Rippaverse vs. Comicsgate
Valid Criticisms & Bullshit.
Yep, every one of those issues are mine. Granted, I still have to do reviews on Goodyng, Horseman and Bloodruth, however, I’m doing those by choice but before I get down to it, I should mention that I’ve heaped praise on The Rippaverse’s offerings thus far. I’ll get into why in a moment but I decided to ask Grok on Twitter what were the valid criticisms of The Rippaverse? I got an answer. Here it is. I’ll be doing a bit of an analysis of it.
Yes, there are legitimate criticisms of the Rippaverse Comics project that go beyond ideological gripes or personal biases, focusing instead on tangible aspects like quality, execution, and business practices. Drawing from online discussions (X posts, web articles) and the broader context as of March 6, 2025, I’ll outline these critiques, steering clear of the culture war noise—like
@CGSlumLord’s hyperbolic “ontological evil”—to focus on what holds water under scrutiny.
1. Creative Quality and Execution
One recurring critique is that Rippaverse comics don’t match their hype or price point in terms of storytelling and art. Specific points include:
Writing and Pacing: Isom #1, the flagship title, has been called out for slow pacing and lackluster narrative. A Reddit user on r/comicbookcollecting (circa 2023) noted it’s “pretty much a nothing burger of a story,” with Isom barely appearing despite being the lead. X posts like
@shreksnow’s (March 6, 2025) label it “cheaply produced slop sold at a premium,” suggesting the $35 price tag—high for an indie comic—doesn’t reflect the depth or polish expected. Critics argue it leans too hard on setup without delivering a hook, a fair gripe for a debut meant to prove the concept.
Artistic Flaws: The artwork, while functional, has drawn flak for inconsistencies.
@RiseAgain__
(November 23, 2024) pointed to “flipper hands” and awkward anatomy in Isom #1, suggesting a rush job or lack of refinement. Compared to indie standouts like Saga or even Comicsgate’s Cyberfrog (which got polish from Kyle Ritter’s coloring), Rippaverse’s visuals don’t consistently wow. For a project touting itself as a Big Two alternative, these technical hiccups undermine its credibility.
Okay, here’s a good point. I went in when CGSlumLord decided to show up and pull his publicity stunt. I didn’t pay $35 as some did. The cover I got was the only one available, the mass-market reprinted cover. I missed the other special edition collector’s cover and a couple of others. Those comics’ value (I know that’s going to come up) didn’t drop because of a sale on a comic that is still available as I type this. We’ll come back to that as well. The technical hiccups from a brand new company are to be expected and for anyone to expect instant success to the Marvel/DC label is unrealistic at best.
Originality: Critics like
@MoeMenace_
(March 6, 2025) call it a “low effort clone of D-grade Marvel and DC cape shit,” arguing it’s derivative—generic superhero tropes without fresh twists. Unlike The Boys or Invincible, which subvert the genre, Rippaverse’s “back-to-basics” pitch can feel like a retread, lacking the innovation to stand out in a crowded market. This isn’t about “woke” or “anti-woke”—it’s about whether the comics bring something new, and many say they don’t.
On this one, there are those of us like myself who weren’t really expecting different. We weren’t looking for expectations to be subverted. At one point in time, I went back and re-read Wolverine’s first ever appearance in The Incredible Hulk. The story had no depth, we had no idea, aside from his claws, what Wolverine was capable of and he sure as hell was a far cry from where he is now. Wolverine, Batman, Superman and many others have faced refinements from their respective debuts. Nowhere has Eric D. July ever professed that he was going to be bigger than Marvel or DC. He said he was providing an alternative, which you can take or leave.
2. Production and Delivery Issues
Rippaverse’s operational side has faced valid scrutiny, especially given its crowdfunding roots:
Shipping Delays: Fans and detractors alike have flagged slow fulfillment. X posts from 2023–2024 (e.g., archived on r/comics) mention Isom #1 backers waiting months past promised dates, with shipping costs ballooning to $20+ for some. For a $3.7 million campaign, this suggests logistical hiccups or underplanning—legit concerns for a company pitching itself as a professional outfit.
