Author Archives: Jim Zub - Page 2

Seattle Times Talks D&D VS Rick and Morty

The Seattle Times covered the launch event in Seattle for Dungeons & Dragons VS Rick and Morty. I chat about working on the crazy crossover and the experience of gaming live. Check it out.

Dragon Talk – Nov 2019

When i visuted the Wizards of the Coast offices I was a guest on Dragon Talk with Shelley Mazzanoble and Greg Tito. We chat about all things Rick and Morty VS D&D, including the new RPG set arriving in stores this week. Check it out!

Black Panther and the Agents of Wakanda #3 Reviews

Adventures in Poor Taste: 7.5/10 “Although the roster is ever-expanding and evolving, it is nice to see each member have a brief moment to shine throughout the issue.”

Black Nerd Problems: 8.5/10 “This book is just all-around enjoyable and Medina’s art is on point. In a comic book world dominated by A-list heroes, it’s great that more obscure characters can get some love from talented creators.”

Chillmonger: 9/10 “continues to thoughtfully manage this newly assembled cast of Marvel heroes. As a fan of Champions, I say that this series is Champions with a grown-up Instagram filter.” 8/10 “Once again Jim Zub’s comedic banter between teammates is the standout, with Okoye and Mockbird’s interactions being particularly funny.”

Comic Book University: “This is a really incredible story that has a whole bunch of really cool things I want to talk about.”

Comic-Watch: 9.4/10 “Artist Lan Medina isn’t a household name yet, but he should be, and I believe he will be soon. He’s consistently awesome, knows his stuff when it comes to visual storytelling, and is just simply, great.”

Screen Rant: “Jim Zub escalates the conflict at speed, moving from some classic horror tropes to sheer, Jack-Kirby-esque cosmic chaos.”

Super Powered Fancast: 9.4/10 “Lan Medina captures both characters, backgrounds and tech perfectly. All of the details in the art are fantastic and the action is brilliant in its scale and design.”

NY Times Article About D&D

I’m one of the people Ethan Gilsdof spoke to in a New York Times article about the unexpected surge of interest in Dungeons & Dragons. The article briskly covers a lot of ground in explaining the game’s appeal in our increasingly busy and interconnected world. Give it a read!

I’m the New Writer of CONAN THE BARBARIAN!

As revealed on the latest episode of the Marvel Pull List with Ryan Penagos and Tucker Markus, starting in February 2020 I’m the new ongoing writer of CONAN THE BARBARIAN!

Writing Conan again in Avengers: No Road Home was a blast, putting together Conan The Gambler and Serpent War was an unexpected thrill, and all of it has led to this, the chance to build all new ongoing stories of one of the most famous characters in sword & sorcery literature. It’s an absolute creative bucket list item for me, and I can’t believe all this has taken place over one year.

Rogê Antônio‘s line art is going to knock people out. It has a strong visual tie to the incredible work Masmud Asrar has been doing on the core title this year, but also manages to carve out its own distinct look. E.M. Gist‘s covers are classic pulp fantasy fare with all the grit and earthiness I could hope for. It’s a heck of a creative line up and I’m doing everything I can to live up to their top notch storytelling skills. Deep thanks to Mark Basso and C.B. Cebulski for this incredible opportunity and Jason Aaron for setting a high bar on the issues preceding mine.

My first issue is issue #13, the beginning of a new arc called Into the Crucible and here’s an advance look at the cover and solicitation for the first issue:

Written by JIM ZUB
Cover by E.M. GIST



Conan has faced many foes since leaving Cimmeria, but the greatest challenge lies ahead! A perfect jumping-on point for new readers as Conan finds himself in a city in the mystical Uttara Kuru, further on the eastern border than the young barbarian has ever traveled. And with the new city comes new dangers! Unfamiliar with the language, Conan inadvertently agrees to be the latest entrant to the Great Crucible. The people of the city support their foreign champion…but what deadly traps does the Crucible hold, and what will Conan sacrifice to overcome his ordeal?

Writer JIM ZUB (SAVAGE SWORD OF CONAN, AVENGERS: NO ROAD HOME) and artist ROGÊ ANTÔNIO (CONAN 2099, X-MEN RED) lead Conan on an all-new journey, as we begin a new era for CONAN THE BARBARIAN into undiscovered country!

If you’ve ever enjoyed my comic work, especially my fantasy writing, I’m asking you to please consider pre-ordering issue #13 at your local comic shop – it would mean the world to me and the rest of the team. Then, get ready in February for Sword & Sorcery Splendor in the Mighty Marvel Manner!

Vintage RPG Interview – Part 1

I spoke to Stu and John from the Vintage RPG Podcast all about the D&D Young Adventurer’s Guides. It’s an in-depth run down on the development of these books, the thought process behind them, and my nostalgia for Dungeons & Dragons. Give it a listen!

Marvel’s Avengers: Iron Man Interview

I spoke to Josh Weiss at Marvel all about the upcoming Iron Man one-shot that’s a prequel to the upcoming Marvel’s Avengers video game. Get a sneak peek at where Tony Stark is at when the game begins and the Marvel Gamerverse being developed by the team at Crystal Dynamics. Read more here!

Page One Podcast Interview

I spoke to Marco and Tariq at the Page One Podcast all about writing for comics, breaking into the industry, collaborating with artists and some differences between comic writing and traditional prose.

