I’m sitting here listening to Jay Z’s Black Album and wondering about classics.
I have every confidence that this album is going to go down as one of the greatest of its time. Just like my dad would take us on trips and we’d listen to "Bridge Over Troubled Water" while he’d quietly and efficiently tell us not only why the album was so good, but also why it was a classic, I imagine doing the same with my kid(s) later on with things like The Black Album. "Not only is it just awesome," I’ll say, "but everyone thought it was awesome: critics, fans, and even people who don’t like rap." Then I’ll move onto Simon & Garfunkle, in the tradition of my dad, who listened to his parents’ music. Which means adding Frank Sinatra and Benny Goodman to the mix.
Perhaps I’d be driving these theoretical kids crazy, but maybe it’d be teaching them the same lesson I learned about classics as a kid. The things that last are often popular in their time, and conversely, the things that last remain popular, even if tastes change.
Predicting classics in any area, let alone webcomics, is an exercise in futility. But just like predicting what kind of cars we’ll drive in the future, it’s swell fun. And it’s not just me, I assure you. Why do you think every year we have such bickering over awards? People disagree over how to conduct them, who is eligible, what kind of awards there should be, whether they should be modeled on the Eisners or the Golden Globes, and how biased they are (examples: in the past, some awards have seemed to pick more comics on Keenspot than independents; also, those on pay sites may be at a loss since not everyone can view their archives). Nevertheless, we still attempt them every year. I say these awards are the community’s way of trying to sort out what is popular and universal, and more importantly, what will become classic.
Scott Kurtz leverages the charge that webcomic awards given out by webcomic authors are too much self-congratulation and back patting. I say that he is wrong, not because of some knowledge I have of personal motives of everyone who votes, but because of how the results turn out every year. It’s not necessarily the comic who is most deserving through skill or aptness who wins the award (certainly, people would vote for Penny Arcade in best dramatic story), but the ones most widely read.
I know, I know â€“ it’s not cool to praise popularity contests these days. But they serve a purpose â€“ if not the most crucial part â€“ in determining a classic. You have exceptions in other forms of literature, where a book is read only by a few yet gains popular "classic" status without anyone really reading it (James Joyce’s Ulysses, for example), while popular authors like John Grisham and Steven King are scorned by critics. But, historically speaking, the stuff that’s popular ‘today’ will become a classic after time. So Penny Arcade has great chances of becoming one of the classic works of webcomics. Why? Because everyone reads it, and those who don’t will read it eventually because everyone else is reading it, and so it just keeps getting read.
Another very popular author with the masses is one I’m sure everyone who learns English has read â€“ William Shakespeare. His work’s success is not wholly due to the regular folks who stood crowded in front of the stage, and who were there for the fights, insults, and humor. His plays also appealed to the audience that sat up high from the crowd, or even on the stage itself. While not critics, these richer and nobler folk have a lot in common with critics of this day in terms of taste. Often what is popular in one arena (say, shock value or gore value) has little staying power â€“ but a work that succeeds in such a popular way yet charms those who consider themselves above common tastes? That’s going to stick around forever.
I’ve heard plenty of people who consider themselves of "superior taste" putting down such popular webcomics as Penny Arcade, PVP, or Megatokyo, who nonetheless find plenty to praise about them when they let down their guard. Sometimes there is a reason why a comic is popular beyond it having cute girls or lots of gaming talk. Having both the mass appeal and the critical appeal is crucial in the longevity of a work.
So I take my picks on what will be classics in 15-20 years from now (and never mind the fact that things shouldn’t be considered classics in such a short period of time. Western society is going too fast to wait long for things to become classics. I mean, the 80s are retro now? Gah.): Penny Arcade, PVP, Megatokyo, Sinfest, Derek Kirk Kim’s Small Stories, and possibly Superosity, though I suspect it’ll be one of those "I recognize it, but I’ve never actually read it" kind of thing, like everyone knows Benny Hill, but who’s actually watched his show?
