i So it's it's just a lot, you know,
00:11:17
Speaker
Thinking on a lot of levels and it just took a lot of time because i'm like an ape with a tool i'm like ah And I was using my little mouse pad with my fingers because my tablet wasn't working. So I caught a few issues just on my little My little you know laptop Yeah finger yeah Hey, um, I wanted to chat a bit kick kick around uh, the the conceptual I was going to ask you um alex about yeah about uh ah Your connection to be in an artist was there a moment was there a moment for you that you felt? That you were an artist or were you like a little kid, you know, you're born you had a you know crayon and we're we're drawing well, you know I'm writing of what but so what what when did you see yourself as as as an artist? Um
00:12:07
Speaker
pretty much in my teens. you know um you always kind of ah We always had art supplies and things like that growing up. My dad was an abstract impressionist um that kind of quit making things once he had kids. um so But he always brought things around for us to try out.
00:12:31
Speaker
um so That kind of just lent itself into, this is something I've always liked doing, drawing, and it just kept progressing, and um you know art classes, things like that. um But I guess I've kind of always seen myself as that.
00:12:54
Speaker
um
00:12:57
Speaker
Yeah, it's it's always kind of been in my life. I've always thought about art. um and always gravitated towards um artistic things. So I guess it's just naturally instilled there and then developed. Kenan, what about yourself? i mean like um know is it Was it a moment type of thing? or Well, maybe I, I was always drawn to create. Like I was always creative as a kid, like in my teens, probably is when it started flourishing. Cause as a kid, as a younger child, I'd scribble and draw, but like my older sister was such a great artist that I was just like, I can't, she could look at something and draw it. And I was like, I can't fucking do that. So my concept of art was like about my ability to render something, not about anything deeper than that. But as I got older, I started thinking about art differently.
00:13:48
Speaker
But it wasn't until I think I met my wife and she saw how much I drew all the time. And I had all these like little story fragments and all this shit. And she told me, like stop throwing that away. Because I just draw and throw it away. i like Get rid of it. It was all it wasn't didn't mean much to me. And she was like, why don't you try? Why don't you focus and try and maybe make it a priority because you like it so much. yeah And that's when it really started to click. That's when I started you know ah doing art on a larger scale, and then that's when I got back into comics. I went to film school, but I truly never thought of that. It was art to me, but it's too many hands in the pot to be art. It's a commodity, it's a trade. So it wasn't until I got out of that and met my wife when I really think it really clicked. Like, okay, if I focus on this and take it seriously, that's when I started feeling like an artist, I guess. I started considering myself one.
00:14:49
Speaker
Yeah, it was one it's wonderful to hear. I mean i know my um my partner Jenny and I like a large part of our life like as far as it's filled by art. um you know like Going out ah for music, going to museums, um you know doing things related ah to the show, taking photographs. in um It's one of the big pieces that I've enjoyed in the in the Portland area.
00:15:12
Speaker
I grew
Art as Expression and Communication
00:15:13
Speaker
up out in Rhode Island and I had good comic shops as a kid, you know, like where there was more comic shops back then in places like providenance it's like and like an art city, you know, so I was in a good spot. However, I never knew until I moved out the port, I'm like, like in Portland in LA, I'm like, everybody's fucking out here. Like everybody, like, you know, great comic creators and publishers and stuff all over the place. So I was all just really overwhelmed. And I think both my interest and opened up to our end environment I was in. I was like, yeah, you know, and in in in and started creating a podcast and painting. And I'm like, I love this flow. Like whatever it is, I like living ah this way. And for me, it's only been the last few years, you know, but it's like once it happened, I knew
00:16:02
Speaker
I knew it happened. Add an aunt to that, Keenan, and I'll ask you this in a second, Alex. But what is art? What do you think art is, Keenan? You know, comic books have this, not to throw in and queer up the question a bit, but you know, comic books have this weird cultural kind of, you know, history, you know, as art objects or pulp or what have you. But for you, you know, what is art for you, Keenan?
00:16:30
Speaker
Well, um yeah, that's like the question, right? um ah Sometimes I think like Joseph Beuys and I think everything is art. And then I see some art and I'm like, well, that's not art. So I do have a structure in my head, but it's very undefined. For me, art um is expression and communication that's like down to its basic form. That's why I'm doing it.
