JDMemeArt

JDMemeArt meme /mēm/ noun: a cultural item in the form of an image that is spread via the internet.

09/04/2026

The Disciples #5

Thank you for following my journey from screenplay to graphic novel adaptation.

Issues  #1 &  #2 of my all new graphic novel, The Disciples, are now available on Amazon.com. Link in the comments of th...
08/31/2026

Issues #1 & #2 of my all new graphic novel, The Disciples, are now available on Amazon.com.

Link in the comments of the original post.

08/30/2026

Self promotion is a significant barrier for the faint of heart.

If you’ve ever shared something you poured weeks of your life into—only to watch internet strangers pick it apart or just be outright mean for the sake of it—you know how exhausting it can get. Lately, some of the Facebook groups I've posted in have gotten pretty harsh, and honestly, it takes a toll.

When you're a solo indie creator writing, designing, and illustrating every single panel by yourself, the community space is supposed to be where we share the journey. Running into unnecessary hostility makes you want to just close the laptop and keep everything to yourself.

But then I look at the pages we're building, the chaos Matt and Mark are surviving, and the ground I'm already breaking on Issue #3 of , and I remember why I started doing this in the first place. The work has to come first.

To everyone out there trying to make something cool from scratch: how do you deal with the online noise when people are just trying to tear things down?

Let’s keep this a positive corner of the internet. 👇

On to Issue  #3!
08/29/2026

On to Issue #3!

That's a wrap on Issue #2 of The Disciples! Overall I'm very happy with the issue and I think it captures the action and suspense really well. I am going to make some tweaks to the master character design prompts in issue #3. The goal is to lock down the visual continuity. I don't know about you but for me it's distracting when the AI makes changes to subtle details about how the characters should look.

It's a learning process and I'm okay with the series showing the evolution of my learning curve.

Finished a beautifully laid out page only to realize I had skipped a major beat and completely threw off the plot. Oye V...
08/28/2026

Finished a beautifully laid out page only to realize I had skipped a major beat and completely threw off the plot. Oye Vey. Back to the drawing board.

The craft of comic books: visual storytelling.

People often think making a comic is just drawing pretty pictures, but the real magic—and the hardest part of editing a page—is manipulating composition, frame size, close-ups, reaction shots, tone, and pacing to control how the reader experiences time and emotion.

Take a look at the attached page from my graphic novel, The Disciples. There is barely any dialogue here, yet the page screams tension. That's entirely down to editorial choices in layout:

Notice how the panel sizes shift. We start with tight, claustrophobic motion cuts of the scorpion skittering overhead, then drop into an unnerving medium close-up, and finally blow out to a wide, low-angle establishing shot at the bottom. Changing the frame size tells the reader's eye when to panic and when to pull back and take in the dread of the whole room.

Comic books are masterclasses in acting through stills. Cutting immediately from a terrifying macro shot of the threat to a close-up reaction shot of sheer terror on a character's face anchors the reader right into the nightmare. You feel the claustrophobia because the frame forces you to stare right into their eyes.

Pacing in a comic is governed entirely by panel layout and visual rhythm. The rapid-fire sequence of smaller panels speeds up the reader's heartbeat, mimicking the skittering sound effects, while the massive establishing panel at the bottom forces the eye to slow down, lingering on the atmosphere, the lightning outside, and the agonizing distance between the characters and the danger.

Editing a page like this is a puzzle of geometry and psychology. You're constantly asking yourself: Is the eye moving where it needs to? Does the reader feel the dread before they even read the sound effect? Does this panel need to breathe, or should it snap by in a heartbeat?

What's your biggest challenge when you're editing a sequence—does the pacing usually feel too fast, or do you find yourself cutting panels to keep the tension tight?

Let me know in the comments! 👇

From screenplay to publication!
08/27/2026

From screenplay to publication!

From screenplay to graphic novel page: The evolution of The Disciples. ✍️🎨

Here is a behind-the-scenes look at bringing this scene to life.

The Script: It always starts on the page—mapping out the character dynamics and establishing the tension between Matt and Mark.

The Visual Breakdown: Translating text into pacing, deciding where the beats need room to breathe.

The Final Art: Layering the ink line work with warm, textured watercolor washes and getting those character details locked in.

What do you think? Are you trusting Matt’s navigation, or are you siding with Mark?

Let me know in the comments! 👇

The doomsday machine rolled atop a broken, black highway towards an endless horizon that melted into an orange sky. The ...
08/26/2026

The doomsday machine rolled atop a broken, black highway towards an endless horizon that melted into an orange sky. The world was silent, save for an eternal buzzing that came from nowhere. There was no air to breathe, no wind to cool, no heat to warm, no sun to cast shadows or to be found in the vacant sky. The horizon stretched evenly in all directions, rolling gently up and down. In the distance, large, triangle-shaped mountains rose from the ground and reared up in an attempt to pierce the sky. The mountains had no other purpose but to destroy the sky by stabbing it with their sharp, serrated peaks. The ground held the mountains back because the ground loved the sky, and the ground wished it could be the sky. This angered the mountains, but as they were too heavy and too large to move of their own free will, they could not take revenge against the ground. Locked in place, the mountains resented the ground for holding them back from achieving their only desire of destroying the sky. The sky, being light and thoughtless, had no desire and simply watched everything under its domain. The sky took pity on the mountains and wished they could find a way to understand each other.

The doomsday machine, which did not know it was a doomsday machine, rolled along the highway. It was unable to turn its neck, which it did not know it had, nor would it think to turn its neck if it could think. The machine moved forward because it had always moved forward, because it could not move backward, nor would it move backward if it could think, which it could not. Sitting atop the immovable neck was a rectangular head that housed two large lenses designed to capture the incoming light and form a view of the horizon, mountains and sky—that is, if it had the necessary sensory processing microchips to interpolate this type of data, which it did not. If the machine had the ability to compute the light that passed through its lenses on its neck that could not turn, it might have seen that it was moving away from a cave whose mouth gaped from the side of a nearby mountain. From this cave the black highway vomited out of the round or***ce. Upon seeing this hole, the machine might have changed direction and reversed from forwards to backwards if the machine had the capability of changing its direction by means of independent will, which it did not. The machine could not change its direction, no more than it could move its neck or process an image of the light that streamed through the glass lenses on its rectangular head.

So, the thoughtless, blind, forward-facing, constantly moving, rectangular-headed robot rolled over the ground, whose purpose was to keep the mountains stuck in place, holding them back from fulfilling their desire of stabbing the orange sky that looked down on the machine, who did not know what its purpose was because it does not know what purpose is. If the machine could understand what purpose is, it would want to know what its purpose was, but then it would need to know what death is, which of course is the only conceivable purpose for a doomsday machine whose maker did not leave a note explaining why the machine was constructed, put on wheels and set to move forward.















My new graphic novel, The Disciples, is coming to life! The first issue is being reviewed by Amazon KDP now. If you’d li...
08/26/2026

My new graphic novel, The Disciples, is coming to life! The first issue is being reviewed by Amazon KDP now. If you’d like to follow along on my journey from screenplay to publication please hit the follow button on my page.

They came to town with a message.

A little faith.
A little persuasion.
And perhaps a little more money than they arrived with.

The Disciples
An all new original graphic novel by JD Miller

More to come.

I’m making an all new graphic novel called The Disciples. If you’re interested in following along on my journey hit the ...
08/25/2026

I’m making an all new graphic novel called The Disciples. If you’re interested in following along on my journey hit the follow button on my new page.

These three characters are at the center of my new graphic novel series, The Disciples

Which one would you trust the least? 👀

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Camas, WA
98607

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