4) JUSTICE LEAGUE UNLIMITED - Big cast, epic stakes
5) THE GREEN LANTERN CORPS. - Cosmic adventures
6) TEEN TITANS - Teen heroes
7) BRAVE and the BOLD - Paired hero team-ups like Booster Gold & Blue Beetle, Green Arrow & Black Canary, etc.
8) GOTHAM - Lead villain story and rotating back-ups
9) ELSEWORLDS - Anthology series
10) DC Comics Showcase - Anthology series
A lot of the books would have bolstered page counts so you could use your well-known lead character as the anchor while broadening the DCU with a variety of back-up stories.
If a back-up story is crazy popular, you could test the waters with a separate mini-series or ongoing.
No direct crossovers between series, but they would all share broad continuity (except for Elseworlds, which is your wild-experimental book) so things that happen change the world/universe, but you could also happily read one ongoing series and get a complete satisfying story.
Justice League Unlimited is where big hero team-ups happen and the largest event-style threats are handled, so most readers who enjoy the trinity would want to pick up the core book for their hero (Action, Detective or Sensation) + JLU.
Batman is the best seller at DC and has an unparalleled rogue's gallery so Gotham is a way to broaden that as well with Joker, Harley and other popular troublemakers in the spotlight.
Obviously, with only 10 books in this theoretical line, you have to make incredibly tough choices and collapse stuff down to a ridiculous level.
I'm a big fan of other books and characters at DC, but in terms of intellectual property/iconic stuff, this line-up makes sense to me.
SHOWCASE is where you line up a story arc for characters getting coverage via TV or movies that don't already have their own solo: Batwoman, Black Lightning, Suicide Squad, Shazam, Aquaman, Flash, you name it.
If it does crazy-well, you contemplate launching a regular book.
10 is really lean compared to the current publishing plan, but with the right price point a fan could collect it all every month and not break the bank: 2-3 comics each week.
You could have a digital subscription that also includes an ever-widening back issue archive.
The other key is having a robust hardcover/trade paperback program so people can easily catch-up and follow along. Core series get their own collections and story arcs of specific characters get break-out collections as needed, especially around the release of new movie/TV stuff.
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In the same vein as @BizzareComics DC 10 Title challenge, if I had to pare down the Marvel publishing line to only 10 series per month, here are the iconics-
1) SPIDER-MAN - with back-up stories of Spidey-related characters
2) THE AVENGERS - big cast and big threats
3) FANTASTIC FOUR - with cosmic-related back-up stories
4) X-MEN - includes a Wolverine back-up and one other back-up story each issue
5) CHAMPIONS - Teenage heroes, with other teen hero back-up stories
6) JOURNEY INTO MYSTERY - Thor, with magic/supernatural back-up stories
7) TALES TO ASTONISH - Captain America + Iron Man
8) MARVEL KNIGHTS - Black Widow, Daredevil and other espionage /street-level heroes
In simplest terms, in order for you to get work doing art for other people, you need a portfolio that grabs attention and gives potential clients a clear path for contacting you.
It's that easy and that difficult.
A portfolio is _not_ just a social media feed or a blog.
It's _not_ a gallery/archive of everything you've ever done.
Focus and clarity are key. Don't make it hard for people to figure out what you do or how they can hire you to do it for them.
An online portfolio is ideally something you control that’s not platform dependent (Twitter, Instagram, Tumblr, etc.)
Social media for showing off work is fine, but they're _not_ a portfolio.
Platforms and tastes change.
Don’t be dependent on one source for your outreach.
Remember six months ago when I mentioned that comic piracy numbers were easily 20x legitimate buyers and it was a real problem?
Sometime yesterday a bunch of other comic pros looked closer, saw the numbers and the cold chill of it really hit.
Yup.
In the early days of online piracy, media that went viral in those channels could benefit from the visibility boost.
Nowadays most of it is rapid consumption that never leads to support. Digital content is quick and disposable. On to the next show, game, comic. Rinse and repeat.
The piracy sites will ask for donations to "support" their efforts, they'll repackage content that's already available for free through legitimate means. It's a relentless stockpile of content they're leveraging to make money because they can.