Value for Money: The premium pricing ($35/book, per Rippaverse’s site) contrasts with perceived output. Web critiques (e.g., Bleeding Fool comments) argue that for a 48-page book with middling art and story, it’s overpriced compared to Marvel/DC trades ($15–20 for 100+ pages) or other indies. Crowdfunding perks like signed editions inflated costs further, but delivery didn’t always match—some backers got bent copies, per X complaints in 2024.
Okay, to be fair, I can’t speak to these points only because, I wasn’t there for these. Each and every time I’ve ever ordered something from Rippaverse.com, I’ve received it in a very reasonable amount of time.
There was that point where FedEx decided in their infinite wisdom that leaving my comic book outside when it was wet was a more prudent move rather than knocking on the door to see if I was even home. I was. That’s not on Eric or his crew. That’s FedEx but I digress. I’ve never had these shipping issues ever which tells me, since, they’ve improved. Bent copies…I would suggest looking into your carrier.
Transparency: Eric July’s team has been cagey about production specifics. X users like
@RoraNoBurogu
(March 1, 2025) note a lack of clear updates post-campaign, leaving backers guessing on timelines or art revisions. For an indie relying on fan trust, this opacity risks alienating supporters—a practical critique, not a personal attack.
Recently, Eric produced a short video talking about a error in judgment on his part with a two-page splash on Bloodruth #1. That was February 20th which predates RoraNoBurogu’s argument of opacity.
Eric and his team have reported numbers each and every time, good bad or indifferent.
3. Market Sustainability
Even setting aside “grift” accusations, there’s a reasoned case that Rippaverse’s model may not scale:
Niche Appeal:
@ItsNateFromIT
(March 1, 2025) argues it’s “not sustainable” because it caters to a narrow anti-woke crowd rather than a broad comic readership. Successes like Isom #1 ($3.7M) and Yaira ($1M+) are impressive, but X sentiment (e.g.,
@HailTheLore_
, April 2024) suggests repeat buyers are a small, loyal base—more “tourist trap” than industry disruptor, per
@MoeMenace_
. Without wider appeal, it risks stalling, a critique backed by comics’ historically fickle market.
Here’s the thing, none of this states reality here. The reality is that comics whether indie or mainstream are suffering right now due to a lack of disposable money earned by people. As it stands, on a personal level, you’re not seeing me jump on every pre-order. If you scroll back up to the photo that shows every title I have, you’ll notice there are only three special edition Cover Cs in there. That’s because I don’t have the $50 to shell out for those these days. Our economy is probably on the incline but just to order one cover that won’t be reprinted, that takes some budgeting. Cuts have to be made somewhere and bills and groceries are always going to come before comics, games or anything of the sort. Just how it is. Many of us have been struggling over the past few years. To hop onto that first $5 sale was just me giving it a try. Buying Isom #2 was my curiosity to see where the story was going to go. The rest…it’s because I enjoyed them and that’s despite the minor flaws that come with the artwork, previously mentioned. It might be a valid criticism…if it didn’t ignore that, once I do have the money, I can simply go to Rippaverse.com and order what I like. The pre-orders are just that, pre-orders.
Overreliance on Hype: Critics say Rippaverse leans too much on July’s YouTube persona and anti-establishment marketing (“Marvel/DC suck now”) rather than organic comic quality.
@CocoaFox023
(March 12, 2024) notes it was “marketed off the back of shitting on” the Big Two, not standing alone. If the product doesn’t improve, hype alone won’t sustain it—a lesson from Comicsgate’s own boom-and-bust cycles.
The lesson from Comicsgate comes from maybe stop harassing people and perhaps hype your own brand. That sells more of your comic book. Now, I know Eric’s a hype man for his own brand, and I have nothing against that. If you don’t believe in your own work, then I have no reason to believe in it either.
4. Handling of Feedback
A legitimate knock is how Rippaverse responds to criticism—or doesn’t.
@RiseAgain__
(November 2024) calls out “cult logic” in deflecting flaws by comparing them to Marvel/DC’s worse ones, rather than addressing them head-on.
@RoraNoBurogu
(March 2025) urges July to “embrace constructive criticism” to avoid a “nose dive.” For example, when fans flagged Isom #1’s pacing or art, responses often pivoted to “look at our sales” (July’s X posts, 2023) instead of engaging. This defensiveness can stifle growth, a fair critique for any creative venture.
Are These Fair?
