Showing posts with label awesome. Show all posts
Showing posts with label awesome. Show all posts

Monday, May 9, 2011

F CHORDS IS BACK

We interrupt your regularly scheduled me-not-blogging-about-webcomics to bring you this important announcement: FCHORDS FCHORDS FCHORDS.



F Chords is back and more frequent than ever. Kris Straub's strip about two studio musicians who play radio advertising jingles by day and dream of rock stardom by night has found a special place in my heart, and I am jazzed out of my mind that it is updating FIVE TIMES A WEEK. Five times. That is more than three times. I am about to pee my pants here.

I have never formally reviewed F Chords on this blog because I have been too busy gushing about it. You may read my resounding endorsements in this entry and this entry. But before you read my resounding endorsements, you should go read F Chords.

F Chords.

Monday, August 16, 2010

Review: Scott Pilgrim vs. the World: the Movie


Scott Pilgrim is making some noise.

At a Glance:

Scott Pilgrim vs. the World
Cast: Michael Cera, Mary Elizabeth Winstead, Ellen Wong, Kieran Culkin
Director: Edgar Wright (Hot Fuzz, Shaun of the Dead)
112 mins
PG-13
TWIW rates: 4/5
Bryan Lee O'Malley's graphic novel recently released its sixth and final volume, concluding the story of young-adult slacker Scott Pilgrim's battle for the heart of Ramona Flowers against her seven evil ex-boyfriends. Scott McCloud calls it "the funniest comic book on the planet right now." There's a Scott Pilgrim video game for PS3 and XBox, and "Scott Pilgrim vs. the Animation" on Cartoon Network's Adult Swim. And this past weekend, the Scott Pilgrim movie hit the box office.

23-year-old Scott Pilgrim (Michael Cera) is a loser. He's unemployed, plays bass in a noisy rock band, lives in a tiny apartment with his "cool gay roommate" Wallace (Kieran Culkin), and has recently started dating a high schooler. But all that changes when he meets Ramona Flowers (Mary Elizabeth Winstead), the literal girl of his dreams: as a courier for Amazon, she keeps showing up in his subconscious because of a convenient subspace portal running through his head. But in order to date Ramona, he must first defeat her seven evil exes. Not only does he have to deal with the same messy relationship history that we all must in meeting someone new, but he actually has to fight out that history in a string of escalating boss battles.

Like the comics, Scott Pilgrim vs. the World captures the ethos of our generation. Scott and Ramona Flowers navigate a sea of "It's Complicated" histories, grappling with the interpersonal relations of young adults who never emotionally graduated from high school. Characters speak in a vernacular of humor based on repetition, repetition, and jokes about how lame jokes are. Scott's battles with the evil exes are peppered with tongue-in-cheek, cheesy pun-liners like "You were a little bi-curious? Honey, I'm a little bi-furious!"

The movie is also steeped in video-game culture, up to the 16-bit pixelated Universal logo with accompanying bleep-and-bloop soundtrack. Contemporary movies often take their action-scene cues heavily from video games (e.g. Clash of the Titans), but SP uses video gaming as a framing device for its love story: battles are laden with pop-up score counters and special power-up modes, and defeated enemies burst into showers of coins. When mistaken for a band member and asked "What do you play?" one character responds, "Legend of Zelda, Tetris..." and a running gag has Scott explaining the history of Pac-Man as a pick-up line. With its audio-visual mash of digitized SFX, comic-book popups, and rock music, it's visceral and entertaining. And director Edgar Wright knows how to use a framing device to tell a comic story: what he did with zombie flicks and buddy-cop movies in Shaun of the Dead and Hot Fuzz, he does again with video games in Scott Pilgrim.

