Is Exhibiting at Comic Cons Worth it?
Tabling in Artist Alleys can be expensive and exhausting. Is it worth it? Lifeline Comics talks about their experience!
Hello Lifeline Comics Readers!
This week, we’re talking about one of our favorite topics: Comic Cons. Namely: is tabling at cons worth it? We’re excited to dive into all the intricacies that come with exhibiting and to share some tips based on our experience!
We’ll also talk about our experiences at the World Premiere of Little Miss Perfect — a queer musical we’ve been following the development of for YEARS now — in Maryland, and the record-breaking Unrivaled Philly women’s basketball game that we attended a few weeks ago.
Finally, we’ll share our thoughts on new releases Send Help, Wonder Man, Mamoru Hosoda’s Scarlet, and more!
Let’s dive in!
New “Valentine’s Day ❤️” Lenticular Cover (LIMITED TIME)
To celebrate Valentine’s Day, we’ve added a new LIMITED TIME Lenticular (moving) Cover for The Little Mermaid & The Pirate Queen #2!
This cover features art by Ale Canzanella that changes before your eyes from Clothed to Nude art!
This Lenticular is now available via a new $60 Reward Tier (our “Featured” Tier) & $60 Add-on and will only be available for FOUR MORE DAYS, ending at 12PM EST on Monday, February 16th!
Is Exhibiting at Comic Cons Worth it?
Kat: Convention season is upon us! So we here at Lifeline Comics wanted to give you a deep dive into our experiences exhibiting at Comic Conventions, and to ask the age-old question: is it worth it?
The Expense
Kat: One of the biggest hurdles of tabling in Artist Alley is the expense. Your average convention spot costs anywhere from $300-$500. This can be a bit of a hole to dig out of and a pain point for your mental health during the convention.
But the table isn’t the only expenses you have to think about: if you’re not doing a local show, travel costs can add up: the inventory you need to transport to the convention, travel, parking/ride shares, and even food. This is something you have to be mindful of when you’re putting together your budget.
The bigger your library of comics, the easier it is to make that money back, especially if you have graphic novels that you can sell at $20-$30 a pop. Even if you’ve been sitting there for two hours without a single sale, one big haul bought by a single customer can really help you get into the green.
Can You Make a Profit?
Phil: Whether you can profit at a Convention is a very complicated question to answer. For most seasoned creators, the answer can and should be “most of the time”. But it really depends on a lot of factors.
Starting with your own product costs: what is the cost of your product? Every item you sell has its own costs that already went into it (printing/production, design, etc.) that needs to be offset to achieve your profit-per-item-sold. If you don’t have a lot of items to sell (particularly items that produce a higher PPIS), you might want to defer more costly conventions until you have a wider library.
Using myself as an example, I saw my Convention profit more than double from 2022 to 2023 despite doing fewer shows. This is entirely because I had more products available in 2023, meaning I had a capacity for more and bigger sales.
Printing larger quantities helps to have a lower product unit cost. A lot of creators print on demand (printing books as they need them for certain events). This isn’t the ideal method to use to make a profit, since POD is almost always more expensive than a print run.
Not everybody is able to justify a print run (due to higher upfront costs, storage concerns, etc.); but if you have the resources to do so, we always recommend doing a print run over POD for particular events.
Beyond your product costs, what are the costs that go into the show? Both the cost of the actual table AND all of those other little expenses that Kat mentioned (travel, lodging, etc.) — all of which can add up. A creator needs to weigh those expenses against the convention itself. How many attendees does the con typically get? Is this a crowd suited for my content? Do I have previous years’ data for the same show?
Make no mistake: your Con Sales numbers are an asset. We keep a very detailed accounting of our Revenues, Expenses, and Profits at every show that we do SPECIFICALLY to help us make decisions about the same shows in future years, as well as other shows from the same companies and/or in the same regions.
You learn tricks over the years for ways to save money at conventions. You get a better sense of exactly how much (and which) products to bring to an event, your tolerance for going without travel/lodging luxuries, and other cost-saving measures.
At the end of the day, you should use all of the data at your disposal to try to build a “budget” for a con that you can offset against your expected revenue. The longer you do shows, the better you’ll get at making accurate estimates.
NOTE: Not every convention is purely profit-motivated. Of course, in an ideal world, we strive to profit at every show. But there are plenty of other reasons a professional creator may choose to tackle an expensive show, even knowing that they might make a small profit (or no profit at all). More on that in a bit.
