Well, I’m not going to dress this up. The first five months of this year kicked my ass since I founded the asylum called Mad Cave Studios.

Why?

Print costs climbed.

Freight climbed.

Paper got harder to count on.

The retail base is thinner and more fragile than it was a decade ago.

A couple of bets didn’t land the way we’d projected.

Put all of that into the same handful of months, and you end up making decisions (critical ones), the kind that affect people’s lives. We made some of those this year. I’m the founder and the CEO. I made the calls, and I own every part of them.

You see, running a business asks more of you than you expect it to. It’s easier said than done, though. You try to adapt. You make calls that are hard and even unpopular. Not because they feel good, but because you’re thinking about the years ahead instead of the week in front of you. I’ve always taken pride in the fact that I see the forest, not just the trees. The simple reality is that a lot of people are counting on this place to still be standing down the road: their families, their careers, their belief that an independent publisher can actually go the distance.

That responsibility doesn’t get lighter when you spread it around. It simply sits with the founders. That’s the job, plain and simple, and I made peace with it a very long time ago.

“That’s the reason they’re called lessons; they lessen from day to day.”

-Lewis Carroll

I started MCS as a self-publishing project with no ISBNs, no distribution, and no one waiting for the next book. Even though we had worked our asses off through many sleepless nights. Regardless of all of that, regardless of all those struggles, we built it into what it is today. Carrying that weight is the price of having built it, and I wouldn’t hand it to anyone else.

If you allow me to be frank, let me tell you something about this business that most people outside it never see. A lot about it isn’t fair, and I made my peace with it years ago. The comic book industry runs on roughly the same arithmetic as a casino, yeah, wild, I know. Except the house doesn’t always win.

You bet on books.

Some hit.

Most don’t.

The ones that hit have to pay for the ones that didn’t, and then you rinse and repeat next season, with a different slate, hoping you read it right. You make fifteen or twenty bets a season (more sometimes), and you come out ahead if two or three beat expectations. That’s not a glitch in the system. That’s the system, and it’s been THE system since the 1930s. It’s true at Marvel, it’s true at DC and its true at every independent publisher operating today. The only difference is the size of the safety net under you when you fall and land on your face, and we don’t have a big conglomerate’s money. Nobody outside the Big Two does.

So, what I’ve learned over the years is that the whole thing is a game. But unfortunately, it’s a game for professionals. There are good seasons and bad ones, and anybody who tells you they’ve found a way to skip the bad ones is selling you something or is a sheep in wolf’s clothing. However, the goal was never to avoid the hard stretches anyway. It’s simply to stay alert to them, see them coming when you can, know when to push and when to ease off, without panicking and without losing sight of where you’re headed. In my humble opinion, That’s the test. It’s all of it.

Like my wife always tells me: this isn’t a sprint; it’s a marathon. It speeds up, it slows down, and you have to keep breathing. Some months carry you, some months you carry them. In the end, what matters is that you keep moving, you keep going the distance.

And I can tell you, wholeheartedly, that the pulse here is strong. Mad Cave Studios and our imprints came through the first half of the year, at least thinking straight. Hard adjustments were made, and we made them with care. We protected the work and the majority of the people who do it, and we got a lot sharper about where we put our energy.

People outside this industry ask why anyone stays in something this insanely brutal, this volatile, this thin-margined, this pressure cooker. Well, for me, the answer hasn’t changed since day one. I stay because the work IS the work.

Because a creator we believed in turns in pages that make me remember why I started.

Because a retailer calls to say a customer came in three weeks running for the next issue.

Because somewhere out there, a kid is pulling one of our books off the shelf and feeling something they didn’t feel before.

Because, because, because…

I simply cannot imagine doing anything else. My mind and my being are pretty much anchored to creating stories that matter and that resonate with people.

And after everything, I get to look forward now. And twelve years in, I’ve never been so more excited. There are deals in the works I’m dying to tell you about. I can’t yet. But soon. Patience is a virtue, as they say. God knows I had to learn that the hard way.

Oh, there’s one more thing I’ve been holding onto for a while.

Some of you have been here since day one, and you remember where this started: Battle Cats: Heroes of Valderia. The first book. The proof that a collective group of people with nothing but a love for this medium could build a world readers would actually follow.

Everything you see now- our four imprints firing on all cylinders, the Underworld universe, the partnerships I once dreamed about as a fan, the creator-owned books, all of it traces back to that ONE book and to the readers who took a chance on it.

So let me say it plainly: the Battlecats are coming back.

I won’t spoil how, where, and when. That’s a letter for another day, and it’s coming sooner rather than later. But the franchise that started Mad Cave Studios is returning, and we’re pouring everything we’ve learned in twelve years into making it worthy of its origin.

If you’ve been waiting, the wait is almost over.

That’s the feeling I want to carry into the back half of the year. Yes, we took our hits. The market didn’t do us any favors, but we’re still here, and the ground under us feels steadier than it has in a long time because I have faith and because I see the light at the end of the tunnel. :)

And if you want to stay entertained by the unveiling of the new Heroes of Valderia, why don’t you pre-order the beautiful omnibus we have designed especially for you? It’s 600 freaking pages of awesomeness, and rest assured, we e didn’t hold anything back.

“Vaderia slumbers in the shadow of peril, yet a quiet brilliance kindles in its deepest hollows.”
-King Eramad III

Check out the Kickstarter video that we did for it.

BATTLECATS: HEROES OF VALDERIA OMNIBUS INTRO VIDEO

Kickstarter page

Last but not least, something that I’ve been talking a lot about lately: Phase 2 of the Underworld is unfolding exactly the way we mapped it.

Don’t forget to pre-order our next entry to the Underworld: Mister Nemo

…and Genshi Sakagura continues his battle in Honor and curse eternal # 3

I have to go, but from the bottom of my heart, thank you for standing with us. The easy stretches never show you much about who’s really with you, but the hard ones do.

You stayed.

This work is harder than it looks from the outside. But the good days? Those are the best things in the world. Thanks again, folks. Got nothing but mad love for you all.

— Mark London

MAD CAVE STUDIOS

I want to start with something simple: thank you.

Thank you for showing up to comic shops on Wednesdays. Thank you for the DMs, the reviews, the late-night theories about where the Underworld Universe is headed. Thank you for sticking with us through Phase 1, through Revolution 9, through Hour of the Wolf, through Exit City, through the loooooong dark of Endless Night. You built this thing with us. You’re the reason it has weight.

Subscribe now

And this week, I get to put something real in your hands.

Logo by Tim Daniel (Actually, all of Phase 1 logos are done by him).
Tim Daniel IG Tim Daniel X

Underworld: The Complete Collection Vol. 1 — out now.

It’s here. The first volume of the Underworld Collection is officially on shelves and available everywhere this week. Phase 1 — the entire saga, the founding myth of this universe — collected into a single, definitive hardcover edition.

This isn’t a cash-in. This isn’t a clearance sale. This is a thesis statement.

When we launched Phase 1, I told the team that the Underworld Universe wasn’t going to be another shared world that fizzles out after a crossover. It was going to mean something. It was going to be ours — built from the ground up, owned by the people who made it, and built to last. The Complete Collection is the proof. It’s the artifact. It’s the thing you put on your shelf next to the books that made you fall in love with this medium in the first place.

And it exists because you made it exist.

Where to get it:

• Your Local Comic Shop — order through Lunar Distribution (item #0126MA0841)

• Mad Cave Studios direct: madcavestudios.com

• Simon & Schuster / bookstores everywhere (ISBN 9781545823668) — order here

• Amazon, Barnes & Noble, and your favorite online retailer

Whatever the channel, ask for it by name. Underworld: The Complete Collection Vol. 1.

On the noise.

Look, I’m going to be honest with you, because that’s how I prefer to do this.

Independent publishing is hard. The last year has been a grind for everyone in this industry, and Mad Cave is no exception. I’ve read the speculation. I’ve seen the takes. Some of it is fair. Some of it isn’t. None of it changes what we do on Monday morning.

We’re still here. We’re doing the work. We’re tightening the operation, sharpening the slate, and betting bigger — not smaller — on the things that matter. The Underworld Universe is at the top of that list. It always has been.

So when I say Phase 2 is coming, I don’t mean it as a hashtag. I mean it as a promise.

Phase 2 — and what you’re not ready for.

[ IMAGE PLACEHOLDER ] — PHASE 2 TEASER ART — Honor and Curse: Eternal cover or key art by Jaime Infante. High-impact visual to anchor the Phase 2 reveal. A Phase 2 lineup graphic (Honor and Curse: Eternal / Victoria Jaguar / Mister Nemo) would also work here.

Here’s where I have to be a little careful, because I want you to experience this, not have it spoiled. But let me give you a taste.

Honor and Curse: Eternal is the flagship. Twelve issues. Genshi Sakagura. I’m writing it. Jaime Infante is on art. The early order numbers are blowing past Phase 1, and there’s a reason for that — this is the most ambitious thing I’ve ever put my name on. It is mythic, it is brutal, it is operatic, and it is going to redefine what people think Mad Cave can do.

Mister Nemo and Victoria Jaguar. Two more pillars going up alongside it. Each one its own front door into the universe. Each one carrying threads that are going to braid together in ways I’m not going to spoil here.

Mister Nemo Cover issue #2 Art by Alden Kaye

Order Mister Nemo

Victoria Jaguar Issue #1 Art by Marco Rudy
Coming Soon..

And then there are the things I can’t talk about yet. The bibles on my desk. The names you’ll know soon enough. The crossover that makes Endless Night look like a warm-up.

I’ve been writing comics for a long time. I’ve never been more sure of a slate than this one.

The bet we’re making.

Phase 1 was us proving we could build a universe. Phase 2 is us proving we can run it.

Everything we learned from Revolution 9 through Endless Night — what worked, what didn’t, where we left ideas on the table, where we pushed too hard, where we didn’t push hard enough — all of it has been poured into what comes next. We have a clearer plan, a sharper team, and a deeper bench of creators than we’ve ever had. The slate is tighter. The storytelling is more connected. The stakes are higher.

This is the version of Mad Cave I’ve been trying to build for a decade.

The Complete Collection is the love letter to the readers who got us this far. Phase 2 is what we do with that love.

We’re still here. We’re doing our best work. And I promise you — the fans aren’t ready for what we have planned.

Stay close. It’s about to get loud.

— Mark London

MAD CAVE STUDIOS

By the way: One more thing — and this is the part that matters most this week.

Honor and Curse: Eternal #2 hits comic shops tomorrow.

If issue #1 was the door cracking open, #2 is the moment the cage starts to give. Genshi gets pulled into a rescue mission that goes sideways fast — overwhelming odds, an enhanced soldier he can’t out-muscle, and the dawning realization that the only thing that can win this fight is the thing he’s spent six hundred years keeping caged. The line between man and myth blurs in this issue. And once the Tengu is unleashed, there may be no turning back.

Jaime Infante’s pages on this one are some of the most brutal, beautiful work I’ve ever had the privilege to write to. I’ve been sitting with these pages for months and I still can’t believe we get to put them in your hands.

So here’s the ask: walk into your local shop tomorrow. Ask for Honor and Curse: Eternal #2 by name. If they don’t have it, ask them to order it. That single act — one reader, one shop, one Wednesday — is how independent comics survive and how universes get built.

I’ll see you out there.

Order Honor and curse: Eternal

See you on the road.

The Collection is just the beginning. Here’s where you’ll find us this year — come say hi, get a book signed, and meet the creators building Phase 2:

• ALA Annual — June 25–29, 2026

• San Diego Comic-Con — July 23–27, 2026

• New York Comic Con — October 8–11, 2026

• Miami Book Fair — November 2026

P.S. If you’ve already grabbed the Collection, the single most helpful thing you can do is leave a review on Amazon, Goodreads, or wherever you bought it — and tell one friend. That’s how independent publishers win. We see you, and we’re grateful. — M.

Every shared universe needs a book that makes you feel like you know something nobody else does. A book that rewards the readers who pay attention, the ones who catch the threads between titles and understand that none of this is accidental. The book that makes you want to read everything.

That book is Mister Nemo.

I’ve been building toward this one for a long time. If Honor and Curse: Eternal is the gateway into Phase 2 of the Underworld Universe and Victoria Jaguar is the cosmic expansion (More on her in a few months), then Mister Nemo is the connective tissue, the series series that pulls back the curtain on the deepest secrets of this world and shows you how everything fits together.

Here’s the premise: A brilliant analyst stumbles onto a global conspiracy and is immediately marked for disappearance. She’s rescued by a man named Nemo, someone waging a secret war from beneath the ocean. Together, they dive into a hidden world of covert power, impossible technology, and a shadow conflict that could reshape everything.

