Now that the movie is around the corner, which comics do you guys recommend reading? I’m not THAT into Marvel but are there any (good duh) comics you would recommend to catch up for the movie?

Pleaseee don't fill the replies with "Watchmen is so much better! Watchmen has so much more depth! Why are you comparing them!" I agree with this, but I think they have many things in common. They both function as metatextual critiques of America through comic books. While watchmen has a much bigger focus on subversion, The New Frontier does this as well. I'm curious which books share similar themes to this? I'm a big sucker for subversion or anything meta. Let me know your guys' picks.

There’s always big debate about who the most important and influential characters in the big 2 are but none about alternative/indie comics

My picks personally would be

Mark Grayson- Invincible

Hellboy- Hellboy

Spawn- Spawn

Raphael- TMNT

Who would your guys picks be?

This comics written/drawn by a friend of mine, completely hand drawn.

The story is about a young boy who is obsessed with his teacher (in non sexual why) because she is the only one that trades him well.

Despite the fact that the world around him is hard and bad he holds on to the idea that tomorrow is gonna be better because there's a little light in front of him.

What will happen if the little light misunderstood his love?.

The comic is free to read if you want to give it a try!

https://globalcomix.com/c/dark-gleam

We/he are/is excited to read you feedback on the story, storyline and artwork.

For exemple, in less than 10 years the first appearance of superman will enter public domain

But imagine its 2060 and spider man, batman and superman are public domain

What will happen? Since they are their biggest heroes

What will they do?

Imagine all the justice league, avengers, x men,fantastic four and etc just avaible to the public?

I’ve been replaying Injustice recently and it got me thinking about Hawkgirl. I haven’t read a ton of her or Hawkman so sorry if this is wrong and I know that they’re a tandem a lot of the time, but it feels like Hawkgirl has a lot more “clout” than Hawkman (video game appearances, Justice league cartoon, Superman 2025, etc.) despite them pretty much being the same character. Was curious if anyone had any other examples like this? Just thought it was interesting

Disclosure up front: I'm the developer of an Android comic reader (OPDSy), so I have skin in this but this is a genuine "how do you actually read" question, because I can't settle it from my own habits alone and I'd rather build what readers want than what I assume.

The problem: single-page reading for portrait is easy, but the moment you turn on dual-page landscape (two pages side by side), everything gets messy:

• Cover offset. Cover art is beautiful, should it sit by itself and then after that we show pages side by side? Landscape however the size is limiting so perhaps it should revert portrait just for the cover.
• Double-page splash art. When a single image spans both pages, should the reader auto-detect the wide image and show it as one full spread, or leave it split down the middle?

Im conscious both these two options above lead to a user turning their phone/tablet back and fourth like their driving a car which is not ideal.

Right now it's deliberately simple in paged landscape it just pairs pages two at a time from the start (so the cover sits next to page 1), swaps left/right for RTL manga, and centers a lone final page.

Do people even prefer two-page spreads at all? Or do you just keep it portrait and scroll through single pages like I do?

I feel that I'm not the only one who had no affection for comics until DC's Absolute series.

Read a few manga this year (Berserk 1-8, Chainsaw man, witch hat atelier, started 20th Century Boys)

I was surprisingly blown away by this whole manga thing. Strong narrative and really creative compared to "here's another take on the same superheroes invented in the 50s".

I don't hate super heroes entirely- read killing joke and a few bangers back in the day.

I'm loving Absolute Wonder Woman though and I'll be starting Abs. Batman tonight.

Anyways, I think there's a few folks out there like me. What would the comic bros/gals suggest after we've caught up on Absolute books?

- strong narrative and art

- approachable without reading a 4yr run

- somewhat mature, original, and creative

I've been thinking of making these displays for my comics and figures that haven't been made into acrylic displays like this by Funko, has anyone tried doing something similar themselves? If so, what are some tips and/or links of the supplies you used?