00:16:56
Speaker
Even if I do something I don't show anybody else I'm trying to get something out of me and say something, then the communication doesn't have to be with other people it can be just with myself sometimes but it's important ah to communicate through emotion.
00:17:10
Speaker
um But yeah, you know that's an interesting thing. That question will get a different answer from every single person you ask. So that's why it's an interesting question, right? Yeah, thank you. thank you ah Alex, for you, what's up? I think ah a lot of times, for me,
00:17:29
Speaker
Personally creating it's a creation with intent a lot um And like Keenan was saying as well communication. It's so it is something that you know for a creator It's kind of like a this is a thing that I have to get out of me into the world or maybe not necessarily into the world, but maybe onto a wall or you know, just um something that is in you that you need to put out there to that's it's not there yet in the world maybe or not in the form you would like it to be so a lot of those you know just the creation process it's you know there's an intent there's a thing it's like why do I sit here
00:18:13
Speaker
reading these comics, you know, looking for inspiration, or how did this person do this, you know, because it's like, well, I see a panel or something like that, that I can do, or I want to do, but I also want to have some references and how, how did this person go about it? How does that work? You know,
00:18:34
Speaker
um You know, it's all sorts of processing things, looking at things um and then being like, okay, I think I have the information maybe to create ah this thing that I want to put out there. Yeah. Yeah. i um I tell you, one of the things about when, in asking the comics question, it just popped into my head, but I think it was like, you know, around like the status of
Comics in Art Institutions
00:19:01
Speaker
comics. I remember this.
00:19:03
Speaker
Absolutely fantastic exhibition. It was like Masters of American Comics. And I was in Milwaukee, Wisconsin at the time. And it was, here's our installation, right? Little Nemo in Slumberland. More modern stuff. They had pages, Jimbo pages. They had Harvey Kurtzman war pages. Yeah, so much cool stuff. That was a great show.
00:19:25
Speaker
And what was amazing for me is, like, um I think, you know, I think about comics like way too much like people are into comics, like throughout my life. But it was like, you know, being in the institution setting, like for me, it was like comics are always like it's our thing, right? It's like our thing. in And in seeing this more cultural exposure and it's like the art question is like Jack Kirby's panels are this big. They're in the art museum. We all fucking love them. And it's obvious that they're art, but there's something like about the institution and majesty just made me think a lot about like, you know, is this underground? is this um is this is Is this all accepted? But it just transformed me and I still remember the volume and seeing those type of things um in that context.
00:20:12
Speaker
um If for for you when when when you see that when you see the recognition of the things that you do ah Comics pulp history or funny books and everybody you know everybody's mom threw them out. What do you think about when you see? the the whether it's a raise in stature of of seeing comic books and comic book art in the finest institutions? Well, for most cartoonists, it was art when it was on the page to begin with, like when it was badly colored on newsprint, off registry, it was still art. So for me, it's it that
00:20:52
Speaker
I don't really, I love going to see those shows. I love that they exist and I can go see them as a cartoonist to be able to see the work, but I don't, the validation I give two shits about from like an art world perspective, because that's, always they've always been great artists to me. And um it always has been the highest of art. It is, you know.
00:21:10
Speaker
Sequential storytelling and these are some of the great masters of it. So it is like other than that. I love that show It's one of the best comic book shows that were the best art shows I'd ever been to when it was um And I still on my shelf, you know, it's a good great show. I Love that book. I can see you see right now Alex thoughts thoughts on that thoughts on that if you know that that exhibition are like, you know, I know, I've been to a couple comic art exhibitions and it's it always feels like, OK, great. You know, I love looking at all that stuff and I think it should be readily available. um You know, I think it's great that companies um are doing like artist editions or gallery editions so you can actually see all these original pages that you'll never be able to afford. And maybe you won't ever see outside of these things.
00:22:03
Speaker
um I think that's great information, especially for somebody who says, how did they do that? You know, how do I break this down? Oh, see all these notations. um ah Comic books are a uniquely American art form that's, you know, everywhere now and everybody has their interpretation of them. But the language started here.
