In August 2021, the landscape of comics distribution shifted slightly, as two of America’s most popular and acclaimed comic book writers, James Tynion IV (Batman
Other creators accompanied the news, or followed later, including notable talents like Molly Knox Ostertag, Saladin Ahmed, Chip Zdarsky, Sophie Campbell, ND Stevenson, Kelly Thompson, Scott Snyder, Jeff Lemire and Donny Cates & Ryan Stegman. On January 31, 2022, a day declared “Comics Day on Substack,” the roster swelled to include Tom King & Elsa Charretier, Brian K Vaughan & Niko Henrichon, Khary Randolph & Joanne Starer, Rodney Barnes, Jen Bartel, oh, and GRANT MORRISON.
The message is clear: Substack is serious about acquiring and funding some of the most well-regarded comics creators, and essentially offering them the creative freedom to create their own publication enterprises. Any traditional comic book publisher – DC, Marvel, Image, Dark Horse, Vault, you name it – sporting a lineup of comics from these creators would be in prime position to hold the 2022 crown for most interesting publisher.
And yet, Substack is far from a certain game-changer, or even a particularly clear house for comics. There’s a lot of skepticism, questions, and yes, controversy at the heart of the situation.
If you’re curious about what’s going on with comics on Substack, or where to start, this is what I know.
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What The Heck’s A Substack?
If you don’t live online (in the words of Stephen Strange: TEACH ME), there’s a decent chance the entire concept of Substack is new, or a bit confusing. In truth, it’s remarkably simple. Substack is a subscription newsletter service. The company empowers journalists, writers, and comics creators to offer tiered newsletters, with subscription pricing for perks and benefits these creatives are willing to offer. So in essence, it’s Mailchimp meets Patreon, services that very much already exist (the ability to email a subscriber base, and the ability for fans and patrons to directly support your work), combined into one brand.
Substack’s rise since their 2017 founding is largely predicated on acquiring high profile writers to primarily (if not exclusively) publish through their Substack newsletter. Reporters from virtually every high profile newspaper, publication or magazine have left for the allure of Substack’s *substantial* financial grants and promises of founding their own “media empires.”
If you’re thinking, “who was sitting around asking for more email?” you’re not alone. Nonetheless, Substack bills itself as a social media antidote, the anti-Facebook/Twitter/Google, where what you read is only what you asked for, not something an ads-driven algorithm is pushing to keep you doomscrolling.
In the short term, this has worked. In March 2021, Techcrunch reported Substack was valued at $650 million, compared to a $48.65 million valuation two years earlier. And in their bid to continue this astronomical growth, Substack saw an opportunity to expand into comic books.
So naturally, they turned to comic book writer Nick Spencer, author of Morning Glories, The Superior Foes of Spider-Man, and the intensely controversial Captain America & Secret Empire for Marvel Comics. Graeme McMillan covers Spencer’s role and history effectively for Inverse, although the chasm between what was expected from Substack Comics when that piece was published in June 2021 and the exodus of top-tier creators joining the platform since August is kind of mind-blowing. I haven’t seen a single interview with Spencer discussing all this, but if his primary role was to sell creators on using the platform, right now it looks like he succeeded beyond what anyone was predicting.
In retrospect, though, it sounds like Spencer simply had offers no one could refuse. Creators are potentially receiving six-figure Substack Pro grants, and access to health insurance, alongside complete creator-owned rights to everything they create. On top of that, there’s nothing to say these creators can’t also continue to work for licensed comics publishers like Marvel or Image, or turn around publish their Substack comics in print through any traditional publisher.
To say this is the best offer in comics, a medium with a history of creator-rights abuses, and top dogs in Marvel and DC that still regularly come under fire for taking advantage of their creators, is underselling it. Most comics creators are freelancers, hustling 7 days a week on as many projects as they can manage, without any of the security or assurances that these deals appear to offer. And that’s *before* you get to the revenue generated through paying subscribers!
So any time you’re wondering *why* all these comics creators fell in love with Substack? It starts with ‘M’ and rhymes with ‘Funny Bunny Honey’.
The Dark Side of Substack
The nastiest part of all this, and why I can’t purely celebrate arguably the best moment for comics creators since the early 90s Image Revolution (in which creators broke away from Marvel and DC’s control to secure “Creator Owned” rights into their efforts), is that in its years of rapid ascension, Substack developed a reputation for supporting, platforming and in certain cases outright *paying* some venomous bigoted voices. In particular, Substack has come under fire, repeatedly, for supporting anti-trans harassment and rhetoric.
