One may recall that not quite four weeks back, we talked about Meredith Gran and the old-school point-and-click game she’s working on, and how I mused that this could be dangerous for me when the promised Kickstarter dropped.

Danger time:

A point & click adventure game about the fun, alienation, stupidity and agony of being a teen.

At the heart of Perfect Tides is a linear story that unfolds over the course of one year. We see the emotional genesis of a teenage girl, filled with humor, intrigue and visceral moments, against the backdrop of four seasons in the American northeast.

As the story progresses, there is opportunity for non-linear exploration, collection and utilization of items, and puzzle solving. The player can uncover new secrets in different seasons, in both day and night settings.

Gods dammit, Mer, I am not made of time! Maybe I can avoid the staying up until 3:00am with work the next day habit I fall into with these things; how much to pledge for the prequel comic? US$15 for PDF, physical copy with the game, soundtrack, and wallpapers for US$50? I like physical, but if I let that game in my house it’s all over. Any rewards further down that might include just a physical comic?

Pledge $250 or more
In-Game Exister

Hopefully EVERYone will be *drawn* into the game, but this is literally what you’ll get. A non-playable character will appear in the game based on your likeness.

Pledge $500 or more
Line Sayer

All the benefits of the $250, but your character will have a small speaking role! Subject to approval, the character will embody your own interests and/or objectives.

Gods dammit, Mer, I am on a budget! And I am weak. So very, very weak.

Please look through the rest of what you can expect from Perfect Tides, check out Gran’s collaborator Soren Hughes, and help fund this thing. As of this writing (about six hours in), funding is sitting around 16% of the US$30K goal, with funding running until the last day of February. Good luck, Mer — I know you’re going to crush it.

Spam of the day:

IVC Blood Filter May Shift In Your Veins, Causing Damage

The text of this one is worded such that it isn’t sure if I realize that a filter was surgically implanted in my body, as if that’s something I wouldn’t remember.

It’s a bad idea, responding to comments on stuff that I wrote, especially responding to a review. But I’m doing it this one time.

Yesterday, a commenter¹ left his response to my review of The Prince And The Dressmaker. You can go back and read both review and comment, if you like.

As I said, I have no doubt that the naming of TPATD‘s King Leo, echoing the real-life King Leopold II, was an unintended failure of editing and that neither Jen Wang nor :01 Books would have ever intended this reading; as I said, they have a choice to make for future printings.

Truth be told, I expected pushback on this review, arguments that I was reading things too narrowly or inventing a problem where none existed. I’d have been fine with those. I’m writing because of two arguments that were made in the comment; one refers to the creator’s thoughts, the other deals with history. The first gets a response to clarify, the second gets a rebuttal.

Creator first:

Jen [Wang] could have set [the book] in Ruritania and avoided all the history stuff, but that’s a bit of a cop-out. Was Belgium chosen for its history? I don’t think so, but what did Jen think?

I’m not going to respond to the story-related comments, as it’s opinion territory and I’m pretty sure I made mine clear. With respect to the notion of what Ms Wang thinks, that’s not my job this time around. Had I decided to write a reported news piece on the book, I would have absolutely sought out her response. But I don’t think it’s the place of a review to do reporting of that nature. I welcome the rest of the comics/YA press to ask those questions if they feel that my review is worth following up on.

Now, history:

Alas, that’s history for you. If you go back 50 years into history, everyone is pretty evil. Go back another 50 years and you are looking at the people that the people 50 years ago thought were evil. Churchill was advocating using poison gas against African tribes (more survived than with rifle attacks). Belgium in the first world war, and Belgium was ‘Gallant Little Belgium’ standing up against ‘The Hun’. Conrad gives an idea what was considered ‘fair game’ in Africa.

I’m not saying that Leopold was a good guy, but he was a greatly respected member of the European aristocracy at the time, and his sons may have looked on his African project as little more than a sensible investment, if they looked on it at all.

I’m calling bullshit on every bit of this.

The fact that Belgium was seen as heroic in standing up to an army with equal (or superior) armaments is neither here nor there (and one guess as to why the Congolese who tried to fight their murder and enslavement weren’t seen as gallant). Leopold II’s reputation as a monster was well established in his own lifetime; the very first time the specific phrase crimes against humanity was used, it was to describe his treatment of the Belgian Free State in 1890. Five years into his vile project, still in the ramping-up phase, and we were inventing new concepts in international law to describe what he was doing.

