So Rich Stevens turned 35 a few weeks back and celebrated by sharing gifts with you, the members of the world that are not Rich Stevens. These included special pricing on merch and free shipping, but also an ebook for free download containing a whole mess¹ of his comics.

Then earlier this week, he shifted tactics, making a second ebook of comics, this time specifically for the iPad, utilizing the brand-new iBooks Author app, again for free. Free turned out to be a critical distinction, as charging for it would open up the can o’ worms that is Apple’s iBooks Author EULA which would require a large cut of revenue to Apple as well as their permission to distribute it through their store. He may well be the first person out of the gate with a release produced via iBooks Author; certainly anybody that got their hands on the tool day-of-release is still waiting for Apple’s approval to sell content.

Rich Stevens don’t got time to screw around waiting for corporate approvals — guy gets an idea Monday, experiment launches Tuesday, Thursday he writes up his impressions.

Some 10,000+ downloads later, his most important conclusion may be that a significant number of readers out there would love to have a delivered-in-chunks, read-at-once model for their webcomics. Sifting through RSS feeds, remembering to hit sites, making time to read one of each of X number of strips per day², relying on bandwidth or signal at the time — for a large number of people (and probably growing as tablet use spikes upward) will find a bursty delivery, followed by the opportunity to read ten or fifteen minutes worth on the train, waiting for an appointment, or over lunch (wherever you happen to bef … I think the iPad part of this is key) to be an optimal experience.

This first delivery dropped a month’s worth of strips, leading to an easy magazine metaphor; should Apple find some way to have a rolling approval for this kind of distribution (instead of requiring pre-approval for each “issue”), and likely if they can permit creators to keep more of the fruits of their labor (30% is somewhere between usury and science fiction), this could be the first iteration of that Next Big Thing that forward-looking webcomickers have their eyes on³.

There will be further experiments and refinements — Stevens knows that fast turnaround and incremental improvements reach a good final state much faster and cheaper than trying to get to 100% on the first go — which process requires input. One key question (from my perspective as a non-iPad owner) would be how to adapt this model away from a single platform; I don’t have an answer and wouldn’t expect Stevens to have one yet either, considering the entire thing is about three days old. But if you have thoughts on the matter, the discussion is taking place on Google+. I can’t wait to see how this one turns out.

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¹ One of the more obscure English measurements.

² For me, X ranges as high as 75 or 80 and as low as mid-30s, depending on the day.

³ In my opinion, one of the most useful things that Scott Kurtz has done via his occasional participation in print vs web shitfights is to very publicly never lose sight of the fact that webcomics as we now know there are a transitional mode of distribution. There will be a next thing, whether it’s some form of e-magazine, or the only slightly hyperbolic direct-to-brain HyperComics that get thrown around from time to time.

Not permitting webcomickers to fall into the trap of print comickers who don’t see a way to adapt is crucially helpful; just living with an understanding that business model and technological change are a given gives the current (and more likely, the next) generation of comics creators a better chance at not being left behind by those changes than some of their predecessors have proved to be.

In a land not quite so far from here sore lacking in etiquette, many did wander from poor behavior to poor behavior, wandering until they had worn out three pairs of iron-bound shoes, wandering until their eyes grew dim with none to instruct them in the ways of interpersonal interactions. In this land was a prophecy, hidden in a gem, the gem hidden in a duck, the duck locked away in a great wooden chest, a prophecy that contained all the secrets of Please and Thanks-You.

A pair of wise queens proposed to find the chest and in the chest the duck and in the duck the gem, and to share the knowledge with all the land, and the wise queens found among the people those willing to aid them in their quest, and they set out to let people know to Stop Doing That Were You Raised In A Barn Or Something¹. They cast their knowings to all who were smart enough to desire them, and that is how Nerddom became just a bit less rude and more considerate.

Okay, that’s harder than it looks. How about something a little less grandiloquent for the rest of today’s news?

