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Timely mentions: A Girl and Her Fed are bustin’ out the bwow-chicka-wow soundtrack, and Paul Southworth’s Ugly Hill is still pining away for your wholesome love. Won’t you go take a look, please? Guy just had a kid, you owe him for doing his part to populate the planet with cool kids.

So, final notes from SPX — it’s not a webcomics specific show (really, what is?), but it’s got the same aesthetic as webcomics: lots of creative people, each one saying I made this, and other people responding with emotional and financial support. Witness, if you will, this entirely typical verbal exchange from Saturday afternoon:

This sort of thing was going on all weekend, and while not every exhibitor in the hall is as cool and talented as I hold Raina and Dave to be (not to mention lovely people — we’d been introduced previously, but this was the first time we’d had a chance to talk), every exhibitor in the hall was held in that regard by somebody. And chances are, that somebody came to buy.

What they tend to buy is on some form of wood — prints, art, books, Chris Yates’s incredible jigsaw puzzles — rather than t-shirts, which makes this an unusual audience for the webcomics creator. Although there were shirts to be had, and I did purchase one from Leah Riley (in the past my CBLDF boothmate, once one of the Lovely Ladies of Lulu, currently half of the husband-and-wife creative team behind Robohobo and Willrad, and always one of the sweetest people you’ll ever meet). Not because my wife needed another t-shirt mind you, but because the design of a squid forming a heart with its tentacles was just so damn good. Missed my chance for her fabric sculpture robots because they sold out too quickly, dammit. But my point being, if it’s fabric and it’s good enough, it’ll still sell.

I’ll also note that those are just starting out in webcomics would find SPX an attractive place to get the word out. Case in point, I met a couple of guys named Doc and Todd walking around and dropping the business card for their new collective, Killjoy Comics. Five years ago, they probably would have spent most of the year producing minis and hitting two or three shows with cheap tables, trying to get the word out. Today, you can still do those minis, but you don’t have to wait to pull your readers in, because you can continuously post your work to the web while accumulating enough material for print.

We’ve really reached that happy point where the distinction between indy/small press comics and webcomics is largely academic. So if you read this, if you love webcomics like I do, make your plans for Bethesda next year — there’s a mountain of talent and it’s all deserving of your support.

Photos below the cut.
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Quickly now: an outstanding use of the Dinosaur Comics template (via Dirk Deppey), the welcome return of Ugly Hill, and the Octopus Pie book on pre-order.

Okay, Small Press Expo, 2007. Fleen was proud to meet with a wide variety of webcomickers exhibiting at the show, including (in no particular order) Colleen Venable, who I forgot earlier, sorry!, Chris Yates, Aaron Diaz, David Malki !, Bernie Hou, Box Brown, Joe Sayers, Raina Telgemeier and Dave Roman, Leah & Chris Riley, Kris Straub, Dave Kellett, Howard Tayler, David Willis, and Brad Guigar. Achewood won what I believe is its first major award, the Ignatz for Outstanding Online Comic (more on that later). Webcomics journalism was represented by Xaviar Xerexes and Mister T, and I had a nice conversation with Heidi MacDonald as well. Interesting tidbits & photos over the next couple of posts … for now, I want to talk about a session that took place on Saturday afternoon.

At the moderator’s mic was the able and amiable Josh Fruhlinger, who wrangled Bill Griffith, Nick Gurewitch, Keith Knight, and Ted Rall. The conversation ranged widely across the various experiences of the four creators in the world of print comic single panels/strips, but towards the end took a turn towards issues of the web. Asked about their use of the web as a medium for interacting with their audiences, Griffith replied,

If you have a website, the logical thing is to put your strip there for free … I have that little niche [online] and print, and at this point, I need both of them. My online sales account for half of my income.

Which sentiments ought to be familiar to all reading this. But following up the point later, Rall took a decidedly different tack:

If every cartoonist would agree to take their work offline forever, we would all make fifteen times as much money. We’ve done a really stupid thing [by putting content online].