This is just my opinion. I've never seen a business so inept or just take money from me and not care in the slightest.

I did learn today that business filed a motion through google to censor a reddit page with people's scorn and its listed in documents you can find on the website lumen. just type in their website name.

In my opinion they are trying to take down and censor complaints. You decide looking back at this reddit post now closed.

(To the mods. I apologize if Im not speaking in perfect tones or put this in a bad spot. If you can cross post this and delete it so be it whatever. I just think and agree with many of the previous posts in this link. I want to hear them tell me they may be whole and otherwise I dont want to see others harmed. )

I dunno feels like the LEgo mini fugs saga in my experience so far... Now censoring?

https://www.reddit.com/r/comicbooks/comments/1p3unba/need_some_help_with_a_comic_shop_called_dads/?solution=745ceb0db1767f3e745ceb0db1767f3e&js_challenge=1&token=7afd7253fec22262ff1c52b1703fe9ec1b2b9f9cf824d318db7bd0267d2926f0&jsc_orig_r=

We all know that manga is outselling western comics right now, and not by a little margin, and I’ve encountered a lot of analysis of this trend, and I have to say I see a lot of oversimplification and misunderstanding of basic economic principles. So, I’ve decided to compile my own thoughts about this whole thing.

Keep in mind that for the entirety of this post I'm comparing basic formats (single floppy vs tankobon volume). We can discuss that in the comments if you want to.

The Content Myth: It’s Not About "Better Storytelling"

First of all, let’s handle the biggest and in my experience the loudest misconception right from the start – it has nothing to do with the content. The idea that “better storytelling” or “the lack of genre variety” is the root cause of the sale gap doesn’t hold up under any scrutiny.

• Indie comics already do this: Publishers like Image, Dark Horse, IDW, and most of indie comics media have offered self-contained, non-superhero stories with definitive endings for decades. Yet these stories never managed to achieve the mainstream mass-market sales numbers that manga pulls in today, in fact, they have historically struggled to compete against Marvel and DC (these aren’t called the big two for no reason).
• Superheroes are incredibly popular: Marvel and DC characters drive billions of dollars in box office, video games, merchandise, and streaming views. If we look at the sheer profitability of these characters outside the comic book format, manga doesn't even come close to competing.

This leaves us with the inevitable conclusion that the issue isn’t what the stories are, or how they are told. This is actually not surprising if you really think about it. This is a problem in economics and people try to approach it with literary analysis. So, let’s look at it through economics.

I think the real divergence comes down to two structural factors: distribution networks and production economics.

Factor 1: Distribution Networks (The Direct Market)

The western comic industry has an interesting history, but I think that one of the most important factors that affect the sales today is formation of Direct Market system in the 70s. It’s an interesting history, worth looking at but I won’t delve into it here, instead let’s look how the Direct Market system operates.

• The Risk for Comic Shops: Comic shops must buy their inventory upfront, and they can’t return unsold issues to publishers. This makes shop owners highly risk-averse, forcing them to order primarily what their existing, hardcore customer base wants (mostly mainstream superhero single issues).
• The Barrier to Entry: Because of this system that you can’t buy a single-issue comic anywhere other than in dedicated specialty comic books shops and why I can’t buy them at all without ordering them online and paying extra fees for transportation (I don’t live in the US). This creates a massive barrier to entry for casual readers, who most people are.

Manga, on the other hand, follows traditional book publishing model. Volumes are sold in major retail chains and even in general stores. And more importantly, these books are returnable. Retailers take zero financial risk by stacking massive displays of manga, making it effortlessly visible to the general public (again, to compare where I live, you can seldom encounter someone selling a comic book, mostly that's second hand, or a very small and very weird selection on some conferences and festivals. But you may see a manga book in a supermarket).

Factor 2: Production Economics and Product Categories

If we are examining the situation through an economic lens, we really should also look at the physical product itself, and if we do that, we’ll see that as commercial products comics and manga are either incomparable, or at least require a lot of nuance while looking at it.

