By Sean Kleefeld

Hopefully, after reading last week’s column, you have a better understand of how webcomic creators are able to earn money, even if they’re putting their comics online for free. Maybe you’ve even followed up by going to some of their sites and purchasing a few items. But maybe you went to their online store looking for something to buy, only to realize that they were only selling printed copies of their comics. And you said to yourself, “Now why in the heck would I want to pay for something that I just read for free?”

One of the first webcomics that really got me excited and has remained my favorite since its inception in 2007 is Tozo, The Public Servant by David O’Connell. Unlike many webcomics, Tozo is not a gag-a-day type of strip, but a serial adventure story that follows a murder investigation (and the surrounding conspiracy) as it is conducted by the title character. Without getting into a full-on review of the strip, let’s just say I like everything from the characters to the linework to the worldbuilding. And that actually gets to the first reason to buy print versions of O’Connell’s comics.

Because I like Tozo, I want to see it continue. I want to see it succeed so that O’Connell receives positive encouragement to produce Tozo and/or more comics like it. I can certainly email him and tell that I like his comic, which is a nice gesture, but sending him my hard-earned money is a stronger statement. It tells him that I like his comic enough that I’m willing to pay for it, even though I could read it for free. It tells him that at least one person out there (me) thinks he’s talented enough to make a living doing this. Read More...

By Sean Kleefeld

Last week, we took a look at some of the reasons why someone might want to create their own webcomic. Financial security was not one of those reasons. While there are some really good examples of people making a living exclusively from their webcomics, that is decidedly not the norm. Often, webcomics are done in addition to a full-time job; many of the creators I've looked at work in artistic fields that have them designing print ads, storyboarding commercials or developing websites. Let's take a look at a specific, not entirely atypical, example.

Cool Jerk is by California resident Paul Horn. Like many artists, he drew a lot in school and did an ongoing comic strip for his college newspaper. (Two ongoing strips, actually!) When he later started working at the Reno Gazette-Journal as a graphic artist, he was tapped with helping to develop a page aimed at a younger demographic. (Bear in mind, this was before the days when everyone knew what the Internet was and newspapers still thought they had a fighting chance to compete with it.) He debuted Cool Jerk in the newspaper, as a paid member of the newspaper staff. Read More...

By Sean Kleefeld

Back in the first half of the 20th century, many artists longed to have a syndicated newspaper strip. That was, for them, the pinnacle of cartooning achievement. Comic strip artists were nationally known and were some of the first creators of intellectual property that sparked real commercial interest. Characters like Krazy Kat, Little Orphan Annie and Shmoo were wild sellers with plenty of commercially available products, which brought in some nice royalties for the creators (even if they didn’t receive everything they should).

The Internet has given a new generation of creators the ideal of “making it” by cartooning, now that the syndicates are no longer able to bar the way for many hopefuls. Plus, webcomic creators don’t have to be as financially successful as their newspaper counterparts since they don’t have to share any money they make with middlemen. Of course, that also means they have to do a lot more marketing and self-promotion unaided.

Many, if not most, webcomic creators start with a small audience. Far too small to completely support the creator financially. So you’ll find a lot of creators hold “regular” jobs so they can actually pay the bills, and it’s not uncommon to see them blog, tweet or even draw cartoons relating back to their work. That their comic is done in addition to a (frequently) full-time job speaks to the dedication they feel towards their endeavor, making their efforts often more personal and heart-felt. Unfortunately, since it’s generally not their main source of income, it’s also what falls to the wayside during their already busy lives.

There are, though, a few folks that are able to make a living at webcomics. Mike Krahulik’s and Jerry Holkins’ Penny Arcade and Jennie Breeden’s The Devil’s Panties for examples. While they tend not to discuss their financials in too much detail, they’re usually quick to admit that their comics weren’t an overnight success and took years of supporting themselves with other jobs. But even then, as Breeden pointed back in 2006, financial independence does not necessarily equal rich: “...my bank acount [sic] has been increasing so I guess I’m doing well. Still eating Ramen mind you, but I can pay rent and fill up my tank.” Read More...

By Sean Kleefeld

So last week, after you read my column, you went out and asked your friends about which webcomics they read, right? You’ve looked up some of them and decided that some of these are pretty good. Now what? I mean, you don’t have them delivered to your doorstep every morning like a newspaper and many of them don’t have printed collections available at bookstores, so how are you supposed to continue reading them day after day?

