Do YOU Want to Draw Frank Cho's 50 GIRLS 50? Here's How...

Comics superstar Frank Cho and writer Doug Murray are creating a brand new Image Comics series called 50 Girls 50 and they want YOU to draw it...

...No, really...

Announced at last month's San Diego Comic-Con, the babes-in-space concept has been called by Cho, a "rip-roaring space adventure of an all female crew explorers. Think Star Trek and Quantum Leap with a healthy dose of Wally Wood space girls."

Sounds like something you'd like to read? How about would like to draw?

You just might be able to. The series interior artist will be choosen through an official Image Comics Talent Search. The official rules and all you need (a six-page script and character designs) to submit an entry are below, courtesy of the publisher.

50 GIRLS 50 Talent Search RULES + NOTES


*To enter, you must illustrate six pages of sequentials based off the script by Doug Murray and Frank Cho.

*Artwork should be standard comic art size—11x17 inches.  We want to

see pencils and inks.

*This Talent Search is open to everyone. No purchase is necessary.

*No snail mail. All submissions must be posted in its own thread on the 50Girls50 Message Board on

*The sole decisions of the judges (Frank Cho and Doug Murray) are final.  You may think we’re stupid, but it’s our call.

*Winning artist is expected to start work on the 50-GIRLS-50 comic immediately.  Deadlines are important, and failure to produce work on schedule will be grounds for replacement.

*Winning artist will also be expected to do promotional work on the new comic—after all, it never hurts to push your own product!

*All artwork produced for this Talent Search falls under the 50-GIRLS-50 copyright.  This is a work for hire situation--you own the original art—but you cannot publish it without our permission—that would be a bad thing!

*Everything else falls under the rules, regulations, and laws of the United States of America—and IMAGE comics.

*Deadline: Friday, October 2nd by 12:00 PM EST

*Finalists will be chosen at Baltimore Comic-Con (October 10-11, 2009).

*Decision on which of the finalists will do the book will be made within 21 days of Baltimore Comic-Con—no later than Halloween (a trick and a treat!)


*We want to judge your ability to draw every aspect of this comic. That means girls, spaceships, bug-eyed monsters, and anything else we can throw in.  You have to be able to do all of it—not some, not most—all.

*It is important that you be able to do continuity—the telling of a story in panel form.  The six trial pages are designed to show that you can do that.


[click on any of the character designs to see ALL the full-size versions


50 Girls 50 Try Out Script Written by Doug Murray


Panel 1&2) We open with a shuttle craft just flying into the upper atmosphere. The shuttle is not too dissimilar from the ones we use today—it is larger, and stubbier with much smaller wings and a bigger cargo area. They seat two in a blister up front—the rest of the design I leave up to you.

Oksana: I don’t see why I have to go!

Janelle: Your turn on the roster. Just hang on—this shouldn’t be too much of a problem.

Oksana (two): But I just got out of the shower and...

Panel 3) The ship enters atmosphere and we can see that the air here is a sort of muddy brown—not too clean looking.

Janelle: Shut up and hold on—this might get a little bumpy. Lots of Carbon Dioxide in this soup—odd trace elements too—we’ll probably need helmets on the surface. Panel 4) We cut to a close-up of the engine nozzles. They are guarded by some sort of plastic surround which is dissolving before our eyes.

Janelle: Something’s wrong! I’m losing control!

Janelle (two) : Mayday! Mayday! Power out, too low to return to orbit. Inertial dampers are still on--I’m going to try to...

Panel 5) The shuttle crashes into a jungle-like area, breaking trees, shearing off low-lying plants, skidding forward as it bleeds off speed.

Panel 6) Everything goes black.


Panel 1) The blackness starts to clear, center out, and we are POV from Oksana (one of the girls) as she looks up. There is a vague human face above her, but we can’t quite make out the features.

Janelle: Oksana? Are you okay?

Panel 2) Cut to behind Janelle’s shoulder as Oksana begins to sit up. Note that she is wrapped in a sort of anti-crash cocoon kind of thing.