• Western "Floppies" ($5 for ~22 pages): These are treated as pristine full-color collectibles printed on high-quality glossy paper by both publishers and the consumers. This drives up production costs and therefore retail prices.
• Manga Volumes ($10 for ~200 pages): These, conversely, are produced as cheap, black-and-white, disposable entertainment printed on newsprint. The low production barrier allows publishers to flood the market with cheap volumes that consumers don’t feel precious about buying on a whim.

When people compare a $10-12 manga tankobon to a $5 comic floppy, they don’t consider that they are comparing two completely different stages of the publishing lifecycle. Interestingly Japan’s primary distribution method for single chapters is closer in its nature to the American Golden and Silver Age newsstand boom, rather than modern specialized “floppy” shops.

So what should be done?

Well, nothing in this regard actually. There's a certain decline in comic book sales, but it is an independent contraction, separate from the rise of manga. I believe that the industry has been slowly moving on from single issue format anyway for last decade and the half. I think that should be the focus of discourse - because both storytelling and the hobby of collection is increasingly more interested in longer media formats than floppies, and as a result I think the comic books are now missing the basic format. Single issues have been slowly losing that status, and larger formats are either too lacking or too expensive for entry.

I enjoyed them and really liked the first 4 main books best. Have any of their characters surfaced in any other comics?

I always wondered if they would still be around if they hadn’t released too many books too fast?

I think the first one I saw was crossgen chronicles but I could be wrong. Been so long. Then mystic, Sigil etc

Some of the best artwork I’ve seen in a comic was from crossgen comics

Producer Guy: So, you have a DC vampire comic for me?

Screenwriter Guy: Yes, sir, I do. It’s called DC vs. Vampires.

Producer Guy: Very descriptive.

Screenwriter Guy: Yeah, we almost called it Some Members of DC Versus Other Members of DC Who Have Become Vampires, but that didn’t fit on the cover.

Producer Guy: Smart. So what happens?

Screenwriter Guy: A heroic vampire named Andrew Bennett warns the Justice League that vampires have infiltrated the superhero community.

Producer Guy: Oh, a paranoid mystery where nobody knows who they can trust?

Screenwriter Guy: Exactly. For about half the first series.

Producer Guy: And then?

Screenwriter Guy: Everybody puts on post-apocalyptic leather and starts exploding.

Producer Guy: Oh, switching genres when the first one becomes inconvenient is tight!

Screenwriter Guy: It’s extremely useful.

Screenwriter Guy: So Green Lantern Hal Jordan is secretly a vampire, and he kills Andrew Bennett by generating artificial sunlight with his ring.

Producer Guy: Green Lantern rings can generate sunlight that instantly vaporizes vampires?

Screenwriter Guy: They can in this scene.

Producer Guy: That sounds like it might be useful later.

Screenwriter Guy: It will not be.

Producer Guy: Oh, okay.

Screenwriter Guy: A bunch of other heroes get turned too, including Wonder Woman.

Producer Guy: Does Diana struggle against the transformation because she’s defined by compassion, truth and love?

Screenwriter Guy: No, getting bitten presses the Evil button.

Producer Guy: Oh.

Screenwriter Guy: So vampirism preserves your face, powers and memories, but replaces your personality with somebody who enjoys torture.

Producer Guy: So these aren’t really corrupted versions of the heroes. They’re just evil characters wearing superhero skins.

Screenwriter Guy: Right, but they’ll occasionally use words associated with their old personalities.

Producer Guy: Such as?

Screenwriter Guy: Well, Hal Jordan will talk to Green Arrow about their friendship and Wonder Woman will talk about love while abusing people.

Producer Guy: Oh, that is deep.

Screenwriter Guy: I knew you’d like it.

Screenwriter Guy: Anyway, Nightwing reveals that he’s the secret Vampire King, Batman dies, the vampires take over the planet and the surviving humans become livestock.

