I’m just saying…

(From Something Positive, by Randy K. Milholland)

Fuck.

Hey gang. Time for to talk about what I’m doing for a bit.

Biggest Webcomic Loser is now in full swing. The lineup is pretty cool, all them good webcomics people. Plus there’s me. It would be really great of you to pledge to sponsor me on my weight loss journey for self-improvement and saving the children with UNICEF. You don’t even have to pledge to be my sponsor, per se. You can sponsor others, or sponsor everyone, or whatever you want. It’d just be really good of you to get involved and help the children. So please support us with UNICEF.

Added another Webcomics blog to the lineup. Mr. Myth apparently just started up today, so check it out. I decided to take that messy huge list of links and just give it its own page already. You can find my list of other webcomics blog/criticism writers on the page called The Café, found right there on the right side of the page. The list of other writers is there, along with basic descriptions of their styles. So take a look, if you will.

Also, I guess it’s about time to go ahead and announce that I’ll be at UberCon VII this February 10th-12th. Also attending are such webcomics folks as Bernie Hou, Bryan Prindiville, Chris Moreno, Lee Cherolis, Onezumi & Harknell, Rob Balder, and T. Campbell. And that’s a lot of webcomics bang for your buck. UberCon VII is at the Prime Suites Secaucus in New Jersey. So if you can, you should come on out.

Also, I’d just like to end this remarking on all the swell discussion going on around here. You guys rock.

Yeah, I felt compelled to write a follow-up to this article, in the perspective of my fandom for Dominic Deegan. Lesnick’s right about the convention of Rape as a tool for writing, and how it’s an “instant depth” type thing. I don’t think that’s what Mookie’s doing, necessarily. I think he’s more using his comic as an outlet to discuss an issue he wants to discuss. But I could’ve gone without it.

I’m a pretty big fan of Dominic Deegan. I’ve written about it before. Quite favorably I’d add. I’m a fan. That’s clear.

This whole story arch has been quite uncomfortable, and not for the reasons of its topic. Its execution and its overall tone have been pretty unnerving. I mean, I know Mookie’s not trying to do it, but it feels like the story is trying to justify rape somehow. Presenting us this imaginary setting and situation where hypothetically, rape is ok. Like, as long as it’s saving someone’s life. Yeah.

It’s been interesting on one level, because it’s about the orcish society in the Deeganverse, and they do things differently. Different social laws. Hell, a different species. Their concept of what’s right and wrong is completely different than ours. It’s a different world, different lifestyle, different standards, etc. They’re orcs.

But yeesh. This arch has been pretty melodramatic, even for Dominic Deegan. Personally, I’m waiting for it to be over. Because as far as the story’s grand scheme goes, there’s more important shit to talk about. Like what’s with the orcish infernomancer, and why is Stonewater enjoying his company. The rape? Could’ve been better served in subtext, or otherwise skipped. I’m not digging the in-depth back story of rape with the extended cast. But it’ll finish soon, and the comic will get back to its normal thing, and I’ll be enjoying it again. Mookie wants to do this, he’s going to do it, and when he’s done he’ll be done. I can’t exactly ask for more.

But still. Good article, Josh. And welcome to The Dialogue. Have a scone.

Also welcome to Chris Paluszeck, writer of Carzorblog. A good outlet of some harsher but still constructive criticism.

So yes, it’s true. I’ve joined the Digital Strips crew, starting with the most recent podcast. I’ll be a regular member of the Podcast itself, which is going to be updating more frequently during the week. Instead of the usual reviewing of a bunch of comics at once, we’ll all be covering a single comic for a more in-depth review/criticism each show. I may be a part of the other shows that do interviews, I may not. I’m not sure. But for reviews/criticisms? I’m there.

Also, when they set me up, I’ll be doing little newsposty-type bits for them. There’s a lot of times that I just wanna pop up and say, “Hey check out this cool thing I found.” But that’s not really what I do here on IJS. So I’ll be doing that for them whenever the mood strikes me.

So worry not about the future of IJS, because this boat ain’t-a-goin’ nowhere. I mean, it’s going places. Good places. Not going away.

Still here.

I forgot to mention I did another article for Comixpedia. A review of Webcomics: Tools and Techniques for Digital Cartooning. Please enjoy.

(From Something Positive, by Randy K. Millholland)

You guys have been in my heart and thoughts during this great snarkless drought. My readers are very important to me. Moving on…

I hate to channel Lucas (not TDS) here, but I’ve definitely got a very bad feeling about this.

There’s a chance that Aubrey’s right. The choking thing might’ve been Linzie’s crazy right up front. She might just get off on chokin’ a bitch. I can relate. It’s weird though, how we’re being shown this kind and caring side of Linzie that takes care of stray dogs, as if we need to be shown right up front and personal that she’s not like… a complete chokey person.

This, and the choke itself, are obviously making Davan uncomfortable, and I can sympathize here. It’s wonderfully conflicting stimulus. On the outside, a warm and loving caretaker of lost puppies. On the inside, likes to choke her sex partners. He doesn’t really know what to think, likely. Neither do I.