The argument that was just seen as fair game for Africa back then is just this side of saying we don’t get to judge their actions. Guess what? I’m judging their actions. Not judging this particular crime — carried out at the orders of one man with a private army, in just 23 years — is no different from saying Germans just really didn’t like Jews in the ’30s and ’40s. Yes, I’m saying that particular historical handwave is no different than making excuses for the Holocaust.

When the Belgian government, responding to international outcry, forced Leopold II to give up the colony, he required a personal payment of 60 million gold francs. Math time: one franc was 290.322mg of gold, or 0.009334 troy ounces; in 1908 one ounce was US$20.67, so a franc was worth about 19.3 cents. That means US$11.6 million in 1908, or roughly US$283 million (in 2017 dollars) was his personal cut (plus another US$215 million in 2017 dollars for his pet building projects back home).

I don’t give a fuck if his son and daughters regarded his genocide in sterile, economic terms; he worked 10 million people to death and had uncountable others mutilated for his enrichment. Not for the wealth of the state — he’d wanted Belgium to get into the colonial game, the parliament refused, so he did it all himself — not for the good of his nation (as if either of those would have excused this evil), but for his private purse.

Want to argue (and I very nearly do) that nobody would have made the damaging association between Leo and Leopold II? Fine; I’ll mourn the state of history teaching, but fine. Want to say that the suspension of disbelief isn’t stretched too far and that the story stays on the good side of The Disney Line? Awesome; have at it.

But try to say that Leopold wasn’t egregiously bad and anyway it doesn’t matter if he was? I’ll thank you to take that weak tea elsewhere.

tl;dr: Leopold II was a monster by any standard, modern or historical. And the story, by allowing him to intrude, is broken as a result.

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¹ I’ve removed his name from the comment; I am dealing with the substance of what he wrote, not with him, and I don’t want to unleash a mob. If the commenter wants to add another comment, claiming the words, I’ll let it through.

It was always there, all along; it just looked like a series of shorter stories but it really has been one long arc, stretching (as of today) across 6437 strips in 6437 days. And another 800-1000 or so to come.

I speak, naturally, of webcomics own unstoppable machine (and my evil twin), Howard Tayler of Schlock Mercenary. Following the ups and downs of his quasi-merry band of (mostly well-intentioned) space sociopaths mercenaries¹ through story arc after story arc (currently, Book 18), one could have been forgiven to interpreting it like any of the sprawling SF strips of the past like Flash Gordon — the story is eternal, we’ll loop back around to those characters later, it’s an infinitely prolonged serial.

Except it’s not:

These daily installments are significant, because the current outline for the Schlock Mercenary mega-arc has the story of Tagon’s Toughs wrapping up triumphantly just two and one-half books from today. We’re about halfway through Book 18, and “The End” lands at the end of Book 20. We’re writing our way toward that point right now.

Two and a half books, and coincidentally in 2020, or 20 years from the start (thus the fudge factor in the future strip count above). And an ambitious plan to go with it:

This brings me back around to our 2018 goals. If we release three print editions this year, then the current online volume, Book 18, will end in the same calendar year as the publication of books 13, 14, and 15. Should the schedule work out well, we shall endeavor to do it again in 2019, with Book 19 ending online in the same calendar year as the print publication of books 16, 17, and 18.

You see where this is leading, right? Our ultimate goal is for the print editions of books 19 and 20, the final volumes in the twenty year (seriously, it feels weird saying that) telling of the story of Tagon’s Toughs, to be available at about the same time Book 20 wraps up on the web. Our 2018 goals are tied very closely to our goals for 2019 and 2020, and the next three years can be considered on some level as a single project which fulfills the past eighteen years of work we’ve done.

As I said, ambitious, but I have faith in Tayler’s ability to execute. More precisely, I have faith in Taylers, plural, ability to execute, as Howard’s wife Sandra² is the Dwayne The Rock Johnson of publishing and logistics. I’m pretty sure that efforts at monetizing Schlock Mercenary beyond the odd t-shirt or print-on-demand digest³ would have fallen down without her hand on the organizational tiller … and I’m pretty sure that Howard would agree.

