Wytches [Image]

[tridon]

WRITER: Scott Snyder
ARTIST: Jock
PUBLISHER: Image Comics

LAUNCHES: Oct. 08, 2014

Across the globe, century after century, men and women were burned, drowned, hanged, tortured, imprisoned, persecuted, and murdered for witchcraft. None of them were witches. They died protecting a terrible and hidden truth: witches, real witches, are out there. They are ancient, elusive, and deadly creatures that are rarely seen and even more rarely survived. This October, superstar creators SCOTT SNYDER (SEVERED, Batman) and JOCK (SNAPSHOT, Batman) unveil WYTCHES, and introduce you to a world of unimaginable horror in a special EXTRA-SIZED FIRST ISSUE with 30 pages of story and no ads for just $2.99!

 

[tridon]

Here's an interview that Comic Book Resources had with Scott Snyder back in January when WYTCHES was first announced:

CBR News: You've done some amazing horror work in your career so far -- "The Wake," "American Vampire," and "Severed" -- so how are you approaching horror this time around, with "Wytches?" You mentioned you wanted it to be the scariest thing you'd ever written --

Scott Snyder: Yeah, I did "Severed," and we went pretty dark. It was freeing to be able to do that. With this one, I want to go really dark. Horror is about looking at the things you're most afraid of, personally -- about yourself, the things you're worried are true -- and turning them into a monster. "Wytches" for me hit a raw nerve. The way we're designing them, its almost imagining that everything you know about witches is just the surface. In "Wytches," those people -- the ones persecuted, the ones with the stigma thrown onto them, are just the people who know about the witches and worship them. In reality, witches themselves are something much more primal and bestial.

It's my chance to do the most black and twisted horror I can imagine.

I've always loved taking mythological creatures, mostly horror creatures, and reinventing them to make them modern and scary for me. In that way, something that's always scared me has been the idea of people hiding out in the woods.

I was talking to a friend that had visited Salem, and I got this idea to make witches done in a way that would make them both physically different from anything we'd seen before and mythologically different.

What is the shape of the first arc?

It's very character driven, following certain protagonists. The one we see first is this young father whose daughter sees her friend disappear from the woods in a horrific way and is scarred by that. He and his wife move away from the town where they've been living to somewhere more rural, where his wife grew up. His daughter starts seeing things in the trees and is convinced that something has followed them from their old town. That begins the story, and it gets scarier and scarier from there.

Where is the story set?

I don't want to give the name of the town away -- part of the name is the fun of the story -- but it's set in a fictional town based on a few actual places.

In "The Wake" and "American Vampire," you play with the science of monsters, taking it to a place that has logical explanations as well as mythological ones. Is that going to continue in "Wytches?"

I've always loved science, or pseudo-science as my wife teases me. Here I wanted to do something where the elements of witches -- spells and magic -- were explained by their knowledge of natural sciences. They make tinctures that can cure cancer, paralysis, all kinds of diseases. And there's nothing magical about it, they just have this unbelievable understanding of natural sciences to the point where it looks like magic. They are a type of creature that's incredibly old and frightening. We've never been able to take a photo of them and very few people have lived to tell the tale from encountering one of them, although people do want to trade with them to get their cures and potions -- and those trades in themselves are going to be really scary.

Do you plan on "Wytches" being a mini or ongoing series?

The idea is that we want to do five or six issues, take some time off -- the Brubaker model. We really have a lot to explore in this world, so we want to make the first arc as good as it can be to keep people reading. I'm dying to tell this story for as long as I can.

Is having a creator-owned project with a long time friend like Jock inspiring you in the other books you're on with DC and Vertigo?

I adore being at DC. They've been incredibly good to me, and continue to be incredibly good to me, allowing me to write "Batman" like a creator-owned book. I made Jim Gordon's son a psychopath, I gave Batman an owl brother and I got to use Joker with his face strapped onto his head. They give me such latitude with that book. My commitment to DC and Vertigo is incredibly strong, and I don't see this book undercutting it.

That said, I also want to do things this year that keep me vibrant and excited about my own writing. The stuff going on at Image right now, having a series that's my own with Jock, away from the people that oversee in the best way that I do otherwise in comics, is so thrilling to me. I'm too comfortable, in some ways, being able to do Batman and Superman. I want to challenge myself, and that's what Image is.

Are you going to be continuing to challenge yourself with other creator-owned projects?

