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USDN Podcast is a cinematic indie comics interview series hosted by the USDN_Chairman and the Council of Nerds spotlighting the creators, storytellers, and worldbuilders shaping the future of independent comics.
Each episode dives beyond headlines into the real journeys behind the books from Kickstarter launches and creative struggles to the philosophies driving today’s indie storytelling movement.
This isn’t about rumors or recycled news.
It’s about the people creating the worlds.
Through in-depth conversations, creator spotlights, and crowdfunding discussions, USDN explores:
• The rise of indie comics
• The business of crowdfunding
• The art of worldbuilding
• The realities of independent storytelling
USDN is where indie comics come to life for the fans, by the creators, and powered by the community.
You are listening to the USDN on the
DFPN.
I'm sorry.
what is up everyone and welcome to the
united states department of nerds where we
are for the people by the people and
of the people
Every generation has its action heroes.
The soldiers who never quit.
The specialists with impossible missions.
The teams that stood between order and
chaos when the odds seemed impossible.
From Saturday morning cartoons to
blockbuster action films to the pages of
comic books,
these larger-than-life heroes have
inspired countless creators to imagine
change.
what comes next tonight we're stepping
into that tradition our guests have taken
everything they love about military action
elite strike teams and cinematic
storytelling and forged it into their own
creator owned universe one built from the
ground up through passion perseverance and
the power of crowd funding with collision
force number two now live soon to be
live
on Kickstarter.
We'll discuss the origins of the series,
the partnership that brought these two
gentlemen together,
the transition from screenwriting to
comments,
and the realities of independent
publishing and why action still deserves a
place in today's shelves.
Please join me and welcome
the co-creators of Collision Force,
Joe Kazmer, Jared Burris,
to the USDN podcast.
Ladies and gentlemen,
the Council of Nerds is now in session.
Joe, Jared, welcome to the Council.
Thank you.
Thank you for having us.
It's quite an intro.
Love it.
Appreciate it.
Appreciate it.
Appreciate it.
Everybody gets their own special intro
when they come to the USDN.
But...
Let's start at the beginning because every
creator's journey is a little bit
different.
Before Collision Force was ever an idea,
what first sparked your love for comics
and storytelling?
Was there like a book, a creator,
a moment that kind of made you think,
I want to create something like this?
And Joe,
we'll start with you on that one.
I wrote my first story when I was
probably in first grade, which was a G.I.
Joe story with little comics.
Oddly enough.
And so I've always loved, you know, G.I.
Joe, heroes, writing, you know,
been a writer pretty much my entire life.
And things like G.I.
Joe, Transformers, when I was a kid,
you know, Batman, Spider-Man,
and then later Garth Ennis' big influence,
the boys.
Oh, yeah.
And
Preacher, comics like that.
Conan, love.
I love it all.
Superheroes to crime to things like Conan
to military to Criminal by Ed Brubaker.
I love a gamut.
Good comics, good comic to me.
That's a wide berth of enjoyment there.
How about you, Jarrett?
So I would say the thing that set
me off as a kid was the intersection
of the Punisher being released in the
early nineties on VHS.
Oh yeah.
I remember that.
Yeah.
And so it was like, you know,
I'd pick up a comic book here and
there at the supermarket, you know,
some GI Joes to go with my toys,
some Batman to go with the burden movie.
And then me and my cousins,
we ran the Punisher movie and they had
been getting some regular collecting at,
Phantom of the Attic in Butler,
Pennsylvania.
And I was curious about this Punisher
movie watching at the end of it, like,
you know,
the Punisher has his own series and it
comes out every,
every month and there's all these other
Punisher books.
So I go to Phantom of the Attic
and I pick up the Punisher summer special
number two, which is a really wild cover.
And I read it and I was indoctrinated
into the world of comic books.
I then had a pull list and I
was reading Punisher comics and X-Men
comics.
And then when image kicked in,
it was all about extreme for me,
young blood profit,
all the Rob LaFeld stuff.
That was my guy still is love him.
And then, uh, you know, college, it was,
and it's popped into max and that just
like blew my mind and still reading X-Men
and Spider-Man at that point.
And then I moved to LA and it's
more sporadic in my collecting.
And then when cartoonist kayfabe popped
up,
that really like blew my mind out and
got totally re, uh,
We contextualized my childhood.
And that's kind of around the time that
Joe had this wild idea to go back
on an idea we had and start a
comic book.
Yeah, Joe and I bonded in college.
We met each other at the University of
Pittsburgh.
He had written a story,
a pretty gruesome story about some stuff
going on in prison.
And afterwards, I said, hey, what's up,
man?
And we bonded.
Love of comic books, pro wrestling,
action movies.
And it's all been uphill from there.
A true bromance.
I like it.
There's nothing wrong with a good
bromance.
I'm here for a good bromance any day
of the week.
And actually,
I talk to a lot of people in
bromances,
and they happen to write comic books,
though.
It's just become a part of the thing
here at the USDN.
We celebrate bromances.
I mean...
So one of the biggest things that
immediately caught my eye when y'all sent
this over to me is y'all described
Collision Force as R-rated G.I.
Joe,
which I always felt like we needed an
R-rated G.I.
Joe,
even though the comic book never geared
that direction.
But a G.I.
Joe R-rated movie would be some top-notch
stuff.
I mean,
what was the original conversation that
led to Collision Force?
Was there a moment where you both said,
you know what,
nobody's making anything like this over
the top, you know, with G.I.
Joe-like action.
So, like, what was that for y'all?
It was kind of like, in college,
we were tossing around myths.
Like,
we'd stay up all night watching Dario
Argento movies, and then also, like,
really extreme action movies,
which I'm sure you love Stone Cold and
all those sorts of movies.
So we started thinking,
who's an epic hero who exists who's never
been talked about?
And we started formulating a plan for Lars
Bowman, who is the ultimate super soldier,
super violent, insane,
and hyper patriotic.
And we went over this just back and
forth.
And at that point,
We thought of it like,
imagine if this was a movie.
Imagine if this guy was crashing through
the screen,
destroying enemies of the country,
and just showing no mercy at all.
And we just had a blast going over
that.
And then I'll kick it to Joe,
post-pandemic,
where he had some money from betting on
USC,
where he decided to take it to the
next level.
Yeah, during COVID,
all those gambling companies were just
throwing around money.
and you know i did did all right
and had had a little bit as it
turned out not nearly enough to create a
comic book but it was nothing to get
started and i said jared you know hey
buddy why don't we create a comic based
on one of your screenplays he goes oh
no let's let's do collision force all
right and then so we started with lars
bowman and this super soldier
who was born from a twisted Soviet program
and then rescued by what would be his
adopted father to fight communism and
terrorism in the late eighties,
early nineties.
