Community is above and beyond anything else on TV right now. I haven't been keeping up with much else these days, as I'm usually working at my computer and shows tend to distract.

Yes, you are wrong.

I can think of no justification for it. I have a career that I control and it's not too difficult to learn subjects that interest me outside academia.

Considering how your comic will be read is always more important than what you actually put down. As you've likely guessed, no one will be impressed with a super tall panel if it's difficult to read. This, however, does not mean you can't have unusual panel shapes and sizes, you just have to take viewing devices into account.

For example, if I'm making a very tall panel that I know will be cut off on most monitors, I design it in such a way that it is meant to be read in parts, creating a nice little scrolling effect. If it's done right, you can create a very seamless reading experience.

A makeover montage.

Hopefully sleeping in drawers is not common in the city, as it would involve severing one's legs.

"Mezzo" is the italian word for "middle," while the suffix -ode means "like." Essentially, "mezzode" is the Nephilopolis slang for someone who has characteristics putting them between human and machine.

I don't ever make clean straight lines, it just looks like that because I'm working at a high resolution. My actual brush strokes have always been short and jerky. I just polish it a lot.

I don't generally profess my views in my comics, they're never as interesting as the characters'. It would be best to attribute it to Kaito.

I really didn't have a formalized education in art, so I can't answer that. I think at the end of the day a good artist needs competence, and there's simply more than one way to achieve that.

Probably the climax of Boba Fett: Enemy of the Empire, a Star Wars comic from the late 90s. I think it was drawn by Ian Gibson.

There's this incredibly illustrated confrontation between Boba Fett and Darth Vader, where they're fighting over this prized object that Fett has stolen. The whole fight is masterfully laid out, where each panel tells you a lot about the situation, but at the same time there's never a loss of the frantic pacing. What you're left with is this kinetic scene where every action changes the situation and moves the plot forward. That's what "action" should be about.

Too often in comics action sequences are either "pose-based" (in that the artist simply selects the most impressive poses to put the characters in with little regard to sequence), don't move the plot forward or both. Despite its cartoonish associations these days, a really great example of solid and well constructed comic action is Toriyama's Dragon Ball comics from the 80s and 90s.

I don't think anyone is a proponent of synthetic body parts for "purely philosophical reasons." I'm not even sure what that would be. Such technology addresses entirely practical questions, such as "How can I become smarter?" or "How can I live longer?"

For myself, I don't have any strong ideological position on the subject, so it would be a case by case basis. If the technology was safe and the benefits significant, I'd go for it.

Science Fantasy and Epic Fiction.

It is! Just a little nod.

Dinosaur books.

Continuity is pretend anyway. So long as the logic's agreed upon, we can do whatever we want. It's only a bad thing when the stories stop making sense or loose their cohesion.

Superhero comics are not exempt, they're just often badly and/or lazily designed.

Dark Science and Hob are very much self-contained as part of their primary plots, but there are themes and elements that carry over. I wouldn't think of them as, say, part of a Trilogy or something like that with an overarching story.

That said, specific things that have happened in Hob (and even some of the one-shots) will be very relevant to the plot of Dark Science...

Oh god yes. Hackers was miserable but it didn't give me sharp pains in my chest.

So suck it up.