Exclusive Covers
Kat: A premium item can be a big benefactor to get to your goals quicker. Taking Kickstarter out of the equation for a second, customers love grabbing items that you can only get at that specific convention. It makes the item and the con feel special.
We’ve especially found a lot of success with Lenticular Covers. When people are passing by, it easily catches their eyes and gives us the opportunity to pitch our books to them.
Bringing Kickstarter back into the conversation, the Kickstarter alone for the exclusive cover can be a huge help towards recouping your expenses for that con (and even making a profit along the way). So you’re starting a convention in the green, instead ofl a few hundred (or thousand) in the red.
Advertising
Kat: Comic books have so many little pockets of audiences: the Wednesday Warriors, Kickstarter backers, WEBTOON readers, and Convention goers. Now, of course, there are times these audiences intersect, but other times you as a creator have to help build that bridge.
When you’re tabling at a convention, you’re opening yourself up to a whole new audience, especially if you’re varying the shows and cities you’re vending at. This is a perfect opportunity to not only sell the products you have in your library, but also to promote your brand as a whole.
When we sell any item, even an enamel pin, we give a business card that provides our links and information for a customer to continue following us outside of the convention.
Phil: It may seem intuitive, but not giving your buyers an easy way to find you later is a mistake a lot of first-time creators make. So make sure you give your business cards with your books.
And if you want to take things to the next level, include your key links directly in the back of the book — that way any purchaser (Cons, Kickstarters, Website, random gifts between friends) has an easy way to find you after they finish reading.
Kat: Direct convention sales are not the only opportunity to advertise at Cons. If you are ingratiated enough into the comic community, you’ll probably start getting invited to do Panels.
And if you are looking to get your name out there more, creating your own panel is a great way to start connecting to other creators. Find a topic that you’re an expert on; there are plenty of convention goers who want to learn from your experience.
Being part of comic panels will naturally help grow your brand, especially if you share your appearances on social media.
Networking
Kat: If you take anything away from this piece, know that networking is a priceless endeavor that is heightened at comic conventions. We’ve made some of our best friends in the comic industry just because one of us said “Hi” while the other was tabling.
Comic conventions are a concentrated place where all of your peers are hustling and bustling. It’s a great time to introduce yourself. But remember that many creators are going to be in the weeds selling to customers, so a quick “Hello” and introduction would suffice as you grow that connection at future shows or through social media.
Phil and I personally take the time at every show to walk Artist Alley and buy stuff from comic creators. It’s very important to us that we are part of the very ecosystem that has given us so much. We also love scouting for illustrators at shows. We’ve hired so many of our cover artists because we liked the art they displayed at the show and took their business cards.
Cons are also great for the writers who want to integrate themselves into the work for hire hustle. Fun fact, we actually started planting the seeds for our Loud House work-for-hire when we were at a local show, New Dorp Comic Con. The Papercutz marketer is also a fellow Staten Islander, and we knew each other because of that. I told him we were interested in writing The Loud House. And because the company already knew I was a fan, we were able to have talks about writing for the series!
Should You Do Big Shows or Small Shows?
Phil: Funnily enough, Kat and I feel like we change our answer to this question every year.
On the one hand, big shows give you access to a larger crowd (oftentimes from various different regions/interests) for a higher cost. And on the other hand, small shows often have much lower upfront costs in exchange for a smaller crowd.
The real answer to this question is a bit unsatisfying…it depends.
There are some small shows that we do every year because it is practical and fun to do so. They may not be our biggest profit shows, but some combination of the revenue they bring in, the audience they attract, and the convenience of the location make it a worthwhile investment every year.
We also try to cycle through different small shows each year in an effort to hit different crowds that may not attend the bigger conventions. You never know whether a small show is going to be a surprise hit, so we make an effort to vary our con slate each year in the interest of experimentation.
Similarly, we have certain big shows (New York Comic Con, Washington DC Pride) that we try to do every year because they have a proven track record of success for us and we know that they always justify their high price tag.
But just like with the small shows, we try each year to test out at least one different “big show” that we’ve not tabled at before. These are usually expensive “travel shows” for us, but it’s part of our research to determine whether each show is something we can recoup costs on. And even if we aren’t able to generate a huge profit, the goal is to gain new fans who might not attend the other shows we frequent.