And then from there,
we forged a team of who do we
want to see on this
special missions force, you know,
this elite strike force.
So we created all these characters.
Jared has mythology and a background for
this villain kind of manipulating
everything behind the scenes.
And this, you know,
evil force who's been fighting with Lars
or in Lars' background for years is now
manipulating, you know,
kind of like your villain of the issue
to try to
to fight collision force.
And it's a great venue to have a
ton of action.
You know,
we love action movies and comics.
We love GI Joe, we love, you know,
military strike teams,
over the top violence,
and something that we kind of saw that
was missing from the comic book market.
And tell me if I'm wrong,
I don't really know of
a high-octane action teen comic that
doesn't have a degree of sci-fi.
So this is kind of like maybe your
Fast Five-ish level or Bad Boys II level
of violence and reality,
but we're not going sci-fi.
I mean, I love G.I.
Joe.
I read it every month.
But there's a ton of sci-fi in it,
and I want something that is real.
Yeah.
That's what we're working on.
I don't know if there's anything out there
like that.
I can't think of anything.
They all tend to lean into sci-fi at
one point or another.
G.I.
Joe has laser guns.
You got real explosions and real bullets
and real action.
Dude, I love it.
Anything that has...
a good explosion scene automatically like
wins me over.
I don't think there's,
I don't know when we went away from
a good explosion in both movies and comic
books and just in general,
like a good explosion.
Yes.
It was bad,
a bad moment in history to turn away
from explosions.
We're bringing it back, baby.
I love it, dude.
And,
I can't remember which one it was last
night who was like, hey,
this is going to be a blast.
I'm like, yeah,
even the thumbnail is a blast because the
thumbnail is just like big explosions.
And then I just shoved the collision force
right in the middle of it.
I was like, I'm playing with it.
I'm like right in the middle of the
explosion.
That's perfect.
They wouldn't want it any other way.
Beautiful.
So it was a lot of fun making
that thumbnail.
I'm not even going to lie.
I'm getting used to making my own shit
in Canva and thumbnails.
And yeah, dude, that was,
that was a lot of fun to make
and then trying to come up.
So yeah,
it was a lot of fun on that
one.
Um, so,
the original conversation that led to
collision force was there kind of like,
actually, no, not that question.
I'm sorry.
Oh, world building.
So did y'all kind of build this world
first, the team, the characters,
or were y'all all just kind of like
all at the same time,
just mish mashing this together?
Uh, we, we spent, uh,
once you throw down the,
threw down the gauntlet, uh,
we probably spent, was it six months,
seven months going back and forth,
building out the world.
We have a fifty issue arc,
but we like every issue to be
self-contained in its own story.
And if we're blessed enough to get to
the issue fifty,
you'll see where it's all going,
which is pretty insane.
But we have it all mapped out.
It's very detailed with our central
villain lurks in the background like Joe
was saying.
And Lars' background is also more complex
than it would seem just from the out,
you know, with him being a super macho,
violent guy.
It gets pretty deep and unorthodox in ways
that we can get to that point.
I think people are going to enjoy it.
Yeah, with issue one,
I kind of threw down a gauntlet to
Jared of, I read, you know, go ahead,
go back,
read the Fantastic Four number one.
get the origin of the fantastic four and
three pages something like something like
that it's like three or something weird
it's like three or four pages right it's
not twelve issues or twenty four issues
and like let's let's you know keep moving
you know throw down the origin of
collision force it's in two double page
spreads boom there you know everything you
need to know about collision force and
jump in it's right there of course you
know we'll
dive in a little deeper as jared's saying
during the course of the series but you
know we have what you need to know
from the outset
So these tapes of team posts,
they kind of live and die by chemistry.
I know, Jared,
you said you're a big fan of the
light build stuff,
and he's a big team guy.
He seems like he's always putting together
a team in his comic books.
So they live and die by chemistry.
How do you make sure every member of
Collision Force has a distinct personality
and purpose instead of just simply filling
a role on the squad like you may
see in some other tamer action books with
a lot less explosions?
think you have to know them as people
and so joe has identified a few of
those people and like so and i have
a few of those characters in my head
and if you can think of them as
regular people and identify their traits
it becomes very easy to see the dynamics
of who don't doesn't like each other where
the drama is coming from and it's nice
to be able to lean on joe for
certain characters where he knows them
really well and i know other characters
very well and so when they start
that's where the drama comes in.
That's where the fun team dynamic happens.
And there are certain fault lines in the
team that in the fall,
it starts spreading as the,
as the issues go on.
And, you know, the,
the binding force is Lars Bowman who loves
all of his teammates, but quite,
quite a bit and not an ironic fashion,
which is kind of the,
you got to put that out there.
Yeah.
And a non-ironic fashion is,
Lars does not, he's, he looks at his,
as a team,
which normally if you had a character like
Lars, he'd be a bit of a cutthroat,
not caring.
Again,
a Garth Ennis type of fashion where
everyone's just kind of expandable,
laugh at the guys dying and not really
care.
No,
Bowman cares about his team first and
foremost,
and he's not going to let anything happen
to them.
And maybe he goes a little bit too
far in that.
And that's the dynamic of Lars Bowman that
gets interesting.
Joe, what's your thoughts?
When I was creating, you know,
certain members of collision forest,
Jared had some team members in mind,
and then I went about kind of filling
out the team and the way I did
it is just kind of thinking about, well,
you know,
I know this person and I can take
that person and dial them up a few
notches and make them a little cooler,
you know, make,
make them an expert sniper or an expert
with knives.
But just still having them grounded in
some reality,
that way you have a North Star to
look to for that character to try to
give everybody their own background and
reason and motivation.
And another thing,
maybe not the best financial decision on
our part,
but what we're doing is having a backup
in each story and each issue, three, four,
five pages, something like that.
to give every member of the team a
little extra time to shine outside of the
main issue and give them a little insight
into the origin.
Like the old school character cards.
Yeah, except more expensive.
But we're actually doing that too.
One of our Kickstarter rewards on the
first campaign, an homage to the G.I.
Joe file cards,
Yeah.
I did a bookmark bookmarks instead.
So like you get a giant bookmark and
it has a little picture and then it
has bio for that character.
And we did four of those for the
first issue.
And we'll probably do like three for the
second issue.
And then another three for the third issue
to, and then, you know,
then you fill out the team with their
bios.
So I, you know, I thought that was,
that's a different way to expose the team.