So look for eight books — a full 40% of the 20 year run of Schlock Mercenary — to drop from The Tayler Corporation in the next two and a half, three years. Maybe start budgeting now? And if you’re of the mind that what you really want is a ~7500 page omnibus behemoth edition, start dropping hints into the nearest Tayler ear now. That sort of thing takes time, and the next couple a’ years are gonna be busy.

Spam of the day:

Girls battle for your heart: choose Yuliya or Tatyana

Hey, sketchy Russian/Ukrainian mail-order bride site? You imply I should choose between two women (gross), but you only show one (bad at math). That last part is especially insulting, considering how many world-class mathematicians Russia has produced (like, a lot).

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¹ Pəˈteɪtoʊ, pəˈtɐtoʊ.

² Does this make her my evil twin-in-law, my evil sister-in-law, or my wife’s evil twin? I’m not sure how the transitive property applies here.

³ Not to mention the ability to support a family with four kids (one college tuition down and others looming), a couple vehicles, and a mortgage. There are zero small humans that depend on me for their next meal and I would have been terrified to take the leap that Tayler & Tayler did (as recounted in an SDCC session a dozen years back … damn, I used to do a lot of typing).

Webcomics tomorrow; today belongs still to someone bigger.

The news yesterday could not, in truth, have been unexpected — the death of an 88 year old can never be said to be unexpected — but that took none of its sting. Ursula K Le Guin exited this world yesterday (very much, I expect, on her own terms, as that was how she had behaved for all her preceding days), and we are the poorer for it.

I knew that loss would come some day and I knew it would cause me sorrow because there are those people whom we all agree bear the spark of greatness and wisdom. I knew that some others surely must have felt as I did.

I underestimated by a considerable degree to which Ursula K Le Guin influenced very nearly every single person I know, those who are publicly creative and those who are less so. She existed as part of the background of our lives, so universally present we didn’t remark on it until we marked its absence. It is not possible to compare any one person’s death to another, but in the keenness of loss, she seemed to take her place next to Prince and Bowie. But there was more this time.

As before, person after person spoke of the joy they took in creative mastery, about the comfort they took from a body of work. But beyond they they spoke of how she fundamentally inspired their own work, shaped their ways of thinking, opened their eyes to different ways of looking at the world. It shouldn’t surprise me, this depth of love and loss. It doesn’t; who could fail to love Ursula K Le Guin, after all? And at the same time it does; who could possibly have drawn meaning from her as profoundly as me? Damn near everybody that had ever heard of her, as it turns out.

And there is the comfort I take, that everybody that took meaning and inspiration from Ursula K Le Guin did so in many ways that were similar, and each of us in a direction or two that was singular. The conversation we are now having about what she meant to us is revealing things I might never have found on my own. Without any further words, she directs this conversation and guides us to be better than we were.

And for somebody that stood her ground with cussed determination and brooked no fools gladly, the familiar rest in peace seems insufficient. So revel in stubbornness, Ursula K Le Guin, and forgive us if we don’t get it all as right as we should as quickly as we should. We’ll get there eventually, and we’ll find you were shouting encouragement to us all along.

Spam of the day:

Click for dating online

What percentage of dating profiles do you figure include some variation on Must love Ursula K Le Guin? I’m betting more than there were at the start of the week.

This review has been the hardest to write that I’ve ever done, and probably won’t be displaced any time soon; I’ve long had a policy of writing about work that I could wholeheartedly recommend, rather than trying to discourage people from reading what I thought fell short of the mark. Then again, I don’t think I’ve ever reviewed a book that could come back to positive territory with the change of literally one word.

So I’m going to be very careful to explain my thoughts on this book, and I’m possibly going to fail. It’s entirely plausible that my major criticism would reflect the reading experience of approximately nobody else in the world. I mean no disrespect to Jen Wang (whose work I’ve enjoyed for years and whose Koko Be Good has been a favorite for pretty much the entirety of this decade) or any of the folks at :01 Books (who sent me the review copy I’ve been reading and re-reading for a couple of months now).

Comments are open down thataway, and spoilers are everywhere from this point on.

Okay, let’s get the basics out of the way — The Prince And The Dressmaker is the story of Frances (the dressmaker) and Sebastian (the prince) in fin de siècle Paris; he likes wearing beautiful dresses, she wants to be a fashion designer, they end up working together underneath the noses of Parisian Society and his stuffy parents, who just want to arrange a nice, traditional, royal betrothal.

