Earlier this summer I traveled to sunny Barbados for a pop culture convention called AnimeKon VI: Fantopia. Over the two-day event I met quite a few local independent artists and writers including Marc Gibson the author of his own self-published graphic novel, Bridgeland. A few weeks ago, Marc announced that Bridgeland was getting a sequel and that he was using a VisionFunder crowdsourcing campaign to help get it published.
SB: Tell us about Bridgeland 2.
MG: Bridgeland: Volume Two is the second and final volume in the gripping Bridgeland saga. It picks up pretty much where Volume One ended. SPOILERS: Alasdair has been setting up bloody vengeance for a little over a decade, and just about all the pieces are in place. He has positioned the brothers Winfield and Terrence at each others throats; he’s mucked with Joanne’s (his daughter) marriage just because he does not like who she married; and he’s got a couple of pawns – Ralph, and Vanessa in his pockets.
SB: How did you come up with the idea?
MG: Ten years ago I got it into my head that I wanted to be a filmmaker. So I sat down and started pulling together ideas for the sort of story I wanted to tell. The first idea was about this young, struggling business man battling against his soon-to-be-ex-wife and her wealthy parents for custody of his son. Eventually I decided I wanted a story with a bit more punch, but I liked the characters. So I kept the core characters, added a few more, and tossed in some familiar Barbadian elements. I focused on the concept of family and sought to explore the question of, “How far would you go for family?”
I wanted to tell a Barbadian story, in that the location and the characters were Barbadian. At the same time I wanted to explore universal themes that people outside of Barbados could relate to. Family ended up being a big one, but also love, revenge, and sacrifice.
SB: You’re located in Barbados. What types of challenges have you faced being an indie creator located in the Caribbean?
MG: Finding an illustrator wasn’t as simple as I initially expected. There are a lot of people in Barbados and the wider region creating content: graphic novels, comic books, webcomics. But finding an illustrator with the time and the interest in working on a project that isn’t their own was a challenge.
But the bigger challenge, however, is funding. Sources of funding can be hard to find, particularly for creative ventures. This is something I know all too well. This why I think VisionFunder is timely and necessary.
Another challenge is perception. We in the Caribbean have awesome talent that is sometimes unrecognised here at home because our work, our talent, is perceived as substandard by our own unless first recognised by someone from outside.
SB: The original Bridgeland was illustrated by Tristan Roach. This time around you’re working with artist Kevon Hall. What’s it like collaborating with Kevon?
MG: Working with Tristan on Bridgeland: Volume One was certainly interesting. He’s got talent, definitely. That was my first ever graphic novel project and I certainly learned so much there.
Kevon has blown my every expectation clean out of the water! He is utterly and completely invested in Bridgeland: Volume Two. His instincts have been absolutely on point with everything thus far, and his dedication and passion for this project equals mine. He has been understanding of the realities of producing a graphic novel in the Caribbean. Kevon’s eye and artist ability is truly exceptional.
SB: You’ve decided to use VisionFunder to get Bridgeland funded. Most people have heard of Kickstarter or Indiegogo as crowdsourcing options. Tell us why you chose VisonFunder and what has the experience been like?
MG: VisionFunder is the Caribbean’s Kickstarter. Kickstarter is a household name in crowdfunding, but it isn’t really accessible for the majority of people in the Caribbean. VisionFunder was started to give Caribbean people, those living in the region as well as those living abroad, a platform for our creative projects.
The experience thus far has been positive. Adrian Reid and the rest of the VisionFunder team have been supportive and always available with advice. Adrian, in particular, has always been there with information about crowd-funding and other elements of training which has been useful. Running a crowdfunder might seem simple from the outside, but it is actually a lot of constant effort.
So far the response has been favourable. But this campaign is on the bleeding-edge of something that’s new to the region. Folks aren’t always quick to support something new. I do believe in VisionFunder, I know that a crowd-funding platform for the region is necessary. Finding funding for creative projects is often quite difficult. The impact of crowd-funding in other parts of the world has been immense. I know that VisionFunder can be hugely beneficial for the region and really spark a whole new creative direction for the Caribbean.
SB: Aside from Bridgeland and Bridgeland: Volume 2 what other projects have you worked on?
MG: Bridgeland seems to have taken up so much of my life, it sometimes feels like that’s all I’ve worked on. But it’s not. I produced (and wore a bunch of other hats on) a Barbadian movie called Payday back in 2012 or thereabouts. I’ve written for, or worked on other projects that fizzled because of funding challenges. I’ve also worked as the on-location sound tech/boom operator and grip on commercials and short films, and PSAs for Non-governmental Organizations. I’ve also facilitated introductory film production workshops for community groups, sharing the basics of screenwriting and digital film-making. Recently I also produced a trailer for a novel by another Barbadian author named W. St. Cyr. It was for his book Fields of Death. I also produced a promotional trailer for The Clarkson Foundation Inc., a non-profit company working to assist and advance youth in the St. James North constituency.
After Bridgeland: Volume 2 is published do you have any other projects planned?
MG: Bridgeland was intended from the start to be a proof-of-concept. A complete and solid project in its own right, but also a showcase of what I can do in terms of scripting and producing a project. So I definitely have other projects planned. I’ve written and directed a four-episode season of a webseries called Strongarm for a Barbadian-based production company. That’s currently being edited. I’ve plotted two other concepts that will be part of a shared universe. I’m looking to tackle some Barbadian/Caribbean folklore, at least my take on it. I’m also, right now, working on adapting a book to a screenplay for a client. But that’s about all I can say at the moment.
SB: Do you have any advice for writers who are trying to find artists to work with?
MG: Everybody needs to get paid, don’t ask any artist you want to take you seriously to work for nothing. Some artists may be open to splitting the creative credit. Or you might find an artist interested in a revenue split. Some might simply agree to work-for-hire terms. The important thing is to have a solid, engaging story. Also important is an actionable plan to get the finish work to market and start generating revenue.
You might want to get the biggest name you know on board your project, and that’s great. But don’t overlook someone fresh out of college either. Ask around, check out artists’ forums online like Deviant Art and other spots across social media. Go to art shows and exhibits. Check out comic book and pop culture conventions too.
For those who are interested can you give us some information about how to contribute to your VisionFunder campaign?
Visit VisionFunder.com and create an account using your Facebook, or just sign up on VisionFunder. Make a pledge using your Paypal. Here’s the link to the campaign: https://visionfunder.com/users/projectinfo/10/Bridgeland:%20Volume%20Two%20The%20Graphic%20Novel
Marc’s VisionFunder campaign for Bridgeland 2 ends Monday, January 4 2016 at 5:32 PM AST.