I'm going to try to do a few more fun, surprising things on the side. Shorts with artists I adore that I'll try to release for free digitally -- stuff like that. I can afford to and why not do things that keep me young as a writer? I want to keep all of my work better than I've ever made it. I want this year to be about surprising people and surprising myself.

 

[tridon]

And here's an interview that Newsarama just had with artist Jock (the artist behind the UK SteelBooks for THE RAID 1 & 2 plus the Entertainment Store exclusive WALKING DEAD Seasons 1-3):

On October 8, comic book writer Scott Snyder is looking to make his scariest book ever with Wytches. That’s no small feat with American Vampire, The Wake, Severed, and the “Death of the Family” arc of Batman under his belt, but to help make it happen he asked Scottish artist Jock to help.Wytches reunites the team behind the celebrated “Black Mirror arc of Detective Comics on a creator-owned ongoing series that aims to bring the scary back to these ominous figures that have grown somewhat passé thanks to modern fairy tale storytelling. When Newsarama talked to Snyder in August about Wytches, the author said their plan was to create a new mythology for witches and witchcraft that is bereft of fanciful magic and instead relying on natural science and the scariness of the unknown.

For Jock, the allure of Wytches is the chance to work with Snyder again but also the opportunity to bring back the rough edges to the idea of witches. Although best known for his action and superhero work, Jock did a brief stint on Hellblazer and his work has a multivalent quality ideal to impart uneasiness, horror and the heartfelt moments that work to amplify the scariness of wytches.

Newsarama: Jock, Scott said he had you in mind specifically when he came up with Wytches. When he presented the idea to you, what made it something you wanted to commit to?

Jock: It was a combination of things… the most prevalent thing was that I was very keen to work with Scott again. we first worked together on the Batman arc, “The Black Mirror”, and that was such a great collaboration - not just with Scott - but with Francesco Francavilla, David Baron and our editors at DC that I was very happy to tell another tale with Scott. And the idea was so good... I love horror and Scott’s clearly a fantastic horror writer.

But timing played a part too - I was due to start a project with another writer, and he emailed me that day to say timings were an issue with then Scott emailed literally a couple hours later so the opening was there. Good timing!

Nrama: The idea of witches is a storied one going way back in fables and myth. Before Wytches came up on your radar, what came to mind for you when someone said “witches”? Any touchstone stories, movies, television, film or art that stands out to you?

Jock: Actually, the thing that stood out for me was the chance to do something new with it. Like you say, the fable is so entrenched in our psyche that it can actually be a little clichéd or cheesy. What I like the idea of was going back into that, and making it really something horrific, something primal and brutal. And that’s exactly what we’ve gone for. What we know as witches up until now - the old lady with potions and spells - is just the tip of the iceberg. Historically, these are just the people that worship the real witches. Nine foot tall, deformed creatures that live in the woods.

Nrama: So once you heard about Wytches and decided that you were doing it, how’d you go about deliberating on what you would do in terms of design, storytelling and approach?

Jock: Scott had a lot of great ideas with that. I’ve been lucky that I’ve worked with some great writers, and it’s often best to sit back and listen to what they have to say about it… so much of the subtleties of the story and world are there in the story they’re telling, I just listened to Scott’s ideas and went with them. Design-wise, the creatures themselves haven’t deviated a whole lot from those initial ideas. There’s a few tweaks and changes, but it was all pretty much there. I feel like it’s the tone of the creatures i have to get right. So long as they appear as nasty and foreboding as I can make them, then I would have done my job right.

Nrama: Scott said the design for the witches ofWytches was very deliberate, and that we won’t even see them fully until later on in this series. That being said, and without spoiling anything, can you tell us a bit about them visually?

Jock: Definitely an element of function over form. I see them as in the shadows, and we’ll see glimpses of them, never fully revealed until later.

They’re very tall, thin creatures that can hide behind trees and snatch children in the woods. They’re on the outskirts of your awareness, always there, but never fully in the light. When we do finally see them, it’s got to be horrifying!

Nrama: Scott said he’s aiming for Wytches to be his scariest story ever. What’s your thoughts on horror? Do you have a particular fascination with it?

Jock: Yeah, I love horror - i grew up in the United Kingdom in the 80’s, so “video nasties” and horror films that we basically weren’t allowed to watch are engrained in me. The censorship was much stronger in Britain... designed to protect us, but it actually just made me far more keen to seek out the really nasty movies that we weren’t allowed to see! I’m a huge fan of 70’s horror films, particularly. i hope some of that tone and influence comes through in Wytches.

