Archive for the 'Captain Confederacy' Category



   We’ve made it!  The final issue of the first series of CAPTAIN CONFEDERACY (which you can read along with everything else HERE)!   In this issue Cap dies…but not really.  More importantly (to me anyway) you get to see a lot of parallel universes, which is a concept that has always appealed to me.  There was even some loose talk at the end of this issue that a future CAPTAIN CONFEDERACY series would have Cap travelling to these universes and meeting his others…man I’d still love to read that story!

     As for the series 2–It’s only 4 issues long (with the same back cover on each issue) so they won’t take too long to get thru.  HOWEVER, I have recently become VERY BUSY–finishing my LUTEFISK SUSHI ‘D’ book,  doing some freelance work for issue 4 of FALSE WITNESS: THE MICHELE BACHMANN STORY, and needing to figure out something for the CITY PAGES ‘COMIX” ISSUE–so it might be a couple weeks until I start on those.  But fear not, I will get to them and plan on being done posting by July!


“Covers”–‘Captain Confederacy’ #11, also: “The Creators Q & A”: Will Shetterly (‘Captain Confederacy’ writer/creator)–part 2(of2)

I’m once again very proud and humbled to have with me one of the creative forces–one might even say the ORIGINAL creative force–behind CAPTAIN CONFEDERACY for part 2 of a Q & A session: WILL SHETTERLY!

ME:  For those who have wisely decided to read all of CAPTAIN CONFEDERACY for themselves on your site, they know that in addition to super strength, all the augmented characters in CC develop mental abilities.  A lot of these abilities rely on dreams.  What is the importance/significance of dreaming to this series?  Yourself?  Being alive and creative?

WILL SHETTERLY:  Hmm. I wasn’t consciously trying to do something with dreams, but now that I think about it, the first story was all about Jeremy trying to find his dream. So I’ll claim credit for that having been a brilliant plan of mine, though it was just luck. Or maybe my subconscious was doing better work than I realized.

ME:  Of the first series, which issue(s) are you the most proud of?  What, looking back, makes you cringe?

SHETTERLY:  Oh, I won’t think about what makes me cringe!  But the first story I was really proud of was the Miss Dixie story that was originally published in #6, I think.

ME:  The pacing of the last two issues seems rushed compared to the preceding 10.  Was this intentional?  It seems like you had set out with the intention of doing 12 issues from the word go, so do you wish you had given yourself more pages/issues to tell the first story arc?

SHETTERLY:  I do wish I’d planned things better.  Basically, it was speed up the story or roll a grenade into the room and kill most of the cast.

ME:  The letter pages were a pretty big thing in CAPTAIN CONFEDERACY.  You had several people who wrote in after each issue with detailed thoughts and speculation on the CAP time line.  (As an aside, I really enjoyed how the reality-hopping of the last issue was almost an homage to the couple of preceding years of letters about alternate histories.)  In the years since have you remained at all in contact with these letter writers who seem to have become such an important part of your life then?  Do you still debate via email(or snail) the what-ifs?  Also I can’t help but notice one Mr Neil Gaiman wrote in with some lovely words early one.  You have since written a tale for a SANDMAN short story collection, and he has given you some love in an introduction to a Sandman trade.  Is CAP responsible your guys friendship?

SHETTERLY:  Neil and I met in England at a comic book convention. He’d just come out with Violent Cases, I think, which we thought was great.

ME:   There was some flack a few years ago with someone rediscovering CC and pointing out the racism of just the idea of such a book.  In fact, on the comments section of THE COMPLETE CAPTAIN CONFEDERACY someone thanks you for such a ‘pro-confederate’ book.  Having just re-read the book I find it neither racist or pro-confederate (in fact, quite blatantly the opposite considering how it ends).  What are your thoughts on someone seeing the worst in the book even if they have read it (I’m just assuming anyone calling the book racist hasn’t read more than the title)?

SHETTERLY:  I think some of the people who call it “pro-confederate” were actually just saying that I was trying to be fair to both sides. As for the people who said it was racist, I don’t think any of them read more than a few pages. There’s a good reason for the old saying, “Don’t judge a book by its cover.”