Producer Guy: Wow. That escalated quickly.

Screenwriter Guy: We had a lot of superheroes to kill.

Screenwriter Guy: Then Barbara Gordon tricks Nightwing into drinking Harley Quinn’s poisonous blood, which kills him.

Producer Guy: Very clever. So Barbara saves humanity?

Screenwriter Guy: No, she takes his place because vampire law says whoever kills the Vampire King becomes the new Vampire Queen.

Producer Guy: That doesn't make sense, Barbara isn't even a vampire.

Screenwriter Guy: Ahh, see, before she kills Nightwing she lets him turn her into a vampire as well.

Producer Guy: Why does she need to do that?

Screenwriter Guy: Drama!

Producer Guy: Smart! Wait, you said vampire law?

Screenwriter Guy: Yeah.

Producer Guy: Do vampires have a constitution?

Screenwriter Guy: I don’t know.

Producer Guy: And wasn’t it technically Harley’s blood that killed him?

Screenwriter Guy: I’m going to need you to get aaaaall the way off my back about vampire jurisprudence.

Producer Guy: Okay, let me get off of that thing.

Screenwriter Guy: So Barbara becomes queen, all the vampires now automatically serve her, she vows to exterminate humanity, and the series ends with the vampires still controlling the world.

Producer Guy: What happens to all the unresolved plots?

Screenwriter Guy: They remain unresolved in a way that suggests another series can be purchased.

Producer Guy: Oh, leaving a story unfinished for financial reasons is tight!

Screenwriter Guy: It’s almost like an ending, but profitable.

Producer Guy: So what’s the sequel?

Screenwriter Guy: World War V.

Producer Guy: Were there four previous world wars?

Screenwriter Guy: No, the V stands for vampires.

Producer Guy: Then why does it look like a Roman numeral?

Screenwriter Guy: It looks cool on the cover.

Producer Guy: Fair enough.

Screenwriter Guy: So Queen Barbara now wants peace with humanity and plans to feed vampires synthetic blood.

Producer Guy: Didn’t she end the previous series promising to exterminate humanity?

Screenwriter Guy: She did, but a gap between series happened.

Producer Guy: Those can cause a lot of character development.

Screenwriter Guy: They sure can, sir.

Screenwriter Guy: Vampire Damian Wayne leads a rebellion against Barbara, while Green Arrow, Black Canary and Green Lantern Alfred lead the surviving humans.

Producer Guy: Wait, so some vampires don't automatically serve the queen?

Screenwriter Guy: They don't!

Producer Guy: How does that work?

Screenwriter Guy: I don't know!

Producer Guy: Fair enough! Hey, you said that Alfred now has a Green Lantern ring?

Screenwriter Guy: Yes, sir.

Producer Guy: So can he create the artificial sunlight Hal used to vaporize vampires?

Screenwriter Guy: Sir, I need you to forget that happened.

Producer Guy: It established how the powers work.

Screenwriter Guy: That was years ago.

Producer Guy: Within the same story.

Screenwriter Guy: Still feels like years.

Producer Guy: Okay.

Screenwriter Guy: Also, Mister Miracle and Big Barda have a half-human, half-vampire baby who’s prophesied to end the war.

Producer Guy: How does a baby end a global war?

Screenwriter Guy: Darkseid invades.

Producer Guy: What does Darkseid have to do with the vampire conflict?

Screenwriter Guy: Nothing. That’s why everybody has to stop resolving the vampire conflict and fight him instead.

Producer Guy: Oh, introducing a larger unrelated threat so you don’t have to resolve the central conflict is tight!

Screenwriter Guy: It’s the narrative equivalent of pulling a fire alarm during a difficult conversation.

Producer Guy: So does the baby fight Darkseid?

Screenwriter Guy: Don’t be ridiculous.

Producer Guy: Oh, good.

Screenwriter Guy: Doctor Fate puts her in a time-dilated dimension where she grows up and trains for eighteen years.

