Crowdfunded Comics that deserve more attention #4: Doomsday my Dear

So I was puttering around on Patreon looking for a fun project to read and write about when I stumbled across a little webcomic called Doomsday my Dear.  I started reading it on its webpage and I just couldn’t stop.  The comic updates twice every week and has been going steady for a while now.  It is currently on Patreon and is funded on a per page basis, which means if you give $1 per page you can expect to give around $8 a month.

Patreon link:


What is it?

Doomsday my Dear is an ensemble webcomic about a not too distant future where London is being ravaged by a mysterious disease known as “The Blood Plague”.  Basically how it works is this: people with a certain genetic make up, called “Carriers” in the comic, carry a non contagious form of the plague from birth.  While the carrier is unharmed and can live a normal life problems arise when the carrier has children.  When a carrier has a child, even with a non infected human, the baby is born with an incredibly virulent and incredibly contagious disease that kills any other child who breathes it in.  One of the only ways to tell if anyone carries the plague is by looking at their eyes, which usually are different colors.


Fan art by E.D Mead.

While the disease isn’t threatening to wipe out the human race in one fell swoop, which would prompt a rapid and brutal government crackdown you’d normally see in zombie or other plague films, it does prompt enough worry to turn London into a totalitarian military state.  In response to the plague Great Britain begins issuing procreation licenses and registering the names of all known carriers who are forbidden to have children.  If you’ve seen X Men you know exactly what happens next.

The comic begins with the election of Narissa Gilingham as Prime Minister of Great Britain who ran on the platform of eradicating all Carriers from the British population, which isn’t the start of something sinister and evil at all (note: sarcasm is REALLY hard to convey in writing)


Don’t let her half smile fool you, this woman is ruthless.  Within days of her election the streets are filled with police forcibly taking Carriers to a compound called “Paradiso” and anyone who does not comply is shot.

The comic itself is an ensemble work following the lives of regular people living in this new world.  The comic covers everyone from scared teenage Carriers, to members of the military and police, to terrorists seeking to bring down the system.  It is a massive epic story filled with love, loss, violence, and a Prime Minister who seems to display signs of other worldly powers.

Why I like it:

For starters the artwork is amazing.  The comic is written and drawn by a lady named Cami Woodruff, who graduated from Savannah College of Art and Design and is currently working as a storyboard artist for the hit tv show Archer 


(if you are reading this Ms. Woodruff then hello and sorry if this seems a bit weird)

Besides having an artist that really knows what she is doing the artwork kind of looks like an early 90’s Disney animated movie, and I love early 90’s Disney animation.


But despite the cheery feelings the art style helps elicit the story is anything but.  This is a scenario we’ve seen a thousand times before, a disease ravaged country coming under the grip of a totalitarian government filled with death squads, questionable government actions, and a very prevalent sense of dread.

It’s not a very happy story and the comic is very good at showing the fear and terror that an event like this would inspire.

But that’s not why I really like this comic.  I really like stories that put a different spin on popular subjects or genres (hell I make a webcomic about a family of super villains so of course I do) and this comic does that brilliantly.

Unlike a lot of doomsday stories where the government is an evil monolithic entity every character is presented as a normal human being who is only doing what they see is right.  Plague carriers, resistance leaders, government officials, soldiers, and normal civilians are all shown in the exact same light and treated just like any normal human being would.  All of them have their hopes, dreams, and ideals.  They all drink, gossip, and screw.  Even when one of the main characters does something terrible or questionable it is presented in such a way that you can kind of understand why they did it and you feel sorry for them when they are forced into a situation they don’t want to be in.

Anyway, I could go on all day about this but I’m just going to let you see for yourself.  I definitely encourage you to check out this comic and donate to it’s Patreon page if possible.


