Okay, let’s review the facts: By 12:06pm EDT yesterday, I was already emailing people about how easy the SDCC hotel registration process was. By 12:06pm EDT today, I have heard exactly squat from them about my room reservation, and I gather I’m not the only person in this situation. Ain’t nothing in my spam folders, the same email address successfully delivered information from Travel Providers in prior years, and I am becoming annoyed. I also note that the hotel page seems to have reverted to the same system used in prior years; make of that what you will. Let’s move on to happier things.
Bryan Lee O’Malley’s SCOTT PILGRIM VOL. 6: SCOTT PILGRIM’S FINEST HOUR, is published by Oni Press and features 248 pages of evil-ex butt-kicking in the easily digestible digest format for the low, low price of $11.99. Available at your local comic shop or bookstore Tuesday, July 20th, 2010.
Where to start? How about with a live-action adaptation of the mystery solving teens — en español! Or with the extremely limited-edition fat pony sculptures (lovingly crafted by Nikki Rice Malki, who apparently does not take the honorific exclamation), which go on sale at Topatoco tomorrow at noon EDT, inevitably leading to an even bigger rush and hordes of frustrated, denied, would-be patrons than today’s SDCC hotel wrangle (which, as of this writing, amazingly does not show as sold out yet).
Or maybe the fact that she’s up for a Shuster Award again this year¹, in the category of Webcomics/Bandes Dessinées Web (along with such worthy competition as Attila Adorjany, Andy Belanger, Rene Engström, Karl Kerschl, Gisèle Lagacé and David Lumsdon, Tara Tallan, and Steve Wolfhard, not to mention Cameron Stewart in the Artist/Dessinateur category for his print work).
Long-time readers of this page know that I have a thing for webcomics depictions of squid, and it should be noted that on a day when all the rest of that was happening, Our Kate also drew: squid. Seriously, if I were the sort to believe that God was sending me signs to start a cult, yesterday would have been shouting THE BEATON SHALL SHOW YOU THE WAY.
In non-Beaton-related news (unusual, I know), did everybody see that Rich Stevens’s inevitable march to conquer all media (via t-shirts) has claimed another milestone? Namely,prime-time network comedy featuring TV’s Wil Wheaton. Now I’m gonna have to explain that I owned the Electric Sheep shirt before it was cool.
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¹ I have to admit, this is the award that leaves me most conflicted every year, since the slate of nominees is always so strong. I think this year I’m pulling for Engström, because the ending of ALM made me sniffle and smile, or Wolfhard because Cat Rackham rocks my face off.
On any other day, the newly-revealed poster for Scott Pilgrim vs The World (“An epic of epic epicness”) would get pride of place up top, but this isn’t any other day. This is the day (well, okay, last night) that John Keogh, after many teasers, has dropped the last Lucid TV on us, and it’s a masterpiece. Last one to leave Jim Belushi Memorial Hospitul, turn out the lights. And may I note that the flashing logo on the side of JBMH will always remind me of one of Chuck Jones’s better sight gags.
Hello Gary,
So recently I’ve been trying to get under control the large (for me) amount of hits one would get when they google my name, for a couple of reasons, mostly being the fact that they were created during an adolescent time of my life (my adolescence) and would like them to be kind of, well, removed. With the internet being like an infinite attic that everyone can shuffle through I would like my presence to be something more conscious, if you know what I mean. Could you please take a few seconds out of your day and just delete my last name ([redacted] from [redacted]) from the post copied below? I would be most grateful!
[link redacted]
Thank you!
-[redacted]
This is actually a bit of a dilemma for me — while it would be trivially easy to remove one word from one post, we at Fleen have had a long history of not retroactively de-publishing content. No matter how stupid, abusive, or misinformed the content (and that’s from us; the comment threads can get downright evil), it stays up because it’s a record of what actually took place. Corrections have been logged, of course (very minor things like typos and bad punctuation without notice; more weighty things like rewordings or retractions via strikethrough), but no comment or posting has ever been taken down.
There is one caveat to that last statement, actually. At the height of the Todd Goldman Shitstorm of Aught-Seven, with lawsuit threats a-flying, one poster contacted me with a request that a comment be deleted because he’d submitted it from work, and was afraid if the lawyerin’ got out of hand, his employer might terminate him. I did so, and he resubmitted the same comment from his home computer, so the net effect was zero (aside from the chill in the air that expressing an opinion can be dealt with so harshly).