00:22:26
Speaker
in a lot of ways. And to see the history, I love history to begin with. And the history of American comics is fascinating. So you know there's tons of heroes and villains along the way, but it's um um it's just a really intriguing thing. And it's a if if somebody is a casual is casually interested, that's a great rabbit hole to go down.
00:22:49
Speaker
um But yeah, I mean, me going to an art exhibit of comic pages or, you know, a local creator who's having a show somewhere, I love seeing that validation for them or for these artists who, you know, you'll I was reading a book.
00:23:05
Speaker
um about Kurt Schaffenberger who did a lot of Lois Lane's and Jimmy Olsen's and Superman's for a period. That guy's work is phenomenal, but you know he's talking about people coming up to him and saying, you know like I love your work, all this stuff.
00:23:23
Speaker
He's thinking like, that was just a job. You know, that was just something I did. And it's because, you know, nobody gave them that then. They're just like, I need 20 pages by tomorrow. You know, that kind of stuff. Yeah. yeah ah So it's.
00:23:40
Speaker
Now we're able to look at it through those lens, whereas the original creators, while they're making it, you know they know what they're doing, but they also know that this is the job and you gotta bang them out. So there's a nice um perspective to have on it now when you get to see these amazing original pieces at galleries or different traveling shows.
Cultural Impact of Comics
00:24:06
Speaker
um it's It's cool that it's valued enough that people are saying, hey, we can get people in to see this now versus before when you're you know the 80s where they're like, but is it art? I don't think those discussions are really happening anymore, which is great. I used to just pull out a few different books and be like, what do you think of this one? What do you think of that? Is that not art? It's nice to see the recognition from ah from the communities when it happens
00:24:38
Speaker
Yeah, yeah. um i yeah and and and and talking about um and And talking about the comics culture and and and one of the pieces for me is one of the things ah recently in and being in areas or finding independent expos, talking about zines, like really like just an expansion of my world because I was connected to comics and then with zines, I went to Quimby's bookstore and in Chicago, I happened upon it. right i like I literally happened upon it. I was newer to like you know tracking down zines or what is this thing. like I was stopping when I went to Paul's books and being like, what is this pile of great shit? right like yeah yeah and And then I'm walking around. qui I go in and I'm like, it's a surreal like aspect. I'm like, wait a second.
00:25:27
Speaker
like Those three walls are zines. It was just sub-topics and everything talk about a ah wonderful experience. and yeah but ah For the podcast, we only have one issue. It's been tough to put out, but there is a podcast zine issue one I can email to you or any listeners who are ah who are interested. But um I think part of my saying of like around the the art question is that,
00:25:57
Speaker
I ended up in a spot where I was like, Oh, I want to look at small press. I'm not going to walk past that. Oh, in a bookstore important, like this section is sizable and like cool. And there's some good used copies. And for me, I think just by habit, like throughout life, sometimes you walk past the cool stuff, right? Like, you know, like, or I was in the habit sometimes of not noticing.
00:26:21
Speaker
Yeah, if it's not something you you notice really, you know, if it's sometimes your brain needs to make a connection to something to even sort of acknowledge that it's on the shelf. You know, if you're walking past things that you don't really have any information about, you're just kind of like, oh okay, that's something over there I recognize. Kenan, you're down ah in Los Angeles area, correct? Yeah.
00:26:48
Speaker
Yeah, i um any I recently interviewed ah an artist um who did the Garage Girls, um which is ah ah yeah I found out at a Floating World.
Differences in Comics Scenes: LA vs. Portland
00:27:02
Speaker
And sometimes when I talk to artists from different areas, um ah just is what but and this is a humble question, but um is there anything particular about the Los Angeles, like comics space, as opposed to, say, up here in Portland or Seattle, ah just peculiarities or differences you notice?
