Characters in a Self-Aware Comic Universe

A Review of the 1/0 Comic

1/0 is a comic where the characters are fully aware they are fictional. They experiment to determine the physical and narrative laws of their universe, create new characters, and debate the nature of free will.

The story begins with the author, Tailsteak, quoting Pablo Picasso “Good artists steal.” He starts by stealing bit characters from other Webcomics.


1/0 has a surprisingly deep cast of characters for a black and white low-brow comic. The characters are fully aware of their existence in a comic, and often debate the physical and narrative laws of their universe, experiment to determine their fates, and even rebel against their author. They also know the world they live in will end at the 1000th comic, although those who die during the comic’s run are resurrected as ghosts.

Ghanny occasionally piques the octogenarians’ indignation with his use of a “ghost point” to resurrect Junior after he’s killed off-panel. Similarly, he once admitted in-universe that he pigeonholed his character Junior by making him small in relation to the other octogenarians (although he apologized for it). The fourth wall is broken on a number of occasions, including when a swear is used during an argument between Terra and Zadok, and a smooch is shown between them. In addition, a number of other snarky one-liners are tossed in from time to time.


A story in a comic book is told through the use of speech balloons, panel borders and captions. Speech bubbles are used for spoken dialogue and balloons with a tail, called a thought bubble, indicate what a character is thinking. Thought bubbles are normally cloud-like with a tail, but can be any shape that suits the style of the comic.

The plot of 1/0 hinges on its characters and the ways they react to each other. The author, Tailsteak, often interferes with the action by talking to the characters or introducing new ones. He messes up plans for long term plotlines and breaks dramatic moments with idiotic questions.

1/0 is also full of call backs and references to other comics. For example, the first strip of the series references the arcade style from a comic over a decade old. It’s a great way to show that the comic has an extensive history. This is a good way to build up the audience for the comic.


I love the art in this comic, which is surprisingly rich for a black and white webcomic. It’s also a great example of what you can do with characters who have full knowledge of their existence in a comic: They can break the fourth wall, experiment to determine narrative and physical laws, or even rebel against the author. It’s a great reminder that the best writers are those who let their characters write themselves. The 1/0 characters are a testament to this. The creator of this comic goes by the name “Andy” or “Kent Mansley” on Comic Art Fans, and he is one of our most prolific commenters on CAF galleries.

Final Words

A good author knows that their characters are their worst enemies. They can mess up long term plot points or break dramatic moments with idiotic questions. They are also capable of stealing bit characters from other comics or “creating” them from scratch.

1/0 uses this to its advantage, giving us an in-world wiki full of character facts. The characters also discuss math, science and philosophy. They even talk about themselves and their favorite foods, though they never mention anything sexual.

0-0-0 and BT-1 finally merited a front cover (albeit in a color variant exclusive to the El Capitan theater and a sketch variant for 1:100 store incentive) on the final issue of Vader Down, though this wasn’t until Part 3 and not Part 2. Earlier, they shared a back cover on a Star Wars #13 connecting cover by Clay Mann.

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Marvel Comic Art – Evolution of Superheroes

Marvel Comic Art – The Bronze, Silver, and Modern Ages

Marvel Comics has been around for over a half century. In that time, the company has pushed the boundaries of what is considered realistic storytelling.

For example, one Spider-Man story arc dealt with drug abuse and drew the ire of the Comic Code Authority. This allowed for more humanistic characterizations that would connect with the reader.

The History of Marvel Comics

From a small publisher of pulp magazines to the entertainment monolith of today, Marvel has refined the superhero genre. It was a company that knew what its audience wanted and gave them it.

In 1939 established pulp-magazine publisher Martin Goodman launched a series of new comic books under the umbrella name Timely Comics. The debut issues showcased Carl Burgos’ android hero the Human Torch and Bill Everett’s mutant antihero Namor the Sub-Mariner. Both titles were among the first to be distributed directly to comics-specialty stores rather than through newsstands.

With the advent of the booming postwar economy, more and more Americans were spending their leisure time reading comics. Increasingly, readers wanted more realistic characterizations and social-issue stories that delved into problems such as pollution, race relations, and drug abuse. A Spider-Man story arc from 1971 that depicted heroin use even caused the comics industry’s self-regulatory Comic Code authority to review its policy. This more serious approach helped build Marvel’s reputation and attracted university-age readers to its titles.

The Silver Age

Marvel was still getting its feet wet in the superhero genre when it released a new character called Thor in 1952. Originally created for Atlas Comics under the Journey into Mystery and Tales to Astonish brands, Marvel was unsure about the God of Thunder, but he soon shot up the sales charts with his super-powered antics.

This was also the era when the Comics Code Authority began to heavily influence publication, with stories forced to keep to certain moral and family-oriented topics. It wasn’t until the last 60’s and 70’s that publishers would start to allow more wacky speculative fiction plots.

The best artists of this era included Joe Kubert, Gil Kane, Carmine Infantino, Alex Toth, Russ Heath, Steve Ditko, and John Buscema. But the most important contributor was Jack Kirby. His sheer, explosive creativity was something to behold. He just couldn’t stop creating new characters. He was the most prolific superhero creator of the Silver Age.