If that sounds like the kind of story that keeps you up at night turning pages — good. That’s exactly what it is.

They stole his life and then they stole the world. Now it’s his turn.

Nemo is a pulp-fiction antihero in the tradition of The Shadow and Moon Knight, dark, driven, and utterly compeling. He’s the man who knows too much and has nothing left to lose. Through his investigations, readers are going to learn things about the Underworld Universe that will reframe everything they’ve read so far. The war between the Order of Nine and Unity Ultima? This is where it comes into sharpest focus. The hidden history of Exit City? It starts here.

Mister Nemo is the book that sells other books. I say that with full confidence, because that’s how it was designed. When you read this series, you’re going to want to go back and re-read Revolution 9, Hour of the Wolf, Exit City, Honor and Curse: Eternal — because suddenly the connections light up like a circuit board.

MISTER NEMO #1

Written by Mark London · Art by Alden Kaye · Colors by Alex Sinclair & Fran Gamboa · Letters by Pat Brosseau, Editor, Mike Marts.

A new chapter of the Underworld Universe begins. A brilliant analyst uncovers a global conspiracy — and is immediately marked for disappearance — only to be rescued by the mysterious Nemo, a man waging a secret war from beneath the ocean. As they dive into a hidden world of covert power and impossible technology, one question remains: can they save the world before it even knows it’s in danger?

For fans of: John Wick · The League of Extraordinary Gentlemen · The Shadow · Moon Knight

Let me talk about this creative team for a second, because it’s stacked. Alden Kaye on art is bringing a level of detail and energy to these pages that is going to blow people away — cinematic scope with that gritty, grounded texture this story demands. And did you know that Alden was Mad Cave talent search winner? Alex Sinclair and Fran Gamboa on colors are painting a world that feels both beautiful and dangerous. Pat Brosseau on letters, one of the best in the business, is tying it all together with precision. And editor extraordinare, Mike Marts, kept us firing on all cylinders. This book looks like the event it is.

Mark Your Calendars

April 2026 — Official announcement — you’re reading it right now, and here’s the Comic Watch Exclusive

April–June — Pre-order window opens. Tell your local shop you want this one.

June 22, 2026 — Final Order Cutoff — last chance for retailers to lock in orders

July 15, 2026 — Release day. Issue #1 hits shelves.

SDCC 2026 — Convention variant, creator signings, panel programming, and a potential Underworld Act II ashcan

And for those of you heading to New York Comic Con later this year, we’ll have convention variants, creator signings, panel programing, and those “Collect Them All” cover enamel pins that I know some of you are already tracking.

Also, and this is extremely important, I want to be clear about something: Phase 2 doesn’t replace Phase 1. Revolution 9, Hour of the Wolf, and Exit City are all continuing. Those characters, those stories, they’re expanding, not ending. What Phase 2 does is add new entry points, new dimensions, and new reasons to be invested in this universe.

Honor and Curse: Eternal is the gateway. Victoria Jaguar blows the doors open on the cosmic side. And Mister Nemo ties it all together: the lore, the history, the hidden war. Three pillars of a universe that’s only getting bigger.

If you’ve been with us since Phase 1, thank you, and know that Mister Nemo is your reward. If you’re just discovering the Underworld Universe, this is one hell of a place to start

The war for the world has already begun. No one knows but Nemo.

See you in the deep end.

Mark London

CEO & Chief Creative Officer,

Mad Cave Studios

P.S. — If you want to make sure your local comic shop has Mister Nemo #1 on pull, now’s the time to ask. Pre-orders are the lifeblood of indie comics. When you pre-order, you’re not just reserving a copy, you’re telling retailers and distributors that this book matters. And trust me, this one matters :)

Happy Easter to everyone celebrating today.

I don’t talk about my faith publicly very often. Not because I’m ashamed of it, as anyone who knows me knows beter than that, but because I’ve always believed faith is something you live, not something you perform. But today feels like the right day to open that door a little, because the truth is, I wouldn’t be writing this newsletter, and Mad Cave Studios wouldn’t exist, without it.

When I was younger, growing up Colombian, the Church was just part of the rhythm of life. Sunday Mass, prayer before meals, my mother’s rosary on the nightstand. I didn’t question it because I didn’t need to. It was air.

As I got older, though, and my wife opened my eyes and my faith evolved. I was raised Catholic, sure, and I carry that foundation with me, the reverence, the tradition, the deep sense of something sacred woven into everyday life. But over time, my walk with God became something more personal. I became a Christian in the broader sense, less about ritual, more about relationship. Less about the institution, more about the conversation between ME and God. That shift didn’t erase where I came from, far from it. It deepened it. It made my faith mine in a way it hadn’t been before, and that personal owneship of what I believe is what gave me the courage to take the risks I’ve taken.

But faith becomes something different when life starts testing you, when you’re building something from from nothing and the world gives you every reason to quit.

And oh, boy, trust me, there were plenty of reasons to quit.

There were years where Mad Cave Studios was a dream held together with blue duct tape and stubbornness. Years where the money wasn’t there, where the industry didn’t take us seriously, where I wondered if I was Mad (no pun intended) for believing that a kid who found comics at a flea market could build a publishing house. And in those moments, and I mean this sincerely, my faith was the thing that kept me moving forward. Not blind optimism. Not hustle culture motivation. FAITH. The silent conviction that the path I was on had purpose, even when I couldn’t see where it was leading.

There’s a verse I think is appropriate: “For we walk by faith, not by sight.” 2 Corinthians 5:7. That’s been my operating system for as long as I can remember. When I signed our first distribution deal, I couldn’t see where it would lead. When I hired our first employees, I couldn’t guarantee it would work. When I pitched Battlecats, or the Underworld Universe, a shared comic book universe from an indie publisher that nobody was asking for, I couldn’t prove it would land. But I believed. And I moved.

Easter has always meant something specific to me beyond the theology. It’s about resurrection, yes, but it’s also about what comes after the worst moment. Friday happened. The darkest day happened. And then Sunday came. That pattern, darkness, endurance, renewal, that’s something I’ve lived through more times than I can count in this business. Projects that died at the oven’s door. Partnerships that didn’t work. Seasons where I didn’t know if we’d make payroll. But Sunday always came.

Mad Cave Studios is a group of talented people going strong now. Four imprints. Partnerships with Disney and Lucasfilm, Tatsunoko, Kings Features, Tribune and many others. None of that was guaranteed. All of it was built on a foundation that I can trace back to something deeper than strategy or talent or timing. It was built on faith, in God, in the work, in the people around me, and in the belief that the story wasn’t finished yet.

To my team, my family, my readers, and everyone who has been part of this journey: Happy Easter. He has risen. And so do we, every single day we choose to keep building.

With gratitude and faith,

Mark London

Dear Gentle Reader,

Before I get started, welcome to all my new subscribers. Your support helps more than you even realize. And if you’ve been here since the beginning, from the bottom of my heart, THANK YOU. Now, let’s get on with it.

I have a confession.

The first time I watched John Wick, I wasn’t watching it the way most people do. I wasn’t just enjoying the action. I was studying it. Because somewhere in the first twenty minutes, before the nightclub, before the catacombs, before any of the genuinely insane choreography that made that film a landmark, I realized I was watching something that understood storytelling at a fundamental level that most action movies never even attempt.

And I couldn’t figure out why it worked so well. Not at first.

So I watched it again. And then I started asking myself: what is it that this movie figured out that so many others miss? Because John Wick is not, and I want to be very clear about this, a great movie because of the action. The action is extrardinary. But it’s not the reason the film actually works.

The reason John Wick works is the same reason any great story works: you simply care. You actually, genuinely care what happens.

The Dog. The Car. The Wife.

Let me set the scene for you. Spoiler alert, but if you haven't seen it, stop reading right now and go and do yourself a favor and watch it asap. You’ll thank me in the morning.

John Wick’s wife has just died from an illness. She loved him. He loved her. And before she passed, she arranged for a puppy to be delivered to him after her death so he wouldn’t be alone. So he’d have something to love when she was gone. Something for him to help him grieve.

Then a gangster’s son breaks into his house, beats him up, steals his vintage car, and kills the cute little dog.

That’s it. That’s the whole inciting incident. A dead dog and a stolen car.

And yet you demand blood. You want John Wick to find every single person involved and dismantle them. Not because the movie told you to feel that way. Because you felt it and the film earned it.

Most action stories give you a reason to WATCH the hero. John Wick gives you a reason to FEEL the hero.

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This is the thing thing that separates great action storytelling from generic action storytelling, and it’s something I think about constantly in my own work. Spectacle is easy to manufacture. Emotional stakes are not. You cannot fake them. You cannot shortcut them, and the audience knows the difference immediately, even if they can’t articulate why.

The inciting incident in John Wick is almost absurdly small compared to what follows. It’s a dog. But the writers understood something crucial: the size of the inciting incident doesn’t determine the emotional weight. The conection you’ve built with the character before that moment does.

If you don’t know why John loved that dog, you don’t care that it’s dead. It’s as simple as that. But you do know. And you do care. That’s craft.

World-Building That Serves the Story

Here’s another interesting thing John Wick gets right that most action stories fumble: the world exists for the character, and not the other way around. Let me repeat that: the world exists for the character, and not the other way around.

The Continental Hotel. The gold coin economy. The High Table. The network of assassins operating in plain sight inside ordinary society. This is genuinely inventive, immersive world-building. It's the special sauce, the kind that ivites sequels and expands into mythology. And yet none of it slows the story down. None of it feels like homework or a chore. You’re not sitting through an exposition dump while the movie explains its own rules to you.

You discover the world the same way John Wick moves through it: with familiarity and confidence. Like an onion, layer by layer. He knows this world. And so, somehow, you feel like you know it too, almost right away.

This is something I’ve been wrestling with in the Underworld Universe. We have a shared world with four ongoing series across four different genres, tones, and protagonists, all existing within the same mythology. The temptation is always to over-explain. To set the table so carefully and so thoroughly that by the time the meal arrives, the reader is already full, John Wick taught me that trust is a form of world-building.

Trust your reader to follow. Trust the texture of the world to communicate itself. Drop them in. Let them swim.

The best world-building is atmospheric, not instructional. It’s the difference between feeling like you’ve arrived somewhere real versus feeling like you’ve been handed a travel brochure. Maybe one of these days I’ll expand on this with one of my earlier series: Battlecats: Heroes of Valderia, which is probably a master class in what first-time writers should never attempt on their first try. I worked it out in the end, but by the grace of God. :)

Check out the insanity of the sheer volume of this thing: BATTLECATS

Economy of Language. Economy of Violence.

John Wick barely speaks. This is not an accident.

There’s a version of this character, and you’ve seen this version in a hundred other movies, who explains himself constantly. Who monologues. Who processes his grief out loud so the audience can follow along. The internal life is externalized because the filmmakers don’t trust the visuals, or don’t trust the audience, to carry the weight. This right here is particularly crucial in comics.

John Wick trusts both. Keanu Reeves plays this character with extraordinary restraint, and the film is written to support that restraint. His emotional life is expressed entirely through action, through what he does, what he refuses to do, what it costs him to do it. And because of that, every single moment when he does speak carries tremendous weight.

Economy in storytelling is one of the hardest things to achieve and one of the most rewarding when you get it right. In comics, we live and die by economy. You have twenty pages. Sometimes twenty-two or twenty-four. More than that is rare in today’s “comics publishing economy”. You have a fixed number of panels. Every word, every image, every silent beat has to earn its place or it’s gone.

What John Wick reminded me is that economy isn’t about minimalism for its own freakin’ sake. It’s about signal-to-noise ratio. Every element of a story should be doing at least one job, ideally two or three. When something is only there to fill space, whether is aa line of dialogue that doesn’t reveal character, a scene that doesn’t advance plot or deepen theme, it makes everything around it weaker.

The violence in John Wick is extraordinary, 100%. But it’s also purposeful. Every fight sequence has a dramatic function. It reveals something about John, what he’s capable of, his desperation, and even his grief transformed into precision. The choreography is not decorative. It’s character.

What This Means for Me — and Maybe for You

I’ve been in comics for over a decade. I’ve written across genres: action, horror, mythology, detective noir, supernatural thriller. And one of the things I’ve come to believe deeply is that genre is almost irrelevant at the level where stories actually work or fail.

John Wick is an action movie. But the principles that make it an extraordinary emotional investment before spectacle, world-building through texure rather than exposition, economy of character expression, and violence that means something are not action movie principles. They’re storytelling principles. They work in horror. They work in romance. They work in literary fiction and pulp comics and pretige television, wrestling, soap operas, and everything in between.

