Welcome to Highway 62, digital settlement for Matt Maxwell, writer, photographer and (only occasional) musician.
Working primarily in the genres of science fiction, fantasy and horror, my work weaves in-between neat genre boundaries and works best in the bleed between them. STRANGEWAYS is as much noir about a man stuck between systems, neither of which he fits in or wants him; arguably BLUE HIGHWAY works a similar seam, but in a near-future setting. My short science fiction has always resided in a place between easy markers, whether it’s “Tug on the Ribbon” which is a love story between a boy and lost technology or “Through the Limbs” which pokes at the industry of misery in a strange new future. Even “The Teacher,”written for Blizzard Entertainment’s STARCRAFT universe is as much horror as it is the hubris of humanity trying to assert control over a very alien nature. I’ve even taken on Lovecraft and the cottage industry that’s sprung up around his work in “Chunked” in TOMORROW’S CTHULHU.
Additionally, I’m writing a crime/horror novella for Broken Eye Books entitled THE QUEEN OF NO TOMORROWS. First in a series of crime stories set in a world that’s going Lovecraftian, but very unevenly. This one’s set in [DATE REDACTED] Los Angeles, featuring Cait MacReady, a forger of rare and suppressed texts. Her latest project has turned out to be far more interesting than anyone, especially Cait herself, suspected. Now she’s attracted the attention of a group of magician-criminals called No Tomorrows, their shadowy Queen and the goddess she professes to worship. It’s due out sometime after the summer and I’ll keep you all posted on developments here.
I’m also working on a comics project entitled 20XX: THE FUTURE AMERICA. There’s a pitch and first script ready right now, which I’ll be taking around to places. Though part of me wonders if perhaps this might be better served with a couple of one-shot issues that tell single stories to help set the stage. I guess part of the question here is whether or not I’m committed to the single issue as a story delivery form. The marketplace seems to really want that, mostly because single issues are used as loss-leader advertisements for the collected versions. Then there’s the whole notion of Kickstarter, which I find murky for a whole variety of reasons. I know. Lots of people use it effectively and without any of these concerns, so perhaps I’m just overthinking things. I do that sometimes.
Note that many of my concerns may actually stem from the fact that it’s entirely likely I couldn’t get this funded, which is a pretty big black eye. That and even if I do get it off the ground, lots of retailers look at KS projects and say “well, those are sales I’ll never see, so why bother to push this, even if it comes from a bigger publisher?” There’s more, but I’m not going to plumb those depths right now.
Oh, I should talk about what THE FUTURE AMERICA is about. Toné Akron is the last man who can’t be bought in a world where everything is for sale.
After World War Short, both Washington and Moscow are smoking glass parking lots. But life grinds along. A generation has been on constant alert for a war that never came, seeking comfort and solace in television and the knowledge that law and order are being dispensed swiftly and without favor. The world is right. They’ve been bought, something that Toné Akron never will be. When one of his last friends on Earth gets blown up on live TV, Toné jumps at the chance to get sprung from the prison known as “The Shoe” to find out why. The first storyline is entitled “Benign Neglect” and it’s about urban renewal, conflicting attempts at molding the master narrative, folk heroics, criminality and letting friendships die. There is, however, a good chance that there will be a series of one-shots following Toné through his fame in the Battle for the Aleutians, criminal infamy in robbing The President’s Banks and how he ended up in the Shoe in the first place (featuring America’s Top Cop and CrimeBot 3000). Like I said, I’m exploring options on this, and I want to make sure that the story (and storytelling by Jok and Estudio Haus) get a shot at a wide audience, and maybe even a chance of paying back production costs (hence my looking at KS.)
Here’s some more of what you can find here at Highway 62:
Here’s the full list of my available titles.
Contact me via email.