Comics Creators

Comics - Everyone Else (NOT Marvel / DC)


Anyone read Jennifer Blood? On sale at ComiXology at the moment. Never read it. I know Ennis only wrote the first arc, but is it or the whole series worth getting?


Yeah it is.

Ennis starts it rolling, but it’s Ewing who takes it to the next level, following through on the consequences of it all to the fullest degree possible.

After Ewing’s run I considered it done, but Carroll found a continuation that made sense and works as an overall conclusion.

If you enjoy it, also check out the Ninjettes mini by Ewing that’s linked to his run.


V[quote=“Vikram, post:3831, topic:52, full:true”]
Anyone read Jennifer Blood? On sale at ComiXology at the moment. Never read it. I know Ennis only wrote the first arc, but is it or the whole series worth getting?

Yeah. It’s great. Ennis is on the initial arc but Ewing really takes it and runs with it and then Michael Carroll does a really good job after that.
I’ve got a really high opinion of the entire run. Ennis is Ennis but Ewing and Carroll are two writers who are well known and highly rated by 2000ad readers and the U.K. audiences (despite Ewing having written umpteen great comics for Marvel, to me he’s still very much under appreciated by the mainstream US audience in general).

I’d recommend picking the whole thing up.


Thanks, guys. How does it compare tonally to Ennis’ Punisher - Max or Marvel Knights?


Somewhere in between I would say
More humour than Max but darker than Knights


Ennis opening is really just Punisher meets Serial Mom. Which is a fun high concept but Ewing’s work is where it really shines because he’s not afraid to take it the natural conclusions.
I’m a big fan of what he did with it.




I’m not sure Ahoy is the best home for it, just because their Previews positioning and marketing isn’t the greatest

I have enjoyed some of the Ahoy comics very much but I feel it might get a bit lost there…


Let’s give Tom some credit on this one.




That’s a little odd given Fox part-own Boom and have been moving their licenses there away from, mainly, Dark Horse.


Love this cover to the final issue of Cinema Purgatorio.



While there is some good talent involved, none of those titles sound like anything I would want to pick up.

It’s an approach reminiscent of old Hollywood. “The model here really is the old United Artists model, where people who are actually doing the creative have ownership, control and decision-making power over the work that they’re doing,” said Bill Jemas, a former vice president of Marvel who is the chief executive and publisher of AWA. Joining him at the helm are Axel Alonso, a former editor in chief at Marvel, as chief creative officer and Jonathan F. Miller as chairman. Miller helped broker a deal in 2017 between the comic book writer Mark Millar and Netflix, which bought his library of characters for development on the streaming service. Jemas and Alonso say the first of AWA’s titles will arrive some time this fall.

In developing AWA’s superhero universe, Straczynski and Alonso took a broad look at others. Straczynski postulated that DC’s heroes, which generally emerged out of the postwar ’40s, were largely authority figures, while Marvel’s, which mostly emerged from the ’60s, were anti-establishment. “Who are we writing our stories about, and for, and what are we trying to say that’s relevant to a contemporary audience?” he wrote.

AWA has big ambitions and hopes to create a library of material like that of Marvel. “I think it’s fairly safe to say that Marvel is the most valuable entertainment franchise in the world,” Miller said. After the Netflix deal, he wondered if there were similar opportunities. He and Jemas got together, and Alonso soon joined them. “One of the great things about doing things this way is that you get to try a lot. Some things will hit, you never know when and where, but that’s part of the idea,” he said. “As long as you keep getting your turns at bat, then you’ll get some hits.”

I read this article and think, “Didn’t everybody try this same shit back in the 90s?”

Here are the first titles:

  • American Ronin, written by Peter Milligan and drawn by the artist known as ACO, is about highly trained operatives of huge corporations.

  • Bad Mother, written by Christa Faust, is about a mother searching for her missing daughter.

  • Fight Girls, written and drawn by Frank Cho, is about warriors vying for the title of queen of the galaxy.

  • Archangel 8, written by Michael Moreci, is about one of God’s angels who goes rogue.

If these are starting points of a new shared universe, they may will be fucked.

Looking at Previews, their is a healthy chunk of money flowing into creating new comics properties. Unfortunately, it looks it is strictly to create IP to sell to Hollywood. It’s not about creating great comics, it’s about putting together a package that can be sold for streaming, TV, or the movies. Yes, there is a demand for content and will be for some time but that doesn’t mean the studios and services will take everything that’s presented to them.

Mark Millar has been so far ahead of everyone in this race that it’s all a dogfight for a distant second place now.


I’m not really sure a bunch of middle age white dudes are the right people to try to revolutionize the industry. Nothing against the people behind this, but…yeah.


Valiant. Image. Malibu’s Ultraverse. Dark Horse’s Comics Greatest World. Triumphant. Defiant. Continuity.

I think the biggest stumbling block back then was Image and Valiant being succcessful in their early days. It pretty much guaranteed that other companies would try to ride their coattails, flood the market, and everyone would go down in flames as the comics market (and speculators) discovered its carrying capacity. I often wonder if Valiant could have survived without Dark Horse, Malibu, and the others chipping into their sales.

Of course, a decade later Crossgen appeared, tried to do the Valiant shared universe thing, and still ended up eating shit after the money ran out, so its not as easy as it looks.


I think where these companies go wrong is they are trying to manufacture a shared universe right out of the gate. There is nothing organic about it. Comics readers are pretty savvy and can smell bullshit when it’s put in front of them.

I understand that they have to hit the ground running and establish everything because they know they have a very narrow window to hook readers. I do think that if they took a more organic approach, they might have a better chance. Focus on producing quality comics and don’t worry about connecting everything right away. I think readers would prefer a good book over a good universe.


I couldn’t agree more. I think the best approach is to go all out to make a comic everyone is talking about and then let that expansion follow.

The other problem with launching a ‘line’ is if you listen to most comic fans they are managing a certain level of pull list, dropping one here to pick up another there, put out 4 comics (which is relatively restrained, some in the past have gone with 8-10) and very few will buy them all so they just fall off into quick cancellation.


What does the colour of someone’s skin have to do with this???


Possibly nothing. But comics (and comic movies) have gotten flack for a lack of diversity and for being a boys club. So seeing a lack of diversity (in gender and race) in the leadership of this new endeavor is something I called out. Could be that they bring in a bunch of diverse talent and it ends up being no big deal. Assuming they don’t flop right away.