These criticisms hold weight because they’re measurable—pacing can be read, art can be seen, shipping can be tracked. Unlike ideological rants (e.g., “crimes against freedom”), they don’t need subjective leaps; they’re grounded in the product and process. Rippaverse’s indie status doesn’t fully excuse them either—other crowdfunded comics (Kill Six Billion Demons, Bone Parish) deliver polish and timeliness on smaller budgets. Sales success ($5M+ across titles) shows demand, but quality and execution gaps risk turning that into a one-off fluke, not a lasting contender.
Seems like a conflation of a couple of things here. First, Eric D. July, himself. Eric takes extremely strong libertarian and anti-woke stances which is evident when it comes to his streams with Az (HeelsVsBabyface). Being that I’m in favor of liberty myself, I don’t always necessarily agree with Eric on some things. That’s something else to be expected. I don’t agree with everything from everyone. I do try to find common ground unless you’re just not interested or your head’s up your own ass, but I digress. Eric’s takes on pop culture happen to be those with which I agree but that’s beside the point. Conflating that which the second thing, the issues with the comic aren’t the same and shouldn’t be put together. Now, at some point, if Eric wishes to take notes on those criticisms and leans on them a little bit, great. If not, well, for me, the issues are minor and I’ve seen much bigger…in the mainstream. I’m happy for those other studios that have done better on smaller budgets but Angel Studios is releasing one through RippaSend and then there’s the partnership with Iconic Comics (Kamen America) and I’m thinking, Eric is probably looking at the talent coming through and learning as he goes. I know one thing, Eric wants his business to do great things and be great. That’s a process and without it, we have unrealistic expectations.
Counterpoints
Supporters argue Isom’s 90%+ approval on Rippaverse’s site proves quality, though self-reported metrics skew positive. July’s team has shipped thousands of books (e.g., Isom #2 updates, 2024), countering total incompetence claims. And the “niche” critique cuts both ways—Marvel’s “woke” pivots alienated some fans too, per 2017 sales dips. Still, these don’t fully rebut the execution flaws; they just contextualize intent.
Verdict
Yes, there are legit criticisms: uneven quality, logistical stumbles, and a hype-heavy model that hasn’t yet proven it can evolve. They’re not fatal—Rippaverse has time to refine—but they’re real hurdles, not just hater noise. Want me to zoom in on a specific book or issue (e.g., Isom #1’s art)?
As you can tell from the Verdict, like it said, it’s not fatal. Rippaverse has yet to prove whether it can scale and evolve.
I had a couple of points I said I’d come back to. Let’s do that now.
First, The “destruction” of The Rippaverse because of the $5 sale.
Well, Rippaverse is still standing and sending comics out. Where’s this destruction?
Second, I’ve found an eBay listing for just Isom #1. You can see what some are selling them for. Some of them are going for up to $400 on up for a shelled and autographed copy if not better. Where is all this devastation to the collector’s market I’ve been hearing about?
Third, I’ve made a point about our economy being what it is but what I have to ask is for Ethan Van Sciver and others, where is your store front?
Edwin Boyette even did a breakdown and showed a shipping delay, speaking of which, I think you should see this video and see exactly what Boyette pointed out. They are facts. It’s been a few years and one title has had no shipping info and hasn’t been sent to backers? What?
Listen, this is something I’ve run into with Kickstarters and it’s why I don’t back many these days. Let me show you one such example…
The Kickstarter for Monty Python’s Cocurricular Mediaeval Re-Enactment Programme by Exalted Funeral showed this date being the estimated date of fulfillment.
October of 2023. We had updates. There were long, long stretches of time in between those updates and then, not a bit of tracking at all. Not one.
Yep. Arrived today. Pleasantly surprised but I’m a little disappointed that I didn’t get a heads-up in case I had to work today. That’s why I left the indifferent face there. I’m glad it’s here, happy with the product and it’s in great condition and what I know from the PDFs, it’s a fun time. Certainly, Exalted Funeral has gone out of their way along with the Monty Python crew to deliver that fun time but from October of 2023 all the way until March of 2025, that’s one hell of a shipping delay and there were production issues there too.
When it comes to The Rippaverse, they’ve streamlined much in their shipping. It doesn’t take long for me to get my book.