So we're, we're, we're,
working on giving you know everybody time
to shine through different methods and
it's also that's a money saving tactic
right there because bookmarks are cheaper
than words on the page yes yeah yes
they were quick with that would be yes
But let's build this creator-owned
universe.
So one thing we talk about quite a
bit here is the freedom that comes with
creator-owned comics.
There's no editorial mandates,
no existing continuity,
and no corporate playbook that says you
have to build everything a certain way.
With that freedom, though,
also comes responsibility.
I had to get my Spider-Man thing in.
How much money went into the larger
Collision Force universe before ever...
putting issue one out to the masses and
kickstarting it did you already know kind
of like where the story was heading or
has this roadmap evolved as you go now
into this issue two kickstarter and i'll
start that with you
Jared's mentioned that we have a map for
the series about how we want to go,
but we actually did pivot for the second
issue from what we had originally planned.
We were going to go with adding some
new members to the team,
doing a bunch of training, but we said,
screw it.
Let's do something crazy instead and have
uh a bunch of communists attack their
headquarters and blow a bunch of stuff up
and that's what we did instead and it's
a bold move that's a bold move
And we were able to find ways.
That was an interesting pivot because it
was going to be more of a building
out the story from where the first one
left off.
But then as we're halfway through writing
the second one, like, man,
it's not living up to part one at
all.
We need to go in and just bad
boys to this and just go crazy.
And then we'll find a way to get
the same story beats that we're going to
get and cram it in there.
And we were able to do it.
And then we added a little more of
a little more revelations from the team's
past.
And we were,
we sped it up where that revelation came
in.
It was fun.
It was, it's moving everything around,
you know?
Yeah.
And I'm happy with what we ended up
with.
And we, that's our mantra.
You know, we just got to keep on,
keep on trucking, you know?
I like that kind of stuff.
I know I had a guest on not
that long ago, his comic book.
He wrote originally as a novel,
the first novel,
Uh,
issue one of that comic book is like
basically the first chapter of his novel,
but he completely pivoted on issue two as
well.
Like it's not even a part of the
novel.
It was just like, Hey,
I want to explore this one thing.
And then I'm like,
I see you make a roadmap,
but that roadmap has got a lot of
twists and turns and curves and everything
else in it.
And I love seeing like here in like
the flats that comes with this because
it's yours.
yeah you can't do it yeah and you're
making the choice like you know you're
spin the wheel spin the wheel make the
deal right joe a hundred percent and it's
one kind of interesting little point too
and you brought up about novel to comic
and jared's done screenplays i've written
the screenplay nothing produced like him
though uh we've both written you know
short stories you know maybe a piece of
a novel here or there and
whatever you write doesn't prepare you for
comic books.
Comic books are completely different.
And I think that's something a lot of
indie creators don't know until you do it
and then you examine your medium.
And it's interesting.
I mean, I'll be honest,
it's somewhat of a challenge we face with
our second issue.
And it's something that we'll work on more
for issue three is that you get the
urge of,
you want to put in so much and
then you realize, Oh no,
if I put in so much,
then I'm going to lose something else.
You know, if I put in text,
well then that hides your art or,
you know, you put in too much,
like each action, you know,
that's seven panels on a page and then
your,
some of your art may not have enough
room to breathe.
And so that,
that was a challenge for us with issue
two that we wanted to do a lot.
And, you know, whenever we,
eventually get to issue three, you know,
we learned some good lessons and we'll,
we'll let things breathe a little bit
more.
Um, but it's, it's kind of a,
just part of the process of, wow, there's,
there's a lot to learn about making comic
definitely is and i learned something new
and different like every single time i
have new creators on and just how they
do business or or how they go about
their kickstarters or writing their
stories uh jared i know you you've wrote
a movie that came out in twenty twenty
five i think it was yeah in december
so yeah so you get those cool stories
like that this this is always so much
fun for me because i'm also too wanting
to write a book or comic
And I'm like, yeah, this is always cool.
I'm like,
as I watch these episodes back and I
cut clips and I cut long form content
out of them, I'm like,
I focus on those big nuggets and those
lessons learned.
And I'm not just doing it for like
the masses.
I'm soaking that in.
As I'm watching these,
I take a notepad out and I make
notes like constantly.
I got notebooks of notes.
And it's like almost like an obsession
almost where I'm just like notes, notes,
notes.
You have the call of the wild, man.
It's calling you.
It is.
And it has been for a hot minute.
Now,
that's one of the other reasons why my
schedule is going to slow down later this
year because I do want to focus on
writing that book.
But this is my boy right here, Kelvin,
with a question.
How do you manage continuing the story
with so many fresh ideas come up that
may not contribute?
It's a good question.
I would say when you have too many
ideas, like the really good ones,
you just put them on the shelf, man,
and come back to the next issue.
A great idea is a great idea.
You don't want to waste a great idea
just cramming it in with all the other
ones.
Space it out.
If it's a good idea,
it's going to be good in the next
issue.
What are your thoughts, Joe?
Yeah,
sometimes I'll have wild ideas and run
them past Jared if, like,
Hey man,
I know we can't do this right now
on this next issue,
but you sometime down the line,
let's do this, you know,
let's do this homage cover,
or I want to fit in this crazy
action beat, whatever it is, you know,
absolutely.
I mean, like you're saying, Jeff,
keep notebook, you know,
keep a file of like, okay.
You know, guy is.
doing something crazy with and then here's
an explosion and a helicopter and and
whatever it is you know whatever it is
that you come up with helicopters and
explosions go so well together yes yes no
this is how i do it right school
rolls around in august july school
supplies go out i get my good pins
that i like the sharpie pins and i
get the good notebooks when school
supplies hit the shelf at a discount and
i just like buy my supply for the
year
That's great.
Yeah.
I hit when Amazon puts theirs on sale
too.
Like, Ooh,
that's my favorite notebook right there.
Let me get that.
Well, yeah, I just,
you're interviewing so many great artists
too.
Now you have the,
in your backlog and you know,
we're all a hot indie artists are artists.
Well, I have an artist pit,
like close friend of mine.
Like we become friends.
We've done like shows outside of,
Well, still talking about comic books,
but me and him do our annual Halloween...
comic book special together and um great
dude he he does the uh art for
the um comic book version of vidalirium
which is a novel by uh nicholas casparo
another great dude um but yeah i said
when i seen the i mean i got
the first issue of um vidalirium the comic
book i was like dude i love this
art like the way he does his um
his sci-fi type stuff
And, um, I was like, dude,
this is so good.
And I was like, yeah,
I gotta have this guy.
And like, it just immediately, I was like,
Hey,
one day I'm going to write a comic
book.
Will you be my artist?
And he was like, I would love to.
I was like, cool.
That's the hard part.
