I had no business being there.
The hall bustled with activity as cosplayers and movie nerds mixed with the occasional comic book fan to create an endless river of people. It was easy to get swept up in the current of San Diego Comic Con, but there I was, standing my ground, watching the tiny booth where the portfolio review organizer stood all alone.
I was sweaty-palmed and a little shaky with nerves. Not because I was one of the multitude of hopefuls looking for feedback on my work.
I wanted to do the reviewing.
See, shortly after Dominike “Domo” Stanton started work on PREGNANT BITCHES OF WAR #1, he emailed with some bad news.
“Sorry guys,” he said, “but I just got hired to do character designs on a show named Archer. The schedule is grinding–I don’t see any way I can keep drawing this book.”
I mean, good for him. But, bad for us. Domo’s work was incredible. It had personality and movement and all those things you want from a good artist.
How were we–a couple of guys with no comics experience or connections–going to find a replacement? After all, he was already the second artist we’d tried on this project, and it had taken years to find him.
We agreed that Domo would finish the first issue and then we’d look for a new artist moving forward (not ideal, but, hey — it worked for Mike Baron’s The Badger).
So, here I was at the biggest comic convention on the planet, when I had a brainstorm:
There are all these artists here looking for work. What’s the best way to meet a ton of them in a short period of time, and spread the word about FRIED at the same time?
One problem: we weren’t a real company.
Why in the hell would anyone let us take on a position of authority? I took a deep breath and weaved my way through the sweaty throng.
“Hi,” I said, sticking out my hand to the woman behind the counter. “My name is Clay Adams, and I’m with FRIED Comics. We’d like to review portfolios.”
She screwed up her face, confused. “You mean you want to have your portfolio reviewed?”
“No,” I said, handing her a business card. “We’re actively looking for talent.”
This time she didn’t miss a beat. “Fill out this form and be in the review hall at 10 a.m.”
I couldn’t believe it.
This thing I had been so nervous about… it was as easy as just asking?
For two days, Marvel, DC, Nickelodeon Studios and FRIED Comics all sat in the same room giving feedback to artists at San Diego Comic Con.
Suddenly, people were liking our Facebook page. And I met a ton of talented artists, including DJ Parnell (who took over from Domo brilliantly), Malena Molina (inker, issues 4 & 5) and Emily Elmer (colorist, 4 & 5).
I had no business being there.
But good thing I was.
If you enjoyed this story, please check out our Kickstarter, running now at Friedcomics.com/pbowtrade. The first 50 Bleeding Cool readers who back PBOW at the $25 level and leave a comment that says “Bleeding Cool” on our Kickstarter page will get an extra-special surprise in their package.
PREGNANT BITCHES OF WAR Volume 1: Pulp Fiction. Dark Humor.
Story: Clay Adams and Alexandre O. Philippe
Pencils: Dominike “Domo” Stanton and DJ Parnell
Inks: Malena Molina
Colors: Ron Riley, Jared Lipscomb, and Emily Elmer
Letters: Charles Pritchett
Campaign ends: April 28, 2017 at 11:59 EST
Publication date: September 2017
Pitch: Plucked from the time-stream by mad scientist Nikola Tesla, six pregnant women accidentally kill a young Hitler–and unleash a nightmare future! Now, hunted by the Exalted Father and his bloodthirsty Kranken, and with Tesla acting as Charlie to their Angels, they must save the world from a hell of their own creation… before their water breaks!
Get the 128-page TPB of the cult series that’s “Inglourious Basterds” meets “Back to the Future” …with pregnant ladies.
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