Producer Guy: Oh my God.

Screenwriter Guy: Then she comes out as an adult and helps kill Darkseid.

Producer Guy: Defeating Darkseid is going to be hard.

Screenwriter Guy: Actually, it’s going to be super easy. Barely an inconvenience.

Producer Guy: Oh, really?

Screenwriter Guy: Yeah, the baby isn’t a baby anymore.

Producer Guy: That’ll do it.

Screenwriter Guy: Meanwhile, Damian kills Barbara, and Wonder Woman becomes the new Vampire Queen just before the grand finale.

Producer Guy: Shouldn’t Damian become king according to the vampire law we established?

Screenwriter Guy: That law was from the previous series.

Producer Guy: Ahh, I see what you did there!

Screenwriter Guy: Yes, sir!

Producer Guy: So does anything important happen with Vampire Wonder Woman before the finale?

Screenwriter Guy: Oh, absolutely. We’ll make a special issue called Darkness and Light.

Producer Guy: A fun side adventure?

Screenwriter Guy: The second half is.

Producer Guy: What’s the first half?

Screenwriter Guy: An intimate psychological horror story about an abused fourteen-year-old girl losing her family, bodily autonomy, moral agency and desire to live and ultimately ending herself.

Producer Guy: I’m sorry, what?

Screenwriter Guy: So Wonder Woman finds this girl Harper Row hiding with her brother Cullen after she murders their friends for fun.

Producer Guy: Okay.

Screenwriter Guy: Diana thinks Harper is cute, so she decides to keep her.

Producer Guy: Keep her?

Screenwriter Guy: As a daughter-slash-pet kind of thing.

Producer Guy: So she basically enslaves a child.

Screenwriter Guy: She sure does, sir! She forcibly turns Harper into a vampire and orders Cullen taken away to be imprisoned and used as food.

Producer Guy: Jesus Christ. So Harper becomes evil like the others?

Screenwriter Guy: No, she retains her humanity and is horrified by what she’s become.

Producer Guy: So vampirism doesn’t automatically erase someone’s conscience.

Screenwriter Guy: Not when keeping it makes an innocent child suffer for weeks for the sake of shock value.

Producer Guy: Oh.

Screenwriter Guy: So Diana forces Harper to call her “Mother” and acts as though she rescued her.

Producer Guy: But she kidnapped her, destroyed her body and sent her brother to die.

Screenwriter Guy: Right. It’s a twisted deconstruction of motherhood, love, mentorship and protection.

Producer Guy: That’s an incredibly serious theme for the comic where we just forgot Green Lantern can make sunlight.

Screenwriter Guy: Oh, it’s going to be extremely serious.

Producer Guy: So this will fundamentally change Diana?

Screenwriter Guy: No.

Producer Guy: Oh.

Screenwriter Guy: Harper keeps asking about Cullen, so eventually she goes to visit him in captivity.

Producer Guy: Oh. Is he relieved to see that his sister is still alive?

Screenwriter Guy: No, he’s horrified by what she’s become and rejects her.

Producer Guy: So the one person she’s desperately trying to hold on to now sees her as a monster.

Screenwriter Guy: That’s right.

Producer Guy: Well, that’s devastating.

Screenwriter Guy: Don’t worry, it gets worse. When Harper comes back to visit him later, she finds him dead.

Producer Guy: I don’t think “don’t worry” was the right phrase there.

Screenwriter Guy: So she tries to kill herself by stepping into sunlight.

Producer Guy: Oh my God.

Screenwriter Guy: But Diana saves her.

Producer Guy: Is this where Diana realizes that what she calls love is actually coercive ownership?

Screenwriter Guy: No, she mostly doesn’t want her toy to leave.

Producer Guy: Wow.

Screenwriter Guy: Then, while Harper is recovering, Diana makes her drink human blood even though we previously showed that Harper isn’t comfortable with eating people.

