In this post, we’ll explore how to utilize AI to start building your own computer-generated comics. With the right prompts and a bit of guidance, you’ll be scripting and visualizing unique stories in no time. Let’s dive in!

Getting Started 

The first step is finding the right AI art generator for your needs. Services like DALL-E 2 and Midjourney specialize in creating individual comic panels and characters. Meanwhile, Stable Diffusion works well for complete multi-panel comic pages.

DALL-E 2 produces incredibly photorealistic images from text prompts. So it excels at plausible character designs. Midjourney renders more fantastical, stylized art with vivid colors. It’s great for evoking specific moods or energies for scenes. Stable Diffusion generates full comic layouts, but the art style tends to be less coherent panel-to-panel.

Once you select your AI assistant, it’s time to craft the textual prompts to bring your comic visions to life. Prompting is an art in itself—small tweaks can yield dramatic differences. Let your imagination run wild! Use descriptive words to set the tone and specify finer details. Here’s an example Stable Diffusion prompt for a comic panel: “A tall, strong female warrior with red hair stands triumphantly on a battlefield, mountains visible behind her and the sun setting, digital art”

Adjust prompts slowly to guide the output closer to what you envision.

Scripting and Visualizing Your Comic

AI art generators open new doors for visual scripting. You can create comic scripts focused solely around the key story beats and moments you wish to depict visually. Develop a sequence of narrative prompts describing sequences of events, characters, and settings.

Many comic creators start by visualizing a key character design or iconic cover scene. This grounds the project and gets those initial creative juices flowing. From there, iterate through various comic panels structuring your story arc. Follow the classic creative writing advice of establishing relatable characters, an escalating central conflict, and a satisfying climactic resolution.

Polishing Your Comic

AI-generated art still requires a human creative director. Embrace an experimental mindset while fine-tuning the visuals. The AI will inevitably take some strange tangents from time to time. But that’s half the fun! Curating the happy accidents separates a passable comic from something special.

After generating panels, use editing software like Photoshop to compose layouts and smooth over any odd artifacts. Ensure consistency between character depictions and backgrounds across panels. Finally, have fun adding text, word balloons and other finishing touches to bring your scenes to life!

Potential Pitfalls to Avoid

As with any new technology, utilizing AI for comic creation comes with some potential pitfalls to avoid. As amazing as the results can be, the models still make mistakes. It’s important to review the outputs carefully rather than immediately accepting them as final.

For sequential art, pay close attention to consistency across panels. Do characters look the same from one panel to the next? Are backgrounds visually coherent or do objects, colors, and lighting shift unexpectedly? These details may require additional tweaks and polishing between panels to maintain the scene’s integrity.

AI art can also struggle with logical physical interactions between characters or objects in 3D space. A powerful action sequence could be visually implausible. Fight scenes may feature characters floating awkwardly rather than grounded by physics and gravity. Vehicle movements can defy momentum. Scan panels closely and ensure believable functionality.

Finally, be cautious when generating text, especially for critical story elements like character dialogue. While AI caption writing has improved, it still risks odd phrasing or content inconsistencies. After composing the textual storyline, have the AI generate art only while handling the linguistics separately.

Tips for Refining Your Comic Art Style

As you experiment generating comic art with AI, a key goal is refining a visual style that brings your story to life. Luckily, these models provide numerous tuning knobs to explore. Let’s go through some prompt tweaks to define your aesthetic.

• Want color schemes matching your story’s tone? Add descriptive terms like “cyberpunk neon” or “gritty sepia tones.” Seeking more realism? Use phrases like “ultra-detailed rendering” or “photorealistic.” Would you prefer an animated look? Try “CGI” or “Pixar style.” Comic styles range widely—pinpoint adjectives help steer the art direction.
• The AI often needs help with coherent backgrounds missing relevant objects. Provide context through prompt details like “classroom science lab” or “alien spaceship control deck.” Specify critical scene-setting elements so the AI prioritizes them.
• Take control of styling for key characters as well. Insert distinguishing descriptors like “strong jawline,” “flowing cape,” or “cyborg arm” tied to plot-critical design choices. The AI will then consistently render those memorable traits.
• Finally, feel free to guide the AI away from problematic content when it arises. Insert instructions like “no nudity,” “peaceful,” or “utopian” to encourage more constructive themes. There’s also no shame deleting generations that miss the mark artistically or ethically.

