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The discovery of a partially eaten corpse on the side of a road relights a smouldering obsession for paramedic Ruth Saran, bringing her back to the tormenting question: who killed her husband?

Her quest leads her into the frigid depths of Scotland – and deep into danger – as she approaches a deadly reckoning with a family of killers who share a strange and grisly secret.

Crime drama and supernatural strangeness collide in this graphic novel by writer Simon Lewis and artist Chris Geary.


“Fantastic… Art, storytelling, colours are all really excellent!”

– writer/artist David Hine (Spawn, Spider-Man Noir, The Bulletproof Coffin)


“Got to tell you, I'm impressed by this... [it] reminded me of Miller's Whiteout cover. Art-wise, it definitely looks like Year One/Born Again vibes. As a thriller it could happily sit on the shelf alongside Brubaker and Philips.”

– Awesome Comics Podcast (Episode 413)

In the UK, FLESH AND BLOOD is available from all good comic shops, or on comixology on Amazon.

FLESH AND BLOOD is currently listed in the April edition of US Diamond PREVIEWS catalogue (APRIL241852) at a retail price of $32.99, and is available to pre-order online or via your local comic shop for an August in-store date.


Journalists and editors who would like further information, or to request interview and review opportunities, should email Chris Thompson –

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Chris and I have attended the same drawing class in Camberwell for many years, and I would always marvel at his ability to capture a face or a pose in a few deft lines. Then he showed me his comics work and I was blown away by his skill at conjuring a scene. We would sit in the pub for hours talking about film and storytelling, but it took a scandalously long time to realise we should work on something together.

We decided our first book should indulge our shared fascination with British horror. Chris really wanted to draw some dramatic snowy landscapes, and I wanted to channel and update some meaty gothic tropes, so it felt like a perfect fit. As a screenwriter I'm used to being constrained by prosaic concerns like budget, the whims of actors and directors, and the 'needs of the market' – so I loved working with a true artist on a project that had no constraints beyond imagination!

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