When I’m working on something like Honor and Curse: Eternal, which is operatic, mythological, high-stakes supernatural action, I’m asking the same questions the John Wick writers asked. Why should you care about this person? What does it cost them to do what they do? How do we build a world that feels real without stopping to explain itself? How do we make the action mean something?

These are not easy questions, I know. No one has a formula answer. But asking them is the difference between a story that people remember and a story that people finish.

Genre is almost irrelevant at the level where stories actually work or fail.

I’ll be returning to this conversation in future posts/newsletters: looking at other films, books, and stories that cracked a particular code, and trying to articulate what I’ve borrowed from them. Because the best education I ever got as a writer wasn’t in any classroom, or on YouTube, or even from Robert McKee and his three-day seminar (yeah, I even took that one in Colombia when I was starting Mad Cave Studios). It was in paying attention to the things that made me feel something, and then asking: how did they do that? ” Reverse engineering comes a long way. Also, shout-out to my mentor, since he’s been instrumental in helping me polish my understanding of storytelling, writing, pacing, and the works. From the bottom of my heart: Thanks, Sir!

John Wick made me feel something. I’m still trying to figure out exactly how they did it. And I suspect that’s exactly how it should be.

✦ BONUS: FROM THE CREATOR’S DESK ✦

Hunt. Kill. Repeat. — And Why I’ll Always Love This Genre

Everything I just wrote about John Wick? I was living it when I was making Hunt. Kill. Repeat.

I just didn’t know how to articulate it yet.

Hunt. Kill. Repeat was published by Mad Cave in 2023. Six issues. A complete story. Artemis, the goddess of the hunt, stripped of her divine powers by Zeus, left for dead, rebuilt over ten years of exile and hunting her way back to Modern Olympus for revenge against her own father. Think, Kill Bill/John Wick meets Clash of the Titans. That was the elevator pitch. And I meant every word of it.

But here’s what I didn’t say in the pitch, what I don’t think I could have said at the time: that series was really about what happens when the most powerful person in the room loses everything that made her feel like herself. It was about grief wearing armor. It was about a woman who was told that loving a mortal was weakness, and who decided that weakness was worth dying for.

I wrote it because I am obsessed with this specific type of story. The revenge odyssey. The protagonist stripped down to nothing, forced to rebuild, fighting their way back not just to power but to meaning. John Wick does it. Kill Bill does it. Gladiator does it. The Count of Monte Cristo does it. Every culture across history has some version of this story because it speaks to something so fundamental in the human experience that it doesn’t need a translation.

Revenge stories, at their best, are not really about revenge. They’re about someone trying to recover who they were before the world broke them.

What drew me to Greek mythology specifically was the scale. When your antagonist is Zeus, the big boss, the king of the gods, father of the protagonist, the most powerful being in existence, the stakes are already as high as they get. There’s nowhere to hide. And I loved that. I loved that Artemis couldn’t call for backup, couldn’t appeal to some higher authority, couldn’t negotiate or compromise her way out of it. She had to hunt, kill, and repeat. Until she got to him.

The creative team we assembled for that book was extraordinary. Francesco Archidiacono on art brought a kinetic ferocity to the action sequences that still impresses me, the kind of page layouts that make you feel the impact before your brain processes what’s happening. Lee Loughridge on colors gave the whole series a palette that shifted between the cold blues of the mortal world and the burning golds of Olympus in ways that did storytelling work all on their own. Ryan Kincaid’s covers were iconic. And Rus Wooton lettered the whole thing with the precision and craft he brings to everything.

I was proud of that book then. I’m still proud of it now.

What the Critics Said — and What I Actually Heard

The reception genuinely surprised me. Not because I didn’t believe in the work, I did, but because you never know which books find their audience and which ones slip through the cracks. Hunt. Kill. Repeat. found its audience.

9.0

Average critic score across all 6 issues

One reviewer said something that stuck with me: they admitted going in that Greek gods generally bore them. And yet London, they wrote, had entwined influences like John Wick and Kill Bill into something that felt like a genuine Greek tragedy. That meant more to me than any score. Because that’s exactly what I was trying to do. To use the familiar architecture of mythology to tell something that felt alive, current, and emotionally real.

Another called it a standout book that effortlessly blended classic mythology in a new and exciting way that was both action-packed and deeply character driven. That word: effortlessly, is funny to me. Nothing about it was effortless. But when the work is right, it shouldn’t show the effort. That’s the job. Period.

By issue #5, critics were scoring individual issues at 9.8 out of 10. By the time the trade paperback came out in December 2023, the collected series was holding a 9.0. I don’t chase scores. But I’d be lying if I said those numbers didn’t tell me something important: the gamble on this specific genre, this specific story, this specific character, well, it paid off for my journey as a creator and a writer.

Why I Keep Coming Back to This Genre

People ask me sometimes why I write across so many different genres. Horror with Terrorbytes. Mythology and action with Hunt. Kill. Repeat. Supernatural noir and detective fiction and John Wick-style operatic violence all living inside the Underworld Universe simultaneously.

The honest answer is: I don’t think of them as different genres. I think of them as different costumes on the same fundamental story questions. WHO is this person? WHAT did they lose? WHAT are they willing to do to get it back? WHAT does it cost them?

Artemis asks those questions. So does John Wick. So does every protagonist worth following through a story.

The revenge odyssey genre, if you allow me to call it that, is one I keep returning to because it creates the conditions for the kind of character work I find most fascinating. You have to strip the character down. You have to take everything away. And then you have to watch what’s left. What they rebuild themselves into. Whether what they become is worth what they sacrificed to get there.

Those questions don’t have genre boundaries. They’re just the questions that good stories ask.

Hunt. Kill. Repeat. asked them in a world of Greek gods and divine politics and a woman with a bow who refused to stay dead. And I loved every page of it. I still do.

If you haven’t read it, it’s collected in a single trade paperback, available at madcavestudios.com and wherever great comics are sold. Six issues. A complete story. No cliffhanger. Just Artemis, her gods, and a ten-year debt she came to collect.

No Gods. No Masters. Only Revenge.

Check out the series: HUNT. KILL.REPEAT

Until next time,

Mark London

Founder & Chief Creative Officer

Mad Cave Studios

— — —

The Underworld Universe Phase 2 begins with Honor and Curse: Eternal, available on March 25 — ask your local comic shop and wherever comics are sold.

HONOR AND CURSE: ETERNAL

Hunt. Kill. Repeat. Vol. 1 — Available Now at madcavestudios.com

HUNT. KILL.REPEAT

Battlecats — Available Now at madcavestudios.com

BATTLECATS

Let me be honest with you: making comic books is hard. Not “long hours at a desk” hard. Not “tight deadlines” hard. I mean, the kind of hard that tests your mettle, and that asks you, repeatedly and without mercy, whether you really believe in what you’re doing. Whether you love it enough to keep going even when the numbers are disheartening, even when the market shifts under your feet, and even when the industry around you seems to be waiting for a version of normal that is never coming back.

A few weeks ago, a friend sent me a Substack post that I haven’t been able to stop thinking about. The writer had packed her life into a truck and driven across the country, and somewhere along the long stretch of desert through Arizona, she arrived at an idea: there is no back. Only forward. She was writing about comics, about an entire industry holding its breath, waiting for distribution to stabilize, for things to go back to the way they were. And her message was simple and unsparing: that version of normal is over. It was never permanent. It was a moment. And moments end.

You can check her Substack post here, and I suggest you subscribe to her newsletters:

Editor Girl’s Substack

If You’re Waiting for Comics to “Go Back”...

A few weeks ago, I sold most of my belongings, packed what was left into a truck, and then drove from Los Angeles to Chicago. This is why no Substack went out for the last two weeks (apologies…

Read more

4 months ago · 47 likes · 16 comments · Editor Girl!

I read it twice. Then I sat back and smiled. Because she wasn’t describing a warning, she was describing exactly what we’ve been building at Mad Cave Studios for the last several years.

Mad Cave Studios didn’t start with a business plan. It started with a gut feeling that comics had more room in them than what was being made, that there were readers out there who weren’t being talked to, and that if someone was willing to bet on original stories and take the long road, they could actually build something that mattered. That feeling guided every call I made early on, especially the scary ones. Passion got me in the door. But I learned quickly that passion without the right people around you and a clear sense of where you’re going doesn’t get you very far. You need all three, or you’re just spinning your wheels.

We Didn’t Wait. We Built.

We built four imprints not because it’s what publishers do, but because we looked at where readers actually are, not where the industry assumed they’d always be, and built a home for each of them.

Mad Cave is for the readers who want the dark stuff: morally complex, action-forward, mythology-soaked stories that don’t flinch. It’s where the Underworld Universe lives, a fully connected shared universe built entirely from original IP, now entering Phase 2 with Honor and Curse: Eternal, Victoria Jaguar, and Mister Nemo. We’re not licensing someone else’s legacy. We’re creating our own. Plus all the creator-owned stuff like Is Ted Ok, and Florida Hippopotamus Cocaine Massacre plus many others, and our licensed books like Speed Racer, Gatchaman, The Phantom, Dick Tracy, and Flash Gordon, among a growing list.

Mad Cave Website

Maverick exists because the YA reader deserves stories that meet them at the exact intersection of who they are and who they’re ecoming. Libraries know it. Schools know it. We built for that audience long before it became the obvious move.

Maverick Website

Nakama Press is our love letter to manga culture and the anime generation, the readers who grew up on it, who speak its visual language, and who want comics that feel like home.

Nakama Press Website

Papercutz is legacy and ambition at the same time. The eight-year-old holding a Papercutz book today may be reading Mad Cave in ten years. That’s not an accident. That’s a pipeline we believe in deeply.

Papercutz Website

So, when distribution fractured, we didn’t wait for it to resolve. We built direct relationships with retailers and showed up at ComicsPRO, in one-on-ones, in the hard conversations that most people avoid. When the market got cautious, we got more specific about who we were and who we were for. When everyone else was mourning the old map, we were drawing a new one.

We secured licensing partnerships with Disney, Lucasfilm, and King Features. We grew to over 45 people. We did all of that in what the industry kept calling an unstable moment. I don’t think it was in spite of the instability; I think it was because of it.

Alignment, Persistence, and the Loooooooong Game

None of this happened alone. One of the most important things I’ve learned and not from a book, but from living it, is that vision only survives if the people around you genuinely share it. Not on paper but in their bones. You need a team that sees the world the way you do, that will fight for the work on the days you don’t have the energy to fight for it yourself.

Misalignment is slow poison. It quietly erodes trust, morale, and momentum until it’s too late. But when you find people who are truly aligned, something almost supernatural happens. The hard days become bearable. The wins become real celebrations. The creative work elevates, since everyone is trying to reach the same place and they trust each other enough to say the honest thing.

And then there’s the other trap I’ve watched consume talented people: chasing the flash in the pan. The one title that explodes overnight. The deal that transforms everything. The one-trick ponies rarely make it. A publisher built on a single breakout with no foundation beneath it is one bad season away from being gone. What lasts is consistency, book by book, relationship by relationship, year by year, without needing every single move to be a home run.

Play the long game. Always. I know, it’s less glamorous, and it requires patience that doesn’t come naturally when you burn the candle at both ends for what you love. But slow and steady isn’t giving up on ambition; it’s actually the smartest, most durable expression of it. Editor Girl post’s author put it better than I could:

“The people who adapt during fragmentation become infrastructure. The people who wait become commentary.”

Mad Cave Studios chose infrastructure. Every imprint, every universe, every licensing deal, every direct-to-reader initiative, it’s all infrastructure. Not for what comics was but for what it’s becoming.

For the Creators and the Dreamers

I want to speak directly to whoever is reading this and still in the thick of it, grinding away on something you love, not yet sure whether the world will notice. I see you because I’ve been you.

There will be dark days, sure. Days when the doubt is louder than the belief, when you’re exhausted and the results aren’t there yet, and when you wonder if you have what it takes to see this through. Those days are very real and they’re part of it. What got me through wasn’t certainty; I didn’t always have that. What got me through was the next step. Just the next one. One foot in front of the other, even when I couldn’t see where the path was going.

There is always a light at the end of the tunnel, or in the immortal words of The Crow by James O’Barr: “It can’t rain all the time.”

The work you make with honesty, with love, with stubborn persistence will find its audience. Maybe not on your timeline. Maybe not through the door you were watching. But the right work, made for the right reasons, resonates. It echoes and it lasts in ways that overnight successes rarely do.