The unpleasant reality is that hate speech sells, and Substack is happy to collect under the banner of “free speech”. As Wired reported as recently as November 2021, Substack is only increasing in its status as home for the “deplatformed,” indicating there’s no real reason to believe this might change. Is “Substack” as a company transphobic? Who knows, but they’re more than willing to host and monetize those voices, and help them grow.
Substack’s leaders appear to pretty wholeheartedly buy into their altruistic mission as the internet’s journalism purifiers (as an X-Men fan, believe me when I say I don’t use ‘purifier’ without healthy skepticism and concern). Certainly, there are engaging kernels of truth there, as backlash to the now “Old Guard” of Facebook and Twitter’s role in spreading hate and misinformation is increasingly well understood. And it’s certainly not lost on me that whereas on Youtube an algorithm is very likely to serve up vitriolic hate, on Substack you only see what you sign up for. There’s inarguable appeal in that.
But that appeal is quickly tainted when you consider whether Substack is actively curating, courting and paying anti-trans bigots. Regardless of the fact that Substack is also paying trans writers and comics creators.
Various comics creators have responded to these issues, notably with Molly Knox Ostertag promising to donate subscription profits to The Trans Lifeline’s Microgrant Program. To my knowledge, Ostertag is the only creator to take such a clear and meaningful step. Saladin Ahmed wrote a compelling rationale as well, noting that there are grim layers to use virtually any platform, and that’s it’s a decision he takes very seriously.
For me, it’s important to make these issues known, and let you respond accordingly. It’s *easier* to just talk about the comics and ignore the cultural and societal harm of a digital service, but ignorance isn’t a solution, no matter how blissful. Trans people around the world are increasingly the victims of dangerous attacks like these, in media, in politics, everywhere; the hatred is unacceptable and should be loudly condemned by all.
How Does Substack Actually Work For Comics?
Most of the focus on the development of digital comics throughout the 2010’s has centered around presentation and delivery of comic books on digital devices. Comixology took a clear and commanding lead in the 2010s, and the likes of Marvel Unlimited, DC Universe Infinite, Shonen Jump, and most everyone else has followed. Like most streaming services, competitive viability comes down to the library of content, and the ability to consume comics on the preferred devices (in this case mostly tablets, with a side of smartphone).
Substack is unique here in that the platform is entirely about the creators, and not at all about the delivery system. Put more simply: Substack will dump your comics into an email, but how you read them is left up to you to figure out. ND Stevenson is notable for delivering short memoir-ish vertical comics that actually read ok in an email, but for most creators working in traditional comics formats, email is a poor vehicle for reading.
Admittedly, I’ve been astonished that not only did Substack lack a plan for actually reading comics, but they don’t even have an app to let you gather all your subscriptions in one place (again, there’s a reader available via browser). This is purely speculative, but the absence of any solid infrastructure definitely makes me question the long-term sustainability and commitment to the platform.
That aside, since launch, the leading creators have generally started making any released comics available via PDF, CBZ/CBR, or through a fall 2021 integration with the iOS app “Panels.” Honestly, it’s a real throwback to 2011 when digital comics were developing, as I’ve had to relearn how to get CBZ files on my Android tablet (thank you ComicScreen!).
Likewise, whereas the leading comics libraries are focused on organizing their substantial output, that’s going to be left up to individual comics creators, suddenly running their own comics blogs (we’re basically twins now!). Jonathan Hickman’s “3 Worlds / 3 Moons” has created an index of chronological comics output, and I imagine most creators will follow suit. Nonetheless, the ability to actually read comics is far from buttoned up, and really reflects one of the strangest things about comics on Substack: It’s a newsletter company trying to sell digital comics.
This highlights the other major issue you’ll find if you’re here to read comics from your faves: Most emails/posts from creators don’t include comics.
Creators are encouraged (required?) to send regular updates via their newsletter, which means your inbox is about to swell like Namor’s thighs. In theory, this can and does lead to pretty cool insights directly from creators, like Mike Huddleston explaining his design in a comic with Hickman, or Sophie Campbell sending genuinely hilarious pictures of the stuff she’s being buying with all that sweet Substack cash. Likewise, for the paid tiers, most creators are increasingly adding in perks that include signed materials and merch.
