I’m just saying…

So, the current topic of discussion right now is the premiere of Webcomics Nation (WCN). Bob Stevenson mentioned how all the other “pundits” have thrown in their sentiments on the thing, and I figured I may as well, too. Especially since I haven’t had a “Snarkworthy” webcomic installment come to my attention for a while now.

Webcomics Nation is going to kick all sorts of ass. I see it succeeding with flying colors, provided that the costs of upkeep are met. I imagine that they would be without too much problem. After all, it’s a $9.95 monthly subscription fee for hosting, so it can’t require too many users before they meet costs.

I haven’t seen the inner workings just yet. I didn’t get a Beta like Eric Burns or Ping Teo did, so I’ll have to sign up before I can see the inner workings. But, from everything I’ve read, it seems that it’s one of the most user-friendly systems of all ever. Allegedly, it’s to do the same thing for webcomics that blogger does for webloging. Which is a hell of a thing to claim. As blogger remains to be the easiest way to run a blog (although I still prefer LiveJournal for the accessibility, privacy settings, and ability to keep up with other LJs).

And of course, it sparks a great debate. Comic Genesis vs. Webcomics Nation? Which is better? Who’ll take home the cup? In my book, the honest answer lies in what you need the service for. Sure, they both provide the same essential service, which is to say hosting webcomics. But they go about it completely differently.

Comic Genesis, formerly known as KeenSpace, will have the upper hand in several ways. Primarily because it’s free. And when it comes to internet content (Heck, even physical content), free is always better. No monthly cost to Comic Genesis, all you have to do is have their banners run on your page, and even then it’s only one banner at a time. And the sites run off of basic HTML and the Autokeen code script, so it’s way simple to build your own page (I had trouble working mine, way back in the day, because I of course suck at coding of all kinds).

WCN is offering a damned plethora of features. Every one of them is cooler than the last. Automated RSS feeds, Tooncasting, even the capability of creating downloadable packs tailor made for viewing on the PSP. That one pulls a resounding “WOW” out of me. Also, a very useful tool they give you is the ability to run multiple series at once. This would be useful to me, so I could run my strip and the “Stick” version of my strip separately. Or you could have a zillion individual, standalone installments, that aren’t a part of a continuous series. A good example of using multiple series at once is looking at the works of Edward J. Grug III (But also look at his stuff because it’s really groovy). I suppose most significant of all features is the option of implementing subscription policies on your comics. Which is to say you can make your comics subscriber only, or only certain comics subscriber-only, or still have the option of making all your work freely accessible. The ability to do that is at your own whim and WCN, as I understand, does not take a cut. Whatever you earn subscription wise on your comic is yours (after, understandably, you pay your monthly service fee with WCN).

What they both feature, is networking ability. The Comic Genesis Newsbox, which appears on every page that participates, and WCN has the opportunity to have free advertisement on several pages in the Modern Tales network. Most importantly, they both refrain from encroaching on your copyright and creator ownership. Neither service takes ownership of your stuff. And they both have an automated archival system. So you can see they both provide an equal amount of the essentials when it comes to running a webcomic.

The disadvantages? As far as Comic Genesis, there’s a lot of work to go through before actually getting your space. Lots of registration details and having a certain amount of content ready beforehand. And for WCN? It costs money. And I don’t know what their page-customization abilities are, but from what I’ve seen so far everything looks pretty cookie-cutter.

What’s the bottom line then? After you draw the line between a free service and a pay service, I’d say the line between Comic Genesis and WCN is drawn in the same space as the line drawn between amateur and professional. If you’re new, and you want something to learn on, get your roots planted, develop skills and otherwise screw around and have fun while learning how to make webcomics, I’d go with Comic Genesis. If you want to showcase multiple projects, while at the same time making money with subscription-based comics and advertising, and having access to a promotional network almost synonymous with Modern Tales, then go with WCN.

I’m Just Saying.

