Villains we love to hate! Villains who could have been good guys but made bad choices! What makes the more interesting villain? Are the two types mutually exclusive? Why are some villains really compelling, while others become the butt of jokes? What makes a villain menacing? How is it different in comics compared to movies or TV? Tim and newcomer Kevin Horton discuss.
Other discussions of this question:
- sffworld.com
- sfnovelists.com
- Yahoo! Answers
- New Authors’ Fellowship
- New Authors’ Fellowship: The Villain’s Quest
- Polite Dissent
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Dan Kanemitsu talks with Tim about how he and others in the manga industry have responded to the new Tokyo censorship law. The conversation also covers the differences, and interactions, between American and Japanese comics, the creative freedom enjoyed by women in Japanese comics, and much more.
Iron Man 2 finally opened here in Japan a month after it did in the States. Having just gotten around to watching the first Iron Man movie at home (hey! He’s been busy!), Tim joins Mulele for a theater viewing of IM2.
Longtime comics and Star Trek-novel writer Peter David talks about being a writer, balancing the conflicting expectations of the mainstream comics audience, and why he’s learned to have NO expectations whatsoever of any movie before he actually sees it!
Tim and Brandon give their thoughts on Guy Delisle’s Pyongyang, DVD movie Justice League: The New Frontier, Spider-Man One More Day, and Writing for Comics with Peter David!
Tim and Mulele discuss comics & the Hollywood writers’ strike, Mulele’s comics career, Illustration Friday, and the Spider-Man “One More Day” event. 
Tim and Mulele discuss violence — in 
Brandon and Tim begin a two-part Skype discussion, starting with Dr. Strange: the Oath! Also, Brandon reads from a 1959 Charles Schulz essay on developing a comic and asks Tim about how he developed Spider-Hag!
Starbucks becomes too noisy, so Tim and Mulele evacuate (at 2:44) to a department store stairwell to discuss whether a writer should go ahead with an idea after discovering someone else has already done it. Case in point: Brian Michael Bendis, the return of the Skrulls, and Battlestar Galactica.
Publishing online opens your comic up to a worldwide audience. But if the major players in print comics start publishing online, will they stamp out all the one-horse comics out there? Is there room on the Web for all of us?