So, keep going. Do things your way: authentically, stubbornly, completely YOUR way. Make the thing that only you can make. Love what you do, even on the days it doesn’t love you back. Because in the long run, the people who make it are almost always the ones who couldn’t stop even when stopping would have been the rational choice.

The best stories we will ever publish haven’t been drawn yet. The characters that will mean everything to someone reading this haven’t been named yet. And whoever you are, a creator, a dreamer, a reader, mark my words, you’re part of what’s coming.

There is no back. Only forward. And we’re glad you’re coming with us.

With gratefulness and a splash of madness,

Mark London

CEO & Chief Creative Officer

Mad Cave Studios

MAD CAVE STUDIOS publishes across four imprints: Mad Cave, Maverick, Nakama Press, and Papercutz. Find us wherever comics are sold.

When was the last time a comic book made you put down your phone and stare at the ceiling? When was the last time a story didn’t just entertain you, but made you genuinely uncomfortable about the world you were living in before you even picked it up?

That’s what TERRORBYTES does. Every single issue.

I co-created it because I was tired of horror that plays it safe. The genre has teeth — real teeth — and others file them down. We didn’t. Mad Cave has always bet on ambitious work, and TERRORBYTES is that same instinct pushed into darker territory.

We didn’t ask creators to soften anything. No notes about sanding down the edges. If the story demanded brutal, we went brutal. Strange, we went strange.

We launched in October 2025. The first script came in and I knew immediately we had something. What I didn’t expect was how necessary it would feel, not just as entertainment, but as a warning.

“There’s never been more horror stories to tell than right now. Terrorbytes gives us the chance to tell some of these stories before they come true.”

— Mark Russell, co-creator BSKY X

If you haven’t been with us since launch, or if you’ve been on the fence, this is your wake-up call. Peermit me to tell you exactly what you’ve been missing. And more importantly, why you can’t afford to miss any more of it.

WHAT IS TERRORBYTES?

TERRORBYTES is a monthly anthology horror series set at the exact collision point of technology and mankind. Think Black Mirror meets The Twilight Zone meets EC Comics. Each issue is a self-contained story, which means you can jump in anywhere, but the deeper you go, the more you’ll wish you’d started at the beginning.

Every issue features a different artist. Every issue is written by one of two of the sharpest, most relevant minds currently working in comics. And every issue will make you look at your phone just a little bit differently.

But here’s what makes TERRORBYTES unlike any other anthology on the stands: hidden under each standalone story is a slow-burn science fiction mystery. Android explorers on a post-apocalyptic Earth are sifting through the electronic archives of a vanished human civilization. Each story they uncover is a window into how we destroyed ourselves. The question building across every issue is the one you already know the answer to:

We did it to ourselves, didn’t we?

THE MINDS BEHIND THE NIGHTMARE

We didn’t just assemble a creative team for TERRORBYTES. We built a machine.

Mark Russell is one of the most acclaimed writers working in comics today. His run on DC’s The Flintstones was called one of the greatest reinventions of a classic property in comics history. His Superman: Space Age served as a love letter to idealism wrapped in Cold War dread. When Mark Russell writes a story about technology, surveillance, or human greed, people listen, because he has a gift for finding the exact joke that’s also a gut-punch. He handles the odd-numbered issues.

Mark London Hi! That’s me! I write the even-numbered issues. My approach is different from Mark’s: I tend to go character-first, building dread from the inside out. My issues are the ones that make you realize you’re rooting for someone before you understand the trap they’ve walked into. Reviewers have called my issue #2 “the kind of horror that haunts you because it feels ripped from the headlines.” That’s the goal. Every frickin time.

Mike Marts edits the series. If that name sounds familiar, it should. Mike’s a veteran of both Marvel and DC, one of the most respected editors in the industry. His involvemnet on this book is a statement about the level of craft we’re bringing to every page. But, wait. Is he only the editor of the series? I guess you have to keep us with Terrorbytes to find out. Mike Marts’ socials BSKY

And last but not least, the rotating art team wasn't an accident. Félix Ruiz, Emanuele Ercolani, Alberto Ponticelli, Val Halvorson, David Ferracci, Juan Doe. Six artists, six completely different worlds. Every issue looks and feels like its own thing because every story demands it. That's not a gimmick. That's the whole point.

“We’re shining light on the technological nightmare we’re all living in, making readers question what we’ve already surrendered to our screens without even realizing it.”

— Mark London

FIVE ISSUES. FIVE NIGHTMARES. HERE’S WHAT YOU MISSED. SO FAR.

ISSUE #1 ★ 8.5/10

Writer: Mark Russell Artist: Félix Ruiz

Tech entrepreneur Ted Hawks has invented the perfect product: a headset that replays your happiest memories at the moment of death. The fact that prison test subjects died during trials? A minor setback. TERRORBYTES announces itself with a story about the price of comfort and the violence of optimism. Brutal, darkly funny, and impossible to shake.

ISSUE #2 ★ 8.6/10

Writer: Mark London Artist: Emanuele Ercolani

Tyler is a delivery driver drowning in the gig economy. Then an AI app offers him cash for answers. Simple questions at first. Then darker ones. Then the kind you’ve never told anyone. Reviewed as “terrifying” not because of the fiction but because of how close it already is to the truth. The highest user-rated issue in the series.

ISSUE #3 ★ 8.2/10

Writer: Mark Russell Artist: Alberto Ponticelli

Ezra wakes up in a prison run entirely by malfunctioning technology. No human guards. No human judges. No way to find out what he’s accused of. And the longer he stays, the more debt he accumulates — debt that extends his sentence. Called “one of the best anthology series on the shelves” by Fanlight Zone after this issue alone.

ISSUE #4 ★ 9.0/10

Writer: Mark London Artist: Val Halvorson

Content king Sean Bracewell builds an AI clone of himself to rescue his empire. The clone is better at everything. Including the parts of the job Sean told himself he’d never do. The highest-reviewed issue of the series, featuring one of the most disturbing splash pages we’ve published. You’ll know the one when you see it.

ISSUE #5

Writer: Mark Russell Artist: David Ferracci

The most recent issue. An off-world lab built for humanity’s most dangerous experiments returns to Earth without warning. A secondary story puts train accident victims in a liminal space between the living and the dead. The series keeps escalating. Keep up.

WHAT’S COMING — GET ON THE TRAIN NOW

Issue #6 arrives May 13, 2026. Written by me, with art and cover by the incomparable Juan Doe, who provided the iconic cover for issue #1. A doctor becomes trapped inside an alien virtual reality recovered from the Roswell UFO crash. Bone fields. Glass forests. Firefall oceans. And the realization that disconnecting would kill him.

And we’re not stopping there. We have a Vol. 1 trade paperback arriving May 26, 2026, 128 pages, collecting issues #1–5, $19.99. If you’ve been waiting for a way in, this is the perfect entry point. Buy it. Read it in one sitting. Then come find us for issue #6.

We also have Vol. 2 already planned. The android framing story is building toward something. The archives are almost complete. The mystery of what destroyed us is almost solved.

WHY THIS SERIES. WHY THIS PUBLISHER. WHY NOW.

TERRORBYTES exists because Mad Cave exists. And Mad Cave exists because we’ve never been interested in playing it safe. Four imprints. Licensing deals with Disney, Lucasfilm, Tatsunoko, King Features, and many others. Readers from age 8 to 120. We built all of it on one conviction: stories matter, and the people making them deserve a publisher with guts.

TERRORBYTES is that conviction with the volume turned all the way up.

Two writers met at a convention (courtesy of Mike Marts), hit it off, and built something neither could’ve done alone. Six artists, each one making the last look like a warm-up. It’s an anthology and an epic at the same time; every issue stands alone, every issue feeds something bigger, which Mark Russel built.

We priced it at $4.99 to encourage you to actually buy it. We went throug Lunar and Simon & Schuster because we want it in comic book shops, in bookstores, and in libraries. We want it everywhere.

That’s the whole thing. That’s always been the whole thing.

So, here’s your invitation to act.

If you're new, start with issue #1. Or wait six weeks and grab the Vol. 1 trade. Either way, clear a night, put your phone down, and read all five issues straight through. Then tell somebody about it.

If you’ve lapsed: Issue #5 just hit stands. Issue #6 arrives in April. The trade is coming in May. There has never been a better moment to catch up.

If you’re already a reader: Thank you. Genuinely. Tell someone. The best thing you can do for a series like this is put it in someone else’s hands and watch their face when they finish issue #2.

TERRORBYTES is the real thing. No sanitized scares, no playing it safe — just sharp, fearless horror from creators who actually give a damn. I’ve been championing this kind of storytelling since day one at Mad Cave, and this is exactly why.

Horror fan or not, these comics will get under your skin. That’s not a pitch. That’s just what happens when you read them.

The technology is already here. The questions TERRORBYTES is asking are already urgent. The only thing missing is you.

Heres the link if you want to check out the nightmare for yourself, Terrorbytes

With mad love and a healthy dose of dread,

Mark London X BSKY

CEO & Chief Creative Officer

Mad Cave Studios

Welcome to my Substack newsletter. So, what are we going to talk about today?

How about:

If Phase 1 of the Underworld was a monster hunter, a spy, and two detectives walking into a bar — imagine what happens when you add a Sorcerer Supreme, a pulp action hero, and a cursed ninja to the mix.
And on top of that, two secret societies are at war for the soul of the world. Yes, the Underworld Universe just got a whole lot bigger.

Art by the master: Dave Johnson

So what’s the big deal?

Mad Cave Studios turns twelve this April. Twelve years of pouring passion and purpose into every page, and I genuinely believe what we’re launching in 2026 is the most ambitious thing we’ve ever done. Not because others haven't done it, but because, as an independent publisher, this is a heavy lift— A love letter to comic books in general.

Phase 1 or Act 1 of the Underworld Universe proved the concept. Revolution Nine, Hour of the Wolf, and Exit City, three separate books, three separate genres, colliding in our summer crossover Endless Night. That was us planting a flag and saying: “We’re building something here, darn it.”

Check out the trailer for ACT 1 UNDERWORLD. It kicks serious ass.

ORDER THE UNDERWORLD PHASE 1

Now, Phase 2 or Act 2 is the next chapter. And I can’t wait for you to read it.

THE 2026 ROLLOUT

SPRING 2026 — MARCH

Honor and Curse: Eternal

JOHN WICK MEETS VENOM MEETS BLADE OF THE IMMORTAL

Genshi Sakagura has spent six hundred years fighting the ancient war demon inside him, a tengu, a curse he was born into. For centuries, his greatest battle was simply resisting. Staying in the shadows. Refusing to fight. But now everything changes. His offices are bombed. A sacred shrine is destroyed. Two descendants of the family that sheltered him six centuries ago are kidnapped. Honor demands he act. The curse awakens. This is Phase 2’s gateway drug— and where readers will first encounter the new threat lurking behind everything: a secret society called Unity Ultima.

Art by Jaime Infante

Check out the official trailer for HONOR AND CURSE: ETERNAL TRAILER

FINAL ORDER CUT-OFF (FOC) HONOR AND CURSE IS MARCH 2. Mark it in your calendars and ask the local comic book shop if you want it.

SUMMER 2026

Mister Nemo

PULP FICTION WITH TEETH — THE LORE SERIES OF THE UNDERWORLD

As a child, Nemo was held in a black site by Unity Ultima after they killed his parents. Now he wants blood. Mister Nemo is the book where the secrets of this universe finally surface — where readers discover that Exit City was partly founded by Unity Ultima, and where the full scope of the Order of Nine versus Unity Ultima war comes into devastating focus. Phase 1 introduced one side of the coin. Mister Nemo reveals the other.

Art by Alden Kaye

LATE SUMMER 2026

Victoria Jaguar

THE SORCERER SUPREME OF THE UNDERWORLD

Spinning directly out of Honor and Curse: Eternal, Victoria Jaguar is the magical, cosmic backbone of this universe. She’ll dig deep into Unity Ultima’s capabilities and history — and prove that this universe is a full narrative spectrum. Magic. Mad science. But always rooted in character and real-world stakes. This is the connective tissue that ties the Underworld together.

Art by Marco Rudy

LATE FALL 2026

By early next year, we hit a milestone years in the making: six ongoing Underworld Universe titles releasing weekly, one new issue every single week. A constant drumbeat of story for readers fully invested in this world.

And Phase 1 doesn’t stop.

Rich Douek continues on EXIT CITY.
Check out his latest newsletter, Just Douek

Art by Tom Derenick

Steve Orlando keeps building REVOLUTION NINE.

Art by Georges Jeanty

And yours truly remains at the wheel on HOUR OF THE WOLF.