Nrama: Working with you on the art side is colorist Matt Hollingsworth. What are the conversations like between the two of you about the finished page?

Jock: it’s been fantastic. We chose matt because he’s one of the best, if not the best, in the business, and the collaboration has been great. I had ideas for this to look a certain way - I think because it’s our creator owned book I’m heavily invested in it - and I’ve pushed him a little bit along the way, but he’s brought so much for the table, it’s been invaluable. The main thing, whenever collaborating with someone - is to let them do their thing, and Matt has been fantastic.

I’m really proud of the results on the book - I hope people dig it.

Nrama: You’re very in demand as an artist, working at Marvel, DC, and also doing work for movies and TV such as the recent work on Gotham. With all of that going on, what made you want to commit to a creator-owned comic book where there’s no guarantee?

Jock: I feel very lucky that I can get to pick and choose what I do, to a certain degree. But the upside of that is that I only commit to something I really believe in, and Wytches is completely one of those projects.

I don't worry about projects I take on at all — if I’m into the idea I naively hoped the audience will feel the same way. It seems to be that way so far anyway. Ask me again in a year! [laughs]

Nrama: This has the label of “horror” on it; are you doing anything particular with your art to make it more horrific in style or storytelling?

Jock: I think my style probably suits horror fairly well - there isn't anything in particular I’ve done to skew it on Wytches. With any project, I just try and service the script as best I can, and you often find that the little nuances and subtleties appropriate to the story come out along the way anyway.

Nrama: Last question – what should fans look forward to in the first issue?

Jock: I’ve loved drawing the issue. As I write this, I’m just seeing the final PDF with all of Matt’s colors and Clem Robins’ letters now in, and I’m really excited to share it. There are some horrific moments, but importantly there’s really nice character moments in there already. I really care about the family in the first issue already and I hope people will too.

That way, when the Wytches finally do wreak their havoc, it’s gonna be brutal...

 

[tridon]

I am so excited for this book! Scott Snyder's BATMAN may be a fun read, but it's his indie horror stuff -- AMERICAN VAMPIRE, SEVERED, THE WAKE -- that's really freakin' awesome! Take an idea so horrific and creepy and handing it over to Jock for art duties... wow, this is gonna be good!

 

[tridon]

A new interview with Scott Snyder at Comic Book Resources revealed a first-look at a variant cover for issue #1 by artist Becky Cloonan. It's looks great!



And here's the interview...

"Wytches" is built on a fairly simple concept -- a family moves to a new town to help their teenage daughter Sailor recover from a traumatic run-in with a bully that ended in tragedy. Haunted by the incident, Sailor begins to wonder what really happened that day in the woods. Helpless to protect their daughter, her loving parents try to soothe her anxieties as best they can, but when Sailor begins to see familiar shadowed figures outside her window, they have to wonder where the truth really lies. Are Sailor's fears getting the best of her, or are there unimaginable evils waiting for her family?

I was able to get my greedy little hands on the first issue, which I read all alone in my office one evening. After the first page, my light burnt out, which should've been my cue to put the comic down and back slowly away -- except I didn't. Snyder and I had planned to chat later that evening, and I wanted to be prepared. So I read the entire comic, alone in the dark, and nearly had a heart attack when my phone rang. Luckily it was Snyder, who shared details about how personal this series is for him, as a parent as as someone struggling with anxiety, and how his being a horror fan since childhood inspires his writing to this day.

CBR News: Scott, before we officially began this interview, we were talking about how being a parent has been a significant influence on "Wytches." Can you share more about that?

Scott Snyder: Part of the impetus comes from some of the ups and downs of parenting -- the sense of joy and wonder, but also the total terror and guild that comes with being a parent, the terror that this thing that's sort of a vital organ in your body has left your body and is out there in the world. That's the way it feels. Something is out there, and if anything happened to it, you would die. You worry about that thing all the time. So that sense of exhausting concern and love is part of what the book is about. These ancient, timeless thing, the wytches, wait for you to come to them with things you need to stave off sickness, death, to help somebody that's sick, to get something for the one you love -- whatever you need. You come and you give them someone else, and they'll give you what you want. So in that sense, asking what you'd do to save your kid, what would you do to save your wife or your husband, or to get what you want if you're selfish? They're always out there to make a trade.

