||[May. 9th, 2009|10:36 pm]
I went to TCAF! Lisa and I waited in line to meet Paul Pope. He signed 100% for us, to both of us. We love Paul Pope.|
He's one of those people who understands that there is bones + meat under the skin of a body and remembers to make things Grotesque Beautiful. I said "DO YOU REMEMBER ME?" ha ha
There was a signing like 10 years ago at the beguiling, him and Jay Stephens and I think Seth? And I shewed him a big page of CLASSIC TRANSMITTER that I had made with like a uniball pen. He said "You should learn to use a brush" and I said "My hands are not steady enough!" and he said:
"No one's hands are steady enough. Do it."
WELL I told him that and he was like "OH YEAHHHHHH" so I gave him one of my cards.
I made 2x3.5 business cards! Printed them on the new printer! Lisa cut them for me because I'm Not Safe.
I gave one to Paul Pope, both to Jeffrey Rowland, both to Ryan North (who got a complete set of the cards I did for Free Comic Day 2007 but lost them in his bathroom, he CLAIMS), one to Richard Stevens (whose ear I talked off, but he's SO NICE), one to Meredith Gran who is almost certainly completely awesome, one to john campbell (who signed a minicomic for me IN THREE-D) and and Karl Kerschl to whom I fangirl squealed because I got to flip through the A.C.C. book he draws in.
And I met other people too! It was so fun.
I hope one of them links to me. Ha ha ha. Mr. Stevens said "What sort of promotion have you done for your comic?" and I said "Well I gave you the card already right? That's... there you go."
And I warned Mr. North that I would complain to him about the ohnorobot api.
IT WAS SO FUN. I just realized that other than Paul Pope I basically only talked to webcomic people. Well, they were smilier.
oh and Lisa saw Cory Doctorow and said "GIVE HIM A CARD" and I was like "no way that's not him" and I insisted for so long that by the time I realized it probably was (many hours later) I couldn't find him and I was a chump.
See, this is the thing that constantly frustrates me about comics like yours. I like them so much and for such good reasons, they are so genuinely good, but people have never heard of them or seen them, and unfortunately, I don't have the kind of readership to make a lot of difference to that.
But I will keep trying. And a good opportunity is coming up wink wink did you get my emails??
Oh! And those cards are GORGEOUS!
I love webcomics. I love how guest comics can BREAK THE FORMAT so hard because almost everybody's layout is just based on a maximum width. Yes, I got your email. REE HEE HEE
Well, it's weird. You look at one of the most popular webcomics, like say Questionable Content. It's got like 250k daily readers.
That's tiny. That's a college-radio-beloved indie band. The webcomics audience is also really fragmented, you get a lot of non-overlapping readerships in different chunks*. Name Removed has about a hundred, maybe a hundred and fifty regular readers. Max's Kansas City regulars circa 1966. I like to imagine that my comic partly inspired you to start yours? I don't know if that's at all true but I'd honestly rather THAT happen more often than get more readers myself.
* The closest analogue is actually porn site advertising networks. Last time I looked into it (don't ask) there were about 4 major "loops" of gallery-hosting and ad-trading networks that mutually promoted in their loops with little to no interaction between the loops themselves.
Uh, more later. Gotta run.
Yeah, so I wonder about, like, Achewood. Onstad is doing really well for himself and book deals and everything but it's like he's completely cut off from the Scene however you want to cut it. Remember when he was doing and receiving guest comics? Far be it from me - effectively a hobbyist - to call "sell-out" but...
But maybe the answer really is weird small dedicated audiences like clay shirkey says. At least for experimental (?) webcomics, a niche of webcomics, a niche of comics, a niche medium.
But there's something bigger here, something I'm not expressing properly. I need to think about this more.
Well, I mean, one of the big things is that dudes have to know about you to work out if they like you, and your stuff is so unlike most of webcomics (that is good) that it's possible that people who would be staunch adherents are not connected in a way that is conducive to them finding you. Meaning that the format, webcomics, doesn't necessarily have much to do with the content. (I mean obviously it has to do with how often the content appears & the way in which it's viewed, but, you know.) This makes your little cards a good thing, because they're advertising in a medium (albeit to webcomic people) that the work isn't in. Yanno?
Also I wish I could find that guest strip I did for you way back when, because I think it's better than all the other ones.
This is good points. I talked to my mom about it? For a while? And I realized that part of it is there's no culture of criticism of webcomics. In the same way it's missing from video games.
You end up with this bizarre distinction between "casual" and "hardcore" games which really means "games anybody would play" and "games people-who-identify-as-people-who-play-video-games play". Webcomics are, other than topical webcomics (like how Math Nerds like Math Nerd comics but read nothing else) a self-contained creative universe.
But a real critical system of review and aesthetics would change that.
Right now, if you were comparing comics to music, Batman is U2, and webcomics are a bunch of dudes in their 40s who play at a local bar once a month and all the regulars at the bar know who they are and no-one else cares at all.
Man, so jealous. If I hadn't been on a plane, I would have loved to hang out there given that you met most of the people I would have wanted to see. I did watch a documentary featuring Cory Doctorow on the plane. He was very Cory Doctorow. Now I'm just rambling to keep myself awake on this plane.