I'm a former assistant editor with advice about how to write novels, comic books and graphic novels. Most of my content applies to fiction-writing in general, but I also provide articles specifically about superhero stories.

Most comic books and graphic novels letter the body text (dialogue and narration) in all-caps.  Here are some of the best all-caps free fonts. If you’d like to download any of the fonts, please see the links below.

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Scott Pilgrim’s rating on Rotten Tomatoes is 80%.  It was so neck-deep in every sort of geeky awesomeness that it totally made sense when the hero used a 1-Up as a “get out of death free” card.  The highlight of the movie was definitely the superpowered kung fu, but the romantic comedy was reasonably effective.  For example, check out the trailer.  The first 15 minutes of the movie are like the first 33 seconds of the trailer: forgettable.  It gets better, particularly if you like people getting drop-kicked in the face by vegan supervillains.

Blambot has an awesome article about formatting comic book balloons.  It’s aimed at comic book letterers, but I think there are some key points also useful for comic book writers doing a script.  For example, do you know how to handle translated dialogue or when to use quotation marks?

• Only use quotation marks when somebody is speaking off-panel.  If the speaker is on-panel, readers don’t need quotation marks to know it’s dialogue.
• If you ever end a shouted question with a question mark and an exclamation point, put the question mark first. Readers will have many context clues that the line is being shouted, such as body language and the bolded/italicized text, but the question mark is pretty much the only indication that a question is involved.
• Each period should be followed by one space, not two. Double spaces take too much space and look awkward.  (If you habitually use double-spaces, it may help to use your text processor’s Find/Replace feature to replace all periods followed by two spaces with periods followed by single spaces).
• How to handle text translated from a language besides English. See below.  Note: Generally, the “*Translated from [Language]” caption is necessary just once per scene.  After that, readers can figure out what language the characters are speaking when you use the <greater than/less than signs>.

Graphic novelist Jason Brubaker offers seven strong arguments against Comic Sans.

Here’s mine: Comic Sans is editor Kryptonite. It’s usually too kiddie for the tone of the project and handles capital letters poorly (which is a major problem, given that most comic books and graphic novels are published in all-caps). If you like the feel of Comic Sans but need something for an audience older than 5-13 year olds, I would highly recommend checking out this list of similar-but-more-professional alternatives.

Relatedly: The fonts available on most newly-purchased computers are generally unsuitable for most comic books, webcomics and graphic novels. If Comic Sans looks like your best option, please check out the free font selections at 1001 Free Fonts or Blambots.

(Note: Comic Sans crops up most often in comic book sample pages and rarely (ick) scripts, but like some vampiric Loch Ness monster it has made poorly-documented but much-rumored appearances in the novel-publishing industry.   Don’t get in bed with a vampiric Loch Ness monster.  Say no to Comic Sans.

Alan Moore: “I don’t want Watchmen back.”

B. Mac: “I’ll take it!”

…

Apparently the hangup was that DC Comics would only give him the rights back if he agreed to some (inevitably awful) prequels and sequels.  I was expecting an author vs. publisher bloodbath, but this is only a bit more rancorous than “You paid me too much” and “Do I really need that many assistants?”

I also liked this one of Ironman.

Over at the Sun Times, Jim Emerson argues that “critics seem to overwhelmingly approve of the current crops of comic-book, graphic-novel and superhero movies.”

One of the commenters responds:

While critics in general are happy to give approval to comic book films (and, I think, many critics do treat them fairly), I think there’s no question that there are elements of bias in many critics’ reviews.

First, look at the language many critics use. When giving a positive review, many will say things like “despite its comic book origins,” or “leaping beyond comic books,” as if being based on a comic book is in some way a handicap.

Actually, I think being based on a comic book (or a novel or TV show or anything else) is a handicap for a movie.

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I saw this today on LinkedIn:

I paid a name artist five months ago in advance for a pin-up for [series name].  In fact, I’ve had several artists, mostly old friends… all consummate professionals.

Just this one artist, who seems to be a bad actor. At the time he said contact him in two weeks and he’d give me an update on the status. Two weeks later I emailed him — nothing. I’ve been emailing him every few weeks very politely at first. Still no response at all. My last couple of emails were more strongly worded and in my last one I told him I’d be telling everyone I know on Facebook, Twitter, LinkedIn, and on our blog about it and name him by name. Hell, I’m thinking I’ll put out a press release, too.

What do you think? Does he get away with it, and I have a lesson learned, or do I go nuclear on his ass?