So I got it down.
And, um, he's, he's, he's Argentinian.
Great dude.
I don't know if you've seen Starship
Troopers.
Yeah, of course.
Argentina.
Yes.
we always like anytime i message him i
always start out with hey i'm doing my
part like from the little kid he gets
out of lines like i'm doing my part
yeah so that and that's a normal thing
down there that's a greeting down there i
swear at least that's why he told me
he could have been with me but i
wanted it's just one of my favorite
stories i want to believe that one because
it's so good now if i ever go
to argentina and if i say that and
if i get they look at me i'm
gonna be like this i'm like all right
well played well played my friend
But I just mentioned, Jared,
that you do work in screenwriting.
You wrote a movie.
It came out December,
which is really dope.
If you ever want to come back and
talk about that movie, by all means,
we can do that.
Or I can sit you up with Nightmares
and Nerdscapes.
He does horror movies.
Hey, man.
The movie's called Pig Hill.
It's a very dark and twisted horror movie.
I'm proud of it.
That's up our alleys.
Yeah.
It's got some heat.
Some people are...
angry about it but i'm okay with that
uh if someone watches it digs it wants
to talk about it i'm i'm available just
like i am for anyone who loves collision
force no i'll put him in contact with
you thanks i get hit up all the
time i get hit up all the time
with like hey will you watch my uh
my movie i'm like i ain't got time
right now but let me push you over
to my guy
And I always push them over to the
CJ in Nightmares and Nerdscapes.
I would highly check them out if you're
a big horror guy.
He's got a great thing going over there.
But I'm going somewhere with this,
I swear.
screenwriting immediately stood out to me
because film comic books tell stories but
in very different ways even though they're
both visual mediums what were some of the
biggest adjustments you had to make when
writing for comics instead of film i don't
know you were writing stories before this
but what were some of those adjustments
you had to make i would say as
a screenwriter you have to be kind of
um relaxed in how you um
describe the action,
you have to make it very readable,
make it all the dialogue flow with the
action lines.
And there's kind of a little art to
it so the reader doesn't get bored.
But you can't have that when you're doing
these comic book scripts.
You have to think of the panels.
You have to kind of get into,
unless you're doing it the Marvel way,
which that's not how we do it,
you have to almost become like get in
the God mode and think of the panels
and make sure the artist is cool with
it.
And you have to have a lot more
control over than you do as a
screenwriter.
Screenwriter is a lot more fluid.
The director is going to come in and
he's going to do his thing.
how he wants the cameras to be and
whatnot.
As a writer,
you have to be in there more.
You have to think of how the panels
collide with each other,
the spatial economics of everything.
That's been a big thing.
And I know Joe definitely experiences this
when he's coming in the collision force
world.
Yeah,
it's an interesting balancing act of,
well do you know your artist and it's
literally my question that was perfect
yeah and do you how much detail do
you give you know you want to have
your artist breathe but you also want to
make sure that there's not
misinterpretations and that the artist is
getting across your point so and
fortunately and unfortunately we've had
two different great artists for both of
our issues.
First issue was Chris Johnson.
He's done some work for image and work
for IDW.
And we were so lucky to have him
that he kind of guided us through the
process as somebody with real experience
and willing to work with us.
Jared had met him at a local comic
book store that he was working with.
And for him,
he ended up doing a book for image
after working with us and also just
didn't have time to do our second issue,
so we found another artist,
JC Grand from El Salvador,
and he's been awesome,
has that kind of nineties throwback style
that we enjoy.
But still there's just things that we were
on different pages,
so we had to clear them up.
You don't want to tell your artists the
wrong thing or making assumptions.
You also don't want to be overly
controlling.
So it's really an interesting balance that
you have to take in even the color.
We've worked with a few different
colorists based on availability.
And that matters too.
I mean, coloring is huge.
especially a lot of explosions and blood a
lot of explosions and then you know what's
really the thing is you have seven team
members well guess what everybody looks a
little different has different hair color
and you know different skin color so you
have to be cognizant of that and you
have to be aware like oh this guy's
hair color is wrong it needs to be
this you know it takes a lot of
effort we were also very lucky to have
letter designer, I'm all side.
He's done both of our issues.
And he's really of, you know, like, hey,
this is how you lay out a comic.
Because, you know, hey, guess what,
whenever you create a comic,
even if you don't have any letters on
a page, well,
that page still needs to be set up
and designed so it can be printed.
And that was, I didn't know that.
I thought, you know, here it is,
the arts ready to go.
Boom.
Yeah.
And he guided us through that process and
has been a huge help along the way.
And that's a very fun part of creating
a comic, because you have so many people.
And then we also, for our backup art,
we have a fellow out of Brazil,
Felipe Gomez.
And he did his first US story with
us in the first issue,
and then his second story with us in
the second issue, and his art.
improved which was you know it got sharper
and clearer and more focused and he had
better action but a great part about
collaborating with him was you know like
we did this we have this scene and
there's a sword fight and he goes you
know i just made this change where some
this guy gets his hand cut off because
i think it would be cooler hey you're
right always so you know it's kind of
cool when you have those kinds of
collaborations and your artist just does
something like wow i i didn't think about
that that's way better i like that kind
of stuff that that's cool and just having
that creative freedom to do that kind of
stuff is really cool so when y'all are
collaborating together how do y'all
balance like each other's strengths i know
people just naturally sometimes are you
here like
even for a bromance as strong as yours,
sometimes you're going to butt heads.
How do y'all kind of balance that and
keep that focus on the story and getting
this thing completed?
For me,
it's just focusing on how can the story
be the best.
It's not about who's winning between Jared
and I based on this guy's idea goes
in versus this guy's idea.
It's
what's the better idea and what is gonna
be the best for the story uh we
we did talk for a ridiculously long time
on our backup story for this issue maybe
even longer than the main story but that's
because we're passionate about it we want
to be cool i love to hear that
Like just the bro stories behind the
scenes are so much funner sometimes than
the actual book.
And that's what's so fun about getting to
do this is you get those kinds of
stories and like you spent what?
How long did it take y'all to put
together issue two?
Probably about somewhere between seven to
nine months for the writing and the
The art and the colors.
As of right now,
the book is completely done.
Art, colors, letters.
We're going to launch the Kickstarter in
early August.
The only thing that'll be left to do
is maybe we'll tweak something just based
on Kickstarter pledges.
But other than that, we're done.
So this one took a while,
but not as long as issue one.
How about the backup story?
That one took a couple months.
Yeah.
We were wondering if we were going to
do it again,
and then we just had to do it
because Felipe – Felipe is a – he's
a rising star,
and I have no doubt in the future
he is going to blow up because he
has been just – his skill level is
just –
He's maxing out, like, and jumping.