The first, and most obvious, solution is to simply bookmark the main page of the site with your browser and manually return to it every day. It could be part of a morning ritual: sit down at the computer with your coffee and hit all the sites you’ve bookmarked, one at a time. There are a few challenges with that approach, however. First is that you need to remember to do that. Eventually, it could become habit enough that clicking through all your favorites is a rote exercise, but that will take some time to learn that behavior. The second issue is that you have to use the same browser on the same computer all the time. If you’re borrowing a friend’s laptop or are at the library, your bookmarks won’t be available to you.

While those first two issues are at least somewhat under your control, this third one isn’t. The comic might not be updated daily. Most webcomic creators do not earn their living off their comics and have to squeeze in time to write, draw, upload and publicize their work after they’ve already put in an eight or ten hour day doing something unrelated to comics. So it’s not uncommon for them to keep their comics on an alternate schedule. Maybe they only have new comics every Monday, Wednesday and Friday (e.g. The Adventures of Dr. McNinja). Maybe only Sunday (e.g. Tozo, the Public Servant). Perhaps they don’t maintain a regular schedule at all, and only put comics out when they have a chance, sometimes going months between updates (e.g. Dresden Codak)! Read More...

By Sean Kleefeld

Not that long ago, the only comics that most Americans read were printed in the newspaper. There were the standard gag-a-day comics like Blondie and Peanuts, of course, and more dramatic, serialized narratives like The Phantom and Mary Worth, whose storylines would run over the course of weeks and months. As the 20th century waned, these latter strips became less common and the comics page of any given newspaper was almost exclusively given over to the likes of Beetle Bailey, Hagar the Horrible and Marmaduke.

Comic strips were largely controlled by what are called syndicates. These basically act as middlemen between the comic strip creators and the newspapers. Not unlike how an agent negotiates between an actor and a film studio. With barely a handful of comics syndicates, that means that the newspaper funnies across the U.S. are hand-selected by a small group of men based on what they think people will want to see.

Of course, that was all before the Internet. Comic creators now don’t need to go through a syndicate. They don’t even need to deal with a newspaper. They can publish whatever comic they want online.

These are webcomics.

The term “webcomics” is perhaps not ideal. There are a lot of comics that can be found on the web. You can go to Garfield.com or HeathcliffComics.com and read those cats’ adventures on the web too, but they’re essentially just republishing material that was meant for the newspaper. Webcomics are those that were published first (and possibly only) online.

As I suggested earlier, a prime benefit of webcomics is being able to publish a comic without a syndicate filtering the work. Anyone can publish their own comic and many people do. So it should come as no surprise that, even back in 2007, there were 18,000 readily countable webcomics being published online, with some estimates of the total number ranging up over 35,000. Compare that to the 200 or so that the major syndicates deal with.

Now, admittedly, many of those comics probably aren’t very good. Sturgeon’s Law states, “90% of everything is crud” after all. But even 10% of 18,000 is still nine times more than all of the newspaper strips, so there’s bound to be something there for everybody!

See, not only are there a lot more webcomics to choose from, but they range all over the map in terms of genre and style. Some are based on gaming humor, some on fantasy adventures, some on slice-of-life moments, some on exotic space epics. There are webcomics made with simple pen and ink tools, some made with 1980s-style computer sprites, some made with cut paper, some made out of century-old clip art. The range of what’s available, especially in comparison to the 20th century, is staggering. Read More...

It’s been seventeen years, and creator Doug TenNapel is still probably best known for his video game Earthworm Jim. But he hasn’t been resting on virtual laurels this whole time. TenNapel has been steadily releasing original graphic novels about similarly weird characters for years – most of which have been instantly picked up by Hollywood (and then sat on, but we’ll get to that later).

For his new project, Ratfist, TenNapel is changing things up, and heading to the web – posting a new page almost every day. To find out more, we chatted with him about the story, why the web, and what makes him such a lightning rod for comic book fans.

Geek: Okay, so Ratfist… First off, what's it about?

Doug TenNapel: Ratfist is about an emotionally radical guy named Ricky who is obsessed with rats. He reports to a secret government bureaucrat who is trying to get information on a company that is having break-throughs in mysteriously giving humans animal traits.