The Bronze Age

Unlike the Silver Age, there isn’t one specific event that defines the beginning of the Bronze Age. Some people peg the beginning at 1970, with the enthralling Captain Marvel Adventures from Fawcett Comics. Others look at the end of the era in 1985. This was when DC’s Crisis on Infinite Earths concluded, and the company began reworking their entire universe, making them a serious competitor to Marvel again.

Many people also use this time frame to mark a change in the tone of superhero comics, which had been moving towards more mature themes and darker stories. This can be seen in the death of Gwen Stacy in Amazing Spider-Man, the emergence of Dennis O’Neil on Batman, and a shift toward more realistic superhero stories. The Bronze Age also saw creators fighting for their rights, resulting in more stories featuring characters who were the products of their own imagination rather than someone else’s. This would continue into the Modern Age.

The Modern Age

The Modern Age, spanning from the mid-1980s to present day, was marked by the commercialization of comic book publishers and psychologically-complex characters that challenged traditional superhero archetypes. Marvel began to produce horror and science fiction titles, reversing the Comics Code Authority’s ban on the genre, while influential limited series such as Alan Moore’s “Swamp Thing” and Neil Gaiman’s “Watchmen” set new artistic standards that led to DC’s Vertigo line.

The success of the X-Men franchise launched an entire line of spinoff titles and propelled Marvel into mainstream popularity. The Modern Age also saw a great rise in the popularity of graphic novels and manga-inspired books.

The Modern Age was characterized by numerous reboots and relaunches of existing characters and lines, as well as the increasing prominence of independent publishers. This trend is continuing to this day. The Modern Age was also the first time that comics incorporated the Comics Code Authority’s rating system. This can be found on a comic’s UPC box and indicates whether the comic is appropriate for all ages or for teens and up.

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Comic Art Tattoos: A Permanent Tribute to Fictional Characters

A Comic Art Tattoo For Comic Book Fans

Tattoos are a permanent addition to one’s body and it is important to choose the right design that will look good in the years to come. A well-chosen comic art tattoo is a great option for those who have a passion for these fictional characters.

Take for instance Patrick Rayne’s amazing depiction of Thanos. It took him seven hours to finish the massive piece that perfectly captures the character’s menacing nature.


People get tattoos of comic book characters for a variety of reasons, but the common theme is that they love these characters. That love is often reflected in the way the tattoos are designed.

For example, Patrick Yurick incorporated black outlines into his tattoos that he can use to draw different panels every day. This allows him to create a comic that changes each time.

In addition, some artists use references to make connections between images. This is a convention that is often seen in traditional comics, but it can be used to great effect with a tattoo.

Venom is a classic example of this technique. The symbiote can take over various hosts, which makes it easier for it to wreak havoc. This is a good way to add a lot of character to a tattoo. In addition, it helps to save time on drawing the character over and over again. This is especially important for small tattoos.


Tattoos are a big part of popular culture and this is especially true for comic book fans. The popularity of superheroes and villains from the world of comic books spills over into all areas of culture, including film and TV. This has also spurred a movement in the tattoo industry with artists creating these types of body art for their clients.

For example, Superman is a classic comic book hero who has been around for decades. He has become an icon due to the success of the movies and television shows that have been made about him. A great way to show your love of the Man of Steel is to get a tattoo of him, such as the famous S symbol, a portrait of the character, a scene from one of the movies or comics or Krypton imagery.

Another popular comic book hero is the sardonic superhero Deadpool. He has risen in popularity due to the recent blockbuster films that have been made about him. A tattoo of this mercenary could be a red and black mask, a portrait of the character or a panel from a comic.

Reference Images

Comic book characters are all the rage these days and they’re spilling over into all aspects of culture, including tattoos. These lovable caped crusaders and painted face villains can be found on fanboy’s (and fangirl’s) bodies in the form of incredible artwork by some of the best tattoo artists around.

Having excellent imagery for your tattoo is essential and it helps to do a little research to find the character you want before going to get inked. Using reference images will help you visualize what the finished product will look like and it will also give you an idea of how it will fit on your body.

Patrick Yurick incorporated his love of drawing with a comic tattoo on his forearm, which he can modify every day. Each black ring is a panel that he can fill in with a different scene, which allows him to create an ever-changing story on his arm. The result is a unique piece that shows off his talent as an illustrator and reflects the passion for his music and comic books.

Future Scenarios

Throughout the book, Hoseley says she hoped to keep the stories from turning into comic book versions of Amos’s music videos or illustrations created from literal interpretations of her lyrics. She wanted to leave the creative artists free to create the kind of story that reflects how Amos’s songs make them feel without limiting them in any way.

There’s no doubt that the popularity of comic books and their spin-offs is at an all time high, and this is spilling over into all aspects of culture including tattooing. Connecting Point’s Ross Lippman visits Oxbow Tattoo in Easthampton to find out how one former Teenage Mutant Ninja Turtle illustrator turned his talents from turtles to tattoos.

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