Archive - 2003
Submitted by Bill on November 3, 2003 - 10:38
The gay romance webcomic Young Bottoms in Love kicks off its fourth volume today with a horror story, written by Comixpedia contributor Bill Roundy.
Submitted by Justinpie on November 3, 2003 - 03:51
In November of 2001, Killroy and Tina made its online debut with little fanfare, acclaim, or talent. In a time when the word "hiatus"
was a webcomic's silent death, Killroy and Tina (KnT for short) kept plugging away for whatever reason. Two life-sucking years and
almost 200 full-color pages later, KnT has spun off Keenspace not only to its own domain, but also to the Modern Tales sister site Graphic Smash, various Modern Tales syndications, and possibly a few unauthorized Comic Reaper thefts. It is viewed in numerous countries throughout the globe, and has been published in, at very least, one language.
Submitted by Erik Melander on November 3, 2003 - 00:11
Warren Ellis's latest column at artbomb.net, entitled "Webcomics' Second Coming", talks about BitPass, the micropayment solution currently undergoing beta testing. Ellis uses Patrick Farley's (www.e-sheep.com) APOCaMON as an example of what micropayments could mean for online cartoonists.
Submitted by Neil.g on November 3, 2003 - 00:10
During the summer of 2002, Neil g, author of Robot Stories ran a spin off in the form of the crazy Sci-Fi Comedy Limited Space. Now, with the team promotional effort of Dayfree Press and Keenspot, Limited Space is back on its own domain (limitedspace.org), with three new strips each week. Join Earthling Hal Keft as he tries to sort out his feelings about his bizarre experiences in space, only to discover that his world on Earth is just as weird as those he experienced on Planet Xenon, last summer.
Submitted by Erik Melander on November 3, 2003 - 00:09
I'm very sorry and it kills me to write this. I simply don't have the time to work on it right now. I hope to resume work on it in spring of 2004 with a hopeful release date of late that year.
Time once again for another edition of Measuring the Webcomic Audience. Last month our list relied on visits, page views, and links data derived from Ranking.com and Alexa.com. This month we drop links data from our methodology, and instead rank webcomics based on Ranking.com data for visits and page views and for Alexa.com rankings.
Once again Penny Arcade topped our chart and also dominated all categories of data we reviewed in our methodology. Overall, however, there was a much greater number of webcomics moving on and off the Most Read List this month.
Submitted by Xaviar Xerexes on November 3, 2003 - 00:01
It's time for Community Interview #8. This time David Rees of Get Your War On has agreed to answer your questions. Here's how it works -- post your question to David in a comment in response to this post.
ONE QUESTION PER COMMENT, PLEASE.
If you see another question you think is interesting, moderate it up. If you see something not so useful, moderate it down. We'll take questions for two weeks, until November 14th. We'll send the top ten questions to David to answer.
Publishing a webcomic is simple, right? Set up a website and post webcomics via FTP, and readers come to said website to read said webcomics? Well, yes... and no.
In a world of too many webcomics to count, getting a webcomic in front of as many potential readers as possible is a good strategy for building its audience. As the Internet evolves, so do the various methods to "syndicate" webcomics â€“ creators and publishers are finding new ways for readers to follow a webcomic without having to visit the actual webcomic's website.
I'll admit it. When Paul Daly, my creative partner on Athena Voltaire, suggested that I contact Joey Manley and Chris Mills about pitching our feature to the Modern Tales family, I viewed it as a stepping stone to getting Athena in print.
Somewhere along the way, my thinking began to change. Don't get me wrong; I would dearly love to see our heroine in print, but now I look at the two delivery systems (print and web) as synergistic rather than mutually exclusive.
There's something about the immediacy of the web.
One of the interesting offshoots of the webcomic model has been its propensity for sharing. Because very few people are actually making a living at this, ownership of a particular imaginary world or character has not become the political minefield that it is in print and animation. It is still possible for webcomics creators to ape one another, use someone else's characters (with their permission, of course) and do the occasional cross-over.