• Appearing tomorrow, live and in person, the Ryan ‘n’ Joey Occasional Roadshow² hits Trinity College at UToronto from 7:00 to 10:00pm with fun and excitement and really wild things. Those of you in the GTA, do drop in.
• Jeff Zugale takes a break from both shouting Woo! in inappropriate circumstances and painting Wil Wheaton in awesome circumstances to draw some webcomics for Bill Barnes & Paul Southworth featuring Desmond in pantless circumstances. Smart move making this the first strip of Zugale’s stint on Not Invented Here, as poor Desmond is so freaked out by this memento mori that he doesn’t even notice that he looks different now.
• I recall a conversation with Robert Khoo wherein he denied that Penny Arcade was a webcomic endeavour at all; rather, it was a content-creating company focused on the videogame industry, with the webcomic just one part of it. Granted, the comic is the dominant part, but he didn’t commit to that always being true. Today, PA takes another step towards the comic being just another item in the content portfolio, as Ben Kuchera (formerly of Ars Technica) makes the jump to Penny Arcade with a publicly-described brief of:
  

  [W]riting about the gaming industry for Penny Arcade

  So that’s multiple comics, publishing, tie-in games, a charity, multiple internet TV series, a merch-design house, exposition services, custom branded content service, a scholarship, and now generalized editorial content. While we’ll never see PA challenging, say, Disney for pan-media dominance, I fully believe that’s only because Khoo wouldn’t be able to keep his hands in all aspects of such a broad enterprise. I also fully believe we’re within two years of PA going fully international, most likely with PAXEurope and/or PAXAsia, but I wouldn’t count out satellite offices creating original content in other languages for local consumption.

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¹ This was a somewhat unusual land for such tales, as it turned out that none of the people had, in fact, been raised in a barn and thus had no excuse.

² Occasional in the sense that they occasionally put on a show, not that they are occasionally Ryan and Joey, which they are pretty much all of the time.

R Stevens 3, of course. He’s following the tradition of hobbits and giving you presents today, the day of his birth. Also, he has now met the legal requirements to be President of the United States of America.

• Remember how I talked about all the stuff Becky Dreistadt & Frank Gibson were doing, and how not all of it had been revealed yet? Two more pieces have been, with a gorgeous, limited edition two-piece Adventure Time screen print coming out sometime tomorrow from Mondo Tees (watch their blog and/or twitterfeed for the exact on-sale time, and expect the 185 sets to go quickly). Mere hours later, the Adult Swim themed show at Gallery 1988 opens with a reception¹ from 7:00 to 10:00pm at the Melrose branch; Becky’s contribution pays homage to The Venture Bros².
• Welcome return, or cruel toying with our affections? Tweet Me Harder drops episode #76 nearly ten months after the purported series finale [MP3]. Dare we hope that this marks a return to TMH glory?³
• Eisner nominations are now open, with the criteria for Best Digital Comic not looking significantly different from prior years:
  

  The best digital comic category is open to any new, professionally produced long-form original comics work posted online in 2011. Webcomics must have a unique domain name or be part of a larger comics community to be considered. The work must be online-exclusive for a significant period prior to being collected in print form. The URL and any necessary access information should be emailed to Eisner Awards administrator Jackie Estrada: jackie@comic-con.org.

• Finally, the sad, sorry history of webcomics scrapers has hit a new low, as some bozo on Facebook is scraping content, redelivering without permission, and soliciting donations of cash which will totally be given back to the original creators, no really, promise it’s totally not a scam⁴. Randy Milholland has the details, and after a little preliminary digging at Facebook (I don’t have an account, so I could be wrong on this), it appears the category those getting hosed sideways can file a complaint under would be Intellectual Property Rights Infringement.

  Or it might be on grounds of Impersonation (since the app leaves the impression it’s associated with the comics in question) or Scams & Spam (since funds are being sought). Hopefully, Facebook doesn’t make each creator jump through these hoops and brings down the wrath of Zuckerberg quickly. In the meantime, I’m pretty sure the dipshit pulling this little game is thinking exactly like the person who recently plagued Jamie Smart so.

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¹ Read: booze and snacks.

² Unrelated, but last night in Providence, Rhode Island, while on my way to enjoy a quiet evening¹ with Fleen publisher (and Dumbrella Hosting impressario) Phillip Karlsson, I passed an industrial-looking building for rent with what looked exactly like the Venture Industries logo. I tried to get a picture, but it was too dark.

³ Probably not.

⁴ It’s a scam.

Long. Very long. Ouch-inducing long. Words not so good. Move on now.

• For the past week, Starslip has been setting up, subtly and first and with increasing speed and strength, the sort of conflict that Kris Straub has built so well before over the past not-quite-seven-years — reality is not what it should be, and that’s the sort of thing that leads to unravellings. These — disruptions is the best word to use, I suppose — felt more permanent than those that had gone before, if only because Straub had previously been careful about talking up the changes to come in Starslip, up-talkings that were absent this time. There were mentions he’d made about knowing how Starslip ends, but nothing definitive.