I got to read the first issue, and I loved it so much. One of the things I was taken with was how Sailor's father deals with her anxiety and connects with her over this traumatic incident. It felt authentic.

Thank you so much, I'm really proud of it, and that's a really personal part. Obviously, I still struggle with anxiety. Like I was saying to you earlier, before the interview, I was an extremely nervous kid and had lots of anxieties to deal with. The funny thing is that you and I were talking about this as friends a little while ago -- about my kid's first days of school and how surprisingly socially adept my older son is, where as I was a nervous wreck on my first day of school. That sense of fear, at least from me, is that my children would have the same anxiety that made things not the best. So in the series, there's the sense of a dad who is struggling with a child who has been traumatized, but more importantly, is suffering, and he doesn't know how to take it away. He tries to give her the tools to get through it, but the worst thing in the world is when your kid is in pain and you can't take it from them. That scene, and the bullying scene, they were really important to me.

Yeah, I remember that you'd said before that something that was important to you when writing horror stories was processing your own fears. Is that where these narratives come from, both the fears of a parent and the fears of living with anxiety?

Yeah, both, in a big way. The story is deeply about a child who suffers from anxiety, and parents who would do anything to protect her from the world. It's also personal in a way in that the monsters prey on the most desperate aspects of human nature -- your child is suffering, they'll do something to help you, but you have to do something awful. I knew as soon as I came up with that story element that it would engender the kind of horror I really love. Not just because it's scary -- the monsters themselves are incredibly scary, Jock did a great design -- but it offers the kind of situations that make for horror that's exploratory about how dark things can get and how heroic characters can be when faced with monstrous decisions.

What do you think is unique to the medium of comics in telling those kinds of horror stories?

The thing that's the most effective about horror in comics is that it's so intimate. You don't have a lot of the tools that you have with film and television. You don't have the shock or the sound. What you have is an incredibly personal experience, an immersive experience, to just be alone with the book and have it brought to life by your own imagination. The thing that comics offer that other mediums can't is the intimacy with the world: It's just you and your imagination filling in what's between the panels. It can be very claustrophobic, so I try to play that up with the slow burn, the creeping dread, something being just to the left or right of the panel. It's incredibly thrilling to write that way. I love writing horror in comics for that reason.

I would probably never go see a horror movie alone, but I'll read comics alone. It's interesting to think about the control you have in the experience -- in a horror movie, I can't control the action, but in a comic, I decide when to turn the page. How do you think about the pacing when you're writing?

That's what I mean. If you put the dread in the subtext, you can experience it over and over again as you go back and read it, seeing the different layers that have been designed in the story. For example, in the first issue, you see a school bus that Sailor's waiting on. You see it again in Issue #2. In the first issue, it's just there, but when you see it later, you can connect the dots and understand things more deeply. Seeing those layers is part of the joy. It's a literary experience -- not just this book, but good horror in comics. That's why I love what Robert [Kirkman] is doing with "Outcast" and "The Walking Dead." You become so connected with the characters and the world, you fear deeply for those characters because you have a connection with them that's solitary and singular. You're reading their words, alone. You're imagining them doing things between the panels as you're reading. You fear for them in a way that isn't necessarily as potent in a movie, where the pacing rolls forward.

You mentioned a couple of great ones, but what was the first horror comic that made an impression on you?

The first horror comic was definitely "Swamp Thing." Arcane and the Patchwork Man and the Unmen and Bernie Wrightson's art, which I followed around from "Creepshow" and everything else he was doing at the time. That sense of the gothic macabre caught my imagination. Swamp Thing being this tormented thing that didn't know what he was, and how he could become human again -- that meant a lot to me.

In terms of novels, I was a huge Stephen King fan from early on. The first novel that caught my imagination was "Eyes of the Dragon." I was a little older than my son, actually. I was eight. I went to sleep-away camp for the summer. It was a very -- athletic camp. I wasn't really into it. I didn't like it very much at first at all, but I had this great counselor named Ted, and he read to us from "Eyes of the Dragon" every night. I just looked forward to it so much, Flagg and Roland and all of those characters. After that, it was "Pet Semetary." Horror has always been a big staple for me. It's my favorite genre.

Stephen King was an early favorite for me, too, and I think it's interesting that so many kids grow up reading him. There isn't a lot of horror out there designed for kids, but they know the world is a scary place. They can see the horrors in it, and to not have it regularly acknowledged in their literature seems short-sighted.