Now let’s be clear about two things: one, Rall was not speaking in direct reply to Griffith’s point. And two, he’d just been talking about the history of specifically editorial cartoonists (of which he is one), and the rapid decline in their numbers (specifically cited: in 1960, there were more editorial cartoonists in New York City alone than there are now in the whole of the United States).

Still, this struck me as a monumentally absurd statement — from our researches here at the Fleenplex, it appears that only new cartoonists in this country that are able to make a living from their cartooning are the ones that do the exact opposite of what Rall proposes. Seeking reaction from webcomickers in attendence elicited a uniform disagreement with Rall, but I’d like to open the question more broadly. If you’re a webcomics creator that makes a significant portion of your living from your creation, can you see a set of circumstances where Rall’s assertion makes sense, or is it just crazy talk?

Memorable Quotes:

Tayler, in reaction to the Rall quote — We’re about to do a really stupid thing if we pay attention to Ted Rall.
Willis, ditto — I can’t hear him through my big wad of cash.

Hey, kids! Who’s goin’ to SPX next weekend? Webcomickers (and related types) to be seen there will include Blank Labellers Guigar, Kellet, Straub, Tayler, and Willis; Box Brown, who I completely read over on the list, sorry!, Nick Gurewitch, Bernie Hou, Jeph Jacques, James Kochalka, Carla Speed McNeil, Dave Roman, Joe Sayers, Raina Telgemeier, Colleen Venable, Chris Yates, and The Dreamcrusher.

Additionally, of that number, Sayers and Malki ! are up for the Ignatz Award for Outstanding Online Comic, along with Chris Onstad, Nick Bertozzi, and Kris Dressen. What I like best about the Ignatz is the physical form of the award — it’s a brick. And as long as you’re there, keep an eye out for the Josh Frulinger-moderated panel on the current state of comic strips, with Gurewitch on the panel

I should note that Gurewitch is on that panel as a cartoonist, not specifically a webcartoonist; in this, SPX has regarded the delivery medium as less important than the content. Give it a few more years, and we’ll hopefully see webcomics sprinkled throughout the categories of the Ignatzes (and the Harveys, and the Eisners), rather than segregated into one slot. Until then, come see what it looks like on an exhibit floor where webcomics are spread around instead of concentrated in one spot. It’s pretty cool.

Should be about one more day to clear the backlog of news items — do bear with me. In the meantime:

• A Girl And Her Fed brings us corneas for only the second time by my count. I’ve gotten so used to The Girl and Sparky having no eyes that it’s actually a little creepy today.
• Seriously, guys, Jennie Breeden has a comic in stores with strips that aren’t online. Don’t make her make them bigger, or we’ll be overrun with Rob Liefeld fans.
• Does doing something twice make it a tradition? Bookcarts gettin’ pimped again.
• Not webcomics, but when has that ever stopped me? John K. at The AV Club.
• MoCCA Art Festival this weekend, to feature webcomickers Andy Bell, Sam Brown, Steven Cloud, John Green, Liz Greenfield, Chris Hastings, Jeph Jacques, Hope Larson, David Malki !, Ryan North, Tyler Page, Ramon Perez & Rob Coughler, Dave Roman, Jon Rosenberg, Jeff Rowland, Ali Solomon, Rich Stevens, Raina Telgemeier, Jim Zubkavich, and maybe more. Get yer ass down to the Puck Building, it’s a fun time.

Editor’s note: Another guest piece from Anne Thalheimer; she’s continuing her explorations through webcomics, bringing a newbie’s eye to all and sundry. You can submit these too, you know. Contact link is over there to the right.

Now, I like writing critical pieces as much as the next person, and, as I’ve said before, I’m a little new to the webcomix party. So I thought I’d alternate the more critical pieces with something a little more, well, fannish. I’m trying to read widely in the field (so, you know, feel free to point me in the direction of one of your favorites if you want; I’m open to reading suggestions).