Don’t go public about backstage drama.  It can only make the situation worse.  First, verify what you can. Is he actually being delinquent? You would look like a damn idiot if you accused your artist of going AWOL and it turns out that he was actually in an emergency room after getting hit by a car. (It happens).  At the very least, do not stumble into a slander lawsuit until you actually know (rather than suspect) what is going on!

If you have an editor/publisher, address any concerns to them and discuss whether you need to replace your artist.  Unlike publically accusing your artist of fraud, replacing your artist does not open you up to a slander/libel lawsuit if it turns out his absence was totally innocuous.  If you don’t yet have an editor/publisher, make the determination on your own.  It will cost you time and money and you’ll probably have to scrap most of the work by the original artist.  It’s highly bothersome and usually unprofessional for an artist to go missing for several weeks, but switching to another artist may well be a cure worse than the disease.

Finally, besides getting back at your original artist, going public doesn’t actually help you in any way.  It certainly doesn’t make it any likelier that he’ll come up with the art for you.  It may raise questions about your professionalism and will probably make you look inept.  (Don’t give yourself a reputation for workplace drama).

Some other general ideas to minimize problems with your teammates:

• When you work with freelancers, pay no more than half upfront and the rest on completion. This increases the artist’s incentive to complete the job.  It also limits the amount of money you lose if everything goes to hell.
• Work out a schedule ahead of time. I’m not sure what the case was above, but making your expectations clear is usually helpful.
• Maybe exchange phone numbers. You may be uncomfortable asking for this if you’ve never actually met your freelancer.  However, when you’ve committed yourself to paying somebody thousands of dollars, I think your business relationship is strong enough to justify this request.  (At the very least, as a matter of customer service).
• Business etiquette: when should you call (rather than e-mail) your freelancer? Since a call is more intrusive than an e-mail, I would only call if your artist hasn’t responded to an urgent e-mail within 1-3 weeks.  For example: the artist misses a deadline by more than a week (without explaining why) and doesn’t respond to an e-mail requesting a status update.  If you call your artist, politely remind him about the schedule, ask if there’s anything you can do to help*, and ask about when he thinks he can have the art in to you.  *Unless he needs clarification, there probably won’t be, but offering is still friendly.

I’m not a fan of DC movies and had the presumption that they were significantly more likely to be awful.  However, on Rotten Tomatoes, DC movies do almost as well on average (although its bombs tend to be uniquely awful).

For the sake of convenience and clean numbers, I took the top 20 grossing movies from each publisher and then gathered their Rotten Tomato rankings, which are averages of hundreds or thousands of reviews.  (A RT ranking isn’t a perfect measure of quality, but it’s probably pretty accurate).

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I saw this today on a comic book forum: “searching 4 artists who want to draw my comics’ covers. its NOT be a paid Job, but ur name will be mentioned with the artwork, and yes, it will commence our long term professional relationship.”

Artist: “Umm, how about you commence our long-term professional relationship by paying me? Also, why would I want to work with a writer that writes worse than I do?”

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I want to see The Losers when it comes out, although it’s probably awful, and was pleasantly surprised by Kick-Ass (which has a 77% rating on Rotten Tomatoes).  This got me thinking about financially successful comic book movies without superheroes.  After running some numbers, I found they’re really rare nowadays.

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Check out Fraggmented’s “Comic Book Insanity” category.   Here are some choice excerpts.

Then, while passing a volcano, Carol comments that Wonder Woman’s invisible plane obeys her every command “like magic!” To which WW responds, “The magic of science, Carol!” This is bitterly ironic, given that less than ten issues earlier Kanigher had explained that Wonder Woman’s plane was made when a magical cloud turned a flying horse into an invisible airplane. But she goes on to explain that little computers in the plane make it obey Wonder Woman and only Wonder Woman, just like even smaller computers in the lasso do the same thing! (Those of you going, “Huh?!?!?!?” should probably take a little break from reading this. It doesn’t get any better.)

…

In the original ‘X-Men’ #1, by Stan Lee and Jack Kirby, we open with a sequence of Professor X running the team through their training regimen. Beast has to do a difficult acrobatic routine, Angel must fly an obstacle course…then the young sixteen-year old Iceman gets a turn, but Professor X is “going easy” on him by merely requiring him to display his powers. Iceman frosts himself over with snow…and Professor X telepathically tells the Beast to chuck a bowling ball at his head while he’s distracted, to “test his reflexes”.