ME:  So at the end of the first series (which was, again, self-published and 12 issues long), you made the comment that series two–which was to be called “CONFEDERATES”–would be out about 6 months later.  As we now know those six months came and went and now new series.  In fact it would be about two years before the book returned–this time published by Marvel’s EPIC line.  It was once again called “CAPTAIN CONFEDERACY”, but this time only 4 issues long.  Was this the same storyline you had planned for ‘CONFEDERATES’?  Did you plan it to be only 4 issues, or did you have to truncate it?  Getting back to the self-publishing question, how was it having a publisher who was not you on series two?  Were there any compromises that had to be made?  If the best of all worlds existed and Cap had become a huge mainstream hit after series 2, would you have preferred working with EPIC (or another publisher) or would you have liked to go back to doing it all yourself?

SHETTERLY:  Confederates would’ve been a continuation of the “Yankee UFO” story that I put on the web here:  The superheroes would’ve stayed in the background for most issues. The idea was to focus on more ordinary people, sort of like what Kurt Busiek ended up doing with Astro City. I can’t remember if we had given up on doing Confederates when Marvel asked us about doing a Captain Confederacy story for Epic, but I know we quickly set Confederates aside.

ME:  The second “CAPTAIN CONFEDERACY” series finally introduces us to others heroes of Cap’s world that had only been hinted at or rarely glimpsed in the first series.  How formed were these characters before you started series one (and how had they changed/evolved by the time you finally got to use them in series 2)?  Is there anyone you wish you had gotten more screen time, or wished you could have shown but didn’t find the room for(like the Native American hero who appears only on the “Who’s who” back cover)?

SHETTERLY:  Oh, I wish we’d had time for all of them! El Brujo might’ve been my favorite, but if so, only slightly. I really wanted to get to the Indian Nation, but there just wasn’t room for it.

ME:  Not to open a total can of worms, but at the end of the last issue of series 2 you mention ‘big plans’ you had for Cap if the series had taken off.  Sadly, that didn’t happen (the store I was buying the issues from as they came out didn’t even order issue 4.  In fact, I just randomly happened upon it a year and a half ago at a convention.  I never even knew how it all ended until recently when I re-read the whole series).  So going beyond what you had planned nearly 20 years ago–and boy has the world changed in 20 years!–what kind of world do you think Cap and co. would live in today?  Would Islamic/Christian insanity have engulfed Caps world?  Would the broken-apart governments of their Northern American continent have united in some kind of post-9/11 incident? Would a “War On Terror” even exist in their world as it does here, or would they have more of a Tim McVeigh problem?  Would Hurricane Katrina left The Free Louisiana devastated, or would the quasi-science fiction technology you have in Caps world not have made it the ecological disaster ours is?  Would Kate be their world Obama?

SHETTERLY:  If it had continued, it definitely would’ve continued to reflect the world we live in. The Captain’s world started off as a darker world than ours, but I think it would’ve become a brighter one. A black female president certainly could’ve happened.

ME:  I don’t have a 15.  I just really, really, really want to thank you for you time and for CAPTAIN CONFEDERACY.  I’ll never forget what you and Cap did for me in steering me down this path of sequential doodlin’.   Thank you very much, Will!

SHETTERLY:  Aw! I’m glad you’re continuing to have fun with your comics!

   And that’s that for the interviews!  Many, many thanks once again to VINCE STONE and WILL SHETTERLY for donating their time and thoughts.  As far as ‘covers’ of their CAPTAIN CONFEDERACY…there are only 5 left to go…see you back here next week for the cover of #12–the final issue of the first series!


“Covers”–‘Captain Confederacy’ #10, also: “The Creators Q & A”: Will Shetterly (‘Captain Confederacy’ writer/creator)–part 1(of2)

      I’m once again very proud and humbled to have with me one of the creative forces–one might even say the ORIGINAL creative force–behind CAPTAIN CONFEDERACY for a Q & A session: WILL SHETTERLY!

ME:  Just to get this out of the way–As I mentioned in the post for the first CAPTAIN CONFEDERACY ‘cover’, the whole reason I ever got into CC was because in middle school (8th or 9th grade, don’t remember which) I attended a ‘Young Writers Conference’ one day, and you and Emma (Bull, Will’s wife and fellow author) taught ever class I took that day.  The topics were writing comics, sci-fi, and fantasy.  You guys both really impressed me as “adults I’d like to grow up to be like”.  Not just because you wrote books and comics that appealed to my aesthetics, but because you weren’t afraid to tell a room full of impressionable minds that the Bible was just a bunch of bullshit, but highly entertaining and a great fantasy epic.  You guys also ate lunch with me and the friend I made there that day.  Just curious if you have any memory of this event, and if so, what?