  Then it became official in his 2011 wrap-up/2012 look-forward:

  Starslip will end by the first week of April. [O]n the artistic side of the coin, once I had plotted out the strip’s last storyline, I had kind of resolved it in my mind. I had all the storytelling tools to end Starslip six months ago, but I didn’t. So I’ve been waiting for the right moment, but in doing so, it feels like I’ve been treading water. It’s not an easy goodbye for me, but I’m excited to move forward on more projects.

  For not-quite-seven-years, Starslip¹ has set the standard in Sci-Fi/comedy/adventure/but there’s something deeper there, and I am sad to see it go. That being said, I am happy that Straub has accomplished the story that he sought to tell and found a way to move beyond whatever limitations it was presenting to him. As Vanderbeam might say, Great Space Heavens! If you meet a Space-Buddha, on the Space-Road, target his go-parts and make explosions.

• Following up on Monday’s survey of Becky and Frankness, Becky Dreistadt has posted a preview of her cover for the forthcoming Adventure Time comic, issue #2, and it’s purty. From Boom! Studios (publishers of said comic), http://boompen.tumblr.com/post/15265770760/do-you-love-adventure-time-do-you-love-emily, including Emily Carroll’s version. You know, I’ve always thought that variant covers for a single comic were basically a scam and I’d never buy into them, but dammit I think I’ll have to. Rounding out the fun, issue #3 will be featuring a cover by Sister Claire² creator Yamino. Adventure Time will in various ways contain the work of so many different creators from the web side of comics, I can only wonder who’ll they’ll get next. Answers, as always on a postcard.
• Final thoughts: This binder contains transcripts of the (literally) hundreds of hours of interviews for Stripped; some tiny portion of it contains about about five quick answers from me at the tail end of a really good interview with the guy who owns my soul³. Looking at the names on the tabs, I am humbled by the thought that I could have had anything worth contributing in such company. I can’t wait to see what they all have to say.

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¹ And/or Starshift, including or not various Crises.

² I don’t think I’ve ever been as succinct as when I described Sister Claire as relentlessly cute and just the right amount of blasphemous.

³ I got a dollar for it!

Then again, who’s to say? At least one person involved in each of these stories think they’re pretty important events, but you aren’t here for a philosophical discussion as to what constitutes “breaking news”.

• Steve Wolfhard is somebody that you can never talk about too much; his Cat Rackham comics are beautiful and revelatory and sometimes surprisingly intimate. In the latter category is the comic that went up yesterday, referring to the events of Monday, to which only one thing can be said — congratulations to Steven and Leslie, and big ups to MaxFunCon for the assist.
• God DAMN, Chris Onstad has gone from total Achewood stasis to the sort of weird, crazy-go-nuts stories he produces when at the top of his game in three strips. Ray In Rehab (tentative title) may only be updating every ten days or so, but it’s already showing the potential to be another New Kings of Sapphic Erotica/Lash of Thanatos or North Korean Magical Realism. Well done, mysterious sir.
• I’ve been waiting to mention the much-discussed experiment in downloadable comedy because I wanted to see raw data on how it all worked; yesterday Mr CK gave us that information. Short version: the disintermediation and lack of DRM surrounding the Louis CK: Live at the Beacon Theater is a success, and bears some instructive lessons for independent creators that seek to make their living by trusting their audience. I found this bit to be particularly telling:
  

  The show went on sale at noon on Saturday, December 10th. 12 hours later, we had over 50,000 purchases and had earned $250,000, breaking even on the cost of production and website. As of [13 December], we’ve sold over 110,000 copies for a total of over $500,000. Minus some money for PayPal charges etc, I have a profit around $200,000 (after taxes $75.58). This is less than I would have been paid by a large company to simply perform the show and let them sell it to you, but they would have charged you about $20 for the video. They would have given you an encrypted and regionally restricted video of limited value, and they would have owned your private information for their own use. They would have withheld international availability indefinitely. This way, you only paid $5, you can use the video any way you want, and you can watch it in Dublin, whatever the city is in Belgium, or Dubai. I got paid nice, and I still own the video (as do you). You never have to join anything, and you never have to hear from us again.