The Future of AI-Generated Comics

We’re just witnessing the beginnings of AI’s expanding role in comic creation. Current models still have clear limitations, but they’re rapidly improving to push the boundaries further. Soon, writers may sketch interactive storyboard animatics to test comic pacing instantly. Artists could indicate layouts and let AIs handle detailed illustrations, textures, and color grading.

In the coming years, expect comic editing software to integrate directly with generative models. With handy sliders and buttons, anyone may effortlessly guide AI art direction or synthesize new script dialogue. Creators will focus more on big-picture vision while automation handles time-consuming production tasks.

Innovations like multilingual comic localization, personalized custom printing, and augmented/virtual reality could all intermix with AI-generated comics. The floodgates are open to keep enhancing graphical storytelling in wondrous new ways.

We’ve only begun uncovering what’s possible. As AI art models continue evolving with human creativity, there’s no limit to the transformative comic worlds we might explore. Each new experiment leads down unexpected tangents. What emerges is a dance between creator and machine collectively transcending their limitations.

So let’s start crafting! With fearless imagination and AI by our side, the next generation of comics awaits. What will your next mind-bending creation look like?

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The world is a cruel place and a lot of evil lurks in it. To make one feel the illusion of safety, evil lurks – in shadows, in other people’s minds and intentions. There are places where the concentration of evil exceeds all limits. The Arkham Sanctuary. It is open for lost souls to take up their minds, but it is here that they finally descend from that mind and, remaining in eternal darkness, wait for the sacrifice. And the victim is sure to show up sooner or later to end up in hell.

Warren White, nicknamed the Great White Shark, who is on trial for a daring financial scam, succeeds in having him declared insane and placed in Arkham instead of prison. Very quickly the audacious crook realizes that he has made a big mistake. From the very doorstep, the hospital guard tells White that he was the Great White Shark in the outside world and that in Arkham he is just a fish in a tank full of predators. Warren shares a cell with the child killer, and is visited in the shower room on his first day by the Joker himself. Gotham’s scariest villain tells the newcomer the frightening truth: “I think you’re the worst person I’ve ever met.” It’s a verdict. Warren White is destined to go through all the circles of hell within the walls of Arkham. The creepiest patients of the asylum – both those well known from the DC comics and a few “newcomers” – will assist in this endeavor.

The Joker and Two-Face, Killer Croc and the Mad Hatter, Humpty-Dumpty and Jason Blood, aka Etrigan, as well as Jane Doe, Washing Dog, Death Rattle and others. There will be many encounters, each one remembered in body and mind. The Great White Shark will have to navigate through the murky waters of madness and behold the real darkness.

Three reasonable reasons to read the comic book “Batman. Arkham Healing. Hell on Earth.” Balancing on the edge between horror and macabre, Dan Slott’s script. Drawings in which artist Ryan Suk (“Superman. Action Comics”) tosses the reader from the creepy everyday lives of the patients of the asylum into flashbacks tinged with nostalgia to psychedelic hell. Issue covers by Eric Powell.

The deluxe edition includes all six issues of the mini-series “Arkham Asylum. Hell on Earth,” as well as a screenplay entry by Dan Slott, a gallery of sketches and biographies of some of the comic book characters, an explanation of the Easterlings important to the story’s unfolding, and notes.

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Getting rid of the theme of “pernicious and deceitful femininity” (created by Pandora shortsighted act gave a great reason for such conclusions in the era of the establishment of patriarchy, but now with such hints none of the reasonable people, which must include the creators of this comic, do not want to deal), Jeff Jones, Jeff Lemire, Ray Fox and other writers turned to another famous proverbial truth: “good intentions paved the road to hell”.

That’s exactly what’s being set up in the pages of this comic with all the proper entourage – and, as the prophecies of the never-wrong prophetess Madame Xanadu say, it’s only going to get worse from here. Amanda Waller’s far-reaching political intrigue (not enough Suicide Squad for her) has led to the creation of the Justice League of America, and if you think honest and brave superheroes have gathered under that banner to help the “original” League in any way they can, you don’t know Waller very well.