WILL SHETTERLY:  We said the Bible was a bunch of bullshit? Damn, we were awesome!   I remember the day was fun, but not much else, I confess. We just like teenagers in general, and especially teenagers who want to be writers.

ME:  Flash-forward a few years and I’m 18/19 and at Target with a friend.  He was returning a defective video game or something, and while we waited in line at customer service I started leafing thru a guide to “YOUR CANDIDATES FOR GOVERNOR!”  I was more than shocked to see YOU as one of the people running.  A few weeks later I took part in my first election, which I did for no other reason than to vote for you.  What kind of administration would I have helped vote into office had you won?  What were the issues of the day?

SHETTERLY:  Hmm. Well, I totally did not expect to win, so I never gave it a lot of thought. At least, not practical thought. But I do have a copy of my platform here:

ME:  I know you have since moved from Minneapolis to Arizona, but do you still at all follow MN politics?  What do you think of the more than probable chance that Tim “Let The Poor And Disabled Die” Pawlenty will be our next president?

SHETTERLY:  I try to avoid speculating about politics, because I have a terrible track record. I actually thought Kerry would win. But last I heard, Pawlenty’s chances were pretty slim. Maybe he could be Palin’s veep. I’m hoping the Republicans put together a doomed team for 2012, and that might work.

ME:  CAPTAIN CONFEDERACY (as well as several books by yourself and others) were self-published by your own STEELDRAGON PRESS.  What was the self-publishing game like back in the 80’s? Any thoughts or reflections you’d like to share with someone looking to get into self-publishing? In a later issue of CAP you show the print run of the series and how it had steadily declined.  What is the sustainability of self-publishing, both for the individual and in general?  How do you think the internet age, Ipad/Kindle, and print on demand services will play into the world and future of self-publishing?

SHETTERLY:  Small press publishing is a labor of love. Changing technology doesn’t change that, because small presses just can’t afford to do the publicity and promotion that big presses can. But I do think Lulu and CreateSpace are creating interesting possibilities for people. I’m especially optimistic about the development of e-readers and tablet computers.

ME:   How did you and series artist Vince Stone come to collaborate together?  Going into the book, who were your comic book influences?  Are you still reading today?  If so, what and whom?

SHETTERLY:  I was at the Chicago Comicon, looking for an artist, and Vince had samples that I loved. We shared a fondness for some of the same people–Alan Moore, Chaykin, etc. I’m only reading webcomics: Magellan, Crimson Dark, Sinfest, Narbonic, Skin Horse, Girl Genius, Wonderella, Questionable Content, and undoubtedly a few that I’m forgetting just now.

ME:  In an afterward to the CC “Special Edition” #1 you mentioned how once issue one was done you had that realization of “Aww, shit!  The origin is out of the way, now what am I going to do for 11 issues?”  So how did you craft the story?  Did others (Emma, etc) help you get there, or did the characters start writing their own fate?  Both?  Who is John Ford and how did he become such a big part of the later half of CC (so much so he not only co-plotted/wrote issues, but wrote a whole issue himself)?

SHETTERLY:  John M. Ford was a great science fiction writer and one of our best friends in Minneapolis. He was a plotting genius, so when I got stuck, I went to him. Emma probably helped brainstorm, too. I really didn’t understand how to write a tight series then, but I’m happy with the result.

   AS IT HAPPENS… today’s “cover” is of the issue John M Ford wrote.  Since the rest of the Q & A is about Will’s thoughts on the series, I think this is as good as any place to stop and say “BE BACK IN 7 DAYS FOR THE THRILLING CONCLUSION!”


“Covers”–‘Captain Confederacy’ #9, also: “The Creators Q & A”: Vince Stone (‘Captain Confederacy’ artist)


 Ok…Usually after the cover I give you some lame issue recap and remind you that you can read the whole CAPTIAN CONFEDERACY saga for yourself HERE.  But one thing eating at me week after week of  re-reading these comics and re-drawing their covers is I’m always left filled with QUESTIONS!  QUESTIONS about the series!  QUESTIONS about the art!  QUESTIONS about the writing!  QUESTIONS only the creators–writer WILL SHETTERLY and artist VINCE STONE–could answer.  And thanks to the miracle of the internet and the amazing time donation of those creators, we finally have some ANSWERS:

