Tuesday, October 5, 2010
I found this list written in my notebook. It was a cheat sheet for an interview on Inkstuds. We ran out of time before I could get to these riffs, so I am posting them here before they become too stale.
-Webcomics are good for gags only/contained stories for that screen, that day. They work like one pagers essentially; serialized stuff does work in theory but I’ve only read a few I actually like.
-Jim Rugg discussion about imaginary audiences. Jim’s always talking about finding the audience who would read zombie comics or something popular and trying to devise schemes to get them to be his readers “How do you tap into these people cuz you know they would love this kind of story I’m doing” – Ed Piskor does same and finds that real/imaginary audience.
-Jesse Moynihan did the most amazing comic online but no one talks about it – if it was a book and laying around in the store, maybe people would write/talk about it more?
-Bodyworld the book not talked about much – (sorry Dash, just trying to make a point) This was a webcomic which was followed closely but lots of folks told me they didn’t want to read it online and wanted to wait for book – book seemed to not generate that much discussion at first and maybe still – review by Wolk in the Times looked at formal play – but it’s interesting because I wonder if the format/price point (28 bux) just discouraged quick easy sales. Meaning it wasn’t taken home and then blogged about. It was blogged about while it was happening sort of but everyone was “waiting for the trade”.
-Interesting to think about how regular series still builds excitement differently than even webcomics: people wrote/talked about Moynihan and Shaw’s webcomics but it’s just different than the build up around series like Night Business, King City, Prison Pit or Powr Mastrs. It’s obvious that the graphic-novel-length squarebound issue is about the equivalent of a 24-page comic book pamphlet – Prison Pit has a episodic but contained feel is just like most contained but continuing serialized comics – yet it’s way different in feel than Bodyworld being serialized every week and then coming out as a book. So, there are all these little ways that say the more we march towards digital comics the more we still lean on the print serial to set the pace.
-Would comparing another webcomic success story to a print serial like Prison Pit make a difference? Is it just an apples and oranges thing? How many successful print cartoonists do you know that gave it up and are mostly just successful webcartoonists now? Meaning the more I watch my friends try to adapt to really doing webcomics full time I just wonder if that is the solution to finding that imaginary audience that is out there.
-Stand alone graphic novels suffer the instant thumbs up/thumbs down review. With so many comics news blogs now some schmuck always needs to be first out of the gate with a review. Before I even see it in the store! Used to be you’d wait months for a review to pop up in the Journal or something. So opinion would form around the book in the store, amongst friends. I can’t tell you how many times I’ve just parroted something some dolt wrote on a blog when I finally do see it in the store. My opinion is already formed and usually it’s one I have to actively ignore just to give the book a chance.
-When a good monthly series is going, it’s fun to watch the fan base swell and hop on board – but when a graphic novel comes out, it’s like “Oh, I read that. Yeah. It’s ok.” or even if it’s awesome the reading experience is over in two hours or so. I read Asterios Polyp in two hours. Two hours! But Clyde Fans I’ve been reading for like ten years, haha. It’s weird, no? A series can build for years and the experience can mirror that. Remember Moebius’s Airtight Garage was serialized. So was Jimmy Corrigan.