I’ve made mention of some of my favorites in earlier columns, like Natalie Dee and Exploding Dog and, of course, this. I’m a fan of Cat and Girl, which I first read in minicomics form, not on the web (it’s weird to be admitting that being a comix geek kind of turned me on to webcomix in the first place, especially in still thinking through David Malki !’s recent article.

I have a few webcomics that I read on a regular basis; I started out reading Overcompensating because I’m a bit of a fan of the autobio. Even if it’s fake. Or kinda fake. Hell, he draws tattoos on his comic self the same way I draw mine on me! Then I got sucked into reading Diesel Sweeties, which I like (especially in airports), in large part because of the weird titles that R Stevens uses for each of the installments. (Full disclosure: these two work down the hall from me and made my company’s wacky holiday party way more entertaining, so I’ll probably always be nice when I write about ‘em).

But when I think of Diesel Sweeties, I think of t-shirts. In an earlier column I advocated supporting the webcomics you read by buying merch (or sending fun party favors), and so I naturally thought of the only other webcomic whose t-shirt I’ve bought: John Allison’s lovely little Scary Go Round. It’s one of my current most favorite things online as well as from Old Blighty (other favorites in that category being Ribena, chocolate vending machines in tube stations, and my friend Lesley).

Scary Go Round is one of the few multi-panel webcomics where I can read loads of the archives and not feel like my brain’s been sucked out through my eyesockets. Part of this is no doubt because I find that the art and the text are both really compelling; vivid, unique art with grand coloring and catchy dialogue (snappy English-isms! Yeah!. I want to keep checking in to see what happens to the characters — the pacing’s perfect and the narrative’s delightfully weird. I’ve been thinking about the folks who report problems forgetting to click and check in on updates of their favorite webcomics; Scary Go Round just isn’t one of those for me. It’s actually one of those webcomics where I linger, looking at the background details (the posters, for example, in the background are especially nice touches). I’m still working through all of the chapters, but I fully intend to make good and read the whole thing. It’s also interesting to see the difference between the work that’s hand-drawn and the work that’s done on the Wacom tablet, since I find the hand-drawn work more visually captivating. One of these days I’ll just suck up the shellacking the US dollar is taking and buy one of his books, because I’d just love to see how Scary Go Round looks in print.

In addition, the website also has a hugely amusing “aboutâ€? section (called “the true truth”) as well as this little gem from the Extras section — you have to admit he’s got killer taste in music).

And I love my t-shirt (& just for you, Mr Lowrey, it’s bloody great!).

Fleen thanks Anne once again for her contribution. Hey, am I the only one that sees a girlfight of Wgnerian proportions coming? Wicked Bob has bewitched both Dark Esther (who has a mean right) and the formerly mini-Winters (who has a five-star gun show and a temper to match); once great friends, they’re now at each other’s throats due to malevolent forces and love of The Boy. Add in a little Armageddon, and nothing good can come of this — except more great storytelling. Also! Remember when I said that Esther had the sweetest smile? Her sorrow here absolutely breaks my heart — Allison’s ability to express emotions continues to astound.

Webcomics will be making themselves known at various conventions in the near time frame. For instance, you gots the New York Comic Con (now with added breathing room!) starting this Friday. Things kick off in the morning for members “of the trade” only (which means that webcomics panel we wrote about last week? You can’t go.) and open to the public at 4:00pm. Multiple members of Dumbrella will be in evidence, as will selected members of Blank Label, a wandering-about Chris Hastings, and the nomadic Jennie Breeden. Anybody that travels for work, think you got it bad? Check out Breeden’s convention schedule.

I’m assuming at this point that NYCC has approved my press pass, since I’m getting a mountain of come-ons from publicists to come see their stuff at the show, but work will keep me from the webcomics panels; see Mr T’s blog for a writeup that he’s promised us. Anyway, look for me perhaps Friday afternoon, and most of Saturday, and be sure to check out R Stevens on the Syndication panel (which, mysteriously, he’s not listed as being a part of) on Sunday afternoon.