Every time we see his new work,
it's just blowing up.
We were very blessed with the art.
I mean,
JC is established in the indie scene.
Chris is doing his stuff in Image.
And we've just been blessed in that way.
And somehow, Joe found Felipe.
And Felipe has just been a very, like,
it's really made these backups fun.
And we found our colorist.
We had a primary colorist, Jorge Sutil.
He's done work.
He does a lot of work for dynamite.
He did our coloring for the first issue
and wasn't available for the second.
He did the colors on the variant cover
though, for the second issue.
And then we found a fellow named Pedro
Stucco also out of Brazil.
He did the backup colors in the first
issue, primary colors on the second issue.
And like, we were blown away by them.
And then I went to him and said
like, Hey,
can you do the colors on the backups?
Like, nah, nah, I'm working for image now.
Peasant, how dare you approach me?
Yeah.
There's so many great artists in South
America.
As a whole,
there's so many talented artists down
there.
Yeah.
I mean, he's so good.
He's working on the new Bad Rock series.
He's also going to do some DC books.
So we're so happy.
It just came out last week.
Yeah.
So if someone's going to take him,
let it be Rob Liefeld, the big dog,
the big main man.
Trust me,
I was at the LCS last week,
and I'm trying to pick out which covers
I want, and I'm like, ooh,
I like that one.
Yes.
Like, damn, I like that one too.
Yes.
You know what?
I'm getting them all.
I don't know if I'll go back for
issue two because it's lob filled and,
you know,
everybody has their opinions on the guy.
Personally, I like his stuff, but –
I have to be really, like,
really into it to go back for issue
two.
And to me, he's – oh, no.
You either love his stuff or you don't
love his stuff.
I'm, like, somewhere, like,
really nicely tucked in the middle.
I haven't had a chance to read it
yet.
I'm going to hopefully have a chance to
read it this weekend,
and hopefully I'm going to be like, yeah,
no,
we're coming back for issue two on this
one.
Yeah, man, come back.
Are you talking about the artist for issue
two, or for Bad Rock,
or the –
Bad Rock, yeah.
Or are you talking about Rob?
Rob, yeah.
Oh,
I'm a hundred percent loyalist to Rob
LaFelde.
I love him.
And I definitely see the,
I've dealt with this my entire life as
a comic book fan,
as a Rob LaFelde fan,
where I go into comic book stores and
this is me as an eleven-year-old and the
guy behind the counter will try to
dissuade me from buying or like,
why are you doing it?
I'm like, I love it.
I love profit.
I love young blood.
And so it's like, why?
But it just, it doesn't stop.
I don't understand.
It's like,
it's one thing not to not to take
someone,
but to try to persuade people against
someone.
It makes no sense to me.
And there are comic communities I've been
a part of where it's just like,
there are people who are just obsessed
with hating him.
And it's like, let it go.
Like, you know, I don't even hate him.
I just like to make fun of the
fact that he's never been able to draw
feet.
Everything else looks perfect,
but there's going to be a rock in
front of one of those feet.
It's the energy of it.
I love his personality, too,
but it's just weird to have...
I'm not a big crumb guy,
but if people are talking up crumb,
I'm not going to
jump in there and be like, well,
what's your problem with her?
Try to rage bait people.
It's just weird that he's a very good
ambassador to the art form.
He loves comic books.
We need more people like that and pushing
in the mainstream,
just showing why you love comics,
having a love for history.
I don't understand why.
Even recently,
I came back home in December to go
to the comic book store.
I was going to pick up a new
Youngblood
The guy gave me all this grief and
started screaming.
Why are you buying this?
What am I, eleven years old?
It never stops.
These guys get behind the counter and you
let it go.
I love Rob all my heart and soul.
and i i loved his episode that that
show stanley used to do where he'd have
up-and-coming artists and stuff on the
show and uh the episode he had with
uh young rob on there was like amazing
yeah he's great in that man i love
that episode too and then i think that
was i can't remember if it was the
same episode or a different episode like
around the same time frame he had todd
metfarlane on and it wasn't that long
after that they started image
the todd father man he's i mean he's
another one i love mcfarland so much too
and my um my giant vinyl spawn versus
batman with greg capullo and um todd
mcfarland is currently in the closet but
eventually it's going to be like right
there on that wall it just kind of
varies like however i decide to change my
desk when i redesign is like okay it's
going to be like right there
yes yes but yeah it's that the nice
ass like vinyl poster that the comic shops
got for it and um uh my like
like my lcs had the the paper poster
i was like dude you gotta get me
that poster man he's like i'll see what
i can do man i ain't making you
no promises and we got one of those
that's just our relationship that's how we
are with each other
was like all right man but hey if
you can get me something or something like
that just let me know dude i'll pay
you for it just whatever like two weeks
later i went back in on a new
comic book day and he's like hey i
got you something and he pulled it out
of a box i was like why is
it in a box man and he turns
it over and i was like oh seriously
dude is that vinyl he's like yeah this
is the really really good stuff i'm like
Are you fucking with me right there?
Is that mine?
It's like, no, no, no, this one's yours.
I'm like, like a kid,
like that eleven-year-old all over again.
The first time I seen Spawn on the
cover, you know.
I was like, this is so cool.
I immediately came home and I got on
Amazon,
bought a
big-ass frame for it.
It's been around this office in several
different spots.
There's a hole right there.
There's a hole over there where it's hung
on the wall.
Eventually,
I've got to plug those holes up.
That's beautiful.
Here's a question for you.
We were blessed with the OG Image guys.
We've got to throw some love on
Shadowhawk.
The Spine Snapper.
Love Shadowhawk.
I think he deserves a little more love.
I think that whole area right there
deserves more love.
Yes.
We were blessed to grow up in that
era.
We really were.
And it gave us that perfect alternative to
all the X-Men and the Batman that were
coming out.
I swear there would be like four different
X-Men or X-Force that would drop.
And then there would be like a handful
of image.
But that image stuff just in my head
is still so ingrained with it.
I saw the comment.
We got to talk it up.
JC Grande, the artist of issue two,
is a great man.
His artwork is amazing.
Dynamic and definitely of that era,
the extreme era.
He lives in that, lives and breathes.
We love him.
Joe found him.
How did you find JC, Joe?
I found him on Facebook.
Like a lot of the talent that I've
met and
I just saw JC's art one day.
I'm like, I need this guy.
And he did an alternate cover for us.
And he did some pinups for us on
the first issue.
And then we picked him up for the
art and the cover on the second issue.
And we had the chance to talk to
him before we started the second issue.