I know! It's really hard to know as a dad what to give them. Their questions when they're young -- my son Jack is seven -- are just so probing and mature. He'll ask things about death, about what happens when you die, how old you'll be when you die, and then on the other hand, he has no concept of age. For example, I told him the other day that I watched "Batman: The Animated Series" when I was a kid, and he was like, "So why wasn't it in black and white?"

Another example -- I was flipping channels to get to his station, and "Gladiator" was on and there was a stabbing with a splash of blood, which is a parent fail, but I was trying to get to cartoons. He saw it and he covered his eyes. It was horrifying to him, and you remember immediately how incredibly sensitive they are to things that are adult-scary. It's strange, and it's a really odd balance. He's really interested in seeing the movies I watched as a kid, so the other day we watched "The Karate Kid" and that was great for him. He loved it. But then we watched "Gremlins," and that movie is really scary. After a couple of points, he was like, "I think this is too scary, dad." And I totally understand, and we stopped.

I think the best thing about comics and books is exploring. He likes ghost stories, so we've tried a few of those, and now we're reading "The BFG" which is scary in a lot of ways. The giants eat kids! But he really likes it and we're taking turns reading it. As corny as it sounds, I'm a big believer in letting kids see scary things.

Not because I was such a horror movie fanatic -- or maybe it is because I'm a horror movie fanatic and I'm trying to justify my own pathological nature or whatever -- but as a kid I rented so many horror movies before I should've seen them. There was a video store that wouldn't rent them to kids, but they'd deliver them if you ordered them. It was the neighborhood secret. Anyway, the thing I believe is that to sanitize things or have them incredibly G-rated all the time -- there's something strange about that. There's a balance. Fairy tales are dark and scary, and you should judge what's appropriate for your kids. Obviously with "Wytches" I don't let him near anything. It's a balancing act.

The series deals with this family -- The Rooks -- in the first arc. Does the continuing story follow them in future arcs? Or do we see new families come into the mix? Are the wytches widespread beyond this one town?

There are characters from this arc that will repeat in future arcs. I don't want to give away who lives and who dies, but there's going to be crossover between this arc and future arcs, both in terms of human characters and the expanding mythology of the wytches themselves.

I was interested to see that the preview pages we saw for "Wytches" weren't in the first issue, and the art in the first issue is a little different. It blew me away, but I was curious to find out more about that.

Yeah, I came up with that story and we worked hard to do it, but we did it at the last minute. We wanted to put something together that would show the sort of darkness we were going for. I'd had that book in mind for a while as a preview, but we weren't going to do it. Then Jock suddenly got free and I was like, you know what? Let's just take the week and do it. We're both proud of it, but the amount of time and design that's gone into the book itself is different than the preview. It's more of a teaser.

How does Jock's style influence your storytelling? How much does his style free or inspire you and how do you play to his strengths?

I try to think of the things he likes to draw. Part of it is playing to his strengths and part of it is challenging him to draw things he hasn't before. I sort of think to myself about what he might excel doing. For example, in Issue #2, there's a scene with Sailor in a lunchroom, and she is approached by a girl. While she's approached by the girl, she sees something scary in the background. I was thinking about it -- Jock would obviously kill that scene and do a great job. But he does such creepy things when you have design elements in the scene. So, for example, what if I set the scene in a pool and it's swim class, and all of the girls are lined up in matching bathing suits with the caps, a school uniform? I can see the way he would do that, with the dark inks and the white caps, and it would be like "Madeline," but creepy. Something about it would be off-putting because he brings that great element to it when you give him things that allow for design. He's so talented and he has such a great sense of how to compose a panel when there are pieces that could be seen simply but evoke an emotion. So now, the scene is set in the pool, and I like it so much better because of what I know he'll be able to do with it.

Is there any artwork that Jock's sent to you that's scarier than how you'd envisioned it?

Oh, yeah. Honestly, the whole opening scene was much scarier than I'd imagined it. The design of the tree was so spooky. I'd described it, but then the claustrophobia he's able to evoke -- I try to give him a lot of room to figure out those elements. There's also a bullying scene I mentioned earlier, between Sailor and another girl, Annie. That was so much more traumatic the way Jock drew it than I imagined. She's so scary and big and hulking, and the angles he draws from make her menacing. I was really scared for Sailor. It's the only scene in the book I was particularly nervous about being overboard, in how cruel Annie is, but remembering bullies and thinking about how awful they could be made me decide to keep it.