I’d like to see some more picks from other people and encourage a VH1-esque "Let’s treat today as if it were history already!" movement in webcomics (despite the idea that such a movement would only support the back-patting criticism of the webcomics community). Mostly because I’m evil, but also because of the archival aspects of the web. I’d love to see this thirty or so years from now, and be able to mercilessly mock my younger self.
And because I hope to have no idea what VH1 is when I’m 50.
This kind of makes me think that Pokey the Penguin is the most eligible.
It begs the question: “Will webcomics be treated as classics within their on genres?” I mean, Blade Runner is a classic film mostly because it succeeds in ways films like it have generally failed. It also should be noted that at first the film wasn’t popular!
If webcomics are considered classics within their genres, then does it follow that they would be compared outside of the inter-web to other comics?
Many people wouldn’t want that, which may result in statements like “That was a pretty amazing comic…. for a webcomic.” Being uttered through history.
Also, why is it Blade Runner can be applied to pretty much any middle class internet debate?
Oh! Sorry. A list:
1) Pokey the penguin.
3) Penny Arcade
4) Scary Go Round (Historically Dumbrella will probably all be lumped together as an example of a pretty amazing thing)
5) At this point historians will want to mention the sex stuff, so comics like Sexy Losers and … urm… the others… will get mentioned.
I dont know about Jay-Z’s “Black Album” becoming a classic, but it the remixed “Grey Album” doesnt, there is no justice in the world.
How DARE you! I’m NOTHING like Benny Hill.
Now if you’ll excuse me, I have to chase around bikini-clad girls in fast motion while humorous music plays, then go back in time and die of a heart attack on April 20, 1992…
(The “joke” about dying of a heart attack in 1992 is the reason SUPEROSITY is the classic webcomic that nobody will ever read, even in the far-flung future.)
Moo ha ha!
The joke’s on me, since I read Superosity AND have seen Benny Hill. And somehow that damn theme music won’t get out of my head!
Oh man, I forgot Pokey. Maybe because I never read it! I’m so self-centered when it comes to being observant and objective about webcomics! oh well!
I’m thinking that the first webcomics- this first decade or them, anyway, is going to be judged by webcomics alone, as if it were a genre. Mostly because a bunch of kids who did nothing but read webcomics at school are going to turn 30 or 50 someday, and get nostalgic and people will write books and do TV shows on the good ole early webcomics. Because by then they’ll have evolved nto just another way of publishing story-telling or joke telling in graphic form, aka comics. Because by then comics will no longer be stereotyped as newspaper funnies or men in tights. Right?? Riiiight?
Haha, I just saw your title to your response. It’s so true!
It’s pretty awesome, isn’t it? I have to admit an equal fondness for all three albums, maybe more so for the Beatles because I’ve been listening to it forever and it’s still awesome. The rest must prove their staying power. I’ll get back to you in 30 years when there will be no more VH1!!! (Maybe).
Well, the common topic for people who want to start acting nostalgic is to start talking about the dead/finished comics like Pentasmal, Exploitation Now, and Unicorn Jelly. Is it early enough to start airing “Where Are They Now?”
Don’t encourage me! I might start bugging Comixpedia to do an actual “Where Are They Now?” and that would spell out doom for all of humanity as spelled out by Nostradamus nearly 500 years ago!
“Garfunkel.” It’s spelled “Garfunkel.” Are you not an artist? Do you not know Art?
It’s funny, because I own all their albums and could have so easily looked it up to be sure…
AND because my editor Damonk used that same joke in his comic and I’ll bet you he spelled it correctly there!!
And also because that joke will never go stale. NEVER!!
The creators of most ended webcomics that got the acclaim needed to become potentally clasic are currently working on new webcomics. Errant Story, Men in Hats, Pastel Defender Heliotrope, Basil Flint, Terrible Twos, Blue Android, Fusion D; all webcomics made by people who already had ended proto-clasic webcomics under their beltsfrom the start (of the comics on the list). And that doesn’t even get into comics that are arguably merely renames of their predecessors, like Naught Framed, and It’s Walky.
Well, in Unicorn Jelly’s case, it’s in print, two volumn set buy ’em at http://www.unicornjelly.com
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