When building your Con Slate for any given year, we tend to recommend a healthy mix of “big” and “small” shows. If you’re early in your career, this might mean one big/expensive show and a handful of smaller shows. But always make sure you analyze your data so that it can inform your selections for future years. And don’t be afraid to try different shows every year to see what works for you!
How to Get into Bigger Shows?
Phil: Getting into the bigger conventions isn’t a guarantee, especially early in your comics career. It took us several years of applying before we got into many of the bigger shows that we now table at annually.
For the most part, the way to get into bigger shows is to continuously increase your profile as a creator. Continuously publish more (and varied) work. Grow your social media presence and newsletter audience. Work with different publishers/IPs, if you can get the opportunity to do so.
And while it may seem intuitive: make sure you sell yourself in your applications/correspondences. Some of the best professional advice we’ve gotten is to give your most impressive stats directly in your communications and applications. Don’t make somebody click a link to see that your Webtoon has 50K subscribers.; include that stat directly in your application/email. Don’t list out Kickstarter links with individual high funding amounts; specifically list that you’ve raised $XX on crowdfunding sites. Decision-makers review thousands of potential candidates, so you should always put the most important and impressive information at the forefront where no additional clicking and inference is required.
Another tool for getting into larger shows is to try to do multiple shows from the same company. This is a tip we picked up from some high-profile Marvel/DC creators. Oftentimes, it’s the same (or similar) group of decision-makers deciding on the Artist Alley composition for multiple shows within an organization. So doing multiple shows from that company (including potentially some of their smaller shows) can be a handy way to increase your odds of getting into the bigger shows.
We always do at least three ReedPop shows (New York Comic Con, Emerald City Comic Con, and C2E2) every year — both because these shows always do well for us, and because we believe it increases the likelihood of our getting into NYCC (our biggest show) every year.
Finally, if you have the resources to do so, you can also apply for both Artist Alley and as an Exhibitor on the show floor. Exhibitor booths tend to be significantly more expensive, though, so proceed with caution on that one.
The Negatives
Kat: As you can see, there are a lot of positives to exhibiting at a comic convention, BUT just like most things, not everything is perfect. Doing comic conventions also means your burning a lot of time that you could be doing other work: writing/art, organizing your business, or preparing for your next Kickstarter.
It’s already hard enough to keep everything afloat on a normal week, but a comic convention can take 3-4 days away from your regular work schedule, especially when you have conventions back-to-back. For us this year, March and June are going to be those real tight months, and the months surrounding March and June as we try to prepare for our busy seasons.
There are some shows where you get constant traffic, but then there are others that are DEAD. Either the crowd isn’t interested in your stuff, or the convention itself just couldn’t draw an audience for one reason or another. This can be a real sore spot for your mental health. So be prepared!
Luckily, I feel like we’ve figured out the conventions and shows that work for our brand the best. But we’re always looking for new shows, which means there will be some trial and error where you will feel these things from time to time.
Conclusion
Phil: “Is Exhibiting at Comic Cons Worth it?” is a loaded question.
The answer is “Yes”, but also to have proper planning and expectations. Know the costs of a show before you do it and have a sense of what kind of revenue you need to make to justify that cost. Also know that different cons have different goals. You may not be chasing a huge profit at certain shows and are instead looking to advertise to a different crowd. And try to vary your appearances. Each new year is a chance to experiment with your in-person appearances and to try hitting different shows and locations. This advice extends beyond just Comic Conventions to other sorts of niche shows.
If you want to hear us talk about Cons even more, check out our earlier post on How to Make a Profit at Conventions!
“White Ash” x “Sink Your Teeth In” Crossover!
We’re excited to announce a ONE-PAGE SHORT CROSSOVER COMIC between Sink Your Teeth In and White Ash that you’ll get FOR FREE if you support both live campaigns!
If you back both books at a Physical Pledge Level (having a comic mailed to you on each campaign), you’ll receive a Print copy of the She’s a Pain in the Neck one-pager crossover comic featuring Corsica and Lillian.
If you back both books at a Digital Pledge Level (or one project at a Physical level and the other at a Digital level), you’ll receive a Digital copy of the one-page short comic.
“The long-running, hit fantasy series about Elves and Dwarves in Pennsylvania, returns with two ALL-NEW ISSUES!”
What Have We Been Up To?
Let’s talk about some of the things we’ve done to keep busy these last couple of weeks!