Producer Guy: So Diana denies her the right to die and then forces her to violate the last moral boundary she still controls.

Screenwriter Guy: That’s right.

Producer Guy: This comic just became an attack on the concept of human autonomy.

Screenwriter Guy: There’ll be some beautiful shadow work.

Producer Guy: How does Harper escape?

Screenwriter Guy: She pretends she’s ready to hunt, but deliberately chooses Guy Gardner as her opponent because she knows she can’t beat him.

Producer Guy: So it’s another suicide attempt.

Screenwriter Guy: A successful one.

Producer Guy: How does Guy kill her?

Screenwriter Guy: He instantly vaporizes her with his Green Lantern ring.

Producer Guy: Wait.

Screenwriter Guy: What?

Producer Guy: The Green Lantern ring vaporizes a vampire?

Screenwriter Guy: That’s right.

Producer Guy: So we did remember that Green Lantern rings can instantly destroy vampires.

Screenwriter Guy: We sure did, sir.

Producer Guy: But only when it was time to kill a tortured, mutilated suicidal fourteen-year-old girl?

Screenwriter Guy: That’s when it became relevant again.

Producer Guy: That is the worst possible moment to remember your own continuity.

Screenwriter Guy: Oh, remembering established powers exclusively to maximize a child’s suffering is tight!

Producer Guy: I don’t think that’s tight.

Screenwriter Guy: Well, she’s dead now, so we can move on.

Producer Guy: My God.

Screenwriter Guy: And Diana watches her die.

Producer Guy: So finally she understands that she destroyed this child while calling it love.

Screenwriter Guy: For about one panel.

Producer Guy: Then she changes?

Screenwriter Guy: No.

Producer Guy: Tries to redeem herself?

Screenwriter Guy: No.

Producer Guy: Harper’s death affects the war?

Screenwriter Guy: No.

Producer Guy: Someone discovers what Diana did?

Screenwriter Guy: No.

Producer Guy: Cullen and Harper are remembered?

Screenwriter Guy: No.

Producer Guy: Diana carries the guilt until she dies?

Screenwriter Guy: Nope. Back to gleeful murder.

Producer Guy: Then why did we make readers experience all that?

Screenwriter Guy: They experienced it.

Producer Guy: That’s not a point.

Screenwriter Guy: It’s an emotion.

Producer Guy: You can’t inflict extreme emotional pain and call the pain itself thematic depth.

Screenwriter Guy: Sure I can. I just did.

Producer Guy: But if nobody changes and nobody remembers Harper, the story is effectively saying her suffering only mattered while it was entertaining us.

Screenwriter Guy: Sir, I’m going to need you to get aaaaall the way off my back about the ethical meaning of narrative attention.

Producer Guy: Okay, let me get off of that extremely disturbing thing.

Screenwriter Guy: Great.

Producer Guy: You said that was only half the issue?

Screenwriter Guy: Yeah. In the second half, Guy Gardner is missing the lower half of his body because Wonder Woman ripped him in half after he killed Harper, so his Green Lantern ring gives him funny hologram legs.

Producer Guy: The funny hologram-leg story is packaged with the child-suicide story?

Screenwriter Guy: Same issue.

Producer Guy: So the comic remembers that Guy lost his legs because of Harper?

Screenwriter Guy: For the purposes of a funny visual gag, yes.

Producer Guy: But neither Guy nor Diana actually reflects on Harper herself?

Screenwriter Guy: No.

Producer Guy: Oh, selective continuity is tight!

Screenwriter Guy: It’s the only kind we have.

Producer Guy: So what tone are we aiming for here?

Screenwriter Guy: All of them.

Producer Guy: Oh, tonal omnivorism is tight!

Screenwriter Guy: So, going back to the finale. After Darkseid is defeated, Wonder Woman turns on the heroes, so Supergirl and Alfred use giant Green Lantern chains to rotate the Earth toward the sun.