…

At some point, logic dictates that he’s secretly trying to kill Iceman, and the whole “training exercise” thing is just an alibi.

…and faces eviction.  I bet he feels like an idiot now for not selling those inauguration tickets.

Wahab Algarmi put together a free comic, The Society of Unordinary Young Ladies, and would like you to read it.

Here are some impressions.

–The characterization for the four protagonists is handled fairly well.  In particular, I recommend page 21 as a dramatic portrayal of loyalty as a character trait.  Usually, I roll my eyes when authors say a character is “loyal”  because “loyal” characters rarely get opportunities to act differently than a super-bland protagonist.  In fiction, EVERYBODY will save friends in trouble, so  a character that is truly loyal needs to go beyond the norm.  It helps if the decision to help someone bears a high cost on the loyal character, something more definite than “it could be dangerous.”  In this case, a loyal protagonist spends crucial seconds tending to a dying teammate rather than trying to defuse a bomb.

–I wasn’t fond of the political edge. Among other things, it made the side-characters a bit cartoonish.

–The art was generally passable, but one of the four characters is sort of horrifying.  Natalie looks like a man in a wig!

–A “Charles in Charge” pun… What the hell?  That show got cancelled 20 years ago.

–I love the final panel on page 24. Great use of empty space.

–As far as cliffhangers go, the last page is okay.  It could have been more effective if it had foreshadowed more about the new girl, but the concept is okay.  Or at least, I *hope* the concept is okay, because the first issue of my comic book ends very similarly.

1.  Most artists won’t work with authors that write worse than they do. When you post your job listing on a website like DeviantArt or LinkedIn, you will be judged on the quality of your writing.  I’d recommend proofreading it. Avoid extraneous details that won’t matter to an artist.  Also, list your published works, if any.  (Experienced partners are usually less risky).

2.  The more specific, the better. “John has adventures” says much less about the art you want than “Haxley is a barbarian that has to mangle his way to the throne.”   If you have a two-sentence synopsis, use it.  For more advice on doing two-sentence synopses, please see this.

3.  What exactly do you need from the artist? If you’re doing a color comic with just one illustrator, you need pencils, inks, colors and letters.   How many pages do you need?  If you’re looking to put together a sample for publishers, you’ll probably want around 5 pages and possibly a cover.  Check the submissions guidelines for each publisher, of course.  If you’re self-publishing, you’ll need the entire issue, which will probably be 32+ pages per issue.

4.  Describe the sorts of characters and creatures you’ll need illustrated. Just regular humans?  A superhero whose power sets him on fire?  Supersoldiers in powersuits?  Fantastical creatures like griffins and dragons?  Werewolves and vampires?  Angels and demons?  Hydras and Zeus? Eldritch horrors?  Eldritch horrors tanning on the beach? Before you hire an artist, make sure he’s comfortable with every major character and the mood of the work.

5.  Will you need unusual props? For example, if you’re writing military sci-fi set in the 23th century, your artist will do a lot of exotic vehicles and weaponry.  If you’re writing a romantic comedy starring me, probably not so much.   Except for the Pimpmobile.

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Check it out here!

When your team is putting together the comic book, you need to identify potential problems as soon as possible. If you decide that there’s a problem with the outlines but you’ve already gone to coloring, you’ll have to throw out some coloring work and probably some inking. Here are some problems that you need to spot early.

1. Check for continuity. Are the dimensions of the room consistent? Are the characters consistently portrayed? Are the characters as tall and wide as they’re supposed to be? Also, in the toning and coloring stages, please make sure that the lighting sources are consistent.

2. Character placement. Does the placement of the characters make sense? For example, if two characters are walking somewhere but only one of them knows the way, he should probably be in front. Does each character have enough space to perform his later actions? For example, we once had to redo a page because we were boxed in by the walls–it was impossible to have a superhero drop behind a character that was leaning against a wall.

3. Are the character expressions consistent with their lines of dialogue? One particularly tricky area here is when the character’s emotions change dramatically mid-panel. If your script goes something like this, you’re screwed.

Panel 1.
WIFE, annoyed: Your boss kept you late tonight. What gives?
HUSBAND: I got a promotion!
WIFE, excited: Hooray!

Since it’d be very difficult to show the wife being annoyed and excited at the same time, this panel is pretty much doomed.  This is a problem that you need to solve before the page goes to your artist.  For example, you could break this into two panels so that she can emote her annoyance and excitement separately.