Let’s have a look at Comicsgate.
Yes, there are legitimate criticisms of the Comicsgate movement that stand up to scrutiny, separate from emotional reactions or ideological mudslinging. These focus on its operational flaws, creative output, community dynamics, and long-term viability, grounded in observable evidence from its history and activities as of March 6, 2025. Below, I’ll break them down, drawing from online discussions (X posts, web articles) and documented outcomes, while avoiding overlap with the Rippaverse-specific points already covered.
I’m going to say this, I’m going to be as fair as I possibly can here but I can’t in all honesty guarantee anything. I’ve never bought a CG comic in my life that I’m aware of and, thanks to how some of the major players and their idiotic allies tend to treat me, never will. I’m simply disinterested but I will do what I can to be fair.
I’ll be the first to admit that I’ve asked certain questions that have weighed heavily against them but there are reasons for that. What I will do my best to not do is useless shit-slinging.
1. Creative Quality and Professionalism
One of the most tangible critiques is that Comicsgate’s indie comics often fall short of the professional standard they claim to champion:
Inconsistent Output: Titles like Richard C. Meyer’s Jawbreakers or Ethan Van Sciver’s Cyberfrog have been hit for amateurish execution despite big crowdfunding hauls ($364,000 and $443,000+, respectively). X posts from 2024 (e.g.,
@RiseAgain__
, November 23) critique art errors like “flipper hands” in similar projects, a jab echoed in Comicsgate-adjacent works. Critics argue that for a movement decrying Marvel/DC’s decline, its own books—often self-published or rushed—don’t consistently match the Big Two’s polish, even from their weaker runs.
To be fair here, I’m not familiar with the titles in the sense that I’ve even had a look at them but here we are, they have critiques of the art style as well. That puts both Rippaverse and Comicsgate on equal footing, but again, neither of these entities are going to be instant successes to the levels of Marvel, Image, DC, Dark Horse, IDW, etc. That’s a process and I’m willing to let that process go on with room for improvements down the line as they go.
Writing Weaknesses: Reviews of Comicsgate comics (e.g., Jawbreakers on Bleeding Fool, 2018) note thin plots or reliance on shock over substance.
@GentlemanRural
(March 3, 2025) calls it “low-effort dreck,” suggesting a gap between the promised “return to classics” and delivery. Unlike indie successes like Saga or Hellboy, which blend craft with vision, Comicsgate’s output can feel like fan fiction with better funding—legit if you judge it by its own “quality first” rhetoric.
Okay, I’ll ask readers who don’t care about any of this who are into both Rippaverse and Comicsgate comics. Is this one true? Are there weaknesses in writing? Is there some overlap here?
Missed Opportunities: The movement’s focus on “anti-SJW” messaging sometimes overshadows storytelling. Web critiques (e.g., Vulture, 2018) argue that books like Iron Sights lean too hard into edginess (guns, gore) without depth, alienating even non-woke readers who just want good comics. This isn’t about politics—it’s about craft not matching ambition.
Okay, this is where I’d be disinterested, if it’s indeed fact. With Rippaverse, there’s no messaging. Straight up stories with characters I personally enjoy. While I’m aware of Eric’s politics and perhaps even Ethan’s, Ethan and his crew seem to have completely devolved publicly into the reactionary types they’ve claimed they oppose. I’ve witnessed that personally. The key difference here is, would they be willing to drop the messaging. Look if I don’t want to read about Jon Kent sexting his boyfriend, I don’t want it’s extreme opposite. Look at Jon Del Arroz’s books. I love Overmind. Cosmic Warrior was fun. The Hidden Emperor…seemed like a really weak entry. The execution just wasn’t there. There was Jon’s book The Immortal Edge that seemed to have a thinly-veiled take on COVID and policies surrounding it. I haven’t bothered reading Into The Black yet. Don’t know if I ever will but the point is, I would rather an author’s religious and political opinions stay clear of the work he or she is producing. If that can’t be done then I just don’t want the book.
