Here’s the newest sketched page.
As for the last post about where to draw the line for all ages, I decided that Roger’s finger in the vajine was a bit too far, so now he’s slapping her ass instead.
This is a tough job sometimes… 

Just got these sketches of the first three pages. They’re ready for inks upon approval.

I think they look awesome and super dynamic. The one thing I’m grappling with, and it’s a tough issue with a script as graphic and over-the-top as this, is where should the line be drawn in what is shown vs what is implied? I did want to push the boundaries from the get-go (in fact, I scripted it to make sure the exposed vajayjay was in the text on page 1), but I also don’t want people to be immediately turned off and assume it’s just porn. The fun part about a comic book is that it can be excessive in ways I’d be way too much of a wuss about if I were directing actual actors. I love that the illustrators went there with the shot of Roger’s finger actually penetrating the girl when he taunts the emo boy walking past… but I wonder if that’s just a scratch too much. This all opens up the larger issue of where to draw the line in general when you don’t deal with the MPAA. Our DVDs are “unrated,” which basically means we can do whatever we want but anyone of any age can buy them. Should we start applying our own self-imposed age guidelines on what we think is appropriate? 13+, 15+, 17+, etc? How should we know where to draw the line?? I saw an R-rated horror movie in the theater when I was 3 years old. Then when I was 12 the ticket counter wouldn’t let me see a PG-13 movie. It’s all so arbitrary. I can’t imagine there’s anything in a movie or comic book we’d produce or distribute that has something our audience hasn’t already seen online. Anyway, this is a bit of a ramble. Sketches below. Let me know whatcha think…

Here are the early character designs for “How To Make An American Porn” (or AmPo, as it’s affectionately referred to ’round here).

I wrote the script “How To Make An American Porn” in a drunken rage (except for the drunken part) after I discovered a studio had ripped off my story and made a shitload of money with it. Fuckers. I’d had the good fortune to pitch a very cool production company on a studio-lot with a few of the scripts I was developing. One pitch was for a romantic comedy about a regular kid who falls in love with a pornstar who moves in next door. Two years later, that same company released “The Girl Next Door.” Grrr… On the dvd special features, the writer says “the studio had this great idea and they hired me to write it.” Grrr… I was advised I could sue but whatever. The guy I pitched it to in the first place had been laid off well before the movie was made, I assume his notes were picked up by another executive yadda yadda yadda. As my uncle would say, whatchagonnado?
I actually thought “The Girl Next Door” was pretty shitty, and I also don’t hold a grudge against the production company because my version would’ve been way tougher, much less commercial, and prolly wouldn’t have made nearly as much cash. Oh well.
At the time “Girl Next Door” came out, I was in development hell on another script for another studio-related production company and I lost my mind for a couple of weeks and decided to write this sex comedy side-project to take my mind off the aggravating re-write notes I was getting.
I’d mentioned this female-POV sex comedy I was developing to a couple of executives and screenwriters, and they all said the same thing: sex comedies with female leads don’t work. So I said the reason female sex comedies fail is because the creators wuss out and make them romantic comedies instead of sex comedies… they remove all the raunch–but what if there was a female-driven sex comedy that was even raunchier than the raunchiest male sex comedy (since girls’ sex lives are just as raunchy as guys’ sex lives)? So I set out to write a female sex comedy that out-raunched male sex comedies. The result? “How To Make An American Porn.” Awesomeness.