On the surface, it’s a sweet story with a message about accepting different identities and finding one’s path in life, in full Disney mode (more on that momentarily). A little bit deeper, it’s got flaws — some slight, some more severe. We’ll start at the benign end of the scale.

We know what the Disney version of things looks like, and it’s not necessarily a bad thing. Sebastian is found out as a cross-dresser, flees court for a monastery in shame, and returns to fabulous acclaim in a fashion show that features not just the begowned prince, but his father the conquering military hero king and a platoon’s worth of soldiers, all in fabulous women’s wear.

There’s the Disney mode of fairy tale logic, and then there’s stretching things to the breaking point; the sudden shift of half of Paris society towards accepting the disgraced prince, the willingness of his giant-of-a-man father to appear on a catwalk in an off-the-shoulder haute couture creation thirty minutes after the emotional confession I’m a prince who likes dresses breaks the suspension of disbelief.

There’s a portion of TPATD’s intended audience that needs this message that they can be accepted, but by making it so total, so sudden, so implausible, I fear it’ll be received as but that only happens in fairy tales and make believe. The Disney version has its place, but the entire message was much better conveyed in Molly Ostertag’s The Witch Boy (review here).

For a young reader in Sebastian’s position, nothing that TPATD promises is likely to happen; TWB promises a less happily ever after ending, but one that is conveyed as achievable by mere mortals. It’s the difference between Sebastian got to live happily ever after because he’s a prince so they have to accept him and Aster and his family are working towards acceptance in a way that I could do, too.

Maybe it’s necessary to see the external success (Sebastian is happy and accepted) before being able to imagine the personal (I could be happy and accepted), but it still reads false to me. Or maybe I’m just surprised that Scholastic describes TWB as for ages 8-12 and :01 describes TPATD as for ages 12-18; the former’s message reads to me as more sophisticated than the latter.

The real flaws, however, the stop-me-cold-I-did-not-just-read-that flaws, are probably more down to editing that anything else, and they’re encapsulated in one word: Belgium.

Sebastian is the Prince of Belgium, visiting Paris for the season with his parents. In a couple of places, he and his father each try to pull rank with Parisians of the Third Republic (As your Prince, I forbid you to leave! Return to your servant quarters, now! and I’m the King. This show will go on exactly as they please.), which … yeah, not buying it. Okay, I’ll give that some slack and take it as evidence of royalty used to getting their way forgetting they aren’t in their sovereign lands at the moment.

But I can’t give slack to Sebastian’s father, King Leo.

King Leo, of Belgium, somewhere at the end of the 19th Century. King Leo, who bears a more than slight visual resemblance to Leopold II, who was King of the Belgians at the same time in history. Leopold II, who was perhaps the greatest enslaver and mass murderer of modern history.

This is why you make up little Grand Duchies for your fairy tales.

Leopold II was the brutal son of a bitch who held the entirety of the Congo and all of its people as his personal property. Between the ivory and the rubber he set production quotas that resulted in roughly half the inhabitants of Congo — ten million people — dying at the hands of his mercenary security forces, with uncounted more mutilated to set an example for others. When the Belgian parliament confronted the horrors — and this was the time when the mission of enlightening and Christianizing the brown peoples of the world was seen as right and proper and worth the occasional unfortunate brutality — and forced him to turn the colony over to the nation for management, he had the Congolese archives burned to hide his crimes.

It’s not intentional, but it is inescapable — for anybody that knows the history of Europe and/or colonialism, the name Leo will not evoke a somewhat pushy but ultimately sympathetic figure who only wants the best for his people and his son. It’s not possible for me to separate the unfortunate parallels of Leopold II and Leo; the benign landbound King Triton of the Gilded Age will always appear to me as the evil incarnate butcher that literally inspired the concept of crimes against humanity.

Which leaves me in a peculiar position. There’s so much that’s well done in TPATD; Wang’s character designs are terrific, her fashion designs are both era-appropriate and suitably fairy tale-fantastic¹, the look and feel of Paris is both gritty and glittering. A lot of people love it, and it’s easy to see why. For the right reader, with the right expectations, and the right people to answer the questions about a very bad time in history (questions that may never come), it could become a cherished favorite.

But for the love of God, in future printings change Belgium to literally anything else.

The Prince And The Dressmaker will be released on 13 February from :01 Books.

No spam today.

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¹ With one exception at the very beginning, but it’s for story reasons.