Mostly, though, it’s an inbox of unread emails that looks strangely like my piles of unread comics (except one of those things could actually be a comic I read if I wasn’t so unfocused!).
The Comics Creators on Substack
Unlike a Marvel Unlimited or Comixology Unlimited, instead of paying to subscribe to an all-you-can-eat comics service, with Substack you subscribe to each comics creator you support individually (and note up front, that all of them offer a free tier, where benefits may vary). There is a Substack reader hub that will show you all your subscriptions in one place, but you are also agreeing to receive all posts as emails. From what I’ve seen, you can’t turn off newsletter notifications without simultaneously unsubscribing from a creator, so if you want to add everyone, get ready for a loaded inbox.
When you’re new to Substack, there’s a “Discover” feature with a curated comics list, seemingly organized by subscriber count. This will show you the top 25 publishers, but from there you’re on your own. I won’t be highlighting literally every project, but will spotlight the ones I find most interesting.
Worth Checking Out
3 Worlds / 3 Moons
Creators: Jonathan Hickman, Mike Del Mundo, Mike Huddleston
Notable Prior Works:
- Hickman – My favorite Marvel Universe legacy, East of West
- Del Mundo – Weirdworld
- Huddleston – Decorum
Publication Model: Open concept universe where you get the world-building and theory before the finished comics. If you like studying the fantasy world map for hours before you read the story, you’re gonna love it. Paid subscription required.
What Comics Do They Have?
To date, comics are shorts (9-11 pages), building out the universe of 3 Worlds / 3 Moons. The comics release in black-and-white before full color. At time of publication, 6 stories have been published in about 5 months.
Is It Worth It?
This is the only enterprise I paid for out of the gate, basically viewing it as a Patreon for Jonathan Hickman, one of my favorite comics creators of all time. This has resulted in some cool perks, such as the recent announcement that early adopters will receive free print editions of the collected comics once those become available (minus shipping).
As concisely as I can put it: It’s been a weird experience! The whole thing is really emblematic of the raw, start-up energy of comics on Substack, with unique exclusives you wouldn’t get anywhere else, and ideas that absolutely bomb.
I remain interested (even moreso after this week’s announcement longtime Marvel editor Stephen Wacker is joining the team as Editor-in-Chief), and I’m excited to read more once there’s a real amount of story that starts to come together. But in these early stages of world-building, it’s like watching cooks in the kitchen, and while I respect the talent, I really just want to eat.
The Empire of the Tiny Onion
Creators: James Tynion IV
Notable Prior Works: The Department of Truth
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required*
* Tynion has announced the upcoming “The Oddly Pedestrian Life of Christopher Chaos” will be free
What Comics Do They Have?
- Blue Book – Michael Avon Oeming, Aditya Bidikar
- Department of Truth: Wild Fictions – Various (Includes Bill Sienkiewicz & James Stokoe)
- The Closet – Gavin Fullerton, Chris O’Halloran, Tom Napolitano
- The Oddly Pedestrian Life of Christopher Chaos – Tate Brombal, Nick Robles, Isaac Goodhart, Kurt Michael Russel, Aditya Bidikar
- True Weird – Anthology
Is It Worth It?
Tynion’s really become the poster child for the Substack exodus, both because of the clear Batman vs. Substack decision, and because no other creator has so wholly embraced publishing through their own Sub-empire. Tynion’s also been writing one of the most interesting creator newsletters out there before any of this happened, and was well positioned to capitalize.
On top of that, Tynion’s fresh off a deserved Eisner win, and already writes a ridiculous amount of the best comics on shelves.
So yes, the promised output is the most you’ll find on here, and Tynion’s working on another level right now.
It’s Chip Zdarsky’s Newsletter, Okay?
Creators: Chip Zdarsky
Notable Prior Works: Sex Criminals
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required. You can read Public Domain #1 for free.
What Comics Do They Have?
- “Kaptara”
- “Public Domain”
Is It Worth It?
Check out that first free issue of Public Domain and decide for yourself!
I’m Fine I’m Fine Just Understand
Creators: ND Stevenson
Notable Prior Works: Nimona,
Publication Model: Short vertical comics that actually read easily in a newsletter! Open to everyone.
What Comics Do They Have?