The two organizations converge in a Middle Eastern country where Shazam, defying prohibition, went to fulfill one promise he made. This is where groups of superheroes collide in a deadly confrontation – basically, the kind of beginning of almost any crossover where the participants, caught in an unclear situation, immediately, instead of sitting around a round table and discuss everything, begin an epic battle, not particularly thinking about the consequences and diplomacy.

But in “The War of the Trinity,” the already seemingly familiar battle of the metalmen ends miserably: one of them dies, and the other experiences a severe “crisis,” unable to believe that he could kill a man. Maybe it’s just Pandora’s Box, which had recently been in the hands of the “murderer”? To find out and prove the innocence of the “criminal”, his friend and comrade-in-arms, who prefers a bat suit, is ready to go on a metaphysical journey through heavenly realms, enlisting the help of such a mysterious character as the Ghost Wanderer, and his amazon girlfriend, realizing that without experts in magic and esoterics can not do without, goes to John Constantine and his Dark League of Justice.

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About a century before the main plot begins, a mysterious race of giant ogres, known as “Titans,” suddenly appears and nearly exterminates humanity. In order to protect themselves from the resulting threat, the survivors built three walls, Rose, Maria and Sina, and then locked themselves away, oblivious to the dangers of the outside world.

A boy named Eren and his friends dream of ever seeing the world beyond the walls. But their peaceful life is suddenly interrupted when a 60-foot titan destroys the wall. The city is filled with titans. In this turmoil, his mother dies and he vows to destroy all titans to avenge her death. Later he enrolls in the Reconnaissance Corps. Together with his comrades, Eren discovers the true origins and nature of the titans, as well as the lost history of the world across the ocean.

The idea for the creation came to Isayama when he met a drunken man in an Internet café who grabbed him by the collar. The author said he was inspired by the man’s inability to communicate and reason, even though they belong to the same species. This encounter led him to believe that “the most familiar and terrifying animal in the world is man.” This idea describes titans, terrifying and dangerous creatures who, despite their humanoid appearance, are devoid of any humanity. Isayama also mentioned the visual novel Muv-Luv and the ARMS manga as major influences on his work.

The landscape was inspired by the nature of Isayama’s own hometown, which is located in the mountains. The author often wanted to visit beyond the mountains, which influenced the manga protagonist’s future desire to go beyond the walls. The anime producer added that the concept of isolation and overcoming the so-called “wall of fear” was also inspired by the isolated and enclosed nature of Japanese culture.

Isayama first drew the 65-page project in 2006 and offered it to Weekly Shōnen Jump, but was turned down and asked to rework the story itself and style to be more appropriate for the magazine’s readership. He declined and instead sent his work to the Weekly Shōnen Magazine department of Kodansha, where he was accepted and was able to begin publication in the first issue of Bessatsu Shōnen Magazine in September 2009. At the time, Isayama was 23 years old and this was the first work he had ever published.

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Despite the original plot, as a post-apocalyptic, “Y: The Last Man” looks mediocre. It is a traditional wander through a half-destroyed world that can go on indefinitely until the author gets tired. The plot of the first volume is built from genre clichés: the protagonist goes from one place to another, finds companions and enemies, witnesses human cruelty… We’ve seen this many times before.

After Robert Kirkman’s “The Walking Dead” with its psychology and moral dilemmas, “Y: The Last Man” may seem like naive teen fiction with cartoon characters. This is especially true of radical groups and superagents with poorly spelled out motivations. What saves the situation is the dynamics of the plot – it is constantly moving somewhere, the characters are doing something, the scenery is updated, and one becomes addicted to the story. For an entertaining work, this is already pretty good.

Well, the main merit of “Y” was the artwork. If the cover artist J.J. Jones aimed to please the male audience and added in the illustrations the obvious sexual connotations, the artist of the comic book Pia Guerra, on the contrary, promoted the author’s idea – she drew the realistic post-apocalyptic without excessive eroticism. Her heroines look like ordinary women and don’t look like lustful porn actresses.