4.  Is the amount of dialogue consistent with the panel’s pacing?  For example, if you’re doing an action panel of someone leaping at an enemy, giving them 25+ words of dialogue will damage the pace.  No one can plausibly say that many words in the span of a jump. Too many words will make the action feel slower and less exciting than it should be.   As a rule of thumb, the more intense and involved the action, the fewer words you should use.

5. If something changes, like a character drawing out a prop or something, is it clear where the change came from? For example, if John is unarmed in panel 1 and wielding a gun in the next, readers might wonder where the gun came from.   You could solve that by adding an intermediate panel of him reaching for the gun, or by using motion lines to show that his hand is moving from where his gun used to be.  Alternately, just show time passing or the scene changing.  For example, if panel 1 shows us a police officer driving with his gun holstered, it’ll make sense if his gun is drawn when he gets out to storm a building in panel 2.  We didn’t see him draw the gun, but the situation has changed–now he’s in a much more dangerous situation.

6. If a character has a prop or accessory, does it appear consistently? It’s really easy to lose track of what each character is holding.  Be careful.

Did this article help? If so, please submit it to Stumble!

It’s not quite a superhero comic book, but

please check it out anyway.

I think I’ll do some articles on webcomics. That’d be neat for a change of pace. Can you think of anything else that might be interesting? (Ideally related to writing and/or superheroes).

Short answer: usually some combination of…

1. Script of the first issue.
2. Synopsis of the larger work (either the first issue, arc or series as a whole).
3. Sample pages inked, colored and lettered.

For a more detailed look at these three items, I’ll focus on Dark Horse specifically because I think DH is pretty standard.  But always check the publisher’s submissions page.  For example, Dark Horse’s submissions page is here and Image’s is here.

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After you’ve written the script for a comic book page, I would recommend doing a rough sketch of the page before you give the script to your artist for pencils.  That will help you identify staging problems early.  Here are a few examples.

1.  Will the panels have enough space to comfortably fit the content? As a rule of thumb, I think it’s especially important to check this if if the page has 7+ low-action panels or 4+ action panels.  (Low-action panels, like most dialogue, usually require less space because they don’t need to show as many things happening.  For example, a dialogue panel might just have a person’s head, whereas an action shot of two boxers going at it will probably include at least the upper bodies of two men).

2.  Will the panel’s perspective portray everything you want to show? For example, if two characters are facing each other, it can be quite tricky to show their expressions, particularly if you’re trying to focus on one.  90 degree side-shots get boring fast and have trouble emphasizing either subject.

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Here’s an amusing excerpt from a Washington Post article…

“We are at a point where no one could have even imagined 15 years ago,” said Albert J. Lurigio, a professor of psychology and criminal justice at Loyola University who has written about electronic monitoring and privacy since a New Mexico judge, inspired by Spider-Man comics, became the first to sentence a defendant to home confinement with an electronic monitor. 

Does this mean we’re on the verge of surgically implanting explosive nanites in dangerous parolees? In your face, recidivism!

In most cases, a comic book writer will have the text describe what is visually shown in the panels.   For example, if two characters are speaking, usually the panel will show the characters as they speak.  But there are some great reasons you might want to consider using removed narration, where the speakers are out of the panel. 

For example, Gotham Central includes a scene where an officer is describing a raid to Internal Affairs off-panel.  On-panel, we see the raid happen in a totally different way.  That’s effective storytelling because (short-answer) it shows us that the cop is lying about what happened.  If we only saw the cop as he talked, it wouldn’t be as clear or as striking as seeing the truth. 

Here are some reasons you might want to consider removed narration. 

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You can see the Associated Press’ take here and The Wall Street Journal has more here (subscription required?).   I have a few thoughts below.

• Disney is paying roughly $50 per share, which is a 29% premium over Friday’s closing.  If you own Marvel stock, you will come out ahead quite nicely on this.  It was trading around $25 earlier this year.
• I am cautiously optimistic that Disney knows how to buy a successful firm without ruining what made it successful.  For example, Pixar’s movies didn’t drop in quality after the Disney buyout.  (Nor have they released a lot of straight-to-DVD sequels to successful movies).
• I doubt this will have a noticeable impact on Marvel’s products.  Even the movies.
• I think Disney is the biggest loser here.  It’s betting 4 billion dollars that it can leverage Marvel’s characters better than Marvel did.  I’m skeptical.

You can see the before-and-after below. What do you think?

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Superman is a waning superhero.