The entire product is Stevenson’s comics musings, working through everything from gender to mental health to Abraham Lincoln’s corncob pipe.
Is It Worth It?
Yes! Some of my favorite emails week to week.
Everlasting Productions
Creators: Tom King and Elsa Charretier
Notable Prior Works:
- King – Mister Miracle
- Charretier – November
Publication Model: Freemium
What Comics Do They Have?
“Love Everlasting”
Is It Worth It?
Yes! Obviously “free” is a pretty tough price to beat, and the first issue of Love Everlasting is extremely compelling, launching with a clear hook and Charretier’s glorious style reminiscent of the late great Darwyn Cooke. I”ll absolutely be checking out every issue.
Copper Bottle
Creators: Saladin Ahmed
Notable Prior Works: Black Bolt
Publication Model: Freemium, Webcomic (issues are not available to download)
What Comics Do They Have?
“Starsigns” – Megan Levens, Kelly Fitzpatrick, Shawn Lee, Heather Antos
“Terrorwar” – Dave Acosta, Jay Leisten, Walter Pereyra, Shawn Lee, Heather Antos
“Wages and Sin” – Vanesa Del Rey, Shawn Lee, Heather Antos
Is It Worth It?
Yes! The biggest downside to Ahmed’s work is the lack of downloadable CBR/CBZ files, but since he’s giving away the comics for free, that’s not as big a deal.
BARF
Creators: Sophie Campbell
Notable Prior Works: TMNT REBORN
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required. Shadoweyes Chapter one is free.
What Comics Do They Have?
“Shadoweyes”
Is It Worth It?
Yeah. Campbell’s work on IDW’s “Teenage Mutant Ninja Turtles” comics is some of my favorite stuff of the past few years, “Shadoweyes
In The Telling
Creators: Molly Knox Ostertag
Notable Prior Works: The Witch Boy
Publication Model: A mix of freemium and paid subscription required.
What Comics Do They Have?
“Darkest Night” (paid)
“Hobbit Comics” (free)
Assorted short comics (free)
Is It Worth It?
Yeah, I think so. You can read the first chapter of “Darkest Night” for free.
Wait And See…
Exploding Giraffe
Creators: Brian K. Vaughan, Niko Henrichon
Notable Prior Works: Pride of Baghdad
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required.
What Comics Do They Have?
“Spectators,” a graphic novel.
Is It Worth It?
BKV is one of the biggest comics writers in the world (perhaps you’ve heard of Saga, Y The Last Man, and Runaways?), and he’s re-uniting on a graphic novel here with Pride of Baghdad partner Niko Henrichon. Odds are it will be good.
The comics experience here is most likely going to be pages of a graphic novel parsed out slowly over time, as they’re developed. Personally, I just like seeing the finished product, and will check back in at that time.
Xanaduum
Creators: Grant Morrison
Notable Prior Works: All Star Superman
Publication Model: Unclear!
What Comics Do They Have?
“In Xanaduum…”
Is It Worth It?
I have no idea, but Grant Morrison is one of the most acclaimed and popular comic book writers of all time, so I’m unquestionably curious.
KLC Press
Creators: Donny Cates, Ryan Stegman
Notable Prior Works: Cates & Stegman – Venom
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required
What Comics Do They Have?
“Vanish” is in process.
Is It Worth It?
Jury’s definitely out. Unless you’re a superfan, I’d wait for some comics.
Tales From the Farm
Creators: Jeff Lemire
Notable Prior Works: Black Hammer
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required
What Comics Do They Have?
- “Fishflies”
- “The Last Days of Black Hammer” (upcoming 100 page graphic novel)
Is It Worth It?
Lemire’s probably the most productive man in comics, maintaining an extremely high level of quality. Unless you’re a superfan, though, I’d wait until at least “The Last Days of Black Hammer” is available.
1979 Semi-Finalist
Creators: Kelly Thompson
Notable Prior Works: Hawkeye, Captain Marvel, Jem and the Holograms
Publication Model: Digital comics publisher (likely possibility of later print editions), paid subscription required
What Comics Do They Have?
“Black Cloak” – Meredith McClaren
Is It Worth It?
Read the first issue for free and decide!
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Hi! "It's ALL (owl) Good Times" is a "gag" comic strip that is also hosted on Substack. It's about the adventures of an owl who tries to be helpful, but nothing works out as planned, yet in the end everything turns out fine. It's it's ALL good!