Even with my gravely voice (from post-New York Comic Con) it’s an in-depth interview and I like how it turned out. Give it a listen below or on their site:

NaNoWriMo For Comics?

November is NaNoWriMo (National Novel Writing Month) where many writers kick their creativity into gear and try to write a novel in 30 days.

If you’re a comic writer who wants to join in, I recommend a scripting goal:

90 pages (3 per day) is a mini-series.
120 pages (4 per day) is a graphic novel.

Comic scripting isn’t as codified as a screenplay, but if you want some tips on how comic writing is different from other mediums and a script format I find works well, you can check out these posts here on my site:

Comic Writing Part 1 – Brainstorming
Comic Writing Part 2 – Pacing
Comic Writing Part 3 – Page Planning
Comic Writing Part 4 – Scripting
Comic Writing Part 5 – Dialogue
Comic Writing Part 6 – Action

Having a schedule and clear goal can be a helpful way to get motivated and do that thing you’ve wanted to for some time. It’s a bit of pressure, but the kind you choose to take on to push yourself into a new creative space. Build your skills and grow.

Even if you don’t meet the overall page count, it could help you build momentum and put ideas down that you’ve had floating around for a while.

Personal creative projects can be tough to prioritize in our busy lives. This is a way to build in a schedule and make things happen.

Credit Where Credit Is Due

It’s been a while since I put together a tutorial post – Hey, how’s it going? Life has been busy and wonderful and hectic and difficult and wonderful all over again.

A lot of times I put together these posts as a way to help people trying to figure this business out and also galvanize core concepts in my head, organizing my thoughts on things I’ve learned. This one is no exception.

Every few months, there’s a ripple of intense social media discussion, let’s be kind and call it discussion, about who deserves credit and how comics are sold-
• Is it a writer-centric industry or an artist-centric industry?
• Who does the most work on a creative team and how should that be acknowledged?
• Whose name should go first on the credits and what does that mean?
• When a property gets optioned, award nominations are announced or best seller lists are compiled, why don’t media outlets include the art team?

It’s a circular argument that involves biases from fans, journalists, sales teams, and retailers. There’s no nuance about how comics are actually made and the collaborative process involved in telling a story where words and pictures work together in such a unique way. It’s frustrating and isn’t going to go away any time soon.

All that said, here’s one thing I hope we can all agree on:
Everyone who works on a project deserves to be credited for their work wherever possible.

If you’re part of a creative team it’s incumbent on you to mention your collaborators, credit them and raise them up if you can, especially if your name is on the cover and you’re one of the “front-facing” people involved in promoting it to the public.

This should be obvious, it should be automatic, but sadly it’s not.

On one of my very first Big Two projects, I had this lesson driven home for me. I received questions from a comic news outlet announcing this spiffy new series I was writing on and I banged out huge, sprawling answers to every question. I spent some serious time on it, excited about this new stage of my career and all the accolades that were surely about to come my way. Feeling all pumped, I sent the interview over to my editor for final approval and he responded with this:

“This all reads well and I can tell you’re really excited, there’s just one problem – You didn’t mention anyone else on the creative team at all.”

Wow~I suuuuuuck.

That was a lightning bolt to my brain. I was so wrapped up in promoting my new thing that I forgot it wasn’t just my thing at all. It was ours. A team effort.

That message was just a little prod from my editor but it rewired my brain.
How have I felt when I bust my butt and no one acknowledges that effort?
How does it feel to be overlooked in the creative process?

Yes, there are “marquee” names put up front to sell a title, but that doesn’t mean the rest of the team vanishes. We’re not talking about hundreds and hundreds of names scrolling past your face at the end of a movie.


That’s the baseline for a comic. Praising those people for their efforts makes a huge difference. Tagging those people in a tweet or a post is not hard to do.

When I start a new project, I compile the names of everyone involved in a text file so I have the proper spelling of each person’s name and their Twitter and/or Instagram handles at my fingertips. I put that text file in my Google Drive folder so it’s accessible to me everywhere. From then on, tagging our crew in a tweet or other social media post is as simple as cut-and-paste. It only takes a couple minutes at the start and it means a lot to the creative team busting their butts day after day to make something cool.

Everyone deserves to celebrate the arrival of something they worked on.
Everyone wants to feel their contribution matters.

Writers and artists tend to get front line coverage. Promoting and signal boosting a colorist, letterer, or editor subtlety advertises their skills to others and, over the long haul, gives them a lot more opportunities. You have no idea how much this kind of stuff is appreciated until you’ve done the job and seen your efforts ignored.

Logo designers, graphic designers, assistant editors, press people, back matter – Look more closely at the credits on your favorite comic and you’ll realize there’s a small army of people busting away to make these books happen. The more you mention their contributions, the more aware the general public will be about the work involved. It demystifies the creative process in all the right ways.

Treat your creative team the way you want to be treated and you’ll build bonds and friendships that last through epic runs and crazy deadlines. The more you raise your team up and treat them right, the more they’ll be there when you need them.

That’s it.
A whole tutorial post just to remind people to credit and tag their creative team?
That sounds pretty simple.
It should be. Now go out there and do it!

If you found this post helpful, feel free to let me know here (or on Twitter), share the post with your friends and consider buying some of my comics or donating to my Patreon to show your support for me writing this instead of writing the next script my hard-working team is supposed to be drawing/coloring/lettering. 😛