So there's style. But does it bring the substance? To a degree. It keeps the plot, premise and characters simple, but Cera transcends his usual role of awkward slacker; he projects a Scott who, when given a second chance, steps up to admit his past screw-ups and set things right. As in the comics, Scott is an idiot who learns from his mistakes: a hero with a hair more nuance to him than one would expect. Winstead as Flowers brings a fitting measure of reserve to the table for a character with seven evil exes. The exes themselves rock their performances with outrageous energy; Indian guy Matthew Patel breaks out into bollywood dance-fighting, actor/skateboarder Lucas Lee delivers tough-guy panache, Vegan hipster Todd Ingram exudes arrogance, and sinister music mogul Gideon Graves plays his evil-concealing nice-guy facade to the hilt.

The movie stays as faithful to the comic books as a movie can. It faces the same challenge as Watchmen: condensing a large body of work into two or three hours and arranging the plot into a coherent cinematic presentation. And while Watchmen staggered under a slavish devotion to the source material, Scott Pilgrim enjoys considerably more success in striking the balance. A few elements such as the Katayanagi twins (evil exes 5 and 6) and secondary characters' backstories get short shrift, but the film actually bests the comic in its effective foreshadowing of main villain Gideon Graves. As a result, the film actually has a more fulfilling climax. Certain plot elements are changed slightly or rearranged to fit the cinematic medium, but all but the most diehard Pilgrimite will be pleased with the result.

The big question is, of course, is it worth your eight bucks? I can honestly say it's an entertaining production and a quality movie. Those outside of the comic-con crowd may have accessibility issues with it, as it appeals heavily to the viewer's inner dork, and in some instances I found the pervasive sexual jokes off-putting. However, the action rocks, the humor is laugh-worthy, and Scott is (more or less) a worthy hero for this generation. If you're looking for some quality fun for the dork within, you won't go wrong with Scott Pilgrim.

Tuesday, July 20, 2010

The Ultimate Crossover



'nuff said.

Thursday, July 15, 2010

Multiplex Celebrates 5th Anniversary


This week marks the 5th year of Gordon McAlpin's movie-theater comic Multiplex, and Multiplex is celebrating with a week of daily updates. In addition to its usual Monday and Thursday updates, it's bringing guest strips and guest art (today's update even includes a poetic ode written by a Multiplex fan!). You can check out this week's guest updates in the guest strip section.

There will be a guest strip on Friday, and even a few more bonus updates next week, so be sure to head over to Multiplex and check out the festivities. Congrats to Gordon on five years of webcartooning!

Monday, June 7, 2010

The Triumphant Return of Nobody Scores

So, you've been reading this blog for awhile. You know I've got my comics that I particularly like to rave about: comics like Blank It, Max vs. Max, and to a lesser extent, Z'Nuff Dr. McNinja. You know that high on my list of "ravers" is Brandon Bolt's little comic that suffers, Nobody Scores.

Or...maybe you don't. That's cool too. Nobody Scores--for the non-knowers among you--is a comic in which anything that can go wrong, does. Even the things that can't go wrong go wrong. I love it because it's top-notch well-crafted cartooning, it's relentlessly cynical, it's over-the-top with raw crazy energy, and its comics are huge. It's the kind of thing you need hyphens to describe.

And it's back!

Around five months ago, cartoonist Brandon Bolt went on hiatus, citing increased job stuff and cartooning burnout (and if I were turning out twice-weekly comics as tall as his for over two years, I'd have been citing burnout even earlier). For five months I have languished, forced to read webcomics in which sometimes people score, deprived of long-form tales of imminent calamity.

But now Nobody Scores is back and Nobody-Scoresier than ever. The site has been streamlined with an improved design, and also Jane has bangs. The NS cast stars in three brand-new comics as of like last Friday or so:
  • Fantastic Voyage, in which Sara scores a free exploratory trip into space and is thwarted by Einstein,
  • Every Donation Counts, a cautionary tale about the hazards of helping the homeless, and
  • Reenactment Fever, which is exactly what it says on the tin: the historical/cultural reenactment craze, as applied to things it really shouldn't be applied to.

Needless to say, I am very excited, and you should be too.

Monday, March 8, 2010

A New Face Joins Wishtales Publishing

Happy Monday, my readers. I've got news to share with you today.