Ladies and Gentlemen, VINCE STONE…

ME:  What kind of illustration schooling did you have (if any. “Hard Knocks” counts)?  What was your illustration experience pre-CAPTAIN CONFEDERACY?  Did you do any zines/mini-comics/work for other publishers?  What about post CAP?
VINCE STONE:  Well, in my youth I was a very asthmatic child and often had to stay indoors – so I would entertain myself by drawing (a lot). In 1972, I met lifelong friend Ed Keller – and he introduced me to the magical world of comics. We would often attempt to write and draw our own comics – to varying degrees of success. Then in 1983, I attended the Joe Kubert School of Cartoon & Graphic Art – what an eye-opening experience! I learned more about drawing/story-telling in the single year I attended than at any other point in my life. If anyone is serious about comics (or animation) as a profession, I highly recommend attending. By the way, Adam and Andy Kubert were second year students when I was there and Lee Weeks was in my class – not that I’m name-dropping. 😉
      After the first Captain Confederacy series ended, Ed and I tried our hand at making a real comic – The Apex Project. We managed to publish two issues (under the company name – Steller Graphix – Stone + Keller = Steller – how clever!) – but then the Captain returned for the Epic miniseries. Ed and I never finished the Apex Project – which is my fault – I was a little tired of working all day and drawing all night. It was not long after the Epic series that I was promoted to manager of the Graphics Department at Atlas – so that took up even more of my time. Other than that, I drew a couple covers & logos for Promethean Studios in the mid ’90’s. I had met Phil Adams (Promethean publisher/writer) at the Chicago Comicon (a real nice guy) – probably in the late ’80’s. He bought a couple pieces from me and when he started his own company asked me to help him out with ads, logos and a few covers. 
  While looking up information for these questions I found out that I had been “covered” before – by none other than “The” John Byrne! I had drawn the cover for Promethean Studios, S.O.B. #2 which Phil Adams liked, but he was working with someone who knew John Byrne and they thought it best to have a big name artist do the cover to help sales. They asked Mr. Byrne to pay homage to my cover (too cool) – which he did – but I don’t think S.O.B. #2 ever made it to press. Dang. If you’re interested, here’s a link to the page: (less than half way down the page)
ME:  Who were your influences going into CAP?  Do you still read comics?  If so, who are you into today?
VINCE STONE:  Early on, my influences were the usual guys for my generation, John Byrne, George Perez, Neal Adams, etc. – I also had a passing fascination with Howard Chaykin. But, my all-time favorite artist is (and probably always will be) Gil Kane. His images & page layouts were so dynamic, his anatomy was second-to-none and he could draw amazing animals (something I’ve always struggled with). Recently, I’ve become very fascinated with the work of Alex Toth. Although his art may look very simple – the design & thought behind each line is quite complex.
     During the late 1990’s and early 2000’s I pretty much lost interest in comics. My friend Ed (who probably has about 25,000 comics in his collection) would gift me a few books now and then hoping to get me interested again. But I didn’t start buying monthly titles again until I read the first issue of Robert Kirkman’s Invincible online – it was the artwork of Cory Walker that really got my attention. (I still pick up anything Cory draws.) Most of the stuff I pick up today is pretty mainstream: Fantastic Four, Captain America, Avengers, Green Lantern, Invincible, Walking Dead, Amazing Spider-Man, etc. – or whatever catches my eye.
     Some of the current guys I like are Oliver Copiel, Cully Hammer, Chris Sprouse, Steve McNiven and old standbys, Steve Rude & Alan Davis.
ME:  What were your “weapons of choice” when illustrating CAP?  Did it change for series 2?  What are you using as drawing tools today?
VINCE STONE:  I think I started out trying to stay true to what I was taught at the Kubert School – pencilling full-size, inking with conventional brushes and quill pens. I wasn’t as skilled with these tools as I would like – especially when I did the first issue – which is painful for me to look at. (Which is why when reprinting the 1st issue came up I wanted to redo it.) After the first issue, I started researching how other creators worked (specifically Gil Kane) and attempted their methods.
   When I received a script from Will I would read through it a couple times and then start designing very loose thumbnail pages (about 2″ x 3″). Once I had the whole story laid out I would start drawing intermediate roughs (about 5″ x 8″). Once I was relatively happy with how the pages flowed I would blow these pages up to 10″ x 15″. I was never really comfortable using pencils – so I hardly ever use them. I read that Gil Kane would blow up his layouts and use a light table and ink his pages without pencilling. So that’s what I did – and still do whenever I draw. I usually just sketch with ball point or gel pens and do final inks with a variety of markers – nothing fancy. As you probably realize, it’s not really the tool you use – but what you do with it.
     Today I use whatever can make a mark on a piece of paper – typically a wide selection of markers/pens with varying tip sizes. Almost everything I draw ends up in the computer for touchup and coloring. If I had a real need, I would probably get a Cintiq tablet and try my hand at drawing digitally.
ME:  Like lots of young artists your style really changed/grew/became more confident as series 1 of CAP went on, so much so that you guys even re-did issue one–what do you feel you learned during this first series?  What did you take into series 2 and learn from that (especially since that series was in color)?  Your art is even more streamlined today–so have you any drawing philosophies today you wish you could share with a 1987 Vince Stone?
     In the beginning, I really didn’t have a style – I was just trying to mimic (albeit poorly) all the artists I admired. It wasn’t until issues 10-12 that I felt I was starting to find a style. I even inked some of those issues with “real” brushes (I was feeling a little more confident with these tools) – it gave everything a more substantial look.