Art by Felix Ruiz

THE WAR BEHIND EVERYTHING

Every title in the Underworld Universe orbits the same hidden conflict — a war fought in the shadows between two forces that want total control of the world. Phase 1 introduced one. Phase 2 reveals the other.

THE ORDER OF THE NINE

A secret society of reactionary mystic god-kings, three thousand years old. Devoted to restoring a pre-modern global monarchy. Ancient. Absolute. Introduced in Phase 1.

UNITY ULTIMA

Futuristic techno-fascist dominators. They want to turn the world into a super-modern global factory with themselves as management. The hidden threat behind every Phase 2 title.

Two visions of total control. Two sides of the same coin — utterly opposed, at war in the underworld. And sooner or later, the rest of the world is going to find out.

SO WHY A SHARED UNIVERSE?

I’ve been in this game for quite a few years now, and I do this because I love it. I grew up on comics. I’m a Wednesday warrior. I understand storytelling, I understand characters, and I understand fun, and that’s what we want to bring to the table.

So if Phase 1 was a monster hunter, a spy, and a detective walking into a bar—imagine what happens when you add a Sorcerer Supreme, a pulpy action hero, and a cursed ninja to the mix. Now you’ve got an assassin, a monster hunter, a sorcerer, and a demon-possessed warrior all under one roof. Things are about to get wild.

AT A GLANCE

SPRING 2026 — Honor and Curse: Eternal (March)

The gateway into Phase 2. Six centuries of restraint, finally shattered.

SUMMER 2026 — Mister Nemo + Victoria Jaguar: The pulp revenge story and the cosmic backbone. The universe expands.

LATE FALL 2026 — Weekly cadence achieved — all six titles ongoing

Phase 1 titles continue: Exit City, Revolution Nine, Hour of the Wolf.

THE UNDERWORLD IS WAITING

Every title stands on its own. Every title rewards the reader who goes deeper. New readers welcome. Underworld veterans — get ready.

Ask for it at your local comic shop — or visit MAD CAVE

Love you, guys, thanksfor being here and for supporting us. With gratitude and excitement,

Mark London

CEO & Chief Creative Officer

Mad Cave Studios

PS: If you wanna know more about how to build an expanded universe, check out this interview with Buddy and Deeana from The Comic Book School.

Comic Book School Live

When we first set out to build the Underworld Universe, we had a vision: a shared world hiding beneath the surface of our own. A place where where secret societies wage an ancient war for the soul of civilization, and the people caught in the crossfire are extraordinary. What began as a dream has become something real, something alive, and something that belongs as much to you as it does to us.

Phase 1 is complete. And it was everything we hoped it would be.

Before you continue reading, take a look at this high-octane trailer. It highlights what Phase One/ Act One was all about.

UNDERWORLD ACT ONE TRAILER

PHASE 1: THE STORIES THAT STARTED IT ALL

Revolution 9

She is the most dangerous person in any room she enters, and she’s done with the people who made her that way. Revolution 9 introduced us to Velveteen, an assassin trying to escape a life of violence and the clutches of the Order of Nine, the shadowy secret society devoted to dragging civilization back into a pre-modern monarchy with themselves on the throne. Her story set the stage for everything: the Order’s ambitions, their reach, and their willingness to destroy anyone who dares to walk away. Equal parts John Wick and moral rekoning, Revolution 9 proved from the very first issue that the Underworld Universe would pull no punches.

Order Revolution 9

Hour of the Wolf

Some monsters haunt houses. Owen Blackwood hunts them, plus interdimensional entities. Hour of the Wolf brought the supernatural into the heart of the Underworld, following Owen, a monster hunter who travels through time to stop terrors before they claim their victims. But the deeper Owen digs into the darkness, the more he realizes the horrors aren’t random. Something is connecting them. Something ancient. Hour of the Wolf was our proof that the Underworld Universe could embrace horror with the same confidence it embraces crime and action, and that every ghost story is really a story about power.

Order Hour of the Wolf

Exit City

Crime runs rampant. Gangs run the streets. And Detective Aiden McCormick runs on instincts, and three very unusual vials he keeps hidden in his overcoat. Exit City gave us the gritty noir heart of the Underworld: a city where the corruption goes deeper than any one precinct, any one mayor, any one criminal. When Aiden and his new partner Eve Miller take on a series of brutal murders tied to a rogue government experiment, they pull a thread that unravels the entire city. Exit City is where the Underworld’s secrets live. And now we know why.

Order Exit city

ENDLESS NIGHT: THE EVENT THAT CHANGED EVERYTHING

Phase 1 culminated in Endless Night, the crossover event that brought Velveteen, Owen Blackwood, and McCormick and Miller together for the first time under one roof, in one city, facing one terrifying threat. With Volta dead and the Order of Nine searching for a replacement, tech billionaire Axel Black sets his sights on a dark ancient artifact buried somewhere beneath Exit City. What follows is an uneasy alliance, hiden agendas, and a darkness so deep it threatened to swallow them all.

Order Endless Night

The response from readers, retailers, and critics confirmed what we always believed: these characters belong together. And you want more of them.

AND NOW…

The Order of Nine has been established.

But they are not alone.

The war is only beginning.

Next week, we pull back the curtain on Phase 2 of the Underworld Universe. New series. New characters. A conflict that will reshape everything you thought you knew about this world. We’ll reveal our full plan, and we think it’s going to blow your mind.

Stay close. Stay ready. The night isn’t over — it’s just getting started.

Love you, guys, thanksfor being here and for supporting us. With gratitude and excitement,

Mark London

CEO & Chief Creative Officer

Mad Cave Studios

Let me tell you something that might sound absolutely bonkers: two of the biggest influences on my career, when I started Mad Cave Studios and as a comic book writer, have nothing to do with comic books. One involves grown adults in spandex body-slamming each other through folding tables. The other involves my abuela yelling at a television screen in Bogotá because the villain in her telenovela (soap opera) had the audacity to show up at the wedding. And yet, both taught me everything I needed to know about the craft of building stories that people actually care about. I hope that I haven’t lost you. Bear with me.

I grew up in Colombia during the golden age of two very different, equally unhinged storytelling traditions: professional wrestling, specifically, the WWE during the Attitude Era of the 1990s, and the telenovela, that magnificent, maximalist, absolutely bonkers art form that has been captivating Latin America for decades. On the surface, they share almost nothing. Dig a little deper, and they share everything.

✦ ✦ ✦

Let’s talk about wrestling first. If you grew up watching the WWE in the ‘90s, you know exactly what I’m talking about. The storylines were absurd. They were edgy, dark, over-the-top, and often geninely shocking. Stone Cold Steve Austin defying authority. The Undertaker doing... well, Undertaker things. The drama was so gripping, so well-constructed, that I’ll be honest with you, I was far more invested in the storylines than the actual matches. Yeah, don’t judge me. But you know what…? I don’t think I was alone in that.

But here’s the thing that didn’t hit me until years later, when I was deep in the trenches of building my own stories at Mad Cave Studios: the WWE is, at its core, one of the greatest character-building machines ever created. Think about it. What does the WWE do better than almost any entertainment company on the planet? They build characters. They construct long-form storylines. They know how to make you love a hero, despise a villain, and then, in a masterful twist, flip those loyalties entirely. They understand pacing. They understand escalation. They understand… the payoff.

The WWE doesn’t just put on matches — they build worlds, forge characters, and orchestrate emotional arcs that unfold over months, sometimes years. That’s not sports entertainment. That’s storytelling in its purest form.

Strip away the ring ropes and the pyrotechnics, and what are you left with? The exact same foundations that every great comic book, every great novel, every great film is built on: How do you build a hero? How do you craft a villain the audience can’t stop watching? How do you make people invest in a story so deeply that they’ll follow it for years?

The answer, in wrestling and in comics alike, is the slow burn.

✦ ✦ ✦

Now let me take you to the other side of my storytelling education… the telenovela. Growing up in Colombia, telenovelas weren’t just entertainment. They were a cultural event. The entire household would gather around the TV, and for that hour, the world stopped. The pacing was glacial by today’s standards. A single storyline could stretch across 160, 170, 180 episodes. Characters evolved slowly, deliberately. Betrayals were set up dozens of episodes in advance. Romances simmered. Villains schemed in the shadows for months before their plans unraveled. And when that climactic moment finally arrived? The payoff was seismic. It earned every ounce of the emotion it delivered because you had been on that journey for so long.

That’s something I think about constanly as a writer. That feeling of a payoff that was earned, not rushed.

The Slow Burn Playbook

Whether it’s professional wrestling, a telenovela, or a comic book series, the principles are the same: build your characters with care. Let the audience live with them. Plant seeds early and trust that the harvest will come. Make the villain formidable enough that defeating them means something. And above all, respect the journey, not just the destination.

Here’s the tension I think about a lot, though. We live in a world now where everything has been compressed. Netflix took the 163-episode telenovela and crammed it into six or eight episodes. Content is bite-sized. Attention spans are shorter than those of a fly. We scroll, we swipe, we binge and move on. And look, I’m not here to be the old man yelling at clouds. The world has changed, and storytelling has to adapt.

Buuuuut, I will push back on one thing: the slow burn still works. In fact, I’d argue it works better now than ever, precisely because it’s become so rare. When everything around you is engineered for instant gratification, a story that asks you to be patient, that builds little by little, layer by layer, and trusts you to stay invested, becomes something genuinely special. It becomes the thing you can’t stop thinking about. The thing you tell your friends about. The thing that stays with you.

That’s what I’m always chasing in my work. At Mad Cave, whether it’s the UNDERWORLD UNIVERSE or any of my previous series, I had the audacity to go over ten issues coming out of the gate. I want readers to feel that slow accumulation of invesment. I want them to watch a character struggle, evolve, fail, get back up, and eventually, eventually, triumph in a way that feels like it was worth every single page it took to get there. That’s the magic. The trial and tribulation. The becoming.

In a world addicted to the skip button, the greatest act of rebellion is a story that makes you want to stay.

So yeah, professional wrestling and telenovelas. Not exactly the two influences you’d expect from a comic book publisher. But storytelling doesn’t care where it comes from. It only cares that it’s real, that it connects, and that when the payoff finally lands, you feel it in your chest.

That’s the standard. That’s always been the standard.

And I’m not lowering it.

What do you think? Do you have any guilty pleasures that inspire you?

Until next time — keep reading and stay safe.

Mark London

CEO & Chief Creative Officer

Mad Cave Studios

When I was eleven years old, my uncle drove me to a flea market in the back of his pickup truck. This was in Colombia, and the flea market was the kind of place where you could buy bootleg cassettes, questionable meat, and, if you knew where to look, American comic books.

I didn’t know where to look. I wandered between tables of rusty tools and knock-off watches, completely lost, while my uncle haggled over something I can’t remember. Then I saw it: a cardboard box, water-stained and collapsing in on itself, filled with comics.

Most were in Spanish. Some were missing covers. A few were in English, which I barely spoke at the time. I pulled out a copy of The Uncanny X-Men, and I couldn’t read more than a few words, but I understood everything. The body language. The panel flow. The way Wolverine’s claws tore through the page. Comics are a language unto themselves, and I was suddenly fluent.

The vendor wanted more money than I had. My uncle, seeing me clutching that comic like it was a life raft, paid the difference without a word. He never mentioned it again. He passed away twelve years ago, and I still think about that moment every time I greenlight a new series.

Why am I telling you this? Because today I get to keep talking about something that eleven-year-old me, standing in that flea market with a water-damaged X-Men comic, would have never believed possible.

The Underworld Universe is about to change everything.

PHASE 2 IS COMING

In 2026, we’re launching three new ongoing series. Not miniseries. Not one-shots. Three ongoing books that will expand the Underworld Universe in ways we’ve never attempted before.

If Phase 1 was the introduction—Revolution 9, Hour of the Wolf, Exit City, and the Endless Night crossover, then Phase 2 is the build-out. The foundation. The moment where we stop showing you the pieces and start assembling the machine.

Step into the Underworld

THE THREE NEW PILLARS

HONOR AND CURSE: ETERNAL

Genshi Sakagura has been alive for six hundred years. He didn’t ask for it. A war spirit called Minamoto attached itself to him in the 1400s, and now he can’t die until the demon says so. For centuries, Genshi has kept the monster caged through meditation, isolation, and an absolute refusal to fight. He founded Mountain Protection in the 1800s—bodyguards, essentially—and has spent the modern era in silence, holding back the storm inside his mind.

But now someone has forced him out of hiding. Someone who knows exactly what he is. And every punch Genshi throws brings Minamoto closer to taking over completely.