  I really hope people keep buying it a lot, so I can have shitloads of money, but at this point I think we can safely say that the experiment really worked. If anybody stole it, it wasn’t many of you. Pretty much everybody bought it. And so now we all get to know that about people and stuff. I’m really glad I put this out here this way and I’ll certainly do it again. If the trend continues with sales on this video, my goal is that i can reach the point where when I sell anything, be it videos, CDs or tickets to my tours, I’ll do it here and I’ll continue to follow the model of keeping my price as far down as possible, not overmarketing to you, keeping as few people between you and me as possible in the transaction.

  Much has been made in the many (sometimes quite loud) discussion about webcomics business models (and the viability of same) about whether or not any money can be made via variations of the 1000 True Fans model. It’s been loudly declared that only working with a publisher can possibly pay, or that transitioning from a major-media publisher model to an independent producer model couldn’t possibly scale.

  Truth be told, the dozens of webcomickers making their living aren’t a large enough sample to be statistically valid (not have they been at it long enough to draw conclusions from duration), and what was really lacking was any evidence as to how far the model could scale up.

  Louis CK would seem to indicate: pretty damn far. Again, one datum may be an outlier, but I’m pretty confident that Louis CK can turn another show into a similar-sized success — which could provide the impetus to scale further up into funding the production of a feature film:

  Keep in mind, however, that it’s not sales of Beacon that would fund the film: He says that if Beacon “really tears an asshole into the money monster who then shits dollars into my mouth,” he would then use those shit-dollars to “buy a home and get some security which I NEVER have had in my life and have certainly not gotten from my low-budget show.” However, if he sells enough downloaded copies of this one to justify trying the experiment again, then the proceeds from his second special will all go toward making a movie.

  Crowdsourcing a motion picture has been bandied about a couple of times (hello, Browncoats), but this is a little different. This isn’t asking a lot of people to donate/finance/invest for the costs of the movie, it’s following a traditional production model, using the proceeds of a success to bankroll the next, hopefully more successful, project. It’s the sort of thing that has, in the past, been pretty much the exclusive province of large corporations. It’s the sort of thing that every webcomicker that rolls the profits of a book into a run of shirts has been doing, on a smaller scale. It has the potential to change how lots of independent artists¹ do things for the forseeable future.

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¹ Who need to have drive, ambition, and damn good business instincts — maybe not the skills to do all the business things themselves, but the self-awareness to figure out what they can do versus what they need to farm out (without giving up ownership), and the bullshit detector to figure out who’s trying to screw them.

I am slowly expanding the list of Officially Suspect sites, which now includes The Onion¹ but not The AV Club. Also, Twitter is not blocked, but any attempt to click through to a particular tweet or image results in a “that page doesn’t exist” error. In the meantime, I am working around the filters by various means because I am crafty. Okay, mostly it means surfing the Officially Suspect sites from the hotel and being behind the times, but whatever works.

• SMBC Thee-ah-tuh finished up the funding for their second DVD massively over goal, which means they’ll have to make good on their promise to do weekly sketches (instead of the monthly schedule in preparation for their web series in which they destroy James Ashby² in space). Comparing to their earlier effort, it now seems like a given that SMBC projects will hit 500% of goal funding in everything they do. Wow.
• Santa plus Dinosaurs in comics form from the mind of Ryan North over at Comics Alliance on Mondays and Wednesdays until Christmas, complete with all the vocal rhythms³ you’ve come to expect from The Toronto Man-Mountain. Speaking of Ryan North, there is now a form of plush T-Rex that looks large even next to a Ryan-sized man, which appears to be both the highest-priced item ever procured via TopatoCo, and limited (as of this writing) to only 37 more examples. If I had space in my living room for one of this things, it would freak my dog the heck out. Also unwary visitors.
• An instructive tale regarding a blatant piece of design theft, via David Malki ! popped up yesterday. Background: Malki ! endeared himself to my professional tribe with a piece of pithy wisdom that became a shirt featuring explosions. A catalog nominally associated with public broadcasting appropriated the idea (which, given the laws regarding slogans and short phrases, is permissible, if lazy) and implemented a hideously ugly design of their own for a dollar more than Malki !’s version; we’ll let him pick up the story from there:
  

  I wrote them an email. The reason I’m sharing this story — when I usually don’t bother to bring up situations like this, and give attention to entities that deserve to die in obscurity — is because I thought my approach might be instructive.