But I’ve got a bad feeling about that girl. Call me/her crazy.

Let me tell you a bit about my college. I belong to the School of Communications and Theatre at Temple University in Philadelphia. It’s not bad. Some of the faculty I get along well with and the equipment is pretty decent. The fellow students are, overall, pretty cool. All in all, it doesn’t at all feel like a bad place to learn. I am learning, I think.

I’m taking a class right now in our Topics in Film Study curriculum called Exhibition and Distribution of Independent Media. It’s going to be an intense class. One, I feel, that would serve me better in my final year once I finally have made something worthy to show off, but I don’t want to risk this class not being available again. So here I am. The course will go over, mainly, working within and submitting pieces to film festivals and the potential of web distribution for Independent Media.

Back up.

The potential of web distribution for Independent Media.

Paydirt.

In our first class, as we discussed the syllabus and the course objectives, she asked (show of hands) if anyone had any films they were ready to use for the future assignments involving distribution. Many raised their hands. I, of course, did not. Then she asked (again, show of hands) how many people had “Alternative Media” they were interested in using for the distribution assignments. I raised my hand. Called upon, I sheepishly squeaked out my response.

“…webcomics?”

Her reaction was more than positive. Being one who experiments in New Media (and since our school is a major proponent of New Media) she was very receptive to the idea. Later, after class, I approached her and followed up on the webcomics thing. At first she thought I was talking about animations. I decided to show her what I was talking about. She was excited, and liked what I showed her.

For those curious, the materials I used to represent webcomics as an entity were Penny Arcade, PVP, Comixpedia, Dinosaur Comics, KeenSpot, Websnark and Clickwheel. Afterwards, I showed her my own works. She informed me that she would like to call on my expertise and experience when the class discussions are on internet distribution and blogging.

I’m damned excited.

So how many of you get to use/have used webcomics for class assignments? It’s pretty cool, ain’t it?

(From Aikida, by Fenris. Click to go to the beginning of the latest storyline.)

Ok. Ok… why didn’t anyone tell me Aikida was updating again?! It’s all right, I’ll forgive you. Just next time, fuckin’ let me know or something.

Moving on, I’m really digging what’s going on in the story right now. I mean, it’s good. It’s better than it used to be, easily. Before, Aikida was sort of this meandering, self indulgent character drama with tons of tits and things that didn’t seem to have any driving story other than, “Aikida is hot, she’s got this demon thing going on, and she and Wade fuck a lot.” Which, for me, was enough. I mean c’mon, boobs (Sorry, Annie. I’m a dirty, dirty man).

But now, Fenris took a moment and plotted out a story. And you can tell. There’s tons of made up shit like that four-eared dog. What the hell is that, anyway? We’ve got the alternate reality jaunt thing going on, where the characters remain who they are but find themselves in a brand new world. You know the drill. It’s a very decent convention for being able to tell a brand new story when you have well-established characters.

But what’s important is that it gives Aikida’s half demon stuff a better context. Since she’s got that going on, and now finds herself in a brand new reality with Ambenesia, it changes the rules of how the strip runs its course, and allows this strange new setting for the weirdness to occur. Before, this was supernatural things going on in the contexts of regular life, with no really clear explanation of why. Which is important, I feel, even if it’s a vague one.

Regardless, I’m gonna conclude this semester-start-exhaustion-ridden ramble by saying the new Aikida is a lot more interesting as a story than it was before. Now there’s more than just tits and shit, and Wade’s new characterization is pretty badass. Not to mention the all important element of accessibility, since this new evolution of the strip will easily allow anyone to jump on and read. Keep it up, Fenris.

Also: I’ll be announcing the contest winner in the next couple days.

On Thrusday Afternoon, Jamie Dee Galey and Dean Trippe release an unknown toxin onto the internet diguised as a drawing of Batgirl. The toxin soon spread its infection to more and more people, seeming to double in number with each wave. Subjects who ingested said condition were seen to have momentary bouts of insomnia. The only cure? Drawing Batgirl themselves. Even this reporter fell victim to the deadly Bat-plague.

More coverage as it develops. This is Phil Kahn for I’m Just Saying. Good night.

EDIT: Holy Crap! There’s over 200 now!

I’m still going to do the contest Essay. In the meantime, I have something I can post today for my lack of time that I’ve been sitting on since pre-Christmas. Zach submitted his contest topic as “Why are there so few Superhero Webcomics?” We ended up just having a huge AIM convo about it, and I decided I would post it. So without further ado, I present… A Phil Kahn and Zach Weiner discussion.

Topic: Why are there so few superhero webcomics?