Think John Wick meets Venom, set against six centuries of Japanese mythology and modern New York body horror. This is the book that introduces UNITY ULTIMA, but more on them in a moment.

Pre-Order Issue 1

The Beat Exclusive Announcement

MISTER NEMO

Nemo is our lore book. Our pulp antihero. He spent years of his childhood in a black site after Unity Ultima killed his parents, and he wants blood. Mister Nemo is where you learn things. Where the connections between series become clear. Where the war that’s been raging in the shadows finally gets a name.

VICTORIA JAGUAR

Spinning directly out of Honor and Curse: Eternal, this is where we go cosmic. Victoria Jaguar establishes that the Underworld is a narrative spectrum, we can do magic AND mad science, mythology AND technology, and tie it all back to character and real-world stakes. If Nemo is the lore, Jaguar is the scope.

Everything connects. Everything matters.

THE WAR YOU DIDN’T KNOW WAS HAPPENING

Here’s what Phase 2 reveals: there are two secret societies fighting for control of human civilization, and they’ve been at it for thousands of years.

THE ORDER OF NINE wants to turn back the clock. They’re reactionary mystic god-kings who believe humanity peaked before industrialization. They want a pre-modern global monarchy with themselves as divine rulers. You met them in Revolution 9. You’ll see them again.

UNITY ULTIMA wants the opposite. They’re futuristic techno-fascist dominators who want to transform the world into a super-modern global factory populace—with themselves as management. They killed Nemo’s parents. They partly founded Exit City. They’re everywhere.

Two sides of the same coin. Utterly opposed. And caught in the middle? Every character you’ve come to know and love.

Reactionary mystic god-kings versus futuristic techno-fascist dominators, in a battle for the soul of the world.

Sooner or later, everyone’s going to find out. And when they do, we’ll be there with the biggest crossover event we’ve ever attempted.

But not yet. First, you need to fall in love with these characters. Then we’ll bring them together. That’s the plan, but it depends a lot on you.

WHY THIS MATTERS TO ME

When I started Mad Cave Studios, we were only a few who believed that great stories could come from anywhere and reach everyone. Now we’re over forty-five people across four imprints: Mad Cave, Maverick, Nakama, and Papercutz.

But the Underworld Universe is something different. It’s the thing I’ve been building toward since that flea market. A shared universe where every genre has a home. Where a cop show and a ninja horror story and a pulp antihero thriller can all exist in the same world, connected by something bigger than any single book.

Phase 2 is my favorite thing I’ve ever worked on.

Period. End of story.

WHAT HAPPENS NEXT

Honor and Curse: Eternal launches first. Then the others. By this time next year, you’ll have the Underworld Universe expanding every single month.

Please tell your retailer. Tell your friends. Tell that kid at the flea market who doesn’t speak the language but understands everything.

This is the next chapter. And it’s going to be incredible.

With gratitude and a little bit of madness,

Mark London

CEO & Chief Creative Officer

Mad Cave Studios

P.S.—My uncle never read comics. He thought they were a waste of time. But he paid that vendor anyway, because he saw something in my face that mattered more than his opinion. That’s what I think about when someone tells me comics aren’t “real literature.” My uncle knew better. So do you.

Happy New Year. I hope 2026 is off to a good start for you and yours.

I know 2025 was a gauntlet for many and for many reasons. I get it. I lived it too. But here’s the thing about comic book creators, we don’t quit, right?

So, out with the old, in with the relentless pursuit of stories that make a difference. Because that’s what 2026 is about, same as every year before it: Wash, rinse, repeat, have a lot of persistence, and/or the stubborn, beautiful refusal to stop creating.

Making comics is hard. It is what it is, and theres no way around it. Whether you’re a writer staring down a plot hole at 2 a.m., an artist redrawing that same panel for for the seventh time, an inker finding the soul in the linework, a colorist setting the mood, a letterer making words sing, a designer building a logo from scratch/dressing the book, a publisher navigating the ever-changing landscape, or someone just trying to get books into readers’ hands… It’s fricking hard, man!

But we do it for the passion. For the sheer, ridiculous joy of participating in a craft as old as humanity itself. And yes, I mean that literally.

The first comic creators? Cave people. You heard that right. “About 31,000 years ago, someone stood in the Chauvet cave in southern France and painted a rhinoceros in motion. Not a single frozen image—a sequence. A story told across time. Movement. Narrative. The same instinct that drives every single one of us today.”

Check out the source:
History of comics: from cave drawings to newspaper cartoons

For thirty-one thousand years, humans have been compelled to tell stories through sequential images. You’re part of that lineage. Let that sink in.

Cool panel

Or a full page Splash

And speaking of caves, is it a coincidence that our umbrella company is called Mad Cave Studios? That our four imprints: Mad Cave, Nakama, Maverick, and Papercutz, all live inside a cave? A place where stories have been born since the dawn of humanity? Ha! Something to nibble on.

Now, I can’t say too much yet, but 2026 is shaping up to be something special. Projects are coming that I genuinely cannot wait to share with you. Stories that remind me why I fell in love with this medium in the first place. You’ll see soon enough.

But more importantly, I want you to keep creating. That script youre tinkering with? Finish it. That character design you’ve been sitting on? Develop it. That story you’re afraid might be “too weird” or “too personal”? Hey, that’s probably the one the world needs the most. Celebrate your wins, big or small. I’ve been at this for twelve years now, and that may seem like a lot to some, but it’s not. I keep learning, pushing every single day, and taking an occasional 500mg of Tylenol for a headache here and there. But I’ll take whatever comes my way. I always remember a Colombian proverb: “How do you eat an elephant? One bite at a time.”

Just this morning, I was surprised to read that Heidi MacDonald of The Beat mentioned Mad Cave Studios in an article. It’s an honor, and I’ll take the mentions every day and twice on Sunday. I’m not only proud, but I also know everyone at Mad Cave Studios is grateful.

Check out the article.

The Beat

We’re in this together, believe it or not—this industry, this community, the craft. The struggles ARE real, but so is the magic and the satisfaction of the outcome. Big or small, try to remember that. Here’s to 2026. Here’s to persistence. Here’s to the cave painters in all of us. Stay creative. Stay positive and don't be too hard on yourself. Stay happy or Mad. That’s fine too.

Mark London

CEO & Chief Creative Officer

MAD CAVE STUDIOS

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As we close out 2025, I find myself looking back at everything we’ve accomplished together this year—and honestly, I’m overwhelmed with gratitude.

What a journey it’s been.

When I started Mad Cave Studios, I had a vision of building something special. Something that could stand alongside the giants of this industry while staying true to what makes comics magical: great stories, incredible art, and a community that believes in what we do.

This year, you reminded me why I fell in love with this medium in the first place.

We grew. Not just in numbers, as watching our team expand and seeing our four imprints (Mad Cave, Maverick, Nakama Press, and Papercutz) flourish has been incredible. We pushed ourselves creatively in ways that sometimes scared us, and you were right there with us, picking up our books, sharing them with friends, and showing up at conventions with that same excitement we feel every time a new issue hits the stands. We won an Eisner, a Ringo, and a TripWire award.

Here’s the thing about Mad Cave Studios: we don’t chase trends. We don’t rely on one-trick pony gimmicks to get attention. We’re here to publish. We’re here to kick ass. And we’re here to do right by our teams, our creators, and our peers. That’s it. That’s always been it.

The Underworld Universe is expanding in ways we’ve been dreaming about for years. New series. New characters. New worlds to explore together. And this is just the beginning.

The Battlecats will roar louder than ever as well. Something old, something new, and something borrowed is coming. Let’s just say… I hope you’re ready.

More licenses, more creator-owned work, more homegrown work, and a few other little MAD experiments. I’ve said too much.

To EVERY retailer who gave our books shelf space, every creator who poured their heart into these pages, every team member who works tirelessly behind the scenes, and every single fan who took a chance on a Mad Cave Studios book (Mad Cave, Maverick, Nakama Press, and Papercutz)—thank you. You’re the reason we get to do this.

From my family to yours: Merry Christmas. May this season bring you peace, joy, and time with the people who matter most. For me, there are my wife, Laura; my three kids, AKA the gremlins; and my two cats, Dante and Luca.

And as we step into 2026, I want you to know one thing: it’s going to be fantastic. We have so much in store for you. More stories. More surprises. More reasons to believe that the best is yet to come.

God bless you all, and here’s to an incredible new year.

With MAD love and gratitude,

Mark London

CEO & Chief Creative Officer,

Mad Cave Studios

PS: If you want to read some comics over the break, check out the link below.

MAD CAVE DIGITAL

MAD CAVE COMICS. PAPERCUTZ. NAKAMA PRESS. MAVERICK

To celebrate the announcement of Honor & Curse: Eternal, I'd like to share a few interesting points regarding our newest series. How the centuries-spanning story of Genshi Sakagura took shape, what drew me to the character, and what YOU can expect from the journey ahead.

For 600 years, he’s held it back. Now, the cage is breaking. Let’s dive in.

How does Honor & Curse: Eternal redefine or expand our understanding of the UNDERWORLD universe after Part 1?

So, Phase 1 gave us the Order of Nine. These ancient mystic god-kings who are trying to drag humanity back to some pre-modern golden age. With HC: Eternal, we’re pulling back the curtain on the other side of that war: Unity Ultima. Think futuristic techno-fascists who want to turn the whole world into one giant efficient machine, with themselves running everything. Genshi’s caught right in the middle, ancient supernatural power meets modern shadow conspiracy. What I love about his story is that it shows readers this isn’t just magic versus tech. It’s two competing nightmares fighting over humanity’s future, and neither one is good for us. Plus, Genshi successfully bonded with a pre-civilization entity, which makes him a target for everyone. We’re taking Underworld from street-level into something way more mythic.

UNDERWORLD

How has your relationship with Genshi and Minamoto evolved over the course of writing Honor & Curse??

Back in 2019 when I created Genshi, I was obsessed with this idea of someone becoming a weapon they never asked to be. But honestly? Minamoto has gotten under my skin just as much now. The tengu isn’t some one-dimensional evil, it’s got its own history, its own wounds, going back before recorded time. These two have been stuck together for six centuries. That’s not just possession, that’s a relationship. A messed up one, sure, but there’s this twisted intimacy to it. Minamoto won’t let Genshi die. Genshi keeps Minamoto caged. They’re each other’s prison. Writing them now feels less like hero-versus-demon and more like a conversation about what it really means to live with the monster inside you.

This series blends action, mythology, and deeply personal themes. What core idea or emotional throughline guided you while building Honor & Curse: Eternal?

Here’s the thing that drives the whole story: the most dangerous thing Genshi ever did wasn’t fighting. It was refusing to fight. We love heroes who throw down, right? But what if fighting is the actual catastrophe? Genshi’s spent six centuries in silence, meditation, isolation, but not because he’s weak, but because he’s using every bit of willpower he has to keep a war god locked up. That takes more strength than any battle. The question running through everything is: can you actually find redemption after 600 years? Because every punch Genshi throws makes Minamoto stronger. Every fight brings them closer to the tengu taking over completely. So how do you keep an oath to protect someone when protecting them might destroy everything?

Genshi carries centuries of history, trauma, and responsibility. How did you approach writing a character who has lived multiple lifetimes?

I focused on weight, not wisdom. Most immortal characters in fiction turn into these wise sage types who’ve got all the answers. That’s not Genshi. Six hundred years of penance doesn’t make you enlightened, but it makes you tired. Bone tired. He’s lost so many people, watched so many connections fade, that he’s basically withdrawn from humanity altogether. The guy meditates for days at a time. Lives alone. Silence is his whole existence. I wrote him as someone who’s felt so much for so long that stillness became the only way to survive. But here’s the catch, he’s still bound by an oath he made in the 1400s to protect a family line. That obligation doesn’t expire. Ancient duty crashing into modern life is where all the drama comes from.

Immortality is often portrayed as a gift or a curse. Honor & Curse: Eternal leans heavily into the cost of it. What interests you most about telling a story through that lens?

I wanted to flip the power fantasy on its head. Immortality sounds great until you realize Genshi didn’t choose it, but Minamoto did. The tengu withholds death like a warden, not a benefactor. Genshi literally belongs to Minamoto. He can’t die until the war spirit decides to let him go. That’s not a superpower, that’s a prison sentence. Once you frame it that way, you start asking different questions about autonomy, about who really owns your life. And then there’s the human side: everyone Genshi ever loved is gone. Every single one. He built Mountain Protection in the 1800s and has watched generations of people come through and die. That kind of accumulated loss, that loneliness, that’s what makes the immortality feel real and heavy, not cool.

What made Jaime Infante the right artist to visually relaunch Genshi’s story and the next era of UNDERWORLD?

