Guest Blogger Introduction: Steve Troop

I just read my bio that was written about me a few days ago on this site and see that I'm a lot more impressive than in real life! Contrary to what was written here, I did not build puppets for a "They Might Be Giants" video (that was Melonpool" anymore, it's still a very big part of my life. I'm currently working on a feature-length film version that will hopefully live up to all the hype — and I've been designing puppets for such companies as Nike (the Kobe and Lebron MVPuppets commercials) and Intel (I designed the head of the robot in the Superbowl commercial). I also drew a little comic called "CryptoZooey" that may or may not have a second issue in the next few months — still working on that one.

So, all in all, I've been pretty busy — if not in the world of webcomics. I'm so far out of the loop, I've been scrambling for something to write about here — but that obvioulsy has never stopped me before!

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5 Questions: Who Is Your Core Audience?

For a webcomic to be successful, it has to connect to a core audience. The core audience is the comic's natural readership, a defined group, the people who buy merchandise and recommend the comic to their friends. Core audiences are broad descriptions, of course (any single person in the group won't exactly fit the description), but they're useful in understanding a comic and its readers. For instance, Penny Arcade appeals to folks who enjoy video games (among other things). Hark! A Vagrant readers are educated, and have an interest in history and irreverent sense of humor. Understanding this helps determine what kind of content and merchandise may be well received by those comics' audiences.

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5 Questions: Introductions

Hi, I'm Sam Costello. I'm the creator and writer of Split Lip, a horror webcomic in the vein of the Twilight Zone, which features work by artists from all over the world.

In thinking about what to write for the guest blog posts that Xaviar asked me to write, I realized that I'd been asking myself a lot of questions about webcomics recently (especially questions about Split Lip, many of which were prompted by my recent series of columns about making it at iFanboy). I had thoughts about the questions, but not enough answers. I don't know if anyone does, but I'm guessing the discussion we'll have about these questions will be useful to many of us – creators and readers alike. I'm looking forward to talking with you all this week.

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Sale on Side B Anthology

Rachel Dukes of publisher, Poseur Ink, writes:

Rachel Dukes from Poseur Ink here… We've run into a family emergency and need to liquidate our stock of books in order to make room for a family member to move in with us. (And to pay off debts in case further emergencies arise.) If you wouldn't mind, we would be forever grateful if you could make a small blog post and let your readers know that the books are currently 50% off ($5 and $11, respectfully). There's still about 300 copies of each book left, so we have a ways to go; but we need to get these out of our apartment asap.

There are more details at her blog here.

ComixTalk reviewed Side B here – it's a nice book with creators including Jeffrey Brown, Jim Mahfood, Box Brown, Lucy Knisley, Todd Webb, Joe Decie, and Mitch Clem.

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Guest Bloggers Week 3

Let me repeat my thanks to all of the guest bloggers for posting so many great posts in my absence.  Thanks to last week's bloggers: Alexander Danner, Brian Moore, John Baird and Max Vaehling.  My biggest regret is that I didn't give them all their own week (if you weren't able to check out the last week flip through the archives for a ton of advice on writing, review and links to great comics).  And one more thanks to the week one bloggers: Ben McCormick, and Amanda & Daniel Potter.

For this week we've got a great group of comic creators and instigators.  They'll all be introducing themselves but here's a brief summary:

Steve Troop is the creator of the comedy sci-fi comic Melonpool and the comic CryptoZooey.  He's been making comics for over 10 years now.  He's also made some excellent puppets and they have appeared in several places including a They Might Be Giants video the Kobe and Lebron MVPuppets commercials.

Sam Costello is the prolific writer and creator behind Split Lip the horror webcomic series.

Harknell and Onezumi are a force to be reckoned with!  Onezumi is a webcomic creator and Harknell is a website coding ninja.  Both are very cool folks and longtime supporters of this site as well as their own webcomic community sites.  We're lucky to have a bit of their time as they are gearing up for the first edition of the convention they've created: Intervention which is coming very soon in September.

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All New ComicSpace

So while I was still thinking about what I should write on my last day of posting here, I noticed that ComicSpace had got itself a makeover. They've upgraded the whole system from whatever it was before to Wordpress. The transition wasn't exactly seamless; they're still working on the kinks. Some data seems to be lost, some displays weirdly. If you have a ComicSpace page, it might be a good idea to stop by and clean up your profile now. (If you're like me, you haven't done that at least since the makeover started a week ago.)

You do remember ComicSpace, right? A couple of years ago (2006), OnlineComics.net's Josh Roberts created the site, aiming for a "MySpace for comics". For a while, it seemed like the place to go if you wanted to connect to other comics people (or, more to the point, webcomics people). Personally, I lost touch with it over time, although I was very interested when Webcomics Nation's Joey Manley announced a merger of the two site families (including OnlineComics.net, Modern Tales and others) in 2007. The sites still haven't merged, although they're all part of the same company, E-Line, now. So much about the history. So what has changed?

