Indie Comics Showcase # 313: Three Bros. Gruff, Titan Mouse, & Return of the Rooftop Koreans

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: For folks new to your work, how would you describe TITAN Mouse? What’s the big idea behind the story?

Gary Shipman: TITAN is an extraordinary creature endowed with powers beyond that of any normal mouse. TITAN is from another world where the animals are intelligent (see the Pakkins’ Land comic series). After an accidental explosion opens a doorway between two worlds, TITAN is transported to the world of man where his epic story unfolds. Believing himself to be the only survivor of the explosion, Titan is plagued with PTSD, the effects of which leave him powerless at times. TITAN sets out on a mission to free the animals who have survived the testing of the RRC.

CB: That’s a powerful concept — and it sounds deeply personal. How did this idea come about, and what led you to self-publish it?

GS: My name is Gary Shipman and I’m the creator of the TITAN Mouse comic book and it is my pleasure to present to you the highly anticipated issue #10 of the TITAN Mouse series. At a young age I fell in love with the comic book medium and I’m so happy to be able to share my stories and art with you.

As an artist working in the industry on some of the biggest properties in pop culture, I have been desirous to make my own stories — real heroes that face, with courage, impossible situations, overcome hardships, and deal with their own inner demons — things that we all face in our normal day-to-day lives. That is why, as hard as it has been, I have tried to create something that inspires, gives hope, and has value. I feel the work I am doing now is some of the best I have done.

CB: Let’s talk about your craft for a second. How would you describe your art style and your creative process?

GS: I have been drawing for most of my life, studying from some of the greats — Frank Miller, Klaus Janson, Bill Sienkiewicz, John Byrne, Mike Mignola, Tim Sale, Arthur Adams, etc.

CB: And who’s helping you bring all this to life behind the scenes?

GS: I do most of the heavy lifting with the help of my wife, Rhoda Shipman, on editing.

CB: How’s production going on the new issue? Where are you in the process right now?

GS: I have 10 pages done and hope to have the whole thing finished by the end of February.

CB: Every creator learns something new on each project. What has self-publishing and crowdfunding taught you along the way?

GS: I have learned that you have to love comics a lot to work in comics.

CB: Do you see TITAN Mouse continuing beyond this issue, or are you looking ahead to other projects in your universe?

GS: I have a lot more to tell in the overall Pakkins’ Land universe of which TITAN is a part.

CB: For your fans and backers, are there any special perks or features they can look forward to with this campaign?

GS: There are several stretch goals that will be unlocked when reached.

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

GS: I love that I have gotten to work on my own comics over the years and thank you to all of you for all of your support.

Check out the campaign here!

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Check out the campaign here!

Chris Braly: For those just hearing about Return of the Rooftop Koreans, what’s the quick pitch — what’s this story all about?

Lee Tae Yeon: Return of Rooftop Koreans is an action thriller that follows Ernest Gwon, a Korean American shop owner who is forced to take a life during a violent robbery. In the aftermath, riots spread across the city and Ernest must lead a new generation of Rooftop Koreans to protect his community. Set in the present day, this is a fictional story inspired by the true story of the Rooftop Koreans from the 1992 LA Riots. The book has a total of 148 full color pages (117 story pages plus bonus content).

CB: That’s a compelling premise, especially drawing from real-world events. What sparked the idea for the book, and why did you decide to self-publish it?

TYL: I first came up with the idea during the 2020 George Floyd riots which reminded me of the 1992 Los Angeles Riots and the story of the Rooftop Koreans. I remember thinking, “What if the Rooftop Koreans made a comeback?” and that question became the foundation for my graphic novel. I was surprised to learn there has never been a comic or graphic novel about the Rooftop Koreans, so this will be the first. I chose to self-publish because I wanted to tell a raw and authentic story without any censorship.

CB: Sounds like this one’s going to hit hard. What kind of readers do you think will connect most with this story?

TYL: It’s an R-rated action thriller that’s best suited for readers who enjoy gritty, grounded action. It will appeal to fans of The Punisher, Death Wish, Dirty Harry, and Taxi Driver.

CB: Let’s talk about your creative side a bit. How would you describe your storytelling style and your process for developing a project like this?

TYL: My style is strongly influenced by Korean cinema, particularly films like Park Chan Wook’s Vengeance Trilogy and The Man from Nowhere. This is the first graphic novel I’ve written. Back in high school, I wrote and drew a few comics that were… let’s say… embarrassingly bad. Now that I’m much older, I decided to give comics another shot, but this time I hired professional artists to handle the artwork.

CB: You’ve assembled quite a team to make this happen. Tell us more about the artists who helped bring Return of the Rooftop Koreans to life.

TYL: I collaborated with a talented creative team to bring Return of the Rooftop Koreans to life. I found the line artist, Ovlepper, on Instagram and was drawn to his unique style, which blends Eastern and Western comic influences. I found the colorist, Doni Cahyono, on Facebook. I love how his bright, contrasting colors complemented the line art. Their talents helped to give the book a cinematic feel.

CB: That’s awesome. What does your production workflow look like, and how far along is the project?

TYL: I started by outlining the story and then writing the script, which I polished with the help of an editor. Next, I worked with the line artist, Ovlepper, on storyboards. Then he completed the pencils and inks. Afterwards, I handed over the pages to Doni Cahyono to color. The book is completely done and has already printed.

CB: Congratulations! Finishing a 148-page book is no small feat. What’s been the biggest takeaway for you through the self-publishing and crowdfunding process?