Postscript: The premiere of WCN, I feel, is a pivotal moment in the business model of subscription-based webcomics. Because now, with WCN as a fully accessible service, the presence of subscription comics will grow quickly. And having more subscription comics in existence makes the idea more conventional, and if the idea’s more conventional, more people would be inclined to participate. That’s the way I see it anyway.

That’s right. Webcomics Nation is a go.

The only comment I have right now is “Score.“

Well, they met their goal. I want to shout a hearty “Hell yeah!” to everyone who helped out.

And… my auction is still running.

*cough*

I didn’t actually donate any money myself, either. I intended to tack onto whatever the final auction result was, and give ‘em one big lump sum there. But alas, they recieved all their help more promptly than I was acting. I hope at least I spread enough word about it that it made a difference.

So what happens now, with the auction? The money goes to whatever charity organization they choose, and they of course get their essay. So there’s about a day and a half left on that thing, so if you want it, get going. Ain’t much time left.

But again, thanks to everyone who helped out for ConnectiCon. I’m definitely going to try and get there next year.

Aside: vacation is awesome.

Whew. That was not fun. Of course, that’s what I get for letting it pile up for so long. At any rate, The Slate and The Plate are now updated. I would pontificate more about why that’s somehow significant, but this goddamned heat wave has me beat. And I discovered the “Brand New List” I mentioned earlier isn’t quite substantial enough to warrant its own page, so when the time comes, I’ll put it up.

I will be away from my desk for the next four days. It’s time for the end-of-summer family get-together and that means hot dogs, hamburgers, and a pool. No chance in hell I’m missing out on that.

The auction is only going on for three more days and three more hours. So if you want this commissioned essay, this once-in-a-lifetime chance to show everyone what a talentless hack of a writer I truly am, you’ll want to bid on it. Do it more for Saving ConnectiCon, that’s far more important.

Anyway, if you’re the kind of person who’s interested in the statistical results of The Slate and Plate updating I just labored over, under the cut you will find such things. Maybe it might be you added to The Slate, or perhaps The Plate. Haven’t you always wanted to be listed on a self-aggrandizing list of webcomics with an alliterative rhyme scheme? I know I have.

(more…)

So far the highest bid is $26.00 and that is going to an “aqua4792.” If you don’t bid, this lucky person might steal that commissioned essay right out from uner your nose! And again, if you don’t bid, that’s less money that Save ConnectiCon gets. Unless, of course, you donate staright to them. Which I fully endorse as well.

Slate update complete. Next is Plate update, and installment of a brand new section to the reading lists. Along with a detailed report of all these changes and whatnot. Y’know, if you’re into that sort of thing.

First off, I’m super glad that the Auction has hit $20.50 so far. Hoepfully by the time it closes, Save ConnectiCon can still use it. As their drive is going along quite swimmingly.

Secondly, I was spending Friday morning updating The Salte and The Plate, which is not at all pleasant but totally neccessary a process. Including this time, detailed lists of who’s new on the Plate, who’s New on the Slate, and who’s off of either one, and moresuch combinations. Also an additional installment to the site.

Why didn’t that work? Oh, it’s because we had another goddamned thunderstorm, and the power went out, along with the cable internet, again.

So yes, good things are forthcoming. But for now, I’m without a computer. Without my computer, rather.

See you in a couple days.

Yeah, I feel pretty good right now, as a critic. This is now twice where I have made criticisms on a comic, the artist took my advice to consideration, and improved their work.

The first was with my man Peter V over at 13 Seconds. A month or so back I reviewed his comic and said where I think it needed improvement, and he took heed. I’m watching to see what’s going on in that comic and so far I think it’s been improving. Also since, he and I have become decent colleagues.

This second time is with Cayetano Garza, after my… less than friendly criticism of his music-comic experimentation. I happened to come across his LJ, and found that he had made a revision to his experiment with musical comics. This time it was in the form of a QuickTime movie, downloadable for all to view at their convenience.