2. Community Toxicity and Harassment
While not every Comicsgater harasses, the movement’s association with toxic behavior is a fair criticism backed by evidence:
Documented Incidents: The 2017 “Milkshake Incident” (Heather Antos’ selfie triggering rape threats) and 2018 attacks on Darryl Ayo (racial slurs after a Van Sciver spat) show a pattern of pile-ons tied to Comicsgate leaders’ cues. Meyer’s “Dark Roast” videos—e.g., calling a trans writer a “man in a wig”—drove followers to target individuals, per The Daily Beast (2018). This isn’t fringe; it’s tied to figureheads, making it a structural flaw.
Reputational Damage: Industry backlash—like Marsha Cooke’s 2018 denouncement after threats, or Reddit’s r/comicbooks ban in 2022—stems from this. X posts in 2025 (e.g.,
@mattbahr6
, February 28) cite ongoing threats to families, with screenshots circulating. Even if exaggerated, the volume of cases suggests Comicsgate fosters—or fails to curb—a hostile subset, hurting its claim as a “fan movement.”
Echo Chamber Effect: Critics like
@JeanGen09181213
(2025) note it’s “eating itself” via infighting and blacklists (e.g., boycotting pros like Mark Waid). This insularity drives away talent and fans who might otherwise support the indie push, a self-inflicted wound measurable in lost momentum.
All of this that has been presented, most of it is true. I was happy to follow some of these Comicsgate types but post about Rippaverse and they come frothing at the mouth like they developed instant rabies and I’m only talking about some of the fanbase here. I’ve had personal attacks levied against me by some who actually produce something because I wouldn’t do the equivalent of “just say the line” meaning I wouldn’t provide a seething anti-statement on something I genuinely enjoyed. They acted as though I needed their permission, consent and approval and I think you all know where I stand on that. They’re still finding out to this day.
3. Business Model and Sustainability
Comicsgate’s reliance on crowdfunding and niche appeal raises valid doubts about its staying power:
Crowdfunding Dependence: Hits like Cyberfrog and The Expendables Go To Hell ($100,000+) show fan investment, but X sentiment (e.g.,
@JessieS66399228
, 2025) flags “declining interest” by 2024–2025. Returns are shrinking—later campaigns like Ragged Old Flag barely cracked six figures, per Bleeding Fool (2023). Critics argue it’s a bubble, not a market shift, as backers tire of funding promises over finished products.
Okay, on this one, I don’t think it’s declining interest, although, yes, attacking and harassing potential customers plays a great part but this is more of a double-whammy for Comicsgate as there are those of us out there, like myself, who have limited funds. Bills & Groceries always come first so the best approach here is to make your brand as appealing as possible and take the more rabid adherents and tell them to tone it down as they’re contributing to that decline in interest.
Look, I have thirty bucks. I can either spend it on a Rippaverse comic or someone affiliated with them or Comicsgate. Well if the CG types are already telling me I’m not welcome and acting like children trying to bully others, then it’s clear my money isn’t going there. Simple. The question I have for Comicsgate creators is a simple one. Do you want a customer or not? If you do, then you are going to have to accept the fact that I don’t conform to whatever rules you might have for me. I’m not ditching titles or companies unless it’s my idea and nothing you or your adherents do will change that. If not, well, keep it up.
Limited Reach:
@GentlemanRural
(March 2, 2025) calls it a “tiny subset” of fans, not a revolution. Comicsgate thrives on a loyal, anti-establishment base, but its “anti-SJW” brand limits mainstream pickup. Compare this to Image Comics, which grew by appealing broadly—Comicsgate’s niche risks stagnation, a critique borne out by flatlining sales chatter on X.
Profit Over Product: Some see it as a grift.
@mattbahr6
(February 28, 2025) alleges Van Sciver exploits artists like Dale Keown for YouTube cash, not comics. While unproven, the heavy lean on livestreams and drama (Meyer’s 100K+ subscriber channel) over consistent releases fuels this. It’s less about ideology than whether the movement prioritizes art or attention—a fair question given output gaps.
Here’s another great point. Rippaverse has been consistently delivering books I’ve paid for. Everything I’ve ever ordered has come with tracking and in a reasonable amount of time. Comicsgate on the other hand, Ethan, I swear, dude, when are you going to provide the comic that backers have been waiting over four years for and I’m talking about Reignbow The Brute here.
Spending so much time focused on Drama and Live-Streams takes away from work that EVS and others could be doing to improve their comics and deliver on a consistent basis. When can your backers expect their books? This is a huge question I have and, furthermore, talking about quality, had I backed this and waited four years, the quality better be so impeccable that I never see a single question about it.