In the past year, his comics have consistently been outsold by Buffy the Vampire Slayer, Flash, Green Lantern, Deadpool, and every A-list franchise.   (For example, his top-performing comic book in June 2009 placed #43 on the bestsellers list).

According to io9, even DC Comics acknowledged that the Superman movie franchise is struggling.  Superman’s latest film-outing grossed about $390 million on a production budget of $270 million.  That’s notably worse than 1996′s Batman Forever, let alone either of the two most recent Batman films.  Yes… even Joel Schumacher, the “director” that put nipples on the Batsuit, beat Superman.

Here’s how I would reboot Superman.

1.  Give him a real personality with some actual flaws. This does not mean that he has to be brooding.  (Please see Spiderman or Ironman– characters can be three-dimensional and fun!) For example, maybe he’s a bit overconfident or careless.  Even a small flaw would make him more likable and believable.

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Let’s Be Friends Again has some funny theories about what everybody’s favorite Watchmen villain is up to.

After the first issue, comic books often include a page-long recap so that new readers can figure out what’s going on and who’s who.  Here are a few tips.

1.  Make your recap stylish and inviting. It needs to convince a prospective reader that this series is worth his time.  Ideally, it will interest him so much that he goes back to look for the old issues he missed.  The most effective recaps tend to be funny.  Failing that, at least make it easy to follow and exciting.  If it feels like the backstory is hard to follow, readers are probably going to put the book down.

2.  You can make the recap feel fresher by doing something that fits into your story. For example, most of the characters in Superhero Nation work for the Human Resources department of a top-secret agency.  So we do our recaps as personnel files and mission debriefings written by the head of Human Resources, who is a bit crazy.

For example, the main character’s “file” might contain blurbs like these.

Superpowers? None known.  We’ve ruled out intelligence and usefulness.

Main contributions to team? Could be used as a battering ram.

That’ll help remind readers that he’s the guy without superpowers and that his co-workers regard him as useless. Just as importantly, we want to show to prospective readers that this series is witty and comical.

3.  Make us feel the appropriate emotions. If your series is a horror, the blurb should feel eerie and chilling.  If your writing is supposed to be remotely funny, make us laugh.  If it’s a romance, focus on why we should care about the characters and their relationships. Etc.

Joel Schumacher is a director best-known for his vicious crimes against Batman, including putting nipples on the batsuit. Earlier today, I was browsing through TV Tropes and found that one of the Batman cartoons had a hilarious scene mocking Schumacher.  (The idiot in the scene is named Joel and is standing in front of a sign that says Shoemaker).

Cartoon shows aimed at kids usually have tight restrictions on violence: usually drawing blood, maiming, shooting and killing are off the table.  Sometimes this merely forces writers to get creative.  For example, TMNT’s Leonardo tends to use his sword more as a tool than a weapon and he’s usually the first turtle to get disarmed.  However, GI Joe raises the “no real violence” restrictions to an art-form.  Never before has there been so much warfare without any injuries.  Slate has more.

GAH.

MY EYES ARE ON FIRE.

I’d only delve as deeply into science as much as the story and audience warrant. For example, if a villain shrinks the hero, 99% of readers don’t care that a shrunken human body couldn’t function because human cells are designed to function at a particular size. Similarly, most readers don’t need elaborate explanations for superpowers. You don’t need to explain where Spiderman keeps all that webbing.

However, if you’d like go off on a tangent to satisfy the few readers that do care about these elements, please make sure that it interests the other 99%. For example, one recurring issue with the Hulk is that the character’s pants stay on even though his size fluctuates so much. Real pants would burst off if you got twice as big, right? The latest Hulk movie addressed that rather hilariously by showing the character buying maternity pants in Guatemala. (“¿Tienes más stretchy?”) That’s intuitive, simple and clever. In contrast, if the movie had made up scientific mumbo-jumbo like Pym particles or whatever, it probably would have confused or annoyed many viewers.

In visual media, motion usually makes a scene more interesting.  It’s particularly important in a cover because you have to catch the reader’s eye.

For example, let’s say we have two covers that use the world as a soccer ball. (The issue’s title is Americans Don’t Play Soccer, and the issue is about Darfurian genocide and other things very far removed from the typical American’s life.  For ideological balance, we might add a thinly veiled Obama vis-a-vis the Iranian democracy movement).

Cover #1:  On a soccer field, the villain is standing next to a globe.  In the background, the hero is the only thing between him and the net. The villain’s pose would probably look lifeless, like these.