The Primordial Soup: American vs. British comics

The world is filled with rivalries: Barcelona vs. Real Madrid, Pokemon Red vs. Pokemon Blue, Justice League vs. Avengers, butter side up vs. butter side down (you may laugh but they almost declared thermonuclear war in the book over this issue) and that’s not necessarily a bad thing.  Healthy rivalries give both sides something to work towards, the goal being to be better and more successful than the other.  It’s no small secret that the comic book industry is home to one of the biggest rivalries in entertainment, Marvel vs. DC, and talking about that little squabble and whether or not it really matters is an article all unto itself but today we are going to talk about something different.  Today we are going to talk about which country produces better comic books: America or Britain.

A quick explanation and a couple of ground rules.  The article will look at both sides of the debate and present the pros and cons of either side.  If you see something you disagree with or have a point to make please feel free to do so, just do it in a way that is constructive and beneficial to the conversation.  

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The Americans


It’s no small secret that American comic books are kind of a big deal, in fact it’s pretty safe to say that the comic book as we know it (i.e a printed magazine with sequential art work designed to tell a story) is an American invention.

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And then we get to superheroes.  While superhero comics weren’t all that popular in the very early days of comics it didn’t take long for Action Comics #1 to change everything in 1938, introducing the man you all know so well that I don’t even have to say his name.

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In fact, there are so many famous characters that came out of American comics that to list them all would take months.



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Not only does the American scene have a superhero roster that dominates the comic book market but there is also a thriving independent scene with companies like Dark Horse and imprints like Vertigo delivering top notch non superhero comics.



The way I see it, American comics are as varied as they are and as big as they because of what America is as a society.  While it may seem strange we have to understand that America is not a very old country.  We haven’t been around even 300 years which means we like to move forward and look to the future.  It’s that forward thinking attitude that lets us look at something like a cheap plup story and think “hey, that would make a really good multi million dollar movie” or “hey, why NOT write about a man who can bench press continents and stand for truth, justice, and the way of life our parents worked so hard for?”.  It’s that forward thinking, almost naive optimism that allowed America to create the genre and some of its most famous characters and it allowed the American comic book industry to flourish.


Just because you have an idea doesn’t mean you necessarily have the skill or the talent to pull it off and make it a success.  It’s a generally accepted rule that when something is successful there will be a host of imitators trying to cash in on its popularity and this is especially true with comic books.  While the American industry has produced some of the greatest ideas every conceived it has also produced a lot of crap.




The British


While you could be forgiven to think that this debate heavily favors the American side it is important to remember that Great Britain has its own comic culture and its own comic book icons that are some of the greatest in the business today.  British writers like Grant Morrison, Neil Gaimen, and Alan Moore (who I am going to affectionately dub “The Magic Bros.” on account of their shared fascination with the strange and the occult) have not only produced some of the greatest comic book stories of all time, but some of the greatest stories of the modern age period.  Don’t believe me?  Take a look.




It’s also worth noting that Mark Millar, who is currently one of the most successful comic book movie creators, is Scottish and his violent and gory offerings are helping to shape what a comic book movie is.




Now I’m not British so I really can’t explain why Britain produces such great writers but if I had to guess it’s because of Britain’s history and connection to their past.  Whether you miss it or hate it the British Isles once dominated a quarter of the globe and have turned out some of the greatest writers in human history.  When you’re part of a culture that once ruled the Earth and produced literary geniuses like Shakespeare, Dickens, Austen, and Eliot AND authors that defined genres like Tolkein, Conan Doyle, Orwell, and Clarke you respect the history and traditions that made it great.  Great Britain has produced some of the greatest writers of all time and it only makes sense that this seemingly natural talent translates over to comics as well.


Name one British comic book series that is even as remotely iconic as a hero like Superman or Batman.


Okay maybe, but can you name another?

Britain’s history and culture is one of its greatest strengths it is also a crippling weakness as well.  When you become too wrapped up in tradition and the way things are supposed to be you wind up stifling a lot of creative potential for something new.  Sure these traditions helped create a writer like Gran Morrison but it is no coincidence that Grant Morrison has done some of his most famous and best known work for American comic books.

So what do you think?  Does skill and tradition trump the desire for something new and a willingness to try new things?  Is it better to move forward and push the boundaries of what’s possible or devote your energy into honing your skill on an established piece of work?  Let us know in the comments below and feel free to share.