  The knee-jerk response is “Cease and desist! Sue! Call a lawyer!” This implies that (a) the issue cannot be solved through more amicable means, and (b) I have a lot of time and money to throw at this kind of problem. The latter is not true, and I like to at least allow for the chance that the former isn’t either. There’s a lot of double negatives in that sequence, so I’ll restate: Being aggressive puts people on the defensive. Being friendly gets people to help you.

  Also, always give the party in the wrong the ability to back off gracefully.

  Learning this is one of the biggest things that has helped me in life: avoid putting people on the defensive. Sometimes it is necessary to be firm, or to express dissatisfaction, or to press for remedy of a situation. But I have never found yelling and shouting to be the easiest way to that end — at least, not as an opener. [emphasis original]

  The email that Malki ! sent is a marvel of firm, yet utterly courteous, assertion of one’s rights; you should go read the excerpt that he posted right now. The practical upshot is that Signals will be carrying Malki !’s version of the shirt from Spring (at a horrible royalty rate, but one which is greater than the Nothing he was making before, and whoever ripped his design will no longer get that horrible rate), with the bonus that the incredibly ugly, lazy design (seriously, that rounded, noodly-looking typeface is as far from anything that evokes “engineering” or “explosions” or even “loud” as anything I’ve ever seen) will fall back into the obscurity it so richly deserves.

  It might not be an optimal win (that would be one where Signals apologized and gave all their ill-gotten gains to Malki !, along with the heart of the “designer” who shat out such a weak interpretation of the slogan), but the net result was a decrease in Total Ugliness instead of a screaming match that would have increased it. Now in addition to his varied skills in film production, podcasting, improv, rapping, design, printmaking, metal fabrication, editing, publishing, heavier-than-air piloting, and freelance firearms special services, we should recognize Malki ! as webcomics’ premiere corporate communications liaison and kick-ass demand letter drafter.

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¹ For violence, not sexual content [link NSFW].

² History’s greatest monster.

³ We get it, Ryan, you like the compound plural. iPads 2, jeezum crow.

For several reasons, actually. At the moment, the most significant reason is that I’m presently dealing with the first cold of winter and I’m far less likely to have these vicious headache/sore throat combos in April than December. Rest assured, however, that there are other reasons.

• Such as, sometime in the Spring is when we can most likely expect to see Stripped. Although half of Freddave Kellett-Schoeder was beat down by days of continuous travel and interviewing, the other half joined me for dinner last night, leading to an extensive conversation about the film, its direction, and the logistics of getting a rental car full of moviemaking equipment from Central New Jersey to the least accessible corner of Brooklyn to midtown Manhattan, and on toward Connecticut during prime commute hours. Vaya con Dios, plucky documentary makers.

  On this swing (the last of the filming schedule, although they may squeeze in a couple final interviews back home in LA), Freddave Kellett-Schroeder have managed to rack up another half-dozen interviews, talking with vets of the webcomics scene, the print scene, and super-vets of the glory days of newspaper comics; there were also tidbits and details regarding the film that can’t be revealed just yet, but once they are, will cause at least one of your heads to explode.

  If you don’t want it to be your head that explodes, start acclimating yourself to small doses of incredibly cool, unexpected news now (huh, the A Girl And Her Fed books are shipping¹) to progressively larger doses (huh, the NY International Children’s Film Festival is showing all 15 Ghibli films); by the time Stripped comes out, you’ll be ready to deal with the news I have in mind.

  But because you’ve been so good and patient, I am prepared to exclusively share one piece of exclusive information that I confirmed exclusively with Dave Kellett last night: his daughter is freakin’ adorable. What do you mean, Everybody that’s ever met her knows that? It’s an exclusive!

  In all seriousness, Stripped is impressing ever more, as I learn all that Schroeder and Kellett accomplished so far, and learn about the plans they have for it. There will be days worth of visuals and interviews that serious students of cartooning will want to pour through for decades to come. I can’t help but think that it’s going to form a definitive record of the state of cartooning at this point in time and in 20 or 30 years, some future historians or documentarians will be asking to use clips in future projects².

• Also coming around in the Spring, the comic convention circuit will be kicking into full swing. I got an email pointing out that space for C2E2 ’12 is now available, but what most caught my eye about an otherwise-routine announcement was a section on changed union work rules, which should make exhibiting far more practicable. From the email:
  

  Recent rulings and legislation have improved work rules throughout McCormick Place. Exhibitors can bring in outside food, use power tools to build their own booths with full time staff and benefit from decreased crew sizes. Click the button below for additional information directly from McCormick Place.