Little Miss Perfect (WORLD PREMIERE)
Kat: As New Yorkers and frequent Broadway goers, Phil and I have been following the saga of Little Miss Perfect since the title song was part of the Write Out Loud contest. Five years later, the song has become its own musical playing for about a month at the Olney Theater.
It was an amazing experience to see a simple song that then turned into a soundtrack become a stage show. We have witnessed so many different iterations of Little Miss Perfect that it was humbling to finally watch the final product. The core of the song is the driving force of the show as a “perfect” girl figures out that she’s gay, but the production adds so many more layers to the prompt.
The show felt authentically Gen-Z with humor that was still able to strike a chord with us two millennials. It especially stands out with its authentic representation. I appreciated Joriah Kwamé shaping the part for a black lead, and the changes that came along with it. I was also pleasantly surprised with the autistic representation. There’s a nerdy kid who starts a relationship with a cheerleader, and they both showcased different sides of being autistic and have a whole song about “masking”.
Little Miss Perfect has plenty of new songs that will stay with you on your drive home, and that’s how you know you have a special musical on your hands. I don’t think this is the last you’ll hear of Little Miss Perfect.
Phil: STRAIGHT HAIR. STRAIGHT A’s. STRAIGHT FORWARD.
A three-hour drive definitely wasn’t going to stop us from attending the opening night World Premiere of this musical we’ve been following for five years now. From the moment that the first concept song dropped, LMP has resonated with queer viewers. And it’s been such a joy seeing how the show and the story have changed over the years leading up to the official premiere of the full-length musical.
As someone who sees a lot of plays and musicals, you can tell when you’re watching something special. In addition to a very moving and unique story, LMP has a fantastic and varied soundtrack — something that many Broadway plays today are missing. One of my biggest criticisms of many of the recent Broadway shows I’ve seen has been that even when shows have a great cast and story, they oftentimes lack memorable and engaging sound. LMP does not have that problem, and we even found ourselves singing many of the songs on the drive home from the play.
In addition to lead “Little Miss Perfect” herself, Noelle, the full-length musical introduces an incredibly likable cast of supporting characters. My personal favorite is Noelle’s love interest: butch Filipino exchange student, Malaya. After years of listening to the “Little Miss Perfect” song and hearing Noelle pine after an unseen girl, actually meeting the object of her affection and finding her to be such a strong, engaging character in her own right was such a moving experience.
Little Miss Perfect is good. It’s exactly the kind of show that we need more of right now. And I have no doubt that it will only grow in popularity over time. I look forward to seeing the next stage the show will land on when it ends its premiere engagement in Maryland.
Unrivaled Philly
Kat: With the next season of the WNBA up in the air (PAY YOUR PLAYERS), it was a pleasure to see Unrivaled (a 3 v 3 league owned by two active WNBA players) make a tour stop to Philly. The biggest event at the Xfinity Arena to DATE, it even beat the Backstreet Boys!
It was truly electrifying to get the fans all in one place. Marina Mabrey was especially on fire as she put down 47 points in one game, that’s very close to Aja Wilson’s WNBA record.
I mean, in what other sport can you see make up parachuting to the crowd?
Knicks Vs. Lakers at Madison Square Garden
Kat: It was a basketball full weekend as my Dad and I went to our annual Knicks game.
There’s nothing like seeing two powerhouse teams vs. each other in Madison Square Garden.
We even had a wonderful dinner at Marcus Samuelsson’s Hav & Mar. If you like food packed with flavor and you’re in the Chelsea area, I can’t recommend the restaurant enough.
Media
Let’s discuss some non-comics media!
Send Help
Kat: Send Help strips down the “survival of the fittest” undertones of the American workplace to its bare bones as a Nepo Baby CEO (Dylan O’Brien) and overlooked employee from “Strategy & Planning” (Rachel McAdams) are stranded on an island together.
The feminist themes have a solid foundation as the “little” worker bee finds her sense of urgency stuck in the wild with her now powerless boss, but even well-built structures can be destroyed by harsh weather. The film does falter in its third act as it fumbles its “women in the workforce” commentary.
I’ll be honest - neither McAdams nor O’Brien’s characters should be likable, but their chemistry makes for a memorable thriller. Even when I failed to connect to their relationship, I still wanted to see more of them together on screen. Send Help isn’t perfect, but it’s originality and unique perspective is Sam Raimi’s return to form.