Anonymous’s request reminds me a lolt of the story of “Peter”, who legally changed his identity to get away from Google searches; I take it as a given that the words and works that we craft should be things we are willing to stand behind, but must we be tagged with associations forever? I also take it as a given that everybody — every. body. — was an idiot as a teenage for instance (you really can’t help it, what with the hormones and the brain not being all the way cooked). Anybody with a smidge of self-awareness looks back on those years and slowly shakes their head with a muttered comment thanking [insert thankable entity] that they aren’t like that anymore. Heck, I find the process of growing, changing, and maturing (kicking and screaming all the way) means that any random interval of the past, from last week to third grade, is likely to leave me wondering how I could be such a dick back then and I hope I’m not like that now. So the line about an adolescent time of my life rings true for me.
Ultimately, the full identity of Anonymous isn’t part of the story — not like a more prominent figure would be. And while the no-depublishing rule was something I set in stone for myself when Fleen started in 2005, if we are to grow, change, and mature, then we must be willing to revisit our ironclad beliefs as situations and circumstances warrant. Request granted, and we’ll take such considerations under advisement in the future.
Several things I noticed (some today, some holdovers looking for the right theme), all of which refreshed my hope in webcomics, humanity, and the universe in general (although understand it’s a sliding scale — we’re not talking Mentos levels of refreshment here).
Young Adult graphic novels are swiftly gaining popularity among librarians, teachers, and most importantly, young readers! Join Hope Larson (Chiggers, Mercury), Jillian Tamaki (Skim), Raina Telgemeier (Smile, Baby-sitters Club), and Tracy White (How I Made it to Eighteen) for a discussion about their work, their influences, and their audience. Moderated by The Beat’s Heidi MacDonald.
Everybody on that panel is allowed into this year’s Drink & Draw Like A Lady (Eastern division), and it’s not on the topic of What’s It Like To Be A Comics Creator With A Vagina? I think we just hit the comics panel equivalent of the Bechdel Test.
Now steps in another willing to share the tales of what it takes to make comics, and it’s Tyler Page of Nothing Better, and in a pair (so far) of Livejournal posts, he’s pulled open the metaphorical kimono to share all the gory details on self-publishing. Want to know how much you get for US$46,918.60? Read the posts, and consider them carefully.
No doubt his success with Least I Could Do and Looking for Group had a lot to do with it, but one cannot deny the love Sohmer has for cartooning in general or the lengths to which he will go to support it (although some will try damndest — thanks, Ted!). Fleen offers congrats to Sohmer, and holds out hope that this rapproachment and blending of cartoonists (regardless of distribution medium) may continue.
I had power when I went to bed (that would be of the electrical variety to my house, not any sort of personal authority or might), but it decided to go away in the night, leading to a screwed-up alarm and a day where I’m running to catch up. Only the prospect of pie left over from yesterday’s nerdery-slash-cooking can buoy me now. Well, that and a few other things:
Well, me and my dog will just have to have fun by ourselves. So there.
You know who is more self-contrasting than anybody else in webcomickry? Josh Lesnick. On the one hand, he works mightily to keep the adult side of webcomics economically viable for creators (perhaps putting so much effort to the advantage of his associates that he neglects the success of his own works), struggling against things PayPal and credit-card processing policies that shy away from anything even vaguely hinting at naughty bits.
On the other hand, his loose, scribbly style is made for the absolutely cutest, most innocence-projecting images possible, without quite slipping over the line into diabetes-inducing treacle. Good samples of both sides of Lesnick’s work can be seen at Pink Snow Bunny [sometimes NSFW, but so very cute; also: moustaches].
And now, the full cute potential has been unleashed in tribute to his fellow creators. Ladies and gentlemen: Josh Lesnick presents Webcomic Pony Party. It’s mare-velous.¹
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¹ I’m so, so sorry.
ROFLCon II (30 April & 1 May, at MIT; that’s my anniversary weekend, so I think I’m gonna have to miss it) now has an official shirt. Oh, but it is glorious. Obviously the work of the very sexy R Stevens, riffing on Antonia Neshev’s now-ubiquitous design, and printed by the same design shop that did the original, so no concerns about anybody ripping off anybody. Hooray!