  The referenced button leads you to this PDF from the exhibition space, which details reduced work crew sizes, reduced double-time rates, and the ability to use personal vehicles at loading docks. Hopefully Reed Exhibitions and other showrunners will be able to promote similar changes at other convention sites; with comics increasingly the province of independent creators, having realistic overhead costs will be critical to keeping comics shows from becoming the exclusive province of movie and videogame companies.

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¹ I love AGAHF and creator “Otter” Spangler, but would it kill her to have permalinks to individual newsposts on her site? No permalink to the books-are-in story, so here’s a picture for proof.

² I have a suspicion that Kellett and Schroeder might be a bit more willing to share clips of their work for future projects than they have found present licensors to be.

At this point, if there’s some kind of award or “Best Of” list that could conceivably be stretched to include humor, literature, cartoons, or Canadians, assume that Kate Beaton is on it. In the latest iteration, Hark! A Vagrant comes in as #7 on the Time magazine Top Ten Fiction Books of 2011 list. In the words of presenter (noted author and general webcomics appreciator) Lev Grossman:

It’s tough to say what list this book belongs on, but it’s the debut of a smart, funny, wholly unique voice, and it ought to be somewhere, so let’s put it here…. Whatever else it might be, Hark! A Vagrant is the wittiest book of the year.

Couldn’t have said it better myself.

And within the past half-hour the one-fourth of the Cyanide & Happiness crüe known as Rob¹ tweeted a link² that informs us that Comedy Central has a C&H project in development:

From the creators of the Cyanide and Happiness web comics and shorts comes a half-hour animated show featuring the twisted humor of a world populated by glorified stick figures. Executive produced and created by Kristipher Matthew Wilson, Robert Andrew DenBleyker, David McElfatrick and Matthew Melvin.

I’m smelling back-to-back programming with South Park. Oh, and I hope whoever it was at ICE that initially decided that C&H co-creator Dave McElfatrick didn’t need to be admitted to the US has finally come to learn the error of his or her³ ways. Dave, Kris, Matt, and Rob may have a long road ahead of them before things actually make it to air, but since they have a habit of knuckling down, doing their work, and bringing the funny on a daily basis, I’d say the odds are in their favor.

Congrats to everybody at Explosm Amalgamated Laugh-Chuckles, and note that the time until the Family Research Council [no link 'cause screw those guys] issues its first my-stars-and-garters we’re shocked, shocked I say! press release decrying the C&H show as causing the the utter downfall of Western Civilization begins now.

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¹ Mr DenBleyker if you’re nasty.

² Also, one should note that DenBleyker got scooped on his own announcement, as comics reporting supastar Heidi MacDonald tweeted the news a full half-hour earlier and had a news posting up even before then. I don’t know how she does it, but some day I have to learn her secret powers.

³ Fine, fine … thon ways. Happy now, Ryan North?

Soooo … Gareb Shamus, who led the ever-contracting Megan Fox Tits Wolverine¹ empire, did two notable things last week:

1. He abruptly quit, effective immediately, on 1 December
2. On his way out the door, or possibly before leaving, or maybe after (the timing isn’t clear), he tried to get a webcomicker fired from his day job

Let’s examine that second item a little more closely, shall we? From today’s update of The Gutters, written by Ryan Sohmer and drawn by a rotating cast of artists:

Should you find yourself the subject matter of a Gutters page, and take offense to it, don’t go after my artists. Should you be so offended that you attempt to get someone fired from their day job, don’t be a coward.

Come after me.

My e-mail is Sohmer@blindferret.com, I will gladly provide you with my contact information, as well as that of our legal department.

I take sole responsibility for every comic and news post on this site.

Don’t you dare go after one of my artists.

Now let’s look at The Gutters #222 from last Monday, as drawn by Sohmer’s partner-in-crime² Lar DeSouza; the topic of this particular update is, by a peculiar coincidence, one Mister Gareb Shamus. Thing is, last Monday, #222 had originally been posted with art by another creator (since Sohmer implies strongly that said art was pulled at the artist’s request, I’ll forbear naming him at this time).