You may remember Wishtales Publishing, which I mentioned shortly after its launch last September. Wishtales is bringing aboard former Disney cartoonist Eddie Pittman and his comic "Red's Planet." I've come across Red's Planet a couple of times before receiving the press release, and I liked what I saw--Pittman's professional experience in storytelling through animation comes through strongly, and it's clear he's put a lot of effort and planning and fun into his comic. "Red's Planet" stars a runaway foster child, Red, who is accidentally abducted by aliens. She finds herself marooned on an unfamiliar planet with a weird alien entourage who are even worse than her foster family. It's sharp, cartoony, and an engagingly weird fish-out-of-water adventure.

Incidentally, I had a chance last week to catch up on Moon Town last week, and Steve Ogden is really knocking it out of the park with this one. I can see why he won the "Best New Comic" award in the 2009 Webcomic List Awards. Bottom line is, if you like quality sci-fi storytelling, you can't go wrong with the Wishtales guys. Give 'em all a look, because I'm sure at least one of these guys has got a comic you'll enjoy.

The press release is as follows:

--------------
CARTOONIST AND FORMER DISNEY ARTIST EDDIE PITTMAN JOINS WISHTALES

March 2, 2010 – The independent publishing studio Wishtales has added to their roster of all-ages comics with the addition of Eddie Pittman, creator of the brand new online graphic novel "Red's Planet."

Pittman began his animation career with Walt Disney Feature Animation Florida working on Mulan, Tarzan, Fantasia 2000, The Emperor’s New Groove and Lilo & Stitch. He currently resides in Orlando Florida where he provides a variety of services including storyboard and illustration work.

Pittman recently began publishing his all-ages science fiction graphic novel "Red's Planet" online. Dell'Aringa and Ogden were immediately taken by his wonderful style and smart writing. Emails were exchanged and Pittman eventually provided artwork for Dell'Aringa's first book "Out of Orbit."

Dell'Aringa and Ogden soon realized that Pittman was a perfect fit for Wishtales.

"I brought it up to Steve early in the week and it just seemed like a no-brainer for us. Eddie is not only a wonderful artist, but a wonderful person, too. We share a lot of the same ideas about art and about all-ages material. It's a natural fit. We're just ecstatic Eddie felt the same way," said Dell'Aringa.

Pittman's "Red's Planet" is the story of Red, a 10-year old girl who after running away from her foster home is mistakenly kidnapped by aliens. She soon finds herself across the galaxy and marooned on a deserted planet with an eclectic group of castaways who are much worse than her foster family.

Pittman was happy to join the budding publishing studio.

"I couldn't be more excited to be a part of Wishtales. Tom Dell'Aringa and Steve Ogden are two of my favorite storytellers. Having the opportunity to work with them and bring strong all-ages content to life through Wishtales is a dream come true," said Pittman.

Wishtales we be exhibiting for the first time at the 11th annual Small Press and Alternative Comics Expo in Columbus Ohio in April 24th and 25th, where they will be showing off material from their many creations including "Red's Planet," "Moon Town," "Marooned," "Rag the Viking," "Croaker's Gorge," "Cubicle Pigs" and more.


Wishtales Publishing Studio
http://www.wishtales.com

Red's Planet by Eddie Pittman
http://www.redsplanet.com

Marooned by Tom Dell'Aringa
http://www.maroonedcomic.com


Moon Town by Steve Ogden
http://www.moon-town.com

Sunday, February 14, 2010

Press Release: Guigar Celebrates 10 Years of Cartooning

Hi, everyone. Have a press release celebrating 10 years of cartooning for Brad Guigar, creator of Evil, Inc., and a host of other comic strips both online and offline. Congrats on ten years, Brad--here's to many more!

PRESS RELEASE

On Valentine’s Day, as many people celebrated romance, Brad Guigar will raised a toast to a passion that has been a driving force in his life for ten years — daily comics.