![Dylan O'Brien & Rachel McAdams Exchange A Smile In New Look At Sam Raimi's Survival Thriller Send Help [Exclusive]](https://substackcdn.com/image/fetch/$s_!-7oD!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Ff800a182-2f7c-4613-83e1-a1c70d14757f_1600x900.jpeg "Dylan O'Brien & Rachel McAdams Exchange A Smile In New Look At Sam Raimi's Survival Thriller Send Help [Exclusive]")
Phil: Send Help is a fun horror comedy that succeeds on the backs of two great lead actors. The film is full of misdirects and genre switches that consistently keep the viewer on their toes. And the constantly-evolving relationship between Linda and Bradley is always played exceptionally well by Rachel McAdams and Dylan O’Brien, even in moments that some viewers may feel “jump the shark”.
Despite great performances and strong direction from Sam Raimi, I think the weakest point of Send Help is its writing. Minor characters are often reduced to caricatures; our leads make some difficult-to-swallow jumps in their heinousness towards one another; the themes are pretty heavy-handed in their delivery. With a few more script drafts, I think this could’ve potentially been a 5-star horror movie. But as it is, it’s a fun-but-flawed flick with a lot of great sequences.
PS: Boar snot is the new blood. I’ve never cringed and covered my eyes for blood the way I did for the disgusting amount of mucous in this movie.
Wonder Man
Kat: Wonder Man is the perfect bridge between classic Marvel and the MCU’s next chapter. I never thought Marvel would be able to redeem Iron Man 3, but 10+ years later, they’ve finally delivered an impactful story with the Mandarin.
Trevor tries to wash away his crimes by teaming up with the government, but by doing so he puts his budding relationship with Simon, an up-and-coming actor with powers, on the line. This unlikely duo is truly the heart of the show as their friendship is the emotional glue that makes Wonder Man a standout.
Scarlet
Kat: Since The Girl Who Leapt Through Time, I’ve been drawn by Mamoru Hosoda’s films. He masterfully crafts interpersonal relationships with a fantastical twist, and Scarlet is no exception. Scarlet is a Shakespearean tale with Hosoda flare portrayed through a GORGEOUS animation style.
Our female lead is looking for revenge when her father is murdered by her Uncle. This sends her to a world between life and death where she meets a medic from modern Japan. Scarlet is the type of movie that I adore as we truly feel the anguish of our main character throughout the whole film, and what I especially love about Japanese media is that anguish is never subtle (screams, tears, and all).
But unlike many anime, Scarlet takes a look at multiple cultures as it explores the themes of a number of spiritual ideologies and their views on life and death. This helps distinguish Scarlet from other animated films, and the fresh POV gives a whole new angle on Shakespeare’s original work.
2026 has already been a great year for female leads, and I hope it continues as the movie season ramps up.
Phil: A Fantasy, gender-bent adaptation of Hamlet that crams SO MUCH CONTENT into its just-under-two-hours runtime. Scarlet is honestly a marvel in just how much it’s able to accomplish, briskly moving between so many different high-concept set pieces while never losing its identity, characters, and theme. It’s a just fantastically-paced movie.
Scarlet takes a lot of “big swings” in its runtime, including its high-concept fantasy depiction of the afterlife, some play with the flow of time, the prominent inclusion of multiple different cultures, and a couple of surprise musical sequences. For the most part, I think all of the “swings” that Scarlet takes land — in large part due to the characters’ and the film’s earnestness.
The only negative I really have for Scarlet is that I think the “final” message at the end of the film is a bit too simplistic. The film itself set up a more nuanced, complex commentary on “vengeance” and “evil” (particularly in the balance struck by male lead Hijiri as he has to “get his hands dirty” while maintaining his moral center), but I thought the note that it ends on is an oversimplification of how to maintain morality in the face of evil.
Despite my critique, Scarlet is a fantastic watch. If you’re a fan of Medieval Fantasy (or even if you’re not), it’s definitely worth checking out.
PS: This movie also features probably the coolest dragon I’ve ever seen.
Comics
Let’s discuss some comics we’ve enjoyed recently!
As usual, we’ll spotlight an Indie Book, a DC/Marvel book, a Webcomic, and a Live Kickstarter book!
Indie Comic: Do a Powerbomb (Image Comics)
Kat: Before his run on Transformers, Daniel Warren Johnson made a big splash with Do A Powerbomb. This was the first DWJ series I had read in full, and as a VERY casual wrestling viewer I was pleasantly surprised by the new reader friendly nature of the series.