Boy, you sure showed Sohmer and an artist just trying to pick up a little work for hire, Mr Shamus! If your reputation was so very, very poor in the comics industry as to be made fun of previously, how much better it must be now. It’s a good thing we live a in a world where Google doesn’t exist, the original art for #222 can never be found again, you can simply bully DeSouza into being fired by his day job boss³, and the words Streisand Effect don’t have any particular meaning.

On to things with infinitely less jerky behavior.

• Per the Twitter account of Stripped, news that the end is in sight:
  

  This week: Final interviews with Guisewite, McDonnell, Feiffer, Munroe, Walker, Beaton ‘n Gran … then it’s full focus on post-production!

  The “Walker” referenced is ambiguous, but I’d guess probably represent cartooning stalwart Mort Walker. One might also note that Kate Beaton and Meredith Gran were already interviewed by Schroeder and Kellett at NEWW last year; of course, these past twelve months have been the Year of Beaton in the comics world, and Gran is doing the best work of her career, so it makes sense to go back for followups.

  Given that one of the challenges of any documentary (at least, one that doesn’t follow a single subject) is how to come up with a storyline to unite all the disparate elements, using one or two creators as representative of the growth and development of webcomics makes perfect sense. Put another way, the future of comics is going to be a lot more creator-owned, niche-topic-oriented, and female-created than it is right now, and Beaton/Gran look an awful lot like that future.

• Speaking of repeat visits, Saveur Magazine’s Recipe Comix have been revisiting some of their early contributors. Two weeks back, Dorothy Gambrell showed us all how to deal with Thanksgiving Alone (hint: bourbon), and today Carly Monardo brings us her grandmother’s lasagna recipe. My friends, if anybody knows what an amazing lasagna should taste like, I’m gonna guess it’s a lady named Monardo from Staten Island, who named her internet-based art collective after the dish. Dig in.

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¹ Also known as Wizard magazine and Wizard World; cf: here.

² Or possibly “hetero life-partner”, I can never keep it straight.

³ Ryan Sohmer.

So you’ve got Post-Thankful Fatigue Syndrome? Welling up with all the rage that only a holiday-season trip to the vicinity of The Mall can instill? Just be glad that you’ve got it easier that Arthur, King of Time and Space creator Paul Gadzikowski, who had cause to tweet in the early morning hours of Thanksgiving Day:

In the hospital with a heart attack. Not gonna die. More later.

Gadzikowski was able to provide more information about ten hours later, and as these things go, it turned out about as well as could be hoped for:

Had a heart attack Wednesday night. Caught it fast so effects are minimal, but it’s still a lifechanger.

Looks like I’m getting sprung from here today [Friday 25 Nov]. Not going back to work till December 5 at the earliest.

Being a webcomicker, Gadzikowski had his eye on the important priorities:

One thing this spate of adversity has taught me: keep your webcomic on a buffer.

The uncharitable might note that AKOTAS has been on a sketch-based story hiatus since the vicinity of the summer solstice, but look at that archive: updates every damn day, up to and after the infarction. I call that dedication and we at Fleen salute Gadzikowski and wish him a speedy return to normal life.

Let’s consider some things that would melt the icy displeasure of even the most PTFS-afflicated among us:

• Rosemary Mosco, who put a lot of her comicking on hold while she went to grad school, got married, little things like that, has put together an awesome print of birdsong mnemonics; hang next to her love letter to turkey vultures and her paleological/alphabetical primer. And, because today is Cyber Monday, don’t forget the TopatoCo secret cybercode.
• Continuing their trend of being supportive with cold, hard cash, the SMBC Theater Superpals have cleared the pre-order hurdle for SMBC DVD 2¹ in two days. As these are the same fans that utterly obliterated the Kickstarter goal for the new space-themed webseries, it shouldn’t be surprising that they collectively came up with two grand in a couple of days, but this was during the Thanksgiving Day craziness, with the family, and the traveling, and the pie-induced coma. So, well done, Superpals.
• Speaking of Kickstarterings launched over the Thanksgiving weekend (when nobody’s paying attention, so perhaps this slipped by you): Audra Ann Furuichi and Scott Yoshinaga did so to launch their latest nemu*nemu collection in perfect-bound full color. This one has gotten off to a slow start, which can only be explained by the general away-from-the-internet tendencies of the long weekend. Think of this book as not only entertainment, but a vaccination against dangerously infective cuteness.

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¹ Electric Jamesaloo.