“I’m not a son of a bitch, but I do an awfully good impression of one.”

He doesn’t have a business card, he doesn’t have an office, but he does provide a service. For a small fee, anybody who needs help, and the law fails them, they can pick up the telephone and call this mean bastard. His name is Mayhem, and when bad things happen to good people, he’s the mutha you call.

It’s sometime after midnight in the city of Miami when Mayhem’s phone rings – the girl, Faith, needs to get the hell out of town in a hurry. Sounds like a simple job to Mayhem and he runs her down to her father’s house in the Keys. The next morning Mayhem wakes with the girl’s corpse in his bathtub and the police banging on his door. Over the next twenty-four-hours, Mayhem punches, kicks and shoots his way across the city as he tries to get to the bottom of who’s trying to frame him.

Bloody Mayhem is a lean, mean, pedal-to-the-metal noir that will grab you by the throat on page one and drag you kicking and screaming all the way to the end. Jump into the mayhem now!


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Sample illustrations by Butcher Billy


Between the years 1980 and 1999, American novelist JACK QUAID produced a series of fun and wild stories where anything could happen, and with Quaid behind the typewriter, they usually did. He called these books his Electric Mayhem series. Jack Quaid was born in West Hollywood, California, in 1953. He won a scholarship to UCLA but dropped out after six months to “learn how to write.” Two years later, he sold his first short story to Startling Mystery Magazine, but it was the publication of his novel The City on the Edge of Tomorrow in 1980 and the film adaptation starring Bruce Dern that set him on his way. Fearing his initial success would fade, Quaid wrote obsessively for the next two decades and published under many pseudonyms. It’s unknown just how many books he produced during this period, but despite the name on the jacket, savvy readers always knew they were reading a Jack Quaid novel within the first few pages. His books have long been out of print, and they now live on the dusty shelves of secondhand bookstores and in the memories of those who have been lucky enough to read them. Quaid’s current whereabouts are unknown.

BUTCHER BILLY takes what is considered pop culture from a variety of sources—music, movies, comics, games, books etc—and mashes them all together to come up with something that draws on nostalgia, while, at the same time, provides the audience with a fresh take on a familiar scene. He’s not even going to apologize. It’s that sort of rule-breaking, devil may care, chaotic attitude that inspires Billy's art.