00:27:23
Speaker
ah Well, what used to be Portland who hadn't seen in l LA didn't but now LA is starting to have little groupings of like comic book areas that are cultivating ah scenes, but I don't I think I'm aging out of understanding or knowing any of that. shit at this point Anyhow, you know, so um i I tried to do several events here to try to like cultivate and or like create a space for the weirdo indie freaks to have a place to show and I've done that several times and I went up to Portland and did it too and I did in San Francisco and in the OC as well. I'm not sure if I'm going to continue to do that. But the difference is I wish LA had
00:28:11
Speaker
more cartoonists that i'm all my friends are spread out all over America. Tom Neely and a couple of handful of other people that are cartoonists that I hang out with in LA, even though there's a ton. And most of that's just because of how big LA is. Yeah. Yeah. Alex. um As far as scenes? Yeah. Well, just your feel your feel for it. And in I like to get that um piece. And like I said, I was wowed and blown over by it. But like what's it mean to you? Yeah.
00:28:41
Speaker
Uh, you know, I've kind of always been one of those people that I've always been on my own with creating for the most part. Um, and for better or for worse, that's just how it's usually been. Um, there was a time in Portland, uh, prior to the pandemic, um, that myself and, uh, a number of cartoonists in town here would do a drawing group.
00:29:08
Speaker
And it was typically Sunday nights. You get together, draw, listen to records, and shoot the shit. And that was awesome. That's as close to anything like that as far as being involved in a scene as it's ever been for me. um But it was totally awesome. I miss those days. But there just isn't a space for it right now, or a new space hasn't presented itself yet.
00:29:35
Speaker
um but i also you know being around here as long as I have been, I can go into places and see friends and that kind of stuff and you know run into people here and there. um um But i but everything everything's kind of just like Kenan was saying, I don't know, it's it's more spread out now. It's kind of thing where um I don't know that everybody's thinking about getting together very much. It's just kind of like, see you when I see you usually.
00:30:07
Speaker
um But I do miss those drawing days where we get together. ah those were Those were good and good for kind of getting some feedback from other creators too.
00:30:19
Speaker
um Yeah, it was a good experience. Yeah. um All right. Let me let me just let me just ah ah throw it at you. The question, Keenan, why is there something rather than nothing?
Existential Views and Descriptions of Past Works
00:30:35
Speaker
Because I don't believe in nothing.
00:30:37
Speaker
I don't think there's like the absence of something is nothing, but I don't, there's always something. Yeah. Yeah. Alex. this You have to do something. You have to make something happen. um It's kind of like.
00:30:55
Speaker
life in in many ways. you know It's like nothing will happen if you aren't involved in your own world to some degree. um you know You can sit there in front of the TV forever. Nothing will happen except images will flash across your face. But you know I don't think that humans are geared that way. I think you have to, you're innately geared to do something.
00:31:20
Speaker
you know And for some people, it's creating things. For some people, it's doing other terrible things. But ah um but yeah, that's that's one of the things that I'm geared to do always is like you know thinking about things and what am I working on. you know There's so much mental work that goes into things before anything exists um for creators. So that's a lot of my somethings.
00:31:50
Speaker
Thank you. Hey, ah Keenan, we mentioned a few times ah the humans and i I've been saying it as a title and maybe the listeners don't know that much about it. It's an experience. The humans is an absolute ah experience. It stands amongst on its own. I often talk about on the on the show, um local bookshop, browsers bookstore here. And when I get these great things, I make sure to get them there to get them out in the or Albany, Oregon ah area. So there's a copy of the humans there and actually scenes by Alex and Keenan at browsers. But ah tell us, I want to hear from your words, and this is an indulgence, i like what is, what
00:32:36
Speaker
what who are the humans what what is the humans ah the humans are a biker gang ah on the road to oblivion who fight fuck and run drugs um It's basically ah the stories like boiling down is kind of the apes meets easy rider or wild angels really is what but it's a biker gang exploitation or Apesploitation is what we named it.
00:33:09
Speaker
yeah yeah
00:33:12
Speaker
And it's yeah, Tom and I just got to do and have a lot of fun with that. you know um Tom did some of the best work he's ever done doing those pages and some of the new stuff that he's done looks really good too. So I'm hopefully excited about that as well.
00:33:26
Speaker
um But yeah, the jungle was the image comic series, ran 10 issues, and there's hopefully going to be a sequel sometime in the near future. so oh That's lovely to hear. Alex, ah the the the derelict, same question. like I mentioned a couple of times, ah jumped out at me, jumped out at Keenan probably when when he saw in a comic shop. Who's the derelict? Who's the derelict?