TYL: Self-publishing and crowdfunding were a lot harder than I thought they would be. Producing the book itself was the easy part. The hard part has been marketing it and convincing people why they should give it a chance. I’ve learned how much effort goes into managing a creative team, finding vendors, and building a social media following.

CB: Now that you’ve completed such a massive project, what’s next for you? Any plans to continue this story or move on to something new?

TYL: There are currently no plans to continue the story in Return of the Rooftop Koreans. It’s a self-contained, complete story. I am definitely open to the possibility of a sequel in the future. But for now, I’m currently focused on creating a completely different graphic novel in the fantasy genre as well as a prose novel in the horror genre.

CB: Very cool! And for collectors or backers, are there any special features or crowdfunding rewards they should know about?

TYL: Return of the Rooftop Koreans includes bonus content in addition to the 117 story pages, such as character designs and an art gallery. Our Kickstarter and FundMyComic campaigns offer unique items like a set of clear plastic trading cards, T-shirts, and five different eye-catching variant covers.

CB: Before we wrap up, anything you’d like to say to readers who might be discovering your work for the first time?

TYL: Thank you for checking out Return of the Rooftop Koreans. This book is packed with high-stakes action, unforgettable characters, and a one-of-a-kind story you won’t find anywhere else. We hope you’ll give it a chance. We’re also currently working on more books and can’t wait to share what’s coming next.

Check out the campaign here!

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Check out the campaign here!

Chris Braly (CB): For readers just discovering Three Brothers Gruff, give us your elevator pitch — what’s the story all about?

Jonathan J. Colton (JJC): In a reimagining of the classic Three Billy Goats Gruff, three satyr brothers, renowned troll hunters, are hired to rescue a kidnapped princess from the formidable troll Ulif, only to discover she doesn’t need saving—and the true danger awaits her at home.

This isn’t a fairy tale—it’s a wild, gritty saga of loyalty, betrayal, and epic combat, blending Dungeons & Dragons-like creatures with Game of Thrones-style action and politics. The first issue is 24 color pages penciled and inked by Italian Superstar artist Vincenzo Mercogliano.

CB: That’s a fresh twist on a classic! What sparked the idea, and what made you want to take the self-publishing route?

JJC: Three Billy Goats Gruff was my favorite story as a young child. I started riffing on it at one point and asked the classic comic book question, “What if?” I began imagining what if the goats were in fact satyrs (troll-hunters) and brothers with distinct personalities—maybe one elder, strong and wise, one brave and accomplished, one with all the strength and weaknesses of youth—and how their sibling dynamics could turn the classic story into something more dramatic and action-packed.

It felt like a natural fit for a comic because the structure lends itself to punchy panels, escalating antics, and that satisfying payoff. I decided to self-publish it because I’ve had great experiences controlling my own creative destiny. Going independent lets me make exactly the book I want without compromises. It’s a lot of work, but the freedom is worth it.

CB: Sounds like you know exactly who you’re making this for. Who would you say this book appeals to most?

JJC: Anyone that is a fan of Savage Sword of Conan, ElfQuest, Berserk, Red Sonja, or even The Witcher and Game of Thrones—this is a comic book for you.

CB: Let’s talk about your creative approach. How would you describe your writing style and your process for developing a story like this?

JJC: I begin with a script and then write the whole thing—beginning to end. In my practice, I’ve discovered that in order to stick the landing, you have to begin with the end in mind. Everything in this comic is geared to build toward the ending.

CB: You mentioned Vincenzo Mercogliano earlier — tell us more about assembling the creative team for Three Brothers Gruff.

JJC: I found my greatest blessing in Vincenzo Mercogliano (Italian Superstar Penciler and Inker) through Facebook. He’s still working on his English, but luckily for me I learned Italian while living in Italy—so our Zoom meetings were quite productive. I didn’t think I could afford a talent on this level, but it never hurts to ask. And after he read the script he really believed in the story, characters, and message and was willing to contribute his maximum efforts to bring Three Brothers Gruff to life.

CB: That’s a great collaboration story. How’s the production coming along—where are you in the process right now?

JJC: All 24 pages of the book have been penciled and inked and we are ready to go to print.

CB: Nice! Every project teaches you something—what have you learned so far from self-publishing and crowdfunding this comic?

JJC: The biggest thing was two heads are better than one. Vincenzo has brought so much enthusiasm for the story and made some small changes that have had a big impact. I’m grateful to have him as a creative partner and the synergy is real.

CB: Once Three Brothers Gruff #1 is out, what can fans look forward to next?

JJC: This book is #1 of a 5-issue mini-series, and if the first book funds well, issues 2–5 will likely be 40+ pages each. That would be roughly 180–200 pages of the first graphic novel. We currently have 7 graphic novels outlined as an over-arching epic story.

CB: That’s ambitious—sounds like a huge saga in the making. Before we wrap up, where can readers check out the campaign and see more of your work?

JJC: The campaign is live right and it’s also running on Kickstarter for wider reach—launching around February 3rd, 2026, with perks like exclusive editions, prints, and early access. We’ve got a trailer out there showing off the art and vibe, plus pencil previews that prove it’s all hand-crafted, no shortcuts. I’m really excited about the reception so far and hope fans of twisted fairy tales and indie comics jump in to help make this a reality.

If you’re into that kind of fun, chaotic heroism, come check it out!

CB: The campaign just launched yesterday, so good luck Jonathan!

Check out the 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!