Zach Weiner: It’s an interesting discrepancy between web and print.
Phil Kahn: Yep. I can even sum my thoughts concisely: Webcomics are the recent evolutionary step of Indy Comics, or Alternative Comics. Alternative Entertainmant/Art, by basic colloquial definition, is “not mainstream.” And since the mainstream in comics is super heroes, the alternative is not. Generally speaking of course. That, at the root, is why there are so few super hero webcomics.
Zach Weiner: I think you might consider that webcomics don’t have the traumatic history that print comics have.
Phil Kahn: That, I feel, is irrelevant.
Zach Weiner: I mean, if not for the whole CCA bullshit of the fifties, superhero comics may never have been as popular.
Phil Kahn: How so?
Zach Weiner: The entire horror genre (and, to some extent, by association the heavy Sci-Fi genre) was destroyed. Previously it was immensely popular.
Phil Kahn: True. I don’t see what that has to do with superheroes in webcomics, though. Illuminate me.
Zach Weiner: Well, I think the issue to deal with is why they are so popular in comics. Back when comics started detective comics, westerns, horror, adventure, and soap opera-esque comics were very popular as well. One by one, they died out in favor of superheroes
Phil Kahn: Sure. Making them the mainstream. And Indy comics are predominantly alternative comics. Alternative from the mainstream. Hence, lack of super heroes.
Zach Weiner: True, but I don’t think you can blanket term webcomics as Indy comics.
Phil Kahn: I believe that I can. Because they’re all independently produced. By the same definition that an independent film is produced: Without a major studio (publisher). To me, Webcomics are definitively independent. However, they are not all alternative.
Zach Weiner: Yeah, and “My Big Fat Greek Wedding” is considered independent.
Phil Kahn: Who considers that independent?
Zach Weiner: It wasn’t made by a studio. It was just monetarily backed by a bunch of big names.
Phil Kahn: So how are you defining independent?
Zach Weiner: I dunno. It’s tricky really. For example, are KeenSpot comics “Indy.”
Phil Kahn: Yep.
Zach Weiner: So, how could a webcomic not be Indy?
Phil Kahn: Marvel’s Online Comics, for one. Although KeenSpot could be considered non-Indy. As far as Webcomics standards, they aren’t. Because you could consider KeenSpot a studio. Their own book and merch production, distribution, and advertising arms.
Zach Weiner: True, though they don’t really do production in the studio sense.
Phil Kahn: Not much anyway.
Zach Weiner: True
Phil Kahn: In terms of Comics as a medium, Keen’s Indy. Just like Image is Indy.
Zach Weiner: I see.
Phil Kahn: In comics, I think we have to narrow down “Indy” to be synonymous with “creator owned.”
Zach Weiner: I can buy that.
Phil Kahn: While Keen may have exclusive rights to distributing Two Lumps, J. Grant and Mel Hynes still own it. Same with Larsen owning Savage Dragon. Or Kurtz owning PVP, since he’s with Image. Alternative and Independent are not mutually exclusive. You can have one without the other. Forr example, Marvel’s “Mary Jane” books. They’re targeted at youthful girls with romance and high school stories. Alternative, definitely. If we’re willing to accept that “Superheroes” are the mainstream. Now let’s take something like Mindmistress. Mainstream, because it’s a superhero webcomic. Independent, because it’s self-created/owned. Agree?
Zach Weiner: So, you think the reason there are no superhero webcomics is because it’s a rejection of the mainstream?
Phil Kahn: Basically.
Zach Weiner: I think something that might also be considered is that most webcartoonists are not great artists compared to mainstream comic people.
Phil Kahn: Also, I feel, irrelevant. While a good topic. But I don’t think that’s a factor.
Zach Weiner: I think there might be some FEAR of webtoonists of doing a pale imitation of the “real” comics.
Phil Kahn: How do you mean?
Zach Weiner: I would say the mainstream of webcomics, if there is such a thing, is the couple-guys-doing-stuff.
Phil Kahn: Definitely.
Zach Weiner: Partially because of the average age of the toonists, but also because it’s easy to draw.
Phil Kahn: The mainstream of webcomics is gaming comics. Scratch that. Let’s use yours. The mainstream of webcomics is the “Slacker Comic.” 2+ Characters talking about/doing whatever they feel like talking about/doing that day. Or I guess, the Sitcom.
Zach Weiner: Yeah, basically. Even most gamer comics follow that, Certainly all the big ones.
Phil Kahn: Sitcom’s a little general though… Or not. Heh. Sitcom’s not that general. It’s just that there’s so many goddamned people doing it. Like Superheroes. Pretty definitive genre. There’s just a glut. So yes: The mainstream of Webcomics could be the Sitcom. The most popular stuff, by and large, are the episodic adventures of folks standing around and talking. QC, PVP, PA, CAD. Gaming, I wouldn’t say is the mainstream. That’s a subgenre. There just happens to be a glut of that, too. By that same token, you could even say that the mainstream of print books is action. Where Superhero is the subgenre. But it’s subgenres like Superhero and Gaming that have taken such prominence and have such a huge catalogue that they’re considered their own genre. That’s the way I see it anyhow.

At this point, Zach informed me he was on the phone. Which is what allowed me to talk to myself for so long like that. Then I decided to go to bed because I was dogass tired. But it was a stimulating discussion, nonetheless. Even if I do sound like a tremendous blowhard throughout the entire thing.