When Mike Marts paired us up, I knew we had lightning in a bottle. Jaime’s worked across major Spanish publishers Autsaider, Dibbuks, Cascaborra, Sally Books plus Scout Comics stateside, so he gets how to tell stories across different styles and traditions. But here’s what really blew me away: Jaime spent ten years as a medical illustrator. Ten years drawing human anatomy with clinical precision. For a book where a war spirit rips through someone’s body? That’s exactly what we need. When Minamoto breaks through, when the possession transforms Genshi, those moments have to be visceral and horrifying. Jaime makes them genuinely unsettling because he knows bodies inside and out. But he’s equally good at the quiet stuff—Genshi’s meditation, the stillness, the weight. You need an artist who can nail both extremes, and Jaime absolutely delivers. The guy’s a force.

The Tengu plays an even larger role here as both antagonist and internal force. What inspired you to explore this dynamic?

I was tired of possession being just a horror gimmick. I wanted something messier, more psychological. Minamoto isn’t just some demon trying to break free, it’s a war spirit with its own history, its own grudges, its own understanding of Genshi after six centuries together. That kind of cohabitation creates something way more complicated than good versus evil. Think about it: the tengu craves violence, sure, but it also kept Genshi alive through plagues, wars, every disaster for 600 years. Is that cruelty or care? Probably both. What got me excited was this idea that our inner demons aren’t always purely destructive, as sometimes they’re the thing that kept us breathing through impossible times, even while they’re tearing us apart. That ambiguity is the whole point.

Can you walk us through your process for building a story that spans centuries, yet still feels grounded in the present?

Simple rule for me: every flashback has to earn its place by changing what’s happening now. History isn’t homework, it’s ammunition. When we show the original tragedy that led to Genshi’s possession, it’s not just backstory. It’s a reveal that completely reframes the choice he’s making in the present. I keep the story anchored in modern New York with characters like Jiro and Akiko Mizuna, regular people who don’t have 600 years of context. They’re just caught up in something ancient and terrifying, and that gives readers an entry point. The centuries-spanning stuff should make the present feel heavier, not more abstract. If history isn’t hitting harder because of what’s at stake today, I don’t think it’s doing its job.

UNDERWORLD is set as a long-form saga, an entire universe. How do you maintain narrative cohesion across multiple series, genres, and time periods?

The Order of Nine versus Unity Ultima is the spine. Ancient mystic god-kings against futuristic techno-fascists: two sides of the same dreadful coin, fighting in the shadows over humanity’s future. Every series in Underworld touches that conflict from a different angle. Honor and Curse comes at it through mythology and supernatural power.

UNDERWORLD The Complete Collection Vol 1

Were there specific films, comics, martial arts stories, or myths that inspired the tone or direction of Eternal?

John Wick was huge for me. The way those films make violence feel exhausting instead of triumphant. That weight, that cost, that’s what I wanted. BRZRKR from Keanu and Matt Kindt shaped how I think about immortality as burden rather than gift. The Old Guard hit similar notes. Manga-wise, Blade of the Immortal by Hiroaki Samura showed me how to handle endless violence without glorifying it. On the comics side, Frank Miller’s Ronin was a major touchstone. That fusion of samurai tradition with a dark, almost hallucinatory modern world showed me how to bridge ancient warrior codes with contemporary chaos. And yeah, there’s some Venom DNA in there too, that push-and-pull between host and entity, two wills constantly negotiating inside one body. The tengu mythology is real Japanese folklore, mountain spirits tied to warriors and martial arts, and I wanted to honor that tradition, not just borrow the aesthetic. Plus, there’s Genshi running through everything, that sense of honor as obligation, duty as both nobility and trap.

Without giving away spoilers, how does Honor & Curse: Eternal feed into the larger UNDERWORLD and Mad Cave universes? Are there threads longtime readers should be watching?

This is where Unity Ultima enters the Underworld Universe, which is a big deal. If you’ve been reading Revolution 9 and following the Order of Nine, you’re finally going to see what they’re actually fighting against. Pay attention to Mountain Protection and how it connects to larger power structures. Genshi’s been running a secret empire for centuries, and the forces in the shadows have definitely noticed. And here’s a thread to watch: how did Genshi successfully bond with a pre-civilization supernatural entity? The Order of Nine wants that answer, but they’re not the only ones asking. Keep your eyes on where the technology and the magic start to intersect: that’s where Underworld is heading.

As we celebrate the launch of Honor & Curse: Eternal, is there anything else you’d like to share with readers about Genshi’s journey or the future of the UNDERWORLD universe?

Genshi’s story has haunted me since I first imagined him, this guy who spent six centuries running from his own power, only to get dragged back into the light. What hits me hardest is how human his struggle is: the weight of an ancient oath, a war spirit raging inside him, the impossible question of whether redemption even exists after 600 years. Bringing Honor and Curse back with Eternal means finally telling the story of what happens when the silence breaks, when penance ends, when an immortal ninja’s past crashes into the modern world. We’re honoring everything that made the original special while pushing the mythology into territory it’s never touched. Because here’s the truth: the most dangerous thing Genshi ever did wasn’t fighting, it was refusing to fight at all. Honor & Curse: Eternal is that reckoning. And this is just the start of Phase 2.

That’s it for now, folks. Keep your eyes peeled, as I’ll be sharing more and more information as we get closer to the launch. Love you, guys, and thank you for your support. I wouldn’t be here if it weren’t for you.

Best,

ML

Honor and Curse: Eternal #1 will be available digitally and at your local comic shop on March 25, 2026.

PRE-ORDER NOW

THE BEAT'S PRESS RELEASE

Mad Cave Studios was named Best Publisher at the Tripwire Awards.

Wow. Just… fricking... wow.

I’m still processing it, honestly. When Joel Meadows informed us we’d won, I felt a rush of emotions that’s hard to put into words. Gratitude. Pride. Disbelief. And an overwhelming sense of responsibility to everyone who helped us get here.

Where It All Began

When we started Mad Cave Studios, we weren’t trying to become an award-winning publisher. We had something far simpler… a belief. A belief that great stories can come from anywhere and reach everyone. That a creator in Miami or Manila or Manchester could craft something that resonates with readers around the world. That comics, at their core, are about connection.

That belief hasn’t changed. But everything around it has grown in ways we never could have imagined.

Today, Mad Cave Studios is home to four imprints: Mad Cave Studios for our flagship titles, Maverick for young adult readers, Nakama Press for manga, and Papercutz for the next generation of comics fans. We’ve grown from a small team with big dreams to over 40+ people who wake up every day passionate about the same thing: telling stories that matter.

This Award Isn’t Ours Alone

Here’s the truth about an award like this: the name on the price might say Mad Cave Studios, but it belongs to so many people.

It belongs to our artists, who bring worlds to life with every stroke and shade. To our writers, who dig deep and find the words that make us feel something. To our editors, including Chas!, who took home Best Editor (we see you!), who shape raw potential into polished gems.

To every single person at Mad Cave Studios who pours their heart into these pages, often working late nights and weekends because they believe in what we’re building.

It belongs to the retailers who take a chance on indie publishers, who hand-sell our books to curious customers, who create space on their shelves for stories that don’t come with decades of brand recognition behind them. You are the lifeblood of this industry, and we don’t take that for granted.

And it belongs to you, the fans. The readers who picked up a Mad Cave or a Maverick or a , or a Nakama Press book, maybe not knowing what to expect, and decided to come along for the ride. Every message you send us, every review you post, every time you recommend our books to a friend, that’s fuel. That’s what keeps us going.

A Moment of Gratitude

I want to take a moment to thank Joel Meadows and everyone at Tripwire for putting together these awards and for everything they do to celebrate our industry. Comics journalism and criticism matter. The people who shine a light on this medium, who take the time to recognize excellence, who build community around sequential art, well, they’re essential. Thank you for seeing us.

We’re Just Getting Started

Here’s what keeps me up at night (in the best way): the feeling that we’re still in the early chapters of this story.

The Underworld Universe is expanding. New creators are joining the Mad Cave family. New stories are in development that I genuinely can’t wait for you to read. We have plans—big plans—huge plans, and this award only strengthens our resolve to act on them.

But more than plans, we have purpose. We’re here to prove that independent publishers can compete at the highest level. That diverse voices and fresh perspectives aren’t niche, they’re absolutely necessary. That the comic book industry is big enough for all of us to succeed.

Thank You for Believing

To everyone who has supported Mad Cave Studios, whether you’ve been with us from day one or just discovered us yesterday, a million thanks. from the bottom of my heart, thank you for believing in us before we had any proof we deserved it. Thank you for sticking with us through the growing pains. Thank you for celebrating this moment alongside us.

We don’t take this honor lightly. We know that with recognition comes expectation, and we’re ready to meet it. We’re going to keep pushing, keep creating, keep throwing creative grenades, keep swinging for the fences.

Because you know what? We’re just getting started.

With gratitude and excitement for what’s ahead,

ML

CEO & Chief Creative Officer, Mad Cave Studios

P.S. — If you haven’t yet, check out what we’ve been building. Browse our titles, find your local comic shop, and take a chance on a Mad Cave story. We promise to make it worth your while.

madcave.com papercutz.com

Walking those crowded aisles, surrounded by 200,000+ people who share an unbridled passion for storytelling, reminds me exactly why we built Mad Cave Studios. Every conversation at our booth, every excited fan clutching a copy of Battlecats or Nottingham, every aspiring creator showing us their portfolio in Artist Alley - it all reinforces that we’re not just publishing comics, we’re building a community.

NYCC isn’t just a convention for us; it’s where we connect directly with the heartbeat of this industry. It’s where we meet the readers who make this all worthwhile, where we discover the next generation of talent that will shape Mad Cave Studios and its imprints’ (Mad Cave, Maverick, Papercutz, and Nakama Press) future, and where we’re reminded that independent publishing isn’t just surviving - it’s thriving. So, we’re excited to be returning to New York Comic Con this week. Join us at Booth #4455 from October 9-12 for a packed lineup of convention exclusives, creator signings, and panels!

We’ll have limited giveaways and convention-only merch all weekend, including debut limited-edition T-shirts featuring Speed Racer and The Phantom, plus exclusive variant covers: Racer X #1 (Rahzzah), Speed Racer #1 (from the Tatsunoko archives), The Phantom #1 (Marco Santuri), and Terrorbytes #1 (Kelly McMahon). Receive a Phantom “Mark of the Skull Ring” pin with the purchase of The Phantom convention exclusive, a Speed Racer bandana with the purchase of the Speed Racer convention exclusive, and free limited Dick Tracy Halloween Special tote bags, while supplies last.

As a side-street bonus, Xero—the original graphic novel from debut writer Vaho with artist Felipe Flores—will make its mark with a limited wheat-paste poster run across Manhattan. The first to photograph each location and share it online will snag a free copy!

Mad Cave Studios Panel

Go, Speed Racer, Go!: The Return of an Icon

Thursday, 10/9 – 2:30 PM–3:30 PM

North – Room 406.2

Start your engines and buckle up for a high-octane deep dive into the legendary world of Speed Racer! Join the creative team behind the brand-new Speed Racer comic series from MadCave Studios as they discuss reimagining one of the most iconic anime and manga properties of all time for a whole new generation of fans.

Panelists: Chris Batista, David Pepose, Mark London, Mark Russell

Moderator: Maya Lopez

Signings at Booth #4455

Thursday, 10/9
1:00 PM – Justin Jordan & Patrick Piazzalunga (Gunpowder Prophets)
4:00 PM – David Pepose, Chris Batista, Mark Russell, Mark London (Speed Racer)
5:00 PM – Brian Buccellato (Eat Your Young)

Friday, 10/10
11:00 AM – Brent Schoonover, Alex Segura (Dick Tracy) *GWP While Supplies Last*
1:00 PM – David Pepose, Chris Batista, Mark Russell (Speed Racer)
2:00 PM – Toril Orlesky (Hotblood!)
3:00 PM – Chris Batista, Kath Lobo, Steve Orlando, Tommy Lee Edwards (Gatchaman)
4:00 PM – Vaho & Felipe Flores (XERO)

Saturday, 10/11
1:00 PM – Mark London & David Pepose (Speed Racer: Tales from the Road)
2:00 PM – Frank Tieri & Joe Quesada (Whatever Happened to the Crimson Justice?)
3:00 PM – Toril Orlesky (Hotblood!)

We’re also joing forces with Comixology for a pair of spotlight signings at the Comixology Booth #4454, featuring Justin Jordan(Breaklands, Gunpowder Prophets) appearing Thursday, October 9, from 2-3 PM, followed by Mark Sable (Boxed) on Saturday, October 11, from 2-3 PM.

