In this case, it really is to get the project off the ground. It’s a situation where we have interest from a Diamond distributed publisher and, when it’s officially picked up, we would be getting an advance. But before that happens, they want to see the completed first issue. Our penciler, Ron Joseph, has been doing stuff for IDW and gets quite a few offers for paying gigs, so if the book is going to be at the front of the line, I’ve got to make sure he gets his page rate and not have to wait for that advance. It also gives him  The goal covers his page rate, the printing,  the rewards and the estimated shipping. 

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 I’ve known Ron for a few years now. At one point, he was the penciler on MISS VICKY & HER CUTIE COMMANDOS (My previous Kickstarter), but while we were waiting on a publisher to decide if they were going to pick up the book, he started getting work from IDW that ate up the bulk of his time at the drawing board. During a break between assignments he was able to do some pitch pages for SECTION: M as well as a cover for my CELEBRATION COMICS title featuring the 1966 Frankenstein and Dracula characters. I think it appealed to him because it was a chance to play in the super-hero sandbox, but not wind up doing the same old Spider-Man/Batman/Wolverine pages everyone does for their portfolio to show editors.  

 That’s the tricky question. I think Kickstarter has seen every comics genre variation known to man by this point and from what I’ve seen, a straight up spandex hero project can be a tough sell without a major name attached. I believe what we bring to the table is a distinctive package spotlighting the creative process by shooting straight from Ron’s pencils. Digging a little deeper into the actual story and characters… These were the Oddballs of the mid-60s. Characters that have been featured in books about the worst comics ever made. Ones that came to life, not from inspiration, but from the mercenary desire to cash in on the Batman TV show craze. Even under those circumstances, there’s something about them. A GERM of quality within their concepts that can inspire some fun old school stories. It’s as much a reclamation project as it is a super-hero team book. A chance to prove there’s no such thing as a bad comics character. It’s just the execution.

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 The campaign is for the all-pencils edition, but there are more stories in the pipeline for the fully inked and colored series. I hesitate to refer to it as a “taste”, but I looked up doing the Graphite Edition as something special our early adapters could have as bragging rights. Tapping that inner hipster we all have when we’ve discovered something off the beaten path that has the potential for mainstream success. I mean, it’s Dracula and Frankenstein as super-heroes and we’re treating it like the Roy Thomas Avengers run or the Wolfman/Perez Titans.  This is the chance to get in on the ground floor.

 I believe in stretch goals. At the time of my writing these responses, we are quite a ways off, but we have some cool stuff planned. The first one, should we hit the $2,500 mark, is a WHO’S WHO-style ashcan that would go to all backers filling in the gaps on the characters’ backstories and recapping the handful of stories that saw print in the 60s featuring art by some of our friends.  

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 If you saw this project, pretending it wasn’t your what would do you think of it and how you would react to it and Why? 

 I would be intrigued. As I said, these are characters that were practically written off as their first issues were hitting the newsstands, so the comics historian in me would want to see how the creators think they can make these heroes work for a 21st Century audience.  Plus the pencils are dynamite. A great distillation of Adams, Byrne and Alan Davis with a touch of Wrightson thrown in. 

 I’ve always loved the classic monsters and was blissfully unaware of these super-hero versions until I was in college. During the 50th Anniversary of the Batman TV series, I was intrigued by a lot of the attempts by publishers to cash in on the craze. At some point, I discovered the characters had been orphaned with none of the old publisher’s successors claiming ownership and the SECTION: M concept started as a writing sample that wouldn’t leave my brain until it snowballed into a pitch and finally this campaign.  

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 Ok those are 7 Great REASON so Give em that Elevator Pitch,  Creator:

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