At the same time the comic book graphics can’t be called gloomy and boring – illustrations look very bright and nice, they don’t reek of apocalyptic depression. It sets “Y” apart from other genre works, where the constant gray sky casts an artificial gloom. Most importantly, with a quality approach to drawing, Guerra was able to maintain a high production pace. The first volume of 264 pages is only a fifth of the entire story!

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The main advantage of “Blacksed” – incredibly deep elaboration of a unique neo-noir world, populated by anthropomorphic beasts. Every character here corresponds to a species. Blacksed the cat is able to unravel any case thanks to his natural instincts. Smirnov the German Shepherd serves the law faithfully in a police department that is rotten from within. Weakley the ferret chases journalistic scoops and constantly sticks his nose into the wrong business. If a lizard, he’s a slippery and suspicious character, if a gorilla, he’s a big guy and a bouncer, and so on.

The authors put all these unusual characters in a traditional adult Sin City, with dirty politicians and petty crooks, with racists and communists, with missing children and fatal beauties. An unusual combination, don’t you think? Each tale turns out to be a traditional detective story with a crime, an investigation and a slightly sad conclusion – one cat can’t change this immoral world, but you can make it a little better.

“Blacksad” is an example of great work not only by the screenwriter, but also by the artist. It is one of the most beautiful and detailed graphic novels. Each frame of the comic book is an individual work of art. Every character is drawn with incredible anatomical precision and has its own unique features. The interior of each apartment is thought out in detail and reflects the character of its inhabitants. And the city is populated by a huge number of diverse passers-by and therefore looks completely realistic. And most importantly, the picture is so charming that you just can’t help but fall in love with Blackshead. This level of drawing doesn’t exist in Marvel or DC Comics.

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The author deliberately built the plot around Aquaman’s ridiculous image. The Atlantean descendant is confronted not so much by horrible monsters as by the mocking American society. The superhero is alien to the world where he grew up. A contradiction begins to grow inside him: why risk his life for the sake of people who don’t have the slightest respect for him? This background makes the story look good against the backdrop of hectic superhero action movies, and the unhurried pace of the narrative creates the necessary immersive effect. You can really empathize with Aquaman here!

Artist Ivan Reis successfully maintains the originality of the comic. He draws the monsters confronting the hero in a dark, almost Lovecraftian style, thereby introducing a touch of effective horror into the story. As a result, the comic also looks better than many of its counterparts.

The last but not the least advantage of “The Hollow” is its self-value. The story arc is competently closed, and the intriguing ending becomes just a reason to pay attention to the sequel.

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In his long ramble through the Twilight Zone, he’ll be joined by the likes of Penguin, Two-Face, Killer Croc, Harley Quinn, Enigma and, of course, Batman…and God help them all.

The Joker’s story, told on behalf of his loyal, though naive sidekick named Johnny Frost, is a classic crime noir, a chiseling trip through a city of rain-soaked streets, dirty laundry and utter frustrations.

It’s perhaps the most important Joker story, and it’s all the more amusing because it’s written by an author who has been destroying the superhero myth for no small part of his career. The Joker’s origin story has always been a mystery, a mystery more befitting an envoy of Chaos. DC has repeatedly stressed that this comic shows only a version of what could have happened. And yet “The Killing Joke” is based on the stories about the Joker by Tim Burton, Todd Phillips, and numerous writers of the “main” DC universe.

Moore, in his uniquely poetic and filigreed style, tried to draw a line under the timeless story of the confrontation between good and evil in Gotham – suggesting how it might end. What would a villain have to do to force Batman to cross the line he swore not to cross? Not the most intricate plot about this couple, but it’s a game-changer. If you want to know where the modern-day Joker came from, you’re right here.

Superhero comics don’t often show the world through the eyes of everyday people. Usually ordinary people scatter in fear, become hostages or victims. Here we see real police work: investigations, interrogations, conflicts. This is exactly what the “Gotham” series was supposed to be – a fusion of “The Dark Knight” with “The Wire”, not a circus with a brothel.