Oksana: Think so

Panel 3&4) Pull back further to show the inside of the ship, things are not as bad as you would think. Some of the controls are cracked and broken, but the hull is intact and both girls are moving, Janelle pulling the cocoon-stuff away from Oksana.

Janelle: We need to have a look around—see how bad it is.

Oksana: Outside?

Janelle (two): Outside.

Panel 5) The two girls, dressed in spacesuits with helmets (see Cho design) step out of the ship’s airlock/hatch which is at the rear of the ship. We can see that the engines are pretty messed, the controlling gimbals are half eaten away and the bells of the exhausts are canted in all kinds of directions.

Janelle: Air should be breathable.

Oksana: I’ll stick to my helmet for the moment...

Panel 6) They step to the rear, look at the mess that is the engines.

Janelle: Looks like there’s something in the atmosphere that doesn’t like plastic.

Oksana: How much plastic is in these suits?

Janelle (two): A lot...


Full-page splash—and I’d like this done in the most ‘50’s pulp-style as you can manage—make it look like a cover to FANTASTIC ADVENTURES or something like that—drop me a note if you need swipe. What we see is:

A giant creature of some kind—you can choose but I’m thinking something more like a big insect—lots of legs and eyes—than a mammal/dinosaur. It’s straddling the front portion of the ship and it’s reaching for the girls with feelers not unlike those of a mantis. They back away, pulling weapons from their belts.

Oksana: Maybe we don’t have to worry about the plastic...


A sort of representational page here—with panels passed around a full-age representation of the Earth. The Earth fills the center of the page and the panels are here and there around it-- you can shift it left/right/up/down for artistic purposes in your composition. This is not exactly the Earth as we see in photos from the shuttle and satellites today—it is an undisclosed period in the future and the Earth is far more industrialized—enough that there is no green—there are cities everywhere, and that is reflected in the land masses which are covered with a sort of gray-black blight. The ocean has risen and the outlines of the continents are ever so slightly different—and there are muddy brown clouds scattered across all the land masses.

Around that globe are four or five images representing the news media and the scientific community at work. You can arrange these as you see best, but I would like to see the following images:

Above the globe is a single caption: Caption: Twenty-Four Hours earlier... A large flat screen—computer or TV—on that screen is a series of images done as screen within screen and split into two pieces so there are three images (four if you want) on the same screen. One is the newscaster speaking, another is a schematic view of one of our ships (check out Frank’s layout drawing), a third shows the crew. If you can make a fourth work, have it show the ship heading away from Earth—as shot from space. Newscaster: ...since the departure of ESS Savannah. If the highly-trained crew has kept to schedule, they should arrive in Earth Space at 3 PM EST today... A NASA-style full wall screen in a huge control room with consoles ranked in front of the screen—like the current Shuttle Control Room but slightly more modern, with smaller computers and more useful software. There are four or five controllers in the room and they are watching the screen and their monitors. The screen is broken into many parts—one is a view into space (from a satellite) showing nothing more that stars and, if you wish, a bit of the moon. Another has a countdown clock, which shows 1 hour and 22 minutes. A third screen is blank but has an underlying label as ‘control to ship’, a final one is a radar-like image, with a sweeping line and nothing visible. There is a speaker at the top of the screen. Speaker: Expected contact in eight minutes and counting. Repeat: eight minutes and counting...

PAGE FOUR (continued)

Inside a classroom, a number of students are staring at an equal number of laptop-style computers. These look a little grungy but are repeating the image of blank space that the NASA screen is showing. The students look bored and some are just kind of leaning way back in their seats and half-napping. At the front of the room, the teacher has a detailed schematic of the ship and is pointing out salient points. Teacher: ...Each of these can hold 4.5 kilotons of loose material such as grain, or ores. This is in addition to the smaller containers which can hold live animals of up to 34 kilograms gross weight...

Finally, in the street, we can see a giant screen on the side of the building (not unlike the one in Times Square in New York or Shibuya in Tokyo. This screen is split and part shows the newscaster as in scene 1, the other shows the view of space with a ticking clock displayed. The clock now shows 7 minutes. Newscaster: ...valiant effort by the women of the ESS Savannah and their counterparts in the other ships of the merchant fleet to replenish our depleted store of vital materials. If all goes to plan, the Savannah will reappear in orbit 300 kilometres above the earth where shuttles are waiting...