Before I let you go and I wander out of my creepy office, alone, is there anything else we haven't covered that you'd like to talk about?

Just a thank you to everybody out there that picks up the book. Doing "Batman" and "Superman" means the world to me, and I try to make those books as personal as possible. But getting to do a book like "Wytches" or "American Vampire," where I just have complete freedom to explore my interests, whether they're historical and fun interests, or going as dark and probing with myself like in "Wytches" -- the fact that the response and the sales are where they are means the world to us. So thank you to everyone checking it out -- it means so much to us.

 

[apsmith21]

Had to resort to e-bay to get this first issue - my local comics store had been sold out for a while! A bit late to the game I guess, just figured they might have had a couple kicking around.

Also heard that issue #1 will be getting a 2nd printing...and the movie rights have been optioned? Haven't looked into that yet, just saw some folks on e-bay adding that to their listing.

 

[mlmaier84]

Had to resort to e-bay to get this first issue - my local comics store had been sold out for a while! A bit late to the game I guess, just figured they might have had a couple kicking around.

Also heard that issue #1 will be getting a 2nd printing...and the movie rights have been optioned? Haven't looked into that yet, just saw some folks on e-bay adding that to their listing.

I noticed the same when I ordered my copy off of Ebay. Also, did you notice how much the NYCC variant is going for?!?! That's INSANE for a new release, limited or not! ESPECIALLY for a brand new story!!!

I do have a collection of comics from when I was younger, but haven't read any in AWHILE. However, I did order this one and absolutely LOVED it!!! I've already preordered issues 2-4 off of Ebay as well and am looking forward to them showing up!!!

If anyone is even halfway interested in seeing what this dynamic duo (Snyder/Jock) has to offer in a non-Batman setting, I highly suggest picking one of these up! The art is ABSOLUTELY AMAZING and has the story to back it up!!!

 

[tridon]

@apsmith21 Yeah, the film rights have already been optioned. Not surprising, really... this has amazing Halloween film all over it. If you get a chance, check out the prequel issue online (it's free, just have to Google search it) before you read the first issue. Jock used a different drawing method for that issue and it perfectly sets the mood for the series.

@mlmaier84 It's thoroughly upsetting that I wasn't able to acquire that NYCC variant. I asked some people that were there to go get it for me, but it was too late by the time I found out about it. Image didn't announce anything online, so I didn't find out about it until I saw it on eBay.

 

[mlmaier84]

@apsmith21 Yeah, the film rights have already been optioned. Not surprising, really... this has amazing Halloween film all over it. If you get a chance, check out the prequel issue online (it's free, just have to Google search it) before you read the first issue. Jock used a different drawing method for that issue and it perfectly sets the mood for the series.

@mlmaier84 It's thoroughly upsetting that I wasn't able to acquire that NYCC variant. I asked some people that were there to go get it for me, but it was too late by the time I found out about it. Image didn't announce anything online, so I didn't find out about it until I saw it on eBay.

Yeah, I would have LOVED a copy of that variant!!! But no way am I spending $200+ on it!!! I do like some of the other variants as well. They've already announced/released variants for upcoming issues. They look pretty good too!

 

[Colombianlove41]

On the podcast this evening, we were discussing that Image has confirmed that issue #1 in both printings has reached 92,131 copies. The first had about 81,083 in its initial retailer orders. That's insane!

And I may be getting my NYCC exclusive. They were sold out at the show but a friend of mine has an extra....and it'll cost me $25, not $200+ or whatever eBay is asking...

 

[tridon]

On the podcast this evening, we were discussing that Image has confirmed that issue #1 in both printings has reached 92,131 copies. The first had about 81,083 in its initial retailer orders. That's insane!

And I may be getting my NYCC exclusive. They were sold out at the show but a friend of mine has an extra....and it'll cost me $25, not $200+ or whatever eBay is asking...

If you know of anymore friends with extras, I'm still desperately seeking an affordable copy.

 

[Colombianlove41]

If you know of anymore friends with extras, I'm still desperately seeking an affordable copy.

I will dude. I know you're looking for one. If he grabbed more, I would've hooked you up already. I'll keep an eye out and email a few other people that went.

 

[tridon]

I will dude. I know you're looking for one. If he grabbed more, I would've hooked you up already. I'll keep an eye out and email a few other people that went.

Thanks, man!