00:33:53
Speaker
Derelict is a homeless addict named Johnny. And basically the story is you're just kind of with him. um And you meet a lot of the characters that are in his life, ah some ah interesting characters from his past that have popped up. um The last two issues I've done have just been standalones where it's just him and his world. um So it's a lot of back alleys and garbage dumps and things like that. other um But he's somebody to root for, I feel, sometimes. you know You want to see decent things happen for him, but he's just a fucking loser.
00:34:34
Speaker
i Yeah, he really is. and But he cracks me up. Yeah, it's some great fun listening. oh well you know and this this you know you're talking about something and nothing you have you're gonna have nothing there and you could have something you could have the humans you can have the derelict that's why we're talking yeah um that's the i i just um you know as as you could tell um I just really love the both of you working and of course it was conspicuous to me when you ah combined talents.
Where to Find Their Work & Supporting Creators
00:35:07
Speaker
Kenan, tell the listeners weird where to find you know your your stuff, your art, how to encounter the things you create.
00:35:15
Speaker
Um, I got an instagram. That's my name keena marshall keller and other than that you can get uh vengeance through floating world comics online or you can order it through your shop just go ask them by name It's in previews and they can order it either. They can order it directly through for the floating world as well. Um And yeah, other than that, you know, if you can see me at short run later this year i'll be a short run with alex tabling and we'll have some cool shit get first remember for can't be
00:35:49
Speaker
yeah Wait, November 1st is our signing floating world. You know a lot going on that weekend. yeah it's gonna be that's Great, great weekend, Halloween weekend and such. Yeah, Alex. ah Alex, ah ah how how do ah folks find you the derelict your other creations? Sure. Well, most of my books, you can get at floating world um in Portland, Oregon.
00:36:17
Speaker
Or um you can go to my Instagram, which is Alex Delaney Art, and there's a link for my Etsy shop there, which is also Alex Delaney Art. um There's comics and art ah through that link.
00:36:33
Speaker
um yeah I guess that's probably the easiest ways to do it um You know where you can ask your comic store shop to order vengeance is for the living if they haven't done it already so um Yeah, or floating world has your back on vengeance is for the living as well. So um And man just got those third issues in they are big man. They're great. There's a thick spine on it and Man, oh man, it's if you
00:37:05
Speaker
If you like a book that feels good and smells like a comic book, damn. got You're going to be having a good time with that one. You got that description. Keenan might not know this. I'm a little bit south of Portland. I'm going up to Portland today, listeners and folks. Like, I am searching that smell, heading up to the Lloyd Center, floating the electronics. I'm going to find anything I can. And the thing is, listeners, um one thing that I found, because I made this mistake before, when you see ah when you see the works of Keenan or Alex or other independent creators and they're in front of you or they're at a table,
00:37:41
Speaker
buy their stuff the stuff sells out I've seen a lot of people comment online I'd like that first issue I know they're gonna put it back out I didn't get a copy when I had a chance grab your copy support support the independent publishers and and Keenan and Alex and just take advantage when it's in front of you because it's gonna It's going to disappear because other people other people like these pancakes as well. So um I want to thank you both for coming ah coming on the show and in and talking comics and yeah absolutely art. And it's ah it's a distinct ah pleasure ah for me. And um you know really, your work both your work really stands out fun. There's a feeling in comics sometimes where it's like, Ah, can they get away with this? Can I get away with this? Should I be looking at it? You get in there, you get in like into the bizarro world or whatever the yayas are in your head and like there's good space for me mentally in in the lands you create. So wonderful. Thank you. um ah best Best of luck with upcoming ventures. Everybody ah check out Kingdom Martial Colors, Alex Delaney's work. If you're into Portland,
00:38:58
Speaker
ah area, even ah swing by the wonderful a changing mall of the Lloyd Center and visit Floating World Commons, which support great creators like this. Thanks, everybody.
00:39:25
Speaker
This is something rather than nothing.
Acknowledging the Show's Global Reach
00:39:35
Speaker
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00:39:56
Speaker
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00:40:24
Speaker
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