As I suspected at the time, the puzzles scattered throughout the book were smaller components of a larger puzzle, and the final pieces were put together yesterday by xkcd forum member aspragg, who announced the solution to the meta-puzzle (needless to say, spoilers ahoy). Word of the solution will no doubt spread like wildfire, but if you don’t want to know, don’t read the footnote.¹
In the meantime, it’s still up in the air whether the Dinosaur Comics cipher from last week will take as long or longer to solve.
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¹ Solution proposed:
<3<3<3 2010-06-26 14:28:57 37.769573 -122.483123, which taking an earlier example as relevant, would seem to invite all and sundry to a place within Golden Gate Park on 26 June 2010, at about 2:30 in the afternoon.
For those that enjoyed the Jess Fink covers yesterday, we’ve got more eyecandy for you today (this time from Hurricane Erika), along with some process porn. Is it weird that I, who creates no visual art, cannot get enough of this image-building? Anyway, it all builds up to a tentacle-rich conclusion, and should be available in time for TCAF.
In honor of the Cartoon Art Museum’s current exhibition, Batman: Yesterday and Tomorrow, CAM Curator Andrew Farago is turning back the clock to 1989. Or, to be more specific, he’s turning his head back to 1989. If the Cartoon Art Museum receives $5,000 in donations between now and the evening of April 2, Farago will shave the famed Bat-Symbol into his hair at the Museum’s annual WonderCon weekend fundraising party, just as many Bat-Fans did in the months leading up to the release of Warner Bros.’ 1989 Batman film.
“My mother thought it was a bad idea 21 years ago, and I’m sure she’d still think it’s a bad idea today. I’ve had plenty of bad haircuts before, but this is the first one I’ll be getting for a good cause,” said Farago.
Not mentioned in the press release is the reaction of Farago’s wife, who will likely find the prospect of a Bat-Head husband to be either irredeemably stupid or rad beyond all measuring; I’m betting on the latter, actually. Donations can be made through CAM’s website, Facebook pages, tinyurl, or by mail to the Cartoon Art Museum at 655 Mission Street, San Francisco, CA 94105 (please indicate “Bat-haircut” in the subject line, and don’t forget to deduct it from next year’s taxes).
Case in point: iPulpFiction.com, distributing some fairly big name authors, at really low price points, what appears to be be online-only material. At least, their new graphic novel, The Cobweb Dective Club is described specifically as “an online graphic novel”, and I can’t find any references to eventual dead-tree versions (while they’re advertising the iPad as a viewing platform, near as I can tell, they maintain their own payment system).
General question for all of you early adopters — if you buy an iPad and oh look, no iPhone tethering to avoid having to purchase a second data plan — are you likely to then also pay to third parties, or will the ongoing costs drive you more toward free content? I’m trying to get a sense of what you’re willing to purchase.
Let’s just right to it, shall we?
Every three years, they have a festival and academic conference on cartooning; the tenth one will be in October, and there’s some interesting names on the presenter list: Matt Groening, Roz Chast (the best and most prolific New Yorker cartoonist since Charles Addams), Gene Yang, and some guy named Kellett. Kellett’s particularly an interesting choice because he plans to speak in response to a speech at the same event 21 years ago by some guy named Watterson. As Kellett puts it:
At the 1989 Festival, Watterson spoke of the incredible potency in comic strip cartooning: This rarest of arts that let one artist, one voice, speak to millions. This artform that lets the personal outlook shine through, where so many other mass media arts do so by committee.
I want to speak to his concerns about the space allotted comic strips in newspapers; about zombie comic strips still being drawn long after their original creator had died; about why so many features have stale, interchangeable voices; or why so many are merely advertisements for dolls and greeting cards; or why comic strips in general have been on this slow, downward trend of diminishment in American life for the past 20-30 years
Because basically, I’m going to talk about this incredible change of fortune for the comic strip. I’m going to talk about Webcomics.
Note to self: see if the limited seating at the festival includes press access or not.
Originally it was feared that he had congestive heart failure, which was surprising, as he is in his thirties and a quasi-vegetarian. It has since been disclosed that there is a fucking virus (Coxsackie B virus) that can cause it, and you don’t even have to eat 2 pounds of bacon every day. He is doing better, but can only taste lemons, and is under the illusion that he has a pet squid named ‘Renaldo’. We ascribe this to dosage issues with his medication.
That’s just what Foglio wants you to think, as I happen to know that he’s prejudiced against squid. All kidding aside, Phil & Kaja Foglio, and everybody that works with them, are stellar people and if you have a few bucks to spare, there are far worse things you could spend it on. How much food and shelter do you need anyway?