    If I remember correctly, our Epic series was one of the first comics that used computer color (this was 1991 – almost 20 years ago – I hadn’t even touched a computer yet). Will Shetterly did the coloring for the series and he had specific instructions on how he wanted the art. I was supposed to try and connect all of the lines that would contain individual colors – this would allow for easier color fill with the program he was using – not as easy as it sounds. One thing I would do differently is add more shadows/black areas – sometimes the pages had a little bit of a coloring book feel – but we were still learning the process.
     I would probably tell my younger self – keep things simple! Really understand the basics before you try to get fancy. I would also have told myself to get into computers before 1994.
ME:   All in all, what issue(s)/page(s)/panel(s) are you the most proud of?
VINCE STONE:  I did like how some of my covers turned out (11 & Special Editions 1 & 2) – I was so impressed with Steve Rude’s painted covers for Nexus back in the ’80’s that I started experimenting with acrylic painting.  Like a lot of artists, I’m extremely critical of my own work and are never really satisfied with any of my finished products – but I keep trying.
ME:  It seems like the second EPIC mini-series was supposed to be a possible springboard for future non-self published CAP adventures, and that sadly didn’t work out.  Do you think CAP will ever return someday?  Have you guys at all considered a “COMPLETE” CAP print-on-demand collection with all the usual frills of a bunch of ‘behind the scenes/from the vault’ kind of stuff?
VINCE STONE:  You never know – Will can probably answer the “Complete” Cap question better than me. (I’d have to see if I still had some of my preliminary/design sketches packed away some where.) I know that my “real” job wouldn’t leave a lot of time for drawing a comic book again. I’m the Creative Design Manager at Atlas Van Lines (been there 25 years now) – which is just a fancy way of saying I run the Graphics department. My little department of 3 people does the following: prints brochures, booklets, stationery, forms – cuts vinyl decals for trucks & trailers and even designs websites, logos, etc. I had just started working at Atlas when I began drawing Captain Confederacy – I would work 8 hours at Atlas – come home and draw about 6 hours – go to sleep – then repeat day after day. That’s OK when you’re 20 (and don’t have a wife) – don’t know if I could do it at 45.
ME:   Given the way you were married, STAR TREK seems very important to you (as it is me).  What lessons have you taken from STAR TREK? Anything that carries over into your art?  Or is a cigar sometimes just a cigar?
VINCE STONE:  The Star Trek wedding came about because my wife and I met at a Star Trek club – and we thought it would be fun. I was always a fan of Star Trek – but yet again, my buddy Ed Keller got me involved in the club. Ed and his wife were members and I think they were trying to set me up with a young lady who was also a member. Ed thought this young lady was in college – turns out she was only 14!! I was almost 30 at the time – and I really didn’t want to go to jail. Moving on… eventually I did meet my future wife (Jo Ann) in the club and we lived happily ever after (at least for 13 years so far).
      Lessons learned from Star Trek? Be open to different experiences, be tolerant of others and if that doesn’t work – launch photon torpedoes! Not sure if I apply any of this to my art, but I did make a little money because of Star Trek. I used to collect the Star Trek action figures and they ran a “Design an Alien” contest promo on the back of their figure packaging. What the hell – I drew up a character and mailed it in. I actually came in second place and won $500.00 – first place was a trip to Hollywood where you would be an extra on the show and be put in costuming and makeup to look like the alien you designed. I was OK with the $500.00 instead.
ME:  Any advice for anyone out there pursuing art as a career?
VINCE STONE:  Simple. Draw, draw and then draw some more. Even if someone has natural ability, you still need to hone those skills with practice. For me, I always liked looking at another artist’s process – how they went from a blank sheet to the finished drawings we see published. That’s where all the heavy-lifting is done – how the images are assembled/structured – you can always add the polish later. If you can attend a school like Joe Kuberts – great – if not, the web is chock full of amazing tutorials by a variety of artists. Back in my day, we didn’t have the web as it exists now. It allows access to so much information that would otherwise be difficult (or nearly impossible) to get. And finally, have a basic understanding of the business of professional art. Starting out, most artists will have to handle the business aspects of their chosen profession – and if they’re not careful – could easily be taken advantage of. I was extremely lucky in this regard when working with Will Shetterly – he was very fair and would explain things to the young and inexperienced lad I was 25 years ago.
ME:   I just have to know: The cover to issue #7…was that sequential order of events based around the ‘X’ intentional or not?  If so…GENIUS!
VINCE STONE:  I’d like to say, sure… I’m a GENIUS! But I really don’t remember my thinking on that cover. Will would usually give me an idea or two about the covers – he might have said do a montage for that particular issue or he might have left it up to me. Too many years have passed for me to remember – but I probably just placed images around the central figure and tried to draw the viewer’s eye to the center of the page. Best guess.
ADDITIONAL FROM VINCE:  I don’t do nearly as much drawing as I used to – everyday life takes up a lot of time – but I have attached a couple of recent images:
1) A short time ago I was asked by a friend of a friend to design a logo (& mascot) for a local family fun center – the Two-Bit Bandit.
2) Next is the big three of the Avengers – occasionally I will draw comic book characters for myself & friends (and my father-in-law likes to take copies to the kids in Sunday School).
   Thanks again so so so much to Vince for taking the time to answer these questions.  Be sure to check out his website.  Heck, why not go BUY the trade of the first CAPTAIN CONFEDERACY series while you’re at it.  And I’m not sure when, but series writer WILL SHETTERLY will be joining us in the Q & A as well before these ‘covers’ posts are done….SWEET!