Other cons coming up include No Such Convention (at Vassar) the following weekend, with RK Milholland and Jeph Jacques, and The UK Web and Mini Comix Thing in London on March 17th. The latter will feature John Allison, Chris Hastings (assuming they let a ninja on a plane), Dave Roman & Raina Telgemeier, Tom Siddell, Mr Madsen, James Turner, Liz Greenfield, Lem, and others that I’m totally missing. It’s the most webcomicsariffic show this side of MoCCA, and you know what? I’m going to be in London, and with most of a Saturday to kill before making my way to Heathrow.

One week beforehand. Dammit! Well, try to have a nice Thing without me.

He makes a rich woman beg, he makes a good woman steal..

He’ll make an old woman blush, he’ll make a young woman squeal…

Ladies and gentelmen, today and for one night only, I give you the fabulous, sexy, astounding, Mr. Paul SOUTHWORTHHHHHHH
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No offense, Paul, but what’s up with the state of Rhode Island? And Connecticut? Seriously, check out this graphic, which shows the progress of the McCloud 50 States Tour. Now check out the Tour schedule, which finishes its Northeast Sector leg with three dates in Pennsylvania, and nothing in the aforementioned RI or CT (although apparently there is a thing for Delaware later in the Tour — they couldn’t get scheduled before the end of the year). If you know a group, store, company, school, whatever that would be a good sponsor for the Cavalcade O’ Fun, get ’em in gear … there’s still time to get a booking arranged. If not, McCloud’s threatened to do a guerilla event at a Denny’s, and I think we all know that can only end in tears (and a bucket).

In any event, the Tour rolled into NYU last night, with a sellout crowd filling the auditorium; Raina Telgemeier, Dave Roman, Kyle Baker, Meredith Gran, Chris Hastings, and other [web]comics luminaries were in attendance.

The presentation itself was a highly-entertaining 50 minutes, covering the common thesis of McCloud’s books (that you can write with pictures), the five main areas of the new book (comics is a series of choices: of moment, frame, image, word, and flow), and how he came to the ideas of digital comics that caused such upset in the Reinventing days.

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Between travelling all over the northeastern tier of the continent and getting yelled at by Customs (man, that takes me back), and laptop troubles, it’s pretty impressive to note that Winterview #1 has been posted.

“Winterviews”, for those of you just joining in, are a series of video interviews being conducted by Winter McCloud and edited by her sister Sky, as they meet people on the year-long book-promotion death march jaunt known as the Making Comics 50 State Tour. Less than three weeks in, working in hotel rooms at the back seat of a minivan, producing a series of videocasts with subjects like Raina Telgemeier and Dave Roman? Did I mention that Winter and Sky are 11 and 13, respectively? Or that Sky is presenting at places like MIT about the tour?

To my jaded eye, Scott can be even prouder of his daughters than of Making Comics. And if anybody knows Customs agents on the Niagara crossing, find the guy that yelled at Scott and let him know that he’s a jerk.

Next up for Clan McCloud: Chapter 5½ hits soon, and talks in Princeton, Barcelona (not open to the public), SPX, and DC. Fleen invites reports from the field from any who are able to attend these goings-on.

All fans of webcomickry in the general New York area are invited to come check out the Museum of Comics and Cartoon Art’s annual arts fest at the Puck Building in Manhattan next Saturday. For a measly eight bucks (ten for both days!) you get access to a lot of neat people.

Webcomic creator types expected in attendance (from the MoCCA Exhibitor List) include Sam Brown, Steven Cloud, John Allison, R Stevens, Jeff Rowland, Andy Bell, Hope Larson, Kean Soo, Bryan Lee O’Malley, Ryan North, Rob Coughler & Ramon Perez, Jeph Jacques, David Hellman, Kent Earle, Ryan Sias, Raina Telgemeier and Jennie Breeden. Chris Hastings will be reportedly walking the floor, and I’ll be doing the CBLDF thing.

Plus, if current trends continue, you can ask Jon Rosenberg if anybody survives Deathrumble 6000. So bring a sketchbook, some cash for cool swag, and small bottle of booze (the traditional thank you gift for a webcomics creator), and enjoy.