 Hey, this is Jake with The Verge, and we're here at Comic-Con 2015. Comic-Con is such a huge show. There are games, there are movies, there's old back issues, there are toys. Is there actually any room for new publishers who aren't selling superheroes? Let's go talk to a few and find out. I sort of serve a niche of like, because I don't do superhero comics, and I don't do zombies, you know, like. I think that people that want small press sort of know where to go. And I think that, you know, people will surprise themselves by coming through here and get things sometimes. A couple years ago there was a Glee, like people were mad because Glee fans were here. And it's like, well, come on. Some Glee fans will like, you know, something I do, I'm sure. And that's just widening the audience, and that's better for everybody. There's like a small bit of our scene that's here, and that's, you know, that's who we're here for. And also like, a lot of the pop culture parody stuff that we do is pretty broad and pretty relatable. So there's going to be like the person who just came out of the Star Wars panel or is on their way to get an autograph from like Lou Ferrigno, who will stumble upon our booth and be like, oh, this thing is really great. This one title speaks. Conventions are like a solid 70% of the revenue, and that can, like that can, that's actually like going down year by year. But that's about average for pretty much every other indie press we know. They really rely on doing like at least 10 conventions a year to like, to keep paying for production. I would say half, because I do like a fair amount of conventions. The cost of the table keeps going up, and it's fine. I'll outpay set. I say half is advertising. Half is advertising. So if I make better than that, then it's all great. And if I leave with, like I'm going to, you know, I stop by Oni booth, I say, hey, how's it going? They're like, oh, you should do a cover for us. I'm like, yes, I will. Here you have the opportunity to meet animators, you know, also publishing companies and, you know, houses and stuff like that. And you know, those contacts turn into things from time to time. If I can walk away from a convention with gigs, then yeah. It's also the best way of self distributing your own work. So if you don't have the money to pay for tons of advertising or pay a sales force to put your stuff out, then, you know, being right here, hand selling and showing off your work is like the best way to do it. To make yourself look a little bit more legit, you've got to have a presence at Comic Con. It's mecca, right? Like it's just everything's here. People may come to Comic Con for the games or the movies, but everyone here is still in the same mindset. They're looking for something cool and new and geeky. And these small publishers offer that in a slightly different way. If these people weren't here, they might never stumble across it. Ultimately, when people with new interests are coming, that's a good thing.
 Hey, this is Jake with The Verge, and we're here at Comic-Con 2015.
 Comic-Con is such a huge show.
 There are games, there are movies, there's old back issues, there are toys.
 Is there actually any room for new publishers who aren't selling superheroes?
 Let's go talk to a few and find out.
 I sort of serve a niche of like, because I don't do superhero comics, and I don't do
 zombies, you know, like.
 I think that people that want small press sort of know where to go.
 And I think that, you know, people will surprise themselves by coming through here and get
 things sometimes.
 A couple years ago there was a Glee, like people were mad because Glee fans were here.
 And it's like, well, come on.
 Some Glee fans will like, you know, something I do, I'm sure.
 And that's just widening the audience, and that's better for everybody.
 There's like a small bit of our scene that's here, and that's, you know, that's who we're
 here for.
 And also like, a lot of the pop culture parody stuff that we do is pretty broad and pretty
 relatable.
 So there's going to be like the person who just came out of the Star Wars panel or is
 on their way to get an autograph from like Lou Ferrigno, who will stumble upon our booth
 and be like, oh, this thing is really great.
 This one title speaks.
 Conventions are like a solid 70% of the revenue, and that can, like that can, that's actually
 like going down year by year.
 But that's about average for pretty much every other indie press we know.
 They really rely on doing like at least 10 conventions a year to like, to keep paying
 for production.
 I would say half, because I do like a fair amount of conventions.
 The cost of the table keeps going up, and it's fine.
 I'll outpay set.
 I say half is advertising.
 Half is advertising.
 So if I make better than that, then it's all great.
 And if I leave with, like I'm going to, you know, I stop by Oni booth, I say, hey, how's
 it going?
 They're like, oh, you should do a cover for us.
 I'm like, yes, I will.
 Here you have the opportunity to meet animators, you know, also publishing companies and, you
 know, houses and stuff like that.
 And you know, those contacts turn into things from time to time.
 If I can walk away from a convention with gigs, then yeah.
 It's also the best way of self distributing your own work.
 So if you don't have the money to pay for tons of advertising or pay a sales force to
 put your stuff out, then, you know, being right here, hand selling and showing off your
 work is like the best way to do it.
 To make yourself look a little bit more legit, you've got to have a presence at Comic Con.
 It's mecca, right?
 Like it's just everything's here.
 People may come to Comic Con for the games or the movies, but everyone here is still
 in the same mindset.
 They're looking for something cool and new and geeky.
 And these small publishers offer that in a slightly different way.
 If these people weren't here, they might never stumble across it.
 Ultimately, when people with new interests are coming, that's a good thing.