And he's just such a cool guy.
Loves metal.
Loves comic books.
Like, what more do you need?
It's hand in hand, right?
Metal...
Hardcore action comics with lots of
explosions.
It's like match made in heaven right
there.
Yes.
And it's called Collision Force.
It sounds like a bad eighties movie full
of action with a washed up action star.
The best.
Exactly.
It's like the kind of stuff I like.
You catch out on TBS at like ten
thirty at night and you're like, oh,
I haven't seen this.
It's always like to the TV.
And I got to say,
there's no better name than J.C.
Grande.
Dude, that is a name right there.
That is a name.
I love it.
That is a damn good name.
But let's crowdfund this thing and build
an audience, why don't we?
So launching a comic is one thing.
Building a community that believes in your
vision enough to back it is something
entirely different.
You successfully funded Collision Force
number one.
You're now back for Collision Force number
two.
Looking back at that first Kickstarter
campaign,
what's the biggest lesson you've learned
that completely changed the way you
approach launching this issue?
And Joe,
we can start with you on that one.
Yeah.
I mean, we learned a lot with, well,
here's the lesson.
Kickstarting is hard.
It's real work to build an audience.
And Jared and I kind of played off
each other's strengths for our first
campaign where I'd be, you know,
in Canva making social media design posts,
he'd go ahead, blast it out, you know,
We both engage.
So it was really helpful that, you know,
I'm not doing it all.
He's not doing it all.
We're helping each other.
We're, you know,
have a common goal in mind.
We're coming up with new rewards.
Jared had the killer idea that we would
have,
you could be the president and the
collision force universe for a princely
sum.
And,
luckily uh somebody backed that who knows
jared and now he's the president in the
collision force universe we had a bunch of
what's the life expectancy in the
collision force universe for a president
We promised him that, so my friend,
and now Joe's friend,
and soon to be your friend,
a man named Zephy Daniel.
Oh, that's the name right there.
Yeah,
who was formerly known as Woody Keith.
He wrote the film Society.
I don't know if you saw Society in
the eighties, Bride of Reanimator.
Oh yeah, I have seen that one.
Yeah, and some other ones are Brian Yesna.
Zef is a true icon,
a very cool person.
And then when we made this tier in
the Kickstarter for the president,
he jumped on it.
He's like,
you didn't think anyone else was going to
be the president in the Collision Force
universe.
And then we allowed,
like he came up with the name President
Drill, which is perfect.
So the president of the coalition.
That's a nineties image name right there
if I ever heard one.
President Drill.
And then he has a partner of his
at Crazed House Pictures,
who is the director of Crazed House.
Larry Carroll,
and he's the vice president of the
Collision Force universe named Dr.
Bacardi.
And then Zef's wife, Trish,
is known as Tanya Drill.
So it's a very cool...
And President Drill is now a totally
dynamic...
He might make it more than six issues.
Nice.
Yeah,
we also have rewards for getting killed
in issue number two is like a henchman
or a villain or you know kind of
one of those background players on the
collision force side and a lesson there is
we learned that eight people in an issue
like with distinct likenesses is too many
to kill so don't do that if you're
kickstarting a comic unless it's longer
than like twenty two or twenty three pages
that's a great lesson
it is especially because everybody i've
talked to who's ever done something like
that in their kickstarter it's gone
immediately almost yeah for the next issue
we're going to do we're going to do
it too but we're going to chop down
that number a bit yeah yeah and we'll
for the next one we're going to have
it be that it's not the character is
bigger
So the characters are going to be not
just a kill.
You're going to be in it for a
bit.
So we're re-weighting it,
re-calibrating it.
It's definitely an incredible gimmick.
It is.
It always does well in almost every
character I've seen it in.
Sometimes it's a last minute and
somebody's like, ooh,
that's still available?
Or they're waiting it out to see.
If that's not here by this day,
I'm going to get that.
Then if it's still there,
they jump right on it.
Yeah,
we had to open it up because the
tier did get snatched up.
We're probably halfway through, right,
Joe?
Yeah.
And then we added a couple more.
Then we added the president.
And then they all got snatched up,
thank God.
Yeah,
that's something that we did learn on the
first campaign is you have to be agile
if possible.
Things are changing.
Go ahead and change, offer something new,
offer something additional.
And we'll do that for the second campaign
as well.
Flexibility, man.
Yeah.
When I was in the air force,
they taught me flexibility was the key to
air power.
I have since applied that lesson to
podcasting and it works the same way.
And I guess it also works the same
way for comic book creating as well.
Yes.
But so crowdfunding isn't just about
asking for support,
it's earning their trust.
How have you worked to build that
relationship with the reader between
campaigns and why has their feedback meant
to the value evolution of the series?
And Jared,
we'll start with you on that one.
I think the most important thing that we
do in the past, you know,
we only have two campaigns,
but is that we have the issue already
created and
And so that's a huge one right there.
I hear that when almost every time I
talk to somebody,
I would say if you could make sure
it's created.
And so that way, Joe handled the delivery,
which is impeccable.
And he was we had everything ready to
go as soon as the Kickstarter was
finished.
Joe had him out.
Everyone got their packages with no issues
and they got it really quick.
So I would say just be ready,
have it done and then deliver as soon
as you can and don't leave people hanging.
And don't screw around with sending out
comics.
Do Gemini mailers.
Gemini mailers, pads and boards.
I'm begging everybody out there.
The amount of books I get not padded
and board and not in Gemini's drives me
insane.
I love the cool packaging sometimes.
I'm like, oh, that's very much like that.
That's on par for this person in this
book.
It's so cool.
I would rather get in a brown Gemini
mailer
a bag and a board please and if
you need bags and boards please visit bcw
use my code usdn and you will get
ten percent off your order i might take
you up on that first i haven't plugged
it like that before that was that was
amazing holy cow appreciate that nice plug
that was a good setup too wow yeah
but that's so key though because you know
i've backed campaigns and like really
You know,
you don't back and board this or you
don't put it in Gemini.
It's just in like some,
like two little pieces of cardboard or an
envelope.
Yeah.
It's in so many different ways.
Kickstarter.
That's one thing I look at the Kickstarter
apps.
It's a premium price.
You know, our comic is.
ten bucks or so right fifteen dollars to
ship in if i'm paying fifteen dollars in
shipping please give me a gemini yeah
you're gonna pay i mean the shipping costs
are outrageous now and they keep going up
which is harsh but you know it's life
so shipping is you're paying ten bucks for
comic you're paying seven eight bucks for
shipping make it a gemini make sure they
get the comic right in the end it's
going to save you money that people aren't
going to complain and say oh my book
was folded there's creases in it and you
have to resend it no
It goes back to building trust.