I’m writing something that needs … well, it needs to be written exactly right, and I don’t think I’m there yet.

Dallas/Fort Worth International is my nemesis, the airport that makes no sense, the place with roads that allow no exit, the sanity-stealer … and I say that as somebody whose home airport is Newark. I have to head there in a couple hours, so let’s get this done.

• MoCCA Fest 2018 guests of honor have been announced, and Heidi Mac has the details before even MoCCA’s own site. I’m well familiar with Roz Chast and Mike Mignola, and I’m gratified to see that Nate Powell and Andrew Aydin (of March trilogy renown) are still being recognized for their contributions to John Lewis’s story, and I don’t know Argentinian cartoonist Liniers at all. Looks like a full length-and-breadth spectrum of creators. MoCCA Fest runs 7 & 8 April, in Manhattan, with a hilariously low entrance fee of seven bucks American.
• One of my favorite things that David Malki ! does each year is gather up corrections for a year’s worth of comics and post them for the edification of his readers. The 2017 errata is no exception, with minor fictions “correcting” some gags (#1288; A Real Stand-Up Friend — The rhinoceros is definitely not going to stop doing that), elaborate explications of real-world knowledge (#1285; In which Tax is a Team Sport — a nearly 500 word summary of modern economic theory presented as a counterpoint to the joke premise), and in one case, a sincere correction.

  Originally run as one of the Recipe Comix at Saveur¹, Malki ! did a fabulous reminiscence of his father, via the medium of the salad his father made; in the wake of his own son’s birth, he ran it again at Wondermark, which now features the correction. The original called for a cup of olive oil (!), which is a hell of a lot for a salad featuring the bulk of one head of lettuce, two tomatoes, and a cucumber. As Malki ! explains,

  I have never actually measured how much to use! I always just drizzled it over the salad before tossing. It’s about 4–5 seconds of drizzling, which probably comes out closer to 4–5 tablespoons³.

  Which is much more reasonable, and any that look to the recipe, please use the amended amount unless you like really wet salad. Also, please enjoy the side-by-side comparison at top, and see what other changes Malki ! made over the course of nearly six years.

Spam of the day:

Stripchat Cam Model and Gamer Girl Warlock Princess Bares All in New Interview

Wow. You are a very weird PR agency, if you send around a photo of the cam model in question and don’t even make it one that supports the premise of your headline. I’m not saying send around nudes, but a fully clothed (in very elaborate cosplay, good job on that) is undercutting the subtext (really, it’s just text), i.e.: she’s naked and might be naked for you some day, Gamer Boy. You’re not doing a tease, you’re pissing off the only people that might actually run your spam.

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¹ Thanks to the foresight of then-editor Helen Rosner, who among other things gave Lucy Knisley’s career a hell of a boost², and who has become a friend of the online variety. She’s since moved onto other things, but I was hurt to see the news yesterday that Saveur‘s publishers have instituted draconian layoffs at a profitable magazine that was doing bang-up reporting month after month.

² Rosner is a tireless proponent of the idea that food writing is, at its heart, travel writing, and sent Knisley on fabulous trips to do docu-comics about. Like ten days at a luxury safari resort in Namibia fabulous.

Rosner is also a writer of the highest order herself (and unremittingly hilarious), and made me swoon with a piece she linked earlier this week, writing about the influences and development process of a new typeface for Frere-Jones. Comics nerds are all at least a little bit type nerds, and you owe it to yourself to read that piece; it’s a legit marvel.

³ Depends on what you drizzle it from; my regular pizza dough features a six-count drizzle of olive oil from a gooseneck spout oil can, and it’s closer to 2 tablespoons.

If I can get a stable enough connection for a proper post, I’ll write one. Otherwise, not a lot I can do. in the meantime, at least I’m not as badly off as Sohmer and the Blind Ferret folks, who are dealing with the proverbial idiot with a backhoe.

Everybody send sympathetic thoughts northward. Unless you’re somehow north of Canada, in which case you have your own problems.

Let’s just dive in, shall we?

MARCH:A Graphic History of the Civil Rights Movement By Congressman John Lewis, Andrew Aydin, and Nate Powell
Cartoon Art Museum exhibition: February 1 – June 19, 2018
Reception with Artist Nate Powell Friday, February 9, 2018

— Andrew Farago, Cartoon Art Museum curator

There are few works of graphic fiction more historically important right now than the March trilogy, and it’s entirely right and proper that the Cartoon Art Museum will be kicking off Black History Month with a tribute to the book. Lewis, Aydin, and Powell are treasures.