Panel 1) Another circle here, like the circle of the earth, but this time in the upper left-hand portion of the panel. The circle is a porthole/viewport in the hull of ESS Savannah and shows the interior of the wormhole the ship is travelling through. I want to make the wormholes in this book different from the ones in Stargate and Star Trek—the easiest way to do this is to make them a negative image (they are, in fact, supposed to exist in an alternate universe). So, what we see is a field of white with black lines (representing stars passing at super-light speeds). To the right of the viewport is a shower door—inside the door we can barely see a woman’s body washing off.

Voice (off): Better hurry up! We’re only about seven minutes from emerging!

Panel 2) The shower door opens and we see the first of our main characters. This is Oksana Bakula—Second Navigator—a very pure-blooded Serbian (check Frank’s character images which may differ from this description—if they do, use Frank’s image): she is of medium height with hair so blonde it is nearly white. She has blue eyes and very fair skin. She is pulling a towel around herself as she exits the shower.

Oksana: Don’t worry! I’ll be there!

Panel 3 &4) The control room of the Savannah. This is a big ship—like the Nostromo from Alien. The control room has a large double-control panel at the very front, with a wide viewscreen right over it. Behind this is a command console, with chair and a smaller control panel. The outside wall is dotted with a variety of science and communications stations. As we look in, Oksana is just entering from a hatch at the rear of the control room. The rest of the crew is already at their stations:

At the right hand control console is Kristina Lucas, the main pilot (see character sketch)

The left hand control console is Jessica Jayne—her console has a number of images and star charts suitable for the navigator.

Janelle Ramnarain is seated at one of the outside control panels—this one is the communications panel and she is ready to do what is necessary to open communications.

Brenda Davis has no real station—she is standing behind Ramnarain peering over her shoulder

PAGE FIVE (Continued)

In the center seat is Judith Bar Devorah—not exactly the Captain, but acting as such during insertion into Earth orbit.

Lucas: Three minutes to Earth space.

Janelle: I can’t wait to get home! My people really need the seeds we found on Proxima...

Judith: It’s amazing that it was so earth-like. The prevailing theory...

Oksana: Hang the prevailing theory! We proved that there is intelligent life on other planets! This should usher in a new age!

Panel 5) Oksana grabs a seat at one of the science stations, eyes fixed on the big screen in front.

Oksana: Everyone will want more information! We can write our own ticket!

Davis: I just hope that ‘Concepcion’ is ready to fly when we get back! I’m sick of sharing a room with you! You snore!

Lucas: Two minutes... Panel 6) All the girls watch the white non-space in front of them.

Oksana: After all, only fifty of us can make the jump through the wormhole...

Judith: We do have a contract...

Lucas: One Minute...


Panel 1&2) The ship breaks out of the wormhole—you can design this out any way you want—I want a sort of silent explosion as the far end of the wormhole is sort of punctured letting the ship fly out into normal space.

Lucas: Emergence!

Oksana: We’re home! Panel 3 & 4) The ship falls into orbit around a planet that is clearly not Earth. This world is much younger than Earth, with the red tips of volcanoes visible in many places, their glow reflected in the gray-green clouds that scud over the surface.

Jessica: No we’re not! That is not Earth!

Panel 5) Cut back to the interior of the ship. Everyone is now very busy, going over controls, examining readouts—doing all the things that can be done when something has gone horribly wrong.

Lucas: The drive functioned perfectly, emergence was right on the money.

Jessica: Navigation was spot on.

Judith: So what happened? Panel 6) Cut to Oksana who is looking into a screen at one of the upper consoles, tapping controls with her fingertips.

Oksana: It appears to be a theoretical problem...

Oksana (two): Despite what the scientists believed—the wormholes are not two-

[click on any of the above character designs to see ALL the full-size versions]

Again, the link for all entries is right here.

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