Yeah.
So, dude, I like it.
I like it.
Yeah, all right.
Yeah, all right.
But it was great because last night I
made the social media post and Joe,
thank you for getting me all that stuff.
And it was like immediately started
getting lit up all throughout the day.
Every time I would go check my phone,
it was like,
Likes, likes, likes, comments, comments.
I was like, dude, this is awesome.
These guys are coming in with their own
audience.
The people are eating it up.
I'm like, I like this kind of stuff.
But this is my next favorite segment that
I like to do,
and that's just to talk about the state
of indie comics.
Oh, by the way,
before we get too far into this segment,
early August launch,
do you have a date yet?
Not yet.
It's going to be early, mid-August.
Okay.
And making sure we're not ending anywhere
near Labor Day.
Yeah.
The tricky part is we used Comic
Wellspring for our first book.
And they were great.
No, they were fantastic.
And their closing their doors was just
like,
that was a shock across the community.
Everybody was just like,
what the hell just happened?
That hurt.
yeah and even before they closed you know
we i ordered like all of our swag
from there like posters bookmarks all this
cool stuff and they were a one-stop shop
man that's going to be hard to replicate
but they weren't offering that anymore so
like oh geez i got an order from
at least a couple different vendors so
that's that was that's a reason we were
planning on a june launch and it slipped
because you know the comic wellspring uh
you know we were both doing some traveling
and
But in the end,
it's gonna make it better that the book
is completely done.
It's gonna be ready to roll.
As soon as the Kickstarter campaign is
done, we get paid, we're gonna rock.
So we're looking probably somewhere,
first or second week of August to launch
and we'll be good to go.
If anybody is interested,
that link is always down in the
description to that Kickstarter campaign.
So make sure you hit that link.
Hit notify me on launch.
That way you get notified when this goes
live.
Yes, please do that.
We need more followers.
It works great for them because the more
followers,
followers they have going into the launch
of the campaign,
the more Kickstarter will also push their
campaign to the front page of Kickstarter
when you open it up also.
So make sure to hit that notify me
button.
Yeah.
I think the ideal is to be over
a hundred and we're not close.
So please help us everyone, please.
I can't remember if I did,
which reminds me after the show,
I'm going to make sure I hit that
button.
Yeah.
dude i gotta get this i mean there's
that many explosions and i have like yeah
easy no brainer but one of the things
i love about independent comics is the
creators aren't waiting for permission
they build their own universes find their
own audience and
and proven there's room for stories that
may not exist at the larger publishers.
From your perspective,
what excites you the most about the
independent comic scene right now?
And where do you think there's still room
for creators to push the medium even
further?
And Joe,
I'll start with you on that one.
I love indie comics.
I hardly buy anything from Marvel or DC,
basically like Punisher,
maybe an occasional Batman.
I'm buying Image.
I'm buying Mad Cave.
I'm buying Dark Horse.
Massive bad idea.
I mean, I don't care who publishes it.
If the story looks cool,
I'm going to give it a shot.
And the nice thing about indies is you
can get everything.
You want to read a horror comic?
Great.
You can go to... Easy Comics.
I mean,
you can't really get a horror comic
from...
from DC that much.
Every Halloween.
Every Halloween.
That's about it.
You can go to some of the indies
and you get it.
You can get whatever genre you want at
an indie that's just not available at
a mainstream comic.
I mean, it's not an indie property,
but Conan is killing it at Titan Comics.
Dude, Titan is killing it, period.
And, you know, Gun Honey is crazy.
Dude, I was about to say,
that new issue of Gun Honey that dropped
today, the covers on that thing,
phenomenal.
Like, the art is out of this world.
Just amazing.
The realism.
I know they have a cosplay cover this
month as well on that one,
but just the...
phenomenal covers on that book this week.
Yeah, I mean,
it's basically kind of like a female James
Bond.
Yeah, just crazy action.
And it was, you know,
just a brand new universe,
a brand new character.
And it's a new gun, honey,
for this season, or for this.
Gun,
honey is a code name like double Oh
seven for people out there.
Yeah, it's just a wild book.
And they're a successful spinoff.
So
It Indy can just,
you can just do whatever you want.
And that's, that's,
what's appealing to me.
You know, I read Kickstarters,
I buy Indy comics, anything, you know,
I can get my hands on a read
and the potential for Indy comics that I
would say hasn't been tapped in America is
just more genres like in manga where in
manga, you know,
if you want to read a comic about
basketball, you can volleyball, baseball,
you know, volleyball, boxing.
My wife grew up reading manga.
That's where she learned about sports
from, not from actually watching them,
but from the mangas.
And that's, I'd say,
what I would like to see in America.
It's just maybe opening up the genres even
further.
But I'm very happy about the state of
indie comics right now.
Jared, what do you think?
Yeah, I'd say growing up,
I was much more of a traditionalist with
Marvel, DC, and then Image.
And then, you know, still doing that.
And like I was saying with the...
I don't know if you remember the
cartoonist Kayfabe with Ed Piskor and Jim
Rugg.
Both those guys are from Pittsburgh.
Shout out.
And...
really opened me up to the whole indie
world i'll say like stuff like grim jack
back in the day like that yeah and
they had me you know down on ebay
and just stack them up and go through
like john sable all those like all these
wild adventures and really opened me up
and um then whenever ed had the red
room
that really made me look like,
like all the stuff you could do on
the, on the indie circuit.
I was like, maybe this is the racket.
And then soon afterwards, uh, you know,
Joe hit me up and like, yeah,
let's do it.
You know what I mean?
Like no rules, no law.
And I always have a lot of love
for Ed and God bless him.
You know?
So my,
I'm probably going to drop an issue,
an episode of what I'm calling from the
chairman's desk this week,
just as a trial run.
But yeah,
I'm going to put it out there now.
Ani Press.
EC Comics.
Ignition Press.
Bad Idea.
The Keen Spot.
All of those guys have come into their
own within the last, like,
eight months to two years with original
IPs that are just absolutely just bangers.
Like, it has been phenomenal.
And Bad Idea and Ignition,
their books feel like old school comic
books.
newspapers that you would get in this the
fun like the on sunday morning you know
from your sunday morning paper like you'd
pull out the comic section how that paper
felt yes yeah it's on newsprint it's wild
yeah and it's amazing the smell of that
it reminds me of childhood reading those
funnies out of the sunday paper that's
what it reminds me of every time those
books come out
And, dude,
their IAPs have just been killing.
Their stories, their art, amazing.
That's my plug for them.
Sorry.