     I apologize to Will Shetterly and Vince Stone for the liberties I took with this “cover”.  Issue #8 (which you can read–along with every other issue–here) is about CBI Assistant Director McCauley having to deal with the repercussions of the media getting the truth out about Captain Confederacy.  It also gets more into the other ‘heroes’ of their world (who get serious screen time in the second Cap series).  The cover of McCauley reading the magazine with an “Aww, fuck!” look on his face pretty much sums it all up.  But I just couldn’t resist having this bad-ass government official “pull a Homer”. Sorry guys.  It’s just my nature.

   FYI:  I’ll be in Chicago at C2E2 next weekend with my pals DANIEL J. OLSON and BUD BURGY.  Hopefully we’ll be making some fans, friends, and bucks.  Sadly, this’ll mean I won’t be posting the “cover” for CAPTAIN CONFEDERACY #9 until April 24th.  So if I don’t see you in Chicago, I’ll see you then!



   After re-reading this issue for the first time in almost 2 decades I was immediately puzzled by the cover (I should of course mention you can read this–and EVERY ISSUE– here).  You’ll notice there are essentially four panels surrounding our hero.  “Reading” these panels in a traditional western ‘Z’ formation the events depicted are in the following order: 1,3,4,2.  What’s that all about?

   Well when I drew this “cover” I was at one of the Saturday Cartoonist Conspiracy “Open Studios” and brought this sequential anomaly up.  Everybody there thought it was kind of weird as well.  But I kept drawing….AND THEN IT HIT ME!!! 

    Jeremy(Captain Confederacy) is in the middle of these events for a very important reason, and it’s not just cause the book is named after him.  Jeremy is dead center wearing his trademark Confederate ‘X’.  Now if you ignore western convention and read the cover as an ‘X’ rather than a ‘Z’, you get the events depicted in this sequence: 1,2,3,4.

   Pretty.  Fucking.  Clever.



   Oh yeah–Miss Dixie is in this story!  How’s she doing with this whole “developing actual super powers” thing?  Find our for yourself by READING THE WHOLE SERIES HERE.



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