Geek: He seems like a riff - sometimes, on Batman, sometimes on Mickey Mouse... Are there bits of that DNA in there?

DT: I was definitely thinking of pop culture icons like Batman and Mickey Mouse. I’m also a big fan of Hellboy and Frank Miller. Ratfist also talks in a lot of “therapy-speak,” so he reflects many parts of our culture.

Geek: Tell us something about Ratfist's fiancee - does she actually exist?

DT: We’re just about to show what’s really going on between Ricky and his fiancee, Gina. She’s that normal, average, good girl who ends up dating the most messed up guy around. It reminded me of being in love in high school and college, I’d want to date this girl, only to find out she fell in love with some bizarre, eccentric, dork. I’d think to myself, “Well, if she was setting the bar that low I would have had a chance!”

Geek: How much is Ratfist actually a superhero, versus imagining he's a superhero? It seems like you're toeing the line a bit right now.

DT: He’s a tough character to write, because he really is a physically exceptional guy. He has a strong will and little common sense. I like to draw action, so there has to be a lot of movement just to keep my interest. But there are some things going on that aren’t actually happening in the real world, so that’s clever of you to spot that.

Read More...

For the last five years, webcomic creator Gordon McAlpin has been delivering regular installments of his popular series, Multiplex. Focusing on a group of young adults working at a multi-screen theater, the comic makes up-to-date riffs on the latest film releases, while also taking aim at pop culture or simply some of the writer/artist's own peeves.

Recently, McAlpin published the first block of stories through Chase Sequence Co., in a collection called Multiplex: Enjoy Your Show: Book One, and what do you know, he was kind enough to talk to MTV Geek about the experience creating the series as well as the pleasure of moving between web and print.

MTVGeek: After 5 years of running Multiplex online, does it feel any different to have the series released as a print publication?

GM: Getting the adventures of Jason and Kurt into print has been a goal of mine for a long time. Even though I do an online comic, I prefer to read comics in print than on screen. 72 dpi images don’t do anybody’s art any favors, so a book is just a better presentation—plus, there’s a sense of permanence to printed books that I love. In twenty or thirty years, after the strip has long since ended, the website probably won’t exist anymore—but the books will, and they will be a bizarre little glimpse into this era in film history.

Since I have a printing and publishing background, professionally, getting the book made was very satisfying, too. This is the first book that I wrote, drew, designed, and produced without answering to an editor, or a creative director, or anyone. If there’s something wrong with this book, it’s my fault. If anybody likes anything about this book, it’s also my fault. Except for the guest strips at the end, obviously.

Geek: You’ve included a lot of notes about your process and evolution as an artist in the collection. What Read More...

By Alex Zalben

A little over a year ago, Ethan Nicolle was a struggling indie comic book creator, fed up with low sales for his otherwise critically acclaimed book Chumble Spuzz. A year later, after teaming up with his five-year-old brother Malachai, Nicolle is fielding offers from Hollywood, maintaining a profitable website, and releasing a new, highly anticipated mini-series from Dark Horse. Axe Cop, of course, became a near instant internet sensation, as much for the hilarious strips Ethan wrote (and drew) with his brother, as the back-story: not many comics are written by a five year old, and drawn by a twenty-nine year old.

With Dark Horse’s new mini-series "Axe Cop: Bad Guy Earth" hitting in March, we chatted with Ethan about sibling rivalry, moving from the web to print, and just what will happen to Axe Cop once Malachai finds out about girls.

MTV Geek: Thanks for taking the time to chat, Ethan… To kick things off, what do your parents think about you and Malachai working together?

Ethan Nicolle: They are very supportive of it. I think we all have the same inclinations both toward letting Malachai be a kid, and also supporting the creative process and embracing the unique situation we are in. It's been a lot of fun for us to go through this together, and I know my Dad has fun reading new episodes of Axe Cop with Malachai whenever they are posted.

MTV Geek: Do you have other relatives who have tried to get in on the Axe Cop action?

EN: Our 12 year old sister Megan has tried a few times, and to her credit, if it weren't for her we would not have Uni-baby. She also indirectly caused the creation of the Best Fairy Ever by trying to get Malachai to insert some fairies and princesses into the story.

MTV Geek: Every creative team has its ups and downs… Do you and Malachai ever argue about the Read More...

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