I love it, man.
no that they have me so excited like
they are just killing it i know dark
horse took a small break i felt like
for a couple of weeks there or they
just didn't have nothing on the shelf and
then they come out with like some bangers
of horror and i was just like bro
and then you know of course their star
wars stuff is always great because it's
the old republic stuff or in the new
republic stuff that's those stories are
phenomenal the jedi you remember tales of
the jedi
oh yeah oh my god those yeah i
was so into that as a kid all
the i think there's there's i think yeah
right there star wars adventures right
there idw number one nine point eight how
about dark empire it's in a box in
the other room down there
That stuff was nightmare fuel, man.
I loved it.
And then the Star Wars Visions,
the stuff that Peach Momoko did,
phenomenal stuff as well.
No words,
just beautiful art to tell a story.
So...
But for someone watching tonight,
who's been sitting on an idea for years,
but keeps telling themselves,
I'm not ready.
What would you say to encourage them to
finally take that step?
And Jared,
I'll kick that one to you first.
You are ready.
Do it.
What about you, Joe?
Start writing tonight.
You can write.
If you write one sentence, one paragraph,
one page, it's all progress.
If you don't write it,
you're never going to get there.
You put that first sentence on the paper,
your hand's just going to start magically
doing it.
Because that's just how your head works.
If you're already there,
and you just start,
you put that first sentence down,
you're like, ooh, and then this,
and then this.
That's how it started for me when my
idea popped in my head.
I was like,
let me write this down real quick.
And then it was like,
thirty pages into my notebook by the time
I realized, I was like,
like one o'clock in the morning,
I think I should probably get ready for
bed.
And you know,
I got work in the morning.
So, and I still catch myself doing it.
So, but let's look ahead.
Collision force.
Clearly, uh,
feels like more than just a two-issue
project.
It's feeling like there's a big-ass
universe behind this with long-term
ambitions.
As creators,
where do you see Collision Force a few
years from now?
Is the goal to continue telling these
stories issue by issue,
expand into graphic novels,
or explore other opportunities with this
IP outside of comics?
Angel, I'll start with you.
So far, we're at an issue a year.
We want to pick up that pace.
Those are rookie numbers, baby.
Yeah, pick them up.
We're hoping for two issues this year.
Realistically, that's not going to happen,
but that's our goal for next year.
Two issues, get that cooking,
and you'll see where it goes from there.
And Jared?
Yeah,
we have much grander plans for Collision
Force.
But we need to secure the fan base.
We need to find our tribe.
And we need them to love us.
And we'll keep this rolling.
We'll make it faster.
We'll crank it out as fast as we
can, as fast as we're allowed to.
And it's going to be awesome.
Trust us.
I love that answer.
I love it.
Beyond Collision Force,
are there any other stories or projects
that each of you hopes to bring to
life once this current campaign is behind
you?
Are you going to go from Collision Force
two to Collision Force three,
which I hope is the answer.
Yeah, I mean, comic book wise, yes,
Collision Force is great.
is my world and is Joe's world.
And that's my sole focus in the comic
book world.
Joe's got some other stuff planned too.
And I think we've got a lot of
stuff cooking.
And on the movie front,
I have a few,
few things that might be happening soon.
So look out.
I like it.
I like it.
I like it.
But before I wrap it up, no joke.
I was going to say real quick,
you know,
had some stories cooking in my head for
a while and yeah i got to get
them out so it's gonna be more of
the same you know i feel that and
i know i gotta get my schedule like
squished down before i can like really
commit my mind to doing that so i'm
right there with you on that one
But we're going to start wrapping this up.
And I always like to give our guests
the opportunity to speak directly to the
audience.
And if there's anything that we haven't
covered tonight or something that you want
to express that I didn't cover, Joe,
I'll give you the chance now to do
that.
We're hopeful that people check out
Collision Force, follow it on Kickstarter,
back it when the time comes.
We promise fun action comics.
A lot of crazy stuff going on.
We're going to try to ramp up the
action to each issue.
Come along for the ride with us.
It's going to be fun.
Jarrett, down to you.
If you miss the eighties or you miss
the nineties and those wild action movies,
We're here for you and we're going to
deliver.
And we have two issues proving that.
And this is over the top madness.
No irony.
These characters are dear to us.
The action we unleash is essential to us.
So please seek us out wherever you can,
which is Kickstarter right now and on our
socials.
And please, if you dig us,
keep following us.
And we promise it's just going to get
crazier and better.
I like the way you put that.
Joe,
where can everybody find your work on the
socials?
You can find us at CollisionForce,
Facebook.com, CollisionForceX.com,
CollisionForceX, Instagram,
CollisionForce.
We even are on Blue Sky.
Why not?
So we're out there on the socials.
Also, if you go to CollisionForce.net,
that just takes you right to the
Kickstarter, you know, nice and easy,
collisionforce.net.
Jarrett?
So, yeah, you find us all,
and Joe's got a IG handle.
I just created my IG last year for
the first Collision Force campaign,
and then that was nice because then the
movie came out,
so I was able to promote Pig Hill
on my IG as well.
So that's my IG is Jared Allen Burris.
And I think what Joe, you're JJ Casper.
Yeah.
I'm JJ Casper on Instagram and Joe Casper
on Facebook and Twitter.
So yeah.
Yeah.
So please follow that.
And if you like our vibe,
maybe you'll like the movie I wrote pig
Hill.
And if you could find that on IG,
it's pig Hill movie.
It's streaming for free on Amazon prime.
So cue us up.
And if you love us,
please give us a great review.
We got review bombed out of Turkey and
Russia and Iran in February.
And it sunk us.
Holy shit, guys.
We could get some organic payback.
If you love the movie,
please give us a good review.
And then if not, just forget about it.
But please don't give us a bad review.
And Collision Force is going to keep on
rolling, man.
And Lars Bowman has a lot of story
left to tell.
And I think you guys are going to
love it.
Dude, I love it.
And all those links that they mentioned
are down in the description right now.
And when this comes live later again,
or actually when I update the description
of this with the chapters,
I will make sure and double check all
those links are down below.
um with that joe jared thank you both
for spending some time with us tonight
always a pleasure to sit down with
creators who are passionate about telling
original stories and building something of
their own if you enjoyed tonight's
conversation make sure you check out the
collision force number two kickstarter
using the links down in description below
follow joe jared
and the Rowdy Bronco creative team on
social media.
And if you believe in supporting
independent comics,
this is exactly the kind of project
deserves your attention because it has a
fuck ton of explosions.
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with the incredible creators shaping the
future of independent comments ladies and
gentlemen that has been the usdm podcast
where indie comments come to life ladies
and gentlemen the council is now adjourned
y'all be safe out there