Cover #2:  On a soccer field, the villain is doing an insane flip as he punts the world at the hero.  The cover would probably look a lot more energetic and stylish.  This is particularly important because the cover will probably show the villain from the back.  It’s quite hard to strike an immobile pose from behind.

It would probably also help if the hero/goalie had some action. Bracing himself for impact is a little bit banal, so I’d like something that’s striking and makes it clear that this comic isn’t really about soccer. So let’s say the hero is bracing himself behind a transparent SWAT shield.

Gigantic #1 is an issue that starts out spectacularly. I can’t think of any series that are as immediately engrossing. But, aside from the beginning, it was a disappointment. The main character has to be likable and stylish, and Gigantic is neither.

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Invincible is an ambitious and wildly uneven superhero series.  A lot of it is awful and a lot of it is incredible.  If you’re interested in what went horribly wrong, please see this separate review.

The plotting is generally quite good. The plot progresses in a natural and even way, which is almost unheard-of for an ongoing series. Most ongoing series pace themselves something like this: plot point! Filler arc! Filler arc! Plot point!

There is filler material, but it’s generally well-integrated with the recurring threads. Although characters are interrupted frequently by random events, it rarely feels like a “creature of the week.”

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I’ve read the first thirty issues or so of Invincible.  A lot of it is awesome and a lot of it is an absolute trainwreck.  This is what went wrong.  (I’ve detailed its positives here).

Especially by issue 20, the story felt like it had ADD. The story flits around a lot; a character might be introduced for a few pages in issue 15 and he might make his next appearance a few issues later and actually matter a few issues after that.  This storytelling style is often effective, but it can get grating.  Let me demonstrate that by doing this review as a random series of paragraphs.  Take that, transitions!

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CNN published an article titled “Superheroes rise in tough times,” which claims that superhero stories are most popular during rough economic times.  It’s a plausible theory, but the evidence suggests otherwise.

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Jesse Walker of Reason Magazine did an article on the role of politics in superhero stories.

It describes an interesting phenomenon:  how superhero stories can brazenly delve into politics without turning off at least half of the audience.   For example, The Dark Knight and Ironman and Team America all brought up political issues without infuriating either conservatives or liberals.  In contrast, political polemicists like Michael Moore and Ann Coulter can’t even blink without angering the other side.

How is it that superhero stories can do what political writers can’t?  Here are some explanations.

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1.  Your protagonist is Rick Blurry, a cigar-smoking, eyepatch-wearing superspy.  When Marvel’s lawyers call, perhaps you should have a better defense ready than “but he wears his eyepatch on his right eye!”

2. Your pitch includes the line:  “This is just like your other series, but good.”

3.  You are aroused by any of the characters.  (Yes, we can tell).

4.  It involves time-travel.

5.  You’re not sure whether you want a protagonist to live or not, so you put it to a vote.

She offers some advice here.  Here’s what I took away from her article…

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You can see more Dinosaur Comics here.

Hello. For this editing sample, I edited the first four pages of a comic book script by Auhsaud Gantt.  If you would find it easier to read this as a Word document, I’ve uploaded it here.

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The New York Times has started compiling weekly best-seller lists for graphic novels (err, “graphic books”) in hardcover, paperback and manga.  (Hat-tip to the Comics Reporter). The NYT argues that “comics have finally entered the mainstream.”  Possibly.

1.  I agree that superhero stories are mainstream.  Many superhero movies and TV shows have been broadly successful.

2.  But comic books and graphic novels are not mainstream.  Primarily, that’s because they’re sold mostly in specialty stores rather than general-interest stores like supermarkets and newsstands.  These specialty stores usually strike me as kind of creepy and may well scare away low-interest fans.  Moving back into supermarkets probably isn’t feasible for the typical comic book series, but it encourages me that comic books are increasingly sold online.

[B. Mac adds: Is the endorsement of the NYT a good thing for comics?  The NYT has a soft spot for businesses that are not actually economically viable, such as solar power, US car companies, and itself.]

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These are some of the best and worst Marvel panels I’ve noticed over the past week.

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Atomic Robo is OK.  The writing is occasionally stylish but mostly forgettable.  Artistically, the main character is done pretty well and everyone else looks kind of awful.

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These fonts are poison.

1. Comic Sans
2. Times New Roman
3. Helvetica
4. Arial
5. Chronicles of a Hero
6. Anime Ace

I’m kind of fond of this classic one about a Holocaust survivor and a former death camp supervisor.  However, the twist ending is too predictable.  (Hold your cursor here for the spoiler).