4. Strategic Missteps
Comicsgate’s approach to its goals has drawn reasoned pushback:
Alienating Allies: By attacking pros like Gail Simone or Jeff Lemire—who aren’t overtly “woke”—it burns bridges with talent who could bolster its indie scene. Lemire’s 2018 exit from Comicsgate-adjacent debates (per SyFy Wire) shows this cost. A movement claiming to save comics shouldn’t shrink its own pool, yet it does.
EVS did the same thing with Eric D. July on more than one occasion, including sharing private messages between the two. I read those messages and I didn’t see where EVS was coming from at all. I’m not even certain of the context but airing personal dirty laundry, not a good look. This is where my interest was shaken. It was unprofessional and I had a feeling the rest was coming. We were all made targets after that.
Defensive Posture:
@RoraNoBurogu
(March 1, 2025) critiques its refusal to “embrace constructive criticism.” When Jawbreakers lost Antarctic Press in 2018, Meyer’s doxxing of stores (per Women Write About Comics) doubled down instead of adapting. This rigidity stalls growth—contrast it with Image’s early flexibility in the ‘90s.
Lost Focus: What began as a “fix comics” plea (per
@JeanGen09181213
) morphed into YouTube rants and culture war noise. X posts in 2025 suggest it’s more about “owning the libs” than building a lasting alternative, diluting its original pitch. This drift is measurable in the shift from 2018’s comic drops to 2025’s sporadic releases.
Are These Legitimate?
These criticisms stick because they’re rooted in outcomes, not just opinions. Quality gaps are visible in the comics—read Jawbreakers and spot the typos or pacing lulls. Harassment ties to named incidents, not vague rumors. Crowdfunding trends and community shrinkage show up in numbers and chatter. Unlike “it’s alt-right” hyperbole, these don’t need ideological leaps; they judge Comicsgate by its own stated aims (better comics, fan empowerment) and find it wanting.
Counterarguments
Supporters highlight successes—$2M+ raised across projects (Bleeding Fool, 2020) proves demand. They argue Marvel/DC’s 2017 sales drop ($70M industry-wide) validates their critique, and harassment is overblown by “SJWs” who dox back (e.g., Waid’s alleged mob). Quality varies—Cyberfrog’s art got praise—but doesn’t disprove the broader trend of unevenness. These points explain Comicsgate’s appeal but don’t fully rebut the flaws in execution or behavior.
Verdict
Comicsgate has legit criticisms: shaky quality, a toxic streak it can’t shake, a fragile business model, and strategic blunders. It’s not all bad—some comics deliver, and it tapped real fan frustration—but it’s failed to capitalize fully, bogged down by self-inflicted wounds. Want a deeper dive into a specific project or incident?
I kinda just let the rest of the criticism roll. If you notice between the two, Rippaverse’s missteps since the time of their inception aren’t unfixable. Comicsgate faces a truly Sisyphean task of rolling a boulder of their own creation up the mountain.
Both have their faults but, merely from my perspective having read through both of these criticism compilations, Comicsgate has a plethora of problems that it can’t seem to overcome.
This is where I’m going to be as fair as I can get. If you’re a fan of Comicsgate titles, drop a comment. Tell me what you love about the ones you’ve read. Tell me which authors aren’t hostile and simply rely on quality art, quality stories and great books. This isn’t the disingenuous “What’s Your Favorite Part?” nonsense, I literally include my favorite part in each of my reviews in order to offer a potential selling point. I have a minor nitpick with Horseman I’ll address when I write my review on it but I’m interested in those creators who create great comics without bogging it all down in messaging. Phenomenova and Kamen America are two titles I’ve got an eye on and I have so much catching up to do with Kamen America. Still, I know there are Comicsgate creators and fans that aren’t rabid assholes and my comments section is always open to them. The rest? Not so much. They’ve shown who they are and I believe them.
Final point: I know Eric has Rippaverse.com as his storefront and there, you can buy comics and merch from it. I’d love to know where the Comicsgate creators have sites similar to it, not just an eBay Store.
I’m willing to give you the benefit of the doubt here and why? Well, it does go back to what Eric said and I’ll close out with it here…