Stop by Booth #4455throughout the weekend for the latest information on signings, panel times, and exclusive merchandise—with more exciting announcements to come, so be sure to follow us @MadCaveStudios on social media for real-time updates during the show!

Hope to see you there.

Stay tuned for updates

San Diego Comic-Con is just around the corner — and I couldn’t be more excited for what’s in store this year.

I’ll be at the show all weekend with new stories, special editions, and a few surprises in my back pocket. From stepping into an iconic legacy to celebrating some deeply meaningful work, this SDCC feels like a big one.

First up — Speed Racer. I’ve contributed a story to the upcoming anthology Speed Racer: Tales from the Road, and it’s been an absolute blast to help bring this legendary world roaring back to life. If you haven’t seen it yet, ScreenRant just dropped the exclusive preview ahead of the show. Read the Screenrant announcement

But that’s just the beginning.

UNDERWORLD continues to pull back the curtain with the release of Endless Night #2 this week — and I’ll be signing copies of the Endless Night #1 convention-exclusive variant, featuring stunning cover art by Patricia Martín, on Saturday at the booth. We’ll also have limited-edition UNDERWORLD pins available (free with purchase, while supplies last), and I might have a few extras on me for folks I run into on the floor.

Mad Cave Studios is being recognized with the Bob Clampett Humanitarian Award at this year’s Eisner Awards for LA Strong, our benefit anthology created to support comic creators impacted by the California wildfires. That kind of project reflects what I believe comics can do at their best — bring people together, respond with empathy, and provide hope through creativity.

As the founder of Mad Cave, I’ve always believed that storytelling has the power to unite communities and help heal them. LA Strong is just one example of how this medium — and this industry — can show up when it matters most. I'm incredibly proud of the creators who made this book what it is, and thankful to see their generosity honored.

I’m also joining a panel that speaks to another piece of that mission:

“Hispanic Creators and Artists Discuss the Comic Book Industry: Past, Present, and Future” on Saturday.

As a Colombian creator, representation isn’t just something I talk about — it’s something I live. Being part of this conversation is a chance to reflect, but also to help push things forward. Sharing space with other Latin voices at SDCC isn’t just meaningful — it’s necessary.

If you’re attending SDCC, here’s where to find me:

Thursday, July 24

8:00 PM – CBLDF Welcome Party

• The Westgate

Friday, July 25

7:45 PM – Eisner Awards

• LA Strong receives the Bob Clampett Humanitarian Award.

Saturday, July 26

12:00 PM – Speed Racer: Tales From The Road Signing

• Mad Cave Studios’ Booth 2806

4:00 PM – Panel: Hispanic Creators and Artists Discuss the Comic Book Industry

• Room 9

6:00 PM – UNDERWORLD, Endless Night Convention Exclusive Signing

• Mad Cave Studios’ Booth 2806

Get Your Copy of Endless Night #1!

Praise for Endless Night #1

“With its brooding cityscape, morally complex figures, and relentless descent into mystery, Endless Night is a defining and compelling event in Mark London’s Underworld interconnected universe.” — Shabbir, Comic Buzz

“London maintains a fast pace and never lets up on the tension…an engaging page-turner.” — Theron Couch, Comic Watch

“Writer Mark London takes readers on a break-neck ride…explosive action, dramatic framing, and eye-catching panel angles [make the] visual progression as smooth as glass…London’s script is fast-paced, action-packed, and filled with surprises.” — Gabriel Hernandez, Comical Opinions

Endless Night #3: 7/28

Endless Night #4: 9/1

Endless Night #3: 8/20

Endless Night #4: 9/24

“Unbox” the Mystery!

Casually Comics - What’s In the Box?!?

Comics Are Dope — Opening a MYSTERY PACKAGE from MAD CAVE STUDIOS!

Comic Book Corner 2.0 - I Have Received Confidential Files, Can You Help Crack the Case?

Wow, what an amazing event we had at Golden Apple Comics on Saturday!!

Deeply grateful to Ryan Liebowitz and the entire staff at Golden Apple Comics for their kindness, professionalism, and hospitality at our Creator Showcase this weekend, celebrating the launch of Endless Night — our new, groundbreaking expansion of the bold and genre-defying UNDERWORLD universe!

Epic thanks as well to our friends and fellow Mad Cave creators David Pepose (Speed Racer, The Devil That Wears My Face) and Zack Kaplan (Dark Empty Void) for coming out to sign books and work the crowd with their charm, wit, inexhaustible energy, and stunning creative vision. Always a pleasure, guys!

Believe it or not, I still get a little twinge of stage fright when it’s time to show up and represent my work in person, even after all these years — I bet a lot of fellow creators can relate! The interior worlds we build and inhabit are so personal to us that opening them up to outsiders always feels a bit dangerous. But that’s the thing about creators — we’re warriors! We love danger!

At the end of the day, the warmth, curiosity, and enthusiasm of the comics community never fails to overwhelm me. It’s such a gratifying reminder of why what we do at Mad Cave is so important — telling stories connects us with each other. It makes us stronger, braver, more compassionate human beings through the wealth of our shared ideas and experiences, and reassures us that, no matter how bleak things may seem, we’re never truly alone.

Thank you so much to everyone who dropped by the store to chat, get their books signed, enjoy some snacks, and get to know us a little better! We hope to host more events like this one soon — stay tuned for details.

The Reviews are in for Endless Night!

Speaking of community, we’ve been getting tons of love from both comics press and the fan community at large for Endless Night #1! We’re so excited to share this wild, genre-twisting evolution of Mark London’s UNDERWORLD universe as it continues to unfold.

Check out some of the stuff people are saying about the book below and enjoy some highlights from our recent mystery unboxing!

Get Your Copy of Endless Night #1!

Praise for Endless Night #1

“With its brooding cityscape, morally complex figures, and relentless descent into mystery, Endless Night is a defining and compelling event in Mark London’s Underworld interconnected universe.” — Shabbir, Comic Buzz

“London maintains a fast pace and never lets up on the tension…an engaging page-turner.” — Theron Couch, Comic Watch

“Writer Mark London takes readers on a break-neck ride…explosive action, dramatic framing, and eye-catching panel angles [make the] visual progression as smooth as glass…London’s script is fast-paced, action-packed, and filled with surprises.” — Gabriel Hernandez, Comical Opinions

Endless Night #2: 6/23

Endless Night #3: 7/28

Endless Night #4: 9/1

Endless Night #2: 7/16

Endless Night #3: 8/20

Endless Night #4: 9/24

“Unbox” the Mystery!

Casually Comics - What’s In the Box?!?

Comics Are Dope — Opening a MYSTERY PACKAGE from MAD CAVE STUDIOS!

Comic Book Corner 2.0 - I Have Received Confidential Files, Can You Help Crack the Case?

@tldr_podcastFull unboxing of classified Mad Cave files sent to Doc 👀 #comics #indiecomics #classified #unboxing #fyp #foryoupage

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The Geekery, NJ — Bruce’s Endless Night Unboxing!

Greetings, Friends and Community Members!

Per my last post regarding mentorship, I’ve been thinking a lot recently about how important relationships like these have been to my own evolution and growth.

The guidance and affirmation I’ve received from friends, creators, and others with greater knowledge and experience over the years who have taken the time to share their attention, encouragement, and perspective with me have been an infinitely more valuable resource — creatively and personally — than anything else that has shaped my journey.

With that in mind, I wanted to remind you all how excited we are to be hosting a special event at Golden Apple Comics in Los Angeles this Saturday.

I’ll be signing copies of my new book Endless Night — the bombastic, genre-bending convergence of my UNDERWORLD universe, which includes Revolution 9, Exit City, and Hour of the Wolf — along with fellow Mad Cave creators Zack Kaplan (Dark Empty Void) and David Pepose (The Devil That Wears My Face, Speed Racer), plus a few of our friends from the Mad Cave team.

More than a regular book signing, though, we want this event to be an opportunity to connect with our community — to answer questions, offer advice and guidance to aspiring creators, and just hang out and talk about fun nerd stuff together. To have fun, get to know each other, and strengthen the bonds of creativity and shared interest that unite us all.

Also — THERE WILL BE DONUTS!!

RSVP at our Eventbrite link to let us know you're coming, or just swing by to snag a doughnut and say hello.

Hope to see you there!

— Mark London

Dear gentle reader,

Interesting thing someone asked me this week. So, do you have a mentor? Sure, I do. Let’s be honest—diving into comics isn’t always smooth sailing. There are plenty of hurdles, and that’s where having a mentor can be a game-changer. They lend their wisdom, share tales of their own struggles, and offer support that fuels not just your career but your very soul—a treasure far greater than mere success.

The world of comics can be vast and bewildering, especially to the newcomer, as it was and still is for me. Yet, a mentor, seasoned by time, offers more than guidance; they reveal the hidden truths of the trade. They teach you the dance of publishers, the rhythm of trends, and how to catch the eye of those who matter. Their counsel may be the spark that sets your stories alight. Where I come from, we have a saying, “the devil knows more from being old, than from being the devil.”

I don’t expect your mentor to be Gandalf, but they are out there if you look hard enough.

At the heart of every comic lies a story. Finding your voice is paramount, and here a mentor's insight is gold. They critique your scripts, sharpen your narrative, and breathe life into your characters. Through their victories and blunders, you gain the knowledge to elevate your craft. Simple as that.

Allow me a personal tale of a mentor I call "Sir!" Yes, with an exclamation mark at the end—a master of the narrative arts. His identity remains cloaked, but his teachings are my compass. Sir!, Mr. GOAT, or The Man who lives in the future, as I fondly dub him, has been my lodestar, indirectly urging me to refine my craft with wisdom that transcends time. He probably rolls his eyes whenever he gets an email from me, but I’m certain I’ve made him laugh at least once or twice.

I recall presenting him my work, eager and naive. "You can't toss in everything and the kitchen sink," he admonished. Writers, especially the green, often overindulge, unaware of the road signs that guide the journey. There are invisible laws in storytelling, and the path is long and perilous. "Let the story breathe.” He’s told me a million times. “Take all that shit out and get to the point.” He didn’t actually say it like that, but he meant, SIMPLIFY. Which he then told me so, yes, all in caps in another email. And I’m grateful, because he was totally right.

His guidance has taught me the power of restraint, a lesson not just for writing but for all my endeavors. In our discussions, even the subtleties of covers and color palettes took on new significance. Just the other day, he corrected me and taught me the true meaning behind referring to a Widescreen type of story.

Mentors push you to explore beyond your comfort zone, to experiment with structure, theme, and style. In comics, where word and image dance, their encouragement sparks innovation and discovery, revealing new storytelling vistas.

As I write this, I don’t think I’ve ever asked Mr GOAT who his mentor was. In truth, I’m afraid to ask because I sometimes believe the man came out of the womb gifted. Yeah, some people are just THAT good. Like Gandalf.

Finding a mentor is as personal as your creative journey. Seek those whose work you admire and whose vision aligns with yours—those who see the world like you do, and it’s okay if they don’t. Engage with the comics community, both in person and online. When reaching out, let sincerity guide you. Express your admiration and your eagerness to learn, but always be polite and respectful of their time.

Whether at the start or deep into your journey, remember—you are not alone. A mentor is a beacon, guiding you through the industry's mazes, honing your skills, and expanding your creative horizons. Their lessons shape the tales you tell and the storyteller you become.

In the end, the bond between mentor and mentee is mutual, built on respect and a shared love for the craft. So, embrace this odyssey, seek those who inspire, and let their wisdom illuminate your path.

“As a writer, you should not judge, you should understand”—Hemingway.

Be well, I’ll see you next week.

ML

Upcoming:

Mad Cave’s first-ever crossover, Endless Night. Available 6/04/2024

ENDLESS NIGHT

Here’s all you need to know:

(W) Mark London (A) Thomas Derenick

(C) Juancho Velez (L) Simon Bowland

(Cover A) Chris Weston (Cover B) Declan Shalvey

(Editor) Mike Marts

ENDLESS NIGHT

To celebrate, I will be hosting a signing event at Golden Apple Comics on Saturday, June 7th, from 2 to 5 p.m.

GOLDEN APPLE LOCATION

Comic of the week:

I love to see something come out of left field and be nominated for a Will Eisner Award in the “Best New Series” category. Vote for them if you can. I already did.

THE PEDESTRIAN

Other useful links:

MAD CAVE

MAVERICK

NAKAMA PRESS

PAPERCUTZ

MAD CAVE'S DIGITAL READER

Cheers,

ML