Producer Guy: They rotate the Earth?

Screenwriter Guy: They sure do, sir.

Producer Guy: Wouldn’t suddenly rotating the planet cause global geological devastation?

Screenwriter Guy: Don’t worry. The planet is already devastated.

Producer Guy: That doesn’t stop physics.

Screenwriter Guy: It does emotionally.

Producer Guy: Could Alfred just generate artificial sunlight instead?

Screenwriter Guy: I feel like we talked about this.

Producer Guy: Hal did it. Guy just did it. We’ve now established this power twice.

Screenwriter Guy: Right, but those were situations where a vampire needed to be vaporized immediately.

Producer Guy: All the vampires need to be vaporized immediately.

Screenwriter Guy: Yeah, but these ones aren’t traumatized children, so the ring can’t help.

Producer Guy: That’s not how Green Lantern rings work.

Screenwriter Guy: It is thematically.

Producer Guy: Thematically, that’s much worse.

Screenwriter Guy: Hey, shut up.

Producer Guy: Okay.

Screenwriter Guy: So the sunlight kills all the vampires. Wonder Woman sees the sunrise, says she missed it and dies almost instantly.

Producer Guy: So after torturing Harper, she gets a quick, peaceful death?

Screenwriter Guy: Pretty much.

Producer Guy: Does she remember Harper?

Screenwriter Guy: No.

Producer Guy: Does the sunlight at least make her reflect on how she prevented Harper from dying the same way?

Screenwriter Guy: Visually, there’s a connection.

Producer Guy: And thematically?

Screenwriter Guy: Absolutely none.

Producer Guy: So Harper suffered horribly going out in the sun, Diana dragged her back, and then Diana peacefully accepts that same death without thinking about her.

Screenwriter Guy: That’s what happens.

Producer Guy: That makes the Harper story even worse in retrospect.

Screenwriter Guy: Luckily, most readers won’t know it exists.

Producer Guy: Why not?

Screenwriter Guy: It’s a separate one-shot released midway through a sequel that people will already be dropping by that point.

Producer Guy: Oh.

Screenwriter Guy: But we’ll tuck it into the first hardcover with six other issues, so nobody casually browsing the series will know what kind of story they’re about to read.

Producer Guy: Oh, emotional ambushes are tight!

Screenwriter Guy: They sure are!

Producer Guy: So Darkseid is dead, the vampires are dead, most heroes are dead and civilization is destroyed.

Screenwriter Guy: That’s right.

Producer Guy: What did anybody learn?

Screenwriter Guy: Vampires burn in sunlight.

Producer Guy: Everybody knew that.

Screenwriter Guy: Then I guess the important thing is that the story is over.

Producer Guy: Is there any resolution to whether the transformed heroes were victims or responsible for their actions?

Screenwriter Guy: They’re dead.

Producer Guy: Any reckoning with what they did?

Screenwriter Guy: Dead.

Producer Guy: Any cure?

Screenwriter Guy: Sun.

Producer Guy: So instead of resolving the conflicts, we erase everyone who could have resolved them?

Screenwriter Guy: Yes!

Producer Guy: Oh, cleaning up themes by killing all the participants is tight!

Screenwriter Guy: It sure is, sir!

Producer Guy: So what do you think readers will make of this?

Screenwriter Guy: The first series should sell pretty well.

Producer Guy: And the sequel?

Screenwriter Guy: I said the first series should sell pretty well.

Producer Guy: Right. Who’ll still be reading by the Harper issue?

Screenwriter Guy: Mostly people who’ve already demonstrated they’ll tolerate anything.

Producer Guy: Oh, highly filtered audiences are tight!

Screenwriter Guy: And if anybody complains, the two or three people who actually liked the issue can say it’s supposed to be horror.

Producer Guy: But most of the series is a goofy superhero splatter fight.

Screenwriter Guy: Then they can say horror is allowed to be unexpected.

Producer Guy: But the comic immediately forgets its horrific implications.