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Comix Talk Special Weekend Edition

What I'd miss?  Here's a few things from the last couple weeks and the Comix Talk mailbag worth checking out

MILESTONES

OPINIONS

HYPE

  • Nina Paley has new webcomic, Mimi And Eunice.  Recently Paley is pretty well known for her animated feature film Sita Sings the Blues, but she's also got several earlier comics projects under her belt including Nina's Adventures, Fluff and The Hots.  Cute stuff – worth checking out. Paley is also sticking with a copyleft license for this work – more details on the About page.
  • Nicholas Brendan (who played Xander Harris in Buffy the Vampire Slayer) along with illustrator Rafael Santiago, is launching a webcomic, Very Bad KoalasIt follows the adventures of Avery and Irving, two koalas on the run from the authorities in their 1958 Cadillac El Dorado and "their struggle with addiction." Finally a comic addressing the eucalyptus crisis in the koala community!  Lauren Davis notes that Brendan is the second Buffy alum to write a webcomic; Emma Caulfield, Brendan's on-screen girlfriend, is the wordsmith behind Contropussy.

CRAFT: Comics Worth Reading has a good post on how to break into writing for comics.

INTERVIEW: Battlemouth interviewed Max Huffman of Mocktopus.

MAILBAG

  • Andeh Pinkard writes that The Goddamn Panty Brigade is a webcomic about a group of punk girls who are pulled into the amazingly mystical world of aspiring pop idols.
  • David Cooper writes that his webcomic Perpendicular Universe has reached its 200th comic.  The comedy webcomic is about the adventures of Steve, Eric and Grizzly.

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A Webcomic Presentation for SXSW

South by Southwest (SXSW) Interactive is one of the major conventions for innovative techniques in pop culture. For 2011, I've submitted a proposal of my own related to the Create a Comic Project: "Interactive Comics: Techniques to Enhance Math Education." This year, from what I can tell, it's the only submission dealing with webcomics and one of the few touching on comics in general.

In order to be selected, proposals have to earn a positive response from the public in addition to the judges. I'm hoping you'll take the time to register with SXSW's Panel Picker and vote for it so webcomics can be represented alongside of SXSW's other major technological innovations.

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Otakon 2010 Part 3

In this, the final part of my review of Otakon 2010's webcomic events, I'll look at the two sponsored by the Create a Comic Project: the "Make a Manga Tournament" and "Manga, Literacy, and Children." The tournament is based on similar events I've done at the New Haven Public Library since 2007 and has also been held at Tekkoshocon. I like having fellow webcomic creators serve as judges. This year had Erin Ptah (And Shine Heaven Now), Kittyhawk (SGVY), and Kuroitenshi (King of the Web) return from 2009, joined by Samantha McDaniel (Kibou) and Jamie Haram (Picatrix). There's an open invitation for all webcomic people to join in, so if you're interested in being a judge in 2011, let me know. A benefit: Otakon pays for your badge if I let them know in advance who's helping.

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Work! A Rant

In the first of his writing advice posts, Alexander Danner quoted a piece of advice aspiring writers often get. I paraphrase instead of looking it up because I've heard it often enough:

"Write every day! Treat it like a job! A job wouldn't allow for exceptions, would it?"

Part of that is useful advice. But it's kind of difficult to separate the crop from the crap. Alexander already said everything you need to hear about the "write every day" part, so I'll concentrate on the job thing.

What makes work a job? As opposed to a hobby? (Apart from pay? 'Cause that would be too easy.) I've been through lots of discussions about what a job is since I finished my studies and didn't seek a paying job right away. What I didn't get from those, I got from magazines targeting frustrated office workers. I think I've heard enough to distill some kind of definition out of what people with a job have to say about jobbing:

  • It's for the money, and for the money only.
  • You work for a boss who doesn't understand you.
  • Customers are idiots.
  • It's stressful.
  • It's eight hours a day. At least.
  • It's unappreciated.
  • It's repetitive rather than creative.
  • Work time is the opposite of spare time.

I could go on, but the canon is clear: A job, to a lot of people, is doing something for money that you despise or at least wouldn't do otherwise, usually in an environment that drains you of your creativity. Of course I'm totally exaggerating and ignoring all the great creative freelance jobs. I'm really after a meme here, rather than a sociological panorama. And the belief is really out there: People have actually told me that labor isn't labor unless it stinks. As opposed to the cool, creative stuff I do, which therefore must be a hobby, and could I please go cut my hair now and get a real job?

So, that's how I should treat my comics work? With despise? I don't think so.

Of course, there's a lot to be said in favor of treating it like a job. Even if you don't actually want to make money with it. If you put in your labor and develop a work ethic, you'll get better at it. And it'll help you evolve from the mind set that claims you're just a hobbyist who won't ever get anywhere with it. Which is the first step in actually becoming a professional. If that's your aim, it's all the more important to treat your comics work like it's a job.

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