His first comic strip, "Greystone Inn," debuted on the Web on Valentine’s Day, 2000, and updated every Monday-through-Saturday for the next five-and-a-half years. The day after it ended in June 2005, his current daily strip, "Evil Inc," began. Although both strips are webcomics, they both ran in daily newspapers, including the "Philadelphia Daily News." "Evil Inc" appears in front of an estimated 1.5 million newspaper readers a week.

"Evil Inc" is a company that was formed by comic-book super-villains who realized that they could get away with more evil if they worked within the law. It’s a satire that pays loving homage to super-hero comics while reflecting on everyday issues — such as the blended family that is formed when a villain secretly marries the city’s top super-hero.

In addition to his daily labor of love, Guigar also produces a weekly comic, "Courting Disaster," and for a year-and-a-half, he produced a weekly full-page comic, "Phables," that shared stories about life in Philadelphia. "Phables" earned Guigar a nomination for the Eisner Award in 2007 — the highest honor in comics.

But Guigar’s obsession with comics doesn’t end there. He has written one cartooning book, "The Everything Cartooning Book," and co-written another ("How to Make Webcomics"). And he is the editor-in-chief of the daily cartooning-advice blog, Webcomics.com, where he shares his knowledge and experience in negotiating the tricky landscape of digital publishing with novice webcartoonists -— many of whom discovered Guigar through the popular podcast, Webcomics Weekly, that he co-hosts.

He has self-published over 13 print collections of his work — all available on his Web sites — and appears at a half-dozen comic conventions across the country to promote his work. He has talked comics at San Dieo’s Comic Con International as well as at Harvard University.

Surprisingly enough, his wife of 12 years hasn’t divorced him. In fact, she and their two boys have become almost as enamored with comics as Brad.

Monday, December 7, 2009

The Webcomic List Awards

Hi, everyone. Once again I break my hiatus to drop a tiny item of news for you.

As you may or may not know, The Webcomic List (www.thewebcomiclist.com) is having its first annual Webcomic List Awards. The awards are an opportunity to recognize good comics that have excelled in a wide spectrum of different areas, and for that reason alone I'm pretty jazzed to be a part of them. This coming Sunday, the 13th, is the final date they're accepting nominations, so if you know of some good comics that you'd like to see recognized for their excellence, stop by and drop some nominations.

Friday, October 23, 2009

10/23: Week in Review

It's been awhile since I did a bona fide week-in-review Friday post, but this week I ran into some cool webcomic strips I wanted to share, and evidently I've managed to balance writing this post with all the other things I'm up to in my life. I'm sure you're all thrilled out of your minds.

Duck and cover, y'all, 'cause it's time for

  • The Fancy Adventures of Jack Cannon
    Here's your new discovery of the week: I saw this comic advertising here on my blog, I clicked through, and it hooked me. The Fancy Adventures of Jack Cannon reminds me of The Wotch, only actually pretty good instead of pretty bad. The art is a step up; even though it'd benefit from more unified color schemes, the artist has a better grasp of composition, basic anatomy and stylization. The storyline doesn't drag, the main character is much less of a Mary Sue, and there's no fetishy pandering to make you feel icky for reading.
    So what the heck is it about? Titular character Jack Cannon is the new guy at high school, and he instantly runs afoul of a gang of hackers. When it turns out that the hackers can hack reality, ridiculous action sequences ensue. From there, it only gets crazier.
    Just for example, there is a character named Max Facepuncher. "Max" is short for "Maximum."

  • Max Facepuncher in "So Now I Hate the Moon"
    The creator of Jack Cannon also created a 24-hour comic starring Max Facepuncher, in which Max is hired by a government agency to punch out the moon. Like Jack Cannon, it's totally madcap and thoroughly entertaining.

  • PVP
    On a similar note, PVP this week brings us a parody of the original Superman movie, featuring internet-meme superhero the LOLBAT. It's some seriously great stuff. For those who play City of Heroes, there's even more LOLBAT to be had, as Scott Kurtz recently collaborated with developer NC Soft to create a LOLBAT-based City of Heroes mission.