So I watched it, prepared to not like it. I mean I’ll be honest here, I’m pretty skeptical about this musical comic business, as I am with most experimental art in any form. So I watched it and I have to admit I was intrigued.

It made me think hard on what a comic is. I still stick to the McCloud definition of “Juxtaposed Pictoral and other images in deliberate sequence.” So, if we were defining Cayetano’s latest bit, it would not be a comic. It would be a film or an animation. If the goal were to incorporate music into a comic, a comic by definitive standards, Cayetano needs to figure out how to have his images juxtaposed with each other, laid out together, with the music in the back. And that is of course an immensely tricky preposition, because everyone reads a comic at their own speed, and rarely to a beat.

And this is experimental, and since the objective of experimental art is to get everybody thinking, I’d have to say this effort was a resounding success.

I just re-read Understanding Comics the other day. I hold that tome in a high regard, as I’m sure many of the rest of you do. Personally, I like McCloud’s definition of comics/sequential art. It just works for me. And every time I read that book, it influences the way I think analytically for a few days, when it comes to comics (mostly my own work, but others also).

Getting back to the topic at hand, I don’t think I really like what Cayetano’s making. Music and comics don’t mix well with me. But, I like where Cayetano’s going. The feeling this instills in me is similar to the way I often feel in my film classes when I’m watching something like, I don’t know, Battleship Potemkin or any other real landmark film. I think “Wow, this is really boring/uninteresting/lame, but I understand why it’s important.”

And that’s how I feel about Cayetano’s stuff in the broadest sense. I think what he’s doing is important, because if there’s a boundary that hasn’t been broken, then it’s worth breaking. In art, anyway (me, I just don’t usually enjoy looking at it until it’s all done and figured out). Music and Comics have not gone hand in hand, and if someone can figure out how to do that, then I 100% support that notion. Also, if anyone else is trying to do this, let me know. I’m terribly curious now. I want to enjoy the combination of music and comics.

But again, to make it a comic, in my eyes, it needs to feature juxtaposed pictoral and other images placed in deliberate sequence. That means the images are placed next to each other, rather than shown in a sequential order. That’s what makes it a film or animation (If indeed his goal is to make a musical comic. I’m only speculating at the moment).

So this will be me saying my official stance is “You’re on the right track. Keep it up, you’ll figure it out.”

And this, all this, is the most rewarding part of the criticism process. Helping other artists become greater. Art is cool and communal like that.

For sale: One Essay on any topic in any form. All proceeds go to Save ConnectiCon.

Check out the details here.

Whoever wins this auction will get a 2-4 page essay written by me, on any topic of their choosing in any form. Think of the possibilities! Promote your own work, raise awareness of another cause, whatever you want! The one thing I will not do is allow this to be turned into an attack on anyone. But other than that, go nuts!

Don’t do it for me. I’m not getting a dime out of this. It’s all going to Save ConnectiCon. Do it for them. They need your help!

This is more important than any comics I’m reading today. ConnectiCon, as I understand, has been the most webcomic enthused convention so far, and I would very much enjoy being able to go someday. I’m going to try and rustle up the Biscuiteers into doing some donation art and whatnot.

I might try and do what Eric did over at Websnark for Child’s Play last year. You know, auction off a post to be done on any subject for the bidder’s choice, and then send the money to Save ConnectiCon.

Would anyone say that’s a bad idea? I can’t imagine how it would be, even if it’s aping a tactic used by my predecessor, but still. This is important. And I can do another one for Child’s Play also.

I’m not the type who’d write a blogpost for money, but if it’s for a good cause I’ll fully endorse it.

Thoughts?

As of today I suppose I am officially writing for Comixpedia. No real role given, but I anticipate writing with them many more times.

My first piece for the ‘zine is my KeenSpace Meetup Writeup. Please visit, read, and enjoy.