By this time next month I will either be happily chugging away, drawing An Embarrassment of Witches pages or I will be trudging through a grim, apocalyptic landscape fighting other plague-survivors over post-dated cans of spam. Hopefully the former.

— Sophie Goldstein

Sophie Goldstein is the creator of multiple amazing comic stories (not least being her collaboration with Jenn Jordan on Darwin Carmichael Is Going To Hell), so the news that she’s about to break ground on a 200 page graphic novel is welcome, to say the least. Good luck with the book, Sophie, and good luck fighting off the sickness that everybody seems to have right about now.

Starburns Industries Press, the publishing arm of Starburns Industries (the minds behind Rick & Morty, Community, Anomolisa and so much more) are calling for scary stories written by children aged 12 and under!
As a partnering editor for this project, I’m happy to offer mentoring and advice to any young imaginations looking to submit to this paid writing opportunity! [emphasis original]

— Eben Burgoon, onetime man of mystery, alltimes man of comics

If the opportunity of working with a Starburns-associated title wasn’t enough, I think the notion that it’s a paid gig should put things over the top. More information here about submitting stories to the anthology. Again, this is for writers 12 and under, so pass it along to any budding writers you know (who, if they are reading this post themselves, are about to commit the next sentence to memory for future use).

Diamond can suck my taint.

— C Spike Trotman on the least-loved monopoly in comics

Mostly, I just think that anybody that uses the construction verb my taint (for example, noted First Amendment attorney Ken White is known for his motto snort my taint) should be quoted as often and widely as possible. The fact that it’s Spike talking about how Diamond routinely ignores small press and independent comics that could have seen significant sales success and how much she wants them to notice her¹ is hilarious (as is the descriptor of the quote — a dulcet lilt).

The additional fact that it’s in a Vulture article about multiple companies and individuals breaking the comics industry mold of catering to middle aged cishet white dude cape fans is a delight. Give ‘er a read, and be sure to spare a little sympathy for the poor, neglected CWDCF at your local comics shop who isn’t 100% the center of attention any longer.

Like maybe a taint-suck’s worth.

Spam of they day:

Invokana Users Who Lost Toes, Feet or Legs May Have Legal Recourse

The text of this one reads like I should be checking my lower half and counting my toes, feet, and legs to make sure I haven’t suddenly come up short and didn’t realize.

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¹ For those not familiar, Spike is the least likely person in history to worry about whether or not sempai will notice her.

This may be my professional bias talking, or my innate sense that engineering is the most fun you can have in the physical and mental worlds simultaneously, but there may be nobody taking comics into more exciting directions than Lucas Landherr¹ of Surviving The World. As has been mentioned on this page more than once, Landherr has been making comics (with a variety of artists) to explain the trickier concepts in his discipline (that would be Chemical Engineering²), and of late he’s been inspiring his students to do the same.

As a class project last semester, his students produced new ways of explaining key bits o’ esoteric knowledge, ranging from their own comics (on convection, or heat transfer, or heat exchangers) to video (on heat transfer, or on heat transfer but with a Queen song³). It’s cool stuff, and I get the feeling in that last video that I’ve seen some of the tics that Professor Landherr exhibits in class, and I definitely fear — nearly 30 years distant from my own graduation — to ever take a class with Professor Satvat, judging by how often he shows up in these projects.

From Fleen Senior French Correspondent Pierre Lebeaupin:

Our thanks, as always, to FSFCPL for keeping us up on Gallic comics happenings.

Spam of the day:

Hi Gary,
I saw you tweeting about reading and I thought I’d check out your website. I really like it. Looks like Gary has come a long way!

Not only has Gary come a long way, everything’s coming up Milhouse Gary!

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¹ Alter-ego of mild-mannered chalkboard enthusiast Dante Shepherd.

² Which, as a proud Electrical Engineer, I might concede almost involves more difficulty and scholarship than my own chosen field.

³ Very cool thing I noticed — judging from the clock on the wall in the lecture portion of the video, the Landherr-spoofing scene was done with few (if any) reshoots.

⁴ If you need a refresher, these are comics specifically designed to be read by scrolling on a smartphone screen; they are a big deal (not to mention big business (French-only)) in Japan and South Korea.