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“Valerian and Loreleen” is a typical brainchild of the 1960s, a kind, naive and light fantasy. It is a relative of “Star Trek” and “Alice Seleznyova,” only in comic book form and liberated in the French way. The world of the future according to “Valerian” is funny and positive – however, it is difficult to reduce it to a single world. The actual Earth of the 28th century receives a minimum of attention. In each issue, the agents wander through different eras and planets unlike one another. Already in the first novel Valerian goes to the time machine in the analogue of Bulychev’s “era of fairy tales” to fight with the sorcerer professor. And in the second heroes is delayed in a post-apocalyptic era, but even there they are waiting for easy and fun adventures.

“Valerian” looks pleasantly old-fashioned these days. Even for those who didn’t grow up with these comic books, it evokes a kind of nostalgia for the childhood and immediacy of sci-fi. What to say about the French: for many of them, including Besson, it was one of the main experiences of childhood.

In the current collection, timed to coincide with the release of the film, the publishers have tried to emphasize this cultishness and instill in the reader a reverence for the classics. The comics are preceded by an extensive preface and interviews with Mezière, Kristen, and Besson. An entire page is devoted to the similarities between “Valerian” and “Star Wars” – the creators of the comic never tire of suspecting Lucas of plagiarism. We are not allowed to forget: if “Valerian” in some places is similar to other famous sci-fi, it was before.

By the way, with all due respect to Mézières and Kristen, their claims about “Star Wars” are far-fetched. All the above “borrowings” – the armored bras, the freezing, the ugly faces under the iron masks – aren’t exactly original, they’ve been around in pulp fiction since the 1920s. Lucas was hardly inspired by French comics, which had not even been translated at the time (the first English edition of Valerian is dated 1981). More likely the native American Flash Gordon and Buck Rogers. Both “Star Wars” and “Valerian” were following in the footsteps of their predecessors, so even in those years they had a retro feel to them.

After such a high-profile introduction, there is a risk that upon seeing the first pages of the comic book itself, readers will exclaim disappointedly, “What, this is your classic?” So let’s warn you right away: the first collection includes the earliest stories about Valerian – the ones from which the comic began in Pilote magazine. The first stories have a much more artless style of drawing than you’ll find in today’s BDs, and naive plots of amusing adventures, rather than serious sci-fi.

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The comic is set in a world very similar to our own; the only difference is that superheroes existed in that world. But in 1985, they are banned; most of the defenders of justice have retired. Only the all-powerful Dr. Manhattan continues to symbolize the power of the United States, thereby upsetting the delicate balance of the Cold War. The world is on the brink of catastrophe – and at this point, for some reason, the hunt for former heroes begins and Alan Moore and Dave Gibbons’ grand tale of war, peace, justice, humanity, cruelty, and, of course, men in masks and cloaks.

Today, Watchmen is considered a must-have classic that anyone who reads comic books should definitely become familiar with. And especially those who are tired of the monotonous superheroics of Marvel and DC.

“Watchmen” is a comic book at the crossroads of several genres. It is both a detective, a chronicle of the Cold War through the eyes of citizens, a sci-fi story, and a deconstruction of superheroics.

Using the example of Dr. Manhattan, we are shown the story of a superhero who, realizing his changed role in this world, makes the most logical decision possible – to distance himself.

It’s a look at the familiar pattern from a different perspective. “Classic” superhero comics have accustomed us to the idea that once a hero is given “great power,” he must bear “great responsibility.” But that doesn’t work with Dr. Manhattan. He understands that he literally can do anything. For him, the world of men, their problems, and even wars lose meaning. He wants more, to know the universe, to get to the knowledge that is inaccessible to humans because of the emotions that drive them to war.

In the comic book, Manhattan is explicitly called a “god,” implying that when he was reborn, he became something else.

This is no longer John Osterman, the talented nuclear physicist who was in the wrong place at the wrong time–he is a true superhuman, capable of being everywhere and nowhere at the same time.

And in parallel, we are shown people. Ordinary people who put on hero costumes and pretend to be others. They want to save the world, find out who’s after them, and figure out who’s behind it. And this despite the fact that superheroes have become illegal. Their activities go against Nixon’s policies, so he decided to deprive the masked vigilantes of the opportunity to sow their justice. Some took off their masks, others found a new lease on life, but there were those who continued to fight no matter what.

The Comedian, for example, does not take the reality around him seriously. For him, the world is one big, silly joke, and fighting crime is an opportunity to vent his anger on those who deserve it without judgment.

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