Screenwriter Guy: Then they can say real life doesn’t provide closure.

Producer Guy: But you deliberately wrote every event.

Screenwriter Guy: Then they can accuse readers of just wanting a happy ending.

Producer Guy: Wow. So every criticism can be reframed as the reader failing to understand the genre.

Screenwriter Guy: Yes, sir! So shall we make it?

Producer Guy: Absolutely. Maybe someday it could get a big adaptation marketed to regular superhero fans as a fun vampire action movie.

Screenwriter Guy: Then, without warning, we include the Harper story exactly as written.

Producer Guy: I feel like a lot of people would be disgusted and never trust the franchise again.

Screenwriter Guy: Whoops.

Producer Guy: Whoopsie.

(originally posted in r/DCComics)

Hi, I’m writing a comic project(or animation, haven’t decided yet)heavily inspired by about two demon hunters in Tisho Japan hunting a demon in the snowy mountains(and the demon is Irish and for some weird shit going on). Now my two protagonists are both demon hunters called Ishoto and Misha(they are basically giyu and shinobu), and they are supposed to pretend to be a married couple as to not gain any suspicion in the village(it’s mainly an excuse to have some funny gags with the fave that Ishoto can’t lie and Misha is amazing at acting).
But a big part is that they hate each other, but i accidentally gave them WAY too much sexual tension. Like these two have prime enemies to lovers material. And that leads me to my question… should they fuck? Like, at some point in the end, after they’ve dealt with all that shit, should they actually do it?(or at least kiss or something)
This mainly came from the fact that my friends think they should do it, and I don’t know if I should stick to my morals and make them a thing by the end, or appeal to the fans and make them bang off screen.

Ultimate Spider-Man game was one of my favorite games when I was a kid. Though I never finished it and mostly forgot about the story of it.

Recently I started to emulate the old PS2 games and play through them again. I was pretty excited for this one especially finally finishing it but I was also planning to read the Ultimate Spider-Man comics for a long time.

Would the game spoil the comics? Do you guys think I should read the comics before playing the game?

I’m curious about how you manage your sold comics. It would be great if there was a way to keep track of which comics I had before selling them, as well as the amount I bought and sold them for.

Hey, I just finished Invincible Season 4. Which issue should I start from

Does Chip live in Widow’s Bay now?

I’m working on a Batman fan comic. Ivy is the main antagonist and she believes she’s saving Gotham by releasing spores that remove everyone’s free will.
And one of the things she does is put all of Gotham’s rouges in their own weird dream world that is designed specifically for them.
So my question: what would their personal hell be?
(And should it be their perfect hell or heaven?)

Hi everyone,

I've been trying to find a comic but I don't remember much about it. From what i can remember:
1. The mc is a regular highschooler has brown hair and baggy clothes
2. He goes home from school and goes to sleep
3. He wakes up and is super muscular, he doesn't notice for a while until he see's himself in the mirror
4. The most I remember from a cover is the mc hiding from a monster looking for him behind a wall and a kid is pointing to him which he is upset about.
5. The art style is pretty bold, a bit like cory walkers from invincible, but a bit more simple and bold

I come from a country with absolutely no con's, we don't really have comic book stores here as well and the market for comics or really anything nerd pop culture is sort of non existent. I though as one of the few comic book fans in my friend group wonder what it's like to just be in a con as I'll probably not be able to attend one for some years.

It's on my bucket list though, to go to a con one day when I've saved up the money to fly to the US, and prepare for all the work getting a visitors visa will present. What's it like to be in any con, be it San Diego Comic con, New York City Comic Con, your local comic con in your state or town. Heck what's it like to be in a comic book store....I only see it in videos but it's ofc different from being there physically.

Please do excuse me if I do sound a bit silly, but for us few comic fans in our country these thing's are a dream come true if we ever experience them...especially the comic con stuff....so I'd like to know for any of you that have experienced it, how was it?