DWJ has not only put himself on the map because of his distinct style, but also his emotional storytelling. Sure, Do a Powerbomb showcases the flashiness of wrestling, but it’s such a special series because of its familial relationships and all the twist and turns that comes along with it. This one hits you in the GUT with every passing issue, which creates for a roller coaster of a graphic novel.
DC Comics: Harley and Ivy: Life & Crimes
Kat: When first getting together, Harley and Ivy had a very off-panel relationship. Erica Henderson of Squirrel Girl fame brings an indie style to the origins of their romance. It wasn’t all butterflies and rainbows at the start. Both girls have had dealt with trauma, so opening up themselves to someone else wasn’t an easy task. Henderson showcases all those small moments for their big get together to feel larger than life. If you love queer comics, and especially the Bat family Harley and Ivy: Life & Crimes is a must buy.
Webcomic: Deadlife
“After Seong-hun gets bitten by a zombie, he soon realizes that he hasn’t completely turned into one. His movements are slow, his urge to bite humans is strong, and his looks are completely different. But he remembers the scent of his crush, he remembers how to read, and he remembers that he should protect his friends. Unfortunately, the other intelligent zombies seem to disagree with the last bit...”
Phil: A zombie apocalypse action webcomic that follows a high school cast of survivors who begin to discover that some zombies maintain their intelligence after becoming undead.
Deadlife is my favorite kind of zombie horror. It’s brutal, it’s surprising, and it depicts both the best and worst of humanity in the face of a world-ending disaster. The series is also unique in its exploration of questions about “life” and “death” when it comes to the rare “intelligent” zombies. One of the lead characters in the cast becomes an “intelligent” zombie and must grapple with some pretty heady questions about whether they should still consider themself “alive”.
On the other side of the moral spectrum are the “villainous” intelligent zombies — exemplified by a lead antagonist who is introduced in the first episode. This sadistic smiling zombie is an incredibly effective villain. The zombie’s look and movement combined with a sinister perma-smile and an ability to perform tasks you wouldn’t normally see zombies do (like operate an elevator) makes for some fantastic horror imagery.
Deadlife has a large ensemble cast of characters and does a pretty great job of weaving between them. This includes the high school student survivors, their protective-and-kind-natured P.E. teacher, the severe, no-nonsense school nurse (who is also an army vet), and a mysterious-but-capable woman who finds her way to the school after her apartment complex is overrun by zombies.
I love a series that can balance a lot of characters and that manages to keep up consistent surprises and twists. And Deadlife fits that bill to a T.
Kickstarter: Passing in the Night
“An urban fantasy queer romance comic about two star-crossed lovers: a medical resident, and a woman who turns into a flying lizard.”
Phil: A refreshing queer urban fantasy centered around a Sapphic couple navigating the difficulties of both the mundane and fantastical aspects of their lives. Ruth is a medical resident who deals with supernatural cases day-in-and-day-out, while Gloria is her girlfriend who turns into a flying lizard at night and struggles with being pulled into a world she doesn’t feel fully part of.
Kat and I actually had the pleasure of reading this comic already to provide pull quotes and we can both personally recommend the comic to folks who enjoy real, complex, and wholesome queer romance stories with a genre backdrop.
"The best fantasies are the ones that understand their connection to reality. Passing in the Night explores interpersonal relationships with a fresh flair as it weaves in the fantastical with queer romance." -Kat Calamia (Lifeline Comics)
"A refreshing urban fantasy that finds the "magic" in the everyday struggles of its central queer couple. "Passing in the Night" is an inspiring showcasing of how the most debilitating struggles - both mundane and fantastic - can be overcome by compassion, creativity, and communication." - Phil Falco (Lifeline Comics)
Back “Passing in the Night” here!
In Conclusion
We hope you enjoyed our breakdown of Conventions and our tips for deciding whether they’re “worth it”. Be sure to share your own Convention experiences and tips in the comments below!
There are still four days left to grab the “Valentine’s Day” Limited-Time Lenticular Cover of The Little Mermaid & The Pirate Queen #2! Don’t miss your chance!
Be sure to check out Noir Vampire series Sink Your Teeth In #1 before the campaign ends next week! And remember also support Charlie Stickney’s White Ash, you’ll get that FREE one-page crossover comic!
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Love that I made the networking photo!!
You brought up lots of great points! It is a balancing act and personal preference. I just did a similar write up last year celebrating 23 years of going to cons. From attendee to vendor and everything in between the one commonality that never goes away is COST 😅