  • Blank It
    If you aren't following Blank It yet, you should be. Between its ridiculous absurdity and its treatment of existential themes, it has the best mix of smart and dumb humor I've seen yet in a webcomic. This week's strips, following an action-packed escape from the City of Cookie People, have got some truly inspired writing. I actually laughed out loud twice while reading Monday's strip.
    Yo, Aric and Lemmo. When are you guys going to go to three updates a week? C'mon, I crave the goods!

  • Fanboy Radio: interview about Kickstarter
    Kickstarter--as Multiplex readers already know--allows independent artists of all stripes to fund their projects through support from their fan communities. This past Sunday, Fanboy Radio interviewed Multiplex creator Gordon McAlpin, as well as Kickstarter co-founder Yancy Strickler and kickstarting cartoonist Jamie Tanner. If you're interested in the self-supporting and business side of webcomics, definitely check it out, but even if you're just looking for something fun to listen to at work today, it's an entertaining and engaging interview. Behold: the link.


And that's a wrap! Tune in Monday for your regularly-scheduled post. I, in the meantime, am off to work, and then off to the weekend.

Monday, September 28, 2009

Review: Tuna Carpaccio P.I.

Tuna Carpaccio is many things. First, it is a dish made by thinly slicing fresh raw tuna and serving it with a savory and often spicy sauce. Second, it is a webcomic by Josh Dunlap and Tony Chavira. Third, it is the main character of said webcomic.

It may be still other things. I'll let you know if I discover any more.

Albacore Melt Carpaccio, better known as "Tuna," is a private investigator in a city of crime and mayhem. He's hard-headed, hard-hitting, and hardly competent. Even his secretary Pamela is more skilled at detective work than he is.

Tuna, however, is entirely oblivious to his own incompetence. He cracks cases with fisticuffs and copious property damage. He fancies himself on par with the city's Police Detective, Aurora Malta, even though his investigations (and I'm being generous with the term) constantly interfere with hers. Despite her low opinion of him (which she makes clear in no uncertain terms), he relentlessly hits on her. Tuna believes he is the sharpest detective in the shed--and he ignores all evidence to the contrary.

Carpaccio's primary adversary is the elusive mob boss Jose Maria De Jesus, but the road to the Hispanic crime lord is strewn with recurring "theme villains" in the vein of Dick Tracy or Batman. These include psychological psycho Ink Blot, zombie hipster Dead Beat, the bowling monarch King Pin (my personal favorite), and the Christmas criminal Coal Miner, whose slugfest with Carpaccio stretches out in a ridiculous infinite-canvas showdown that is sure to give the creators headaches when they're putting together a print collection. In these side excursions from the hunt for De Jesus, the comic both satirizes and revels in the bad-puns-and-punchouts villain-of-the-week style, but in a recent surprise move, all these crooks Carpaccio's put behind bars turn out to be relevant to the plot. It's one of many nice touches that make the comic such a kick to read.

Another is the art. Josh Dunlap's style is evocative of film noir, with a little animated-cartoon thrown in for flavor. It's got an inky look to it, with gritty backgrounds, sharply-rendered characters, and loose linework splashed with black shading. Fight scenes are rowdy, cacophonous affairs, the comic keeps things dynamic right down to the panel layouts, and characters have signature fonts for their dialogue. In less-competent hands, this would be a cheap gimmick, but from Pam's longsuffering all-lowercase lines to King Pin's regal script, it's a nice touch and an important part of the comic characterization. In short, Tuna Carpaccio looks good.

But don't let him know I said that. It'd go straight to his head.

Tuna, oblivious as he is to his own incompetence, can't help but remind me of Michael Scott, the bungling boss from The Office--which brings me to my only major criticism of the comic. Both Tuna and Michael have no idea how truly unproficient they are, and they make us laugh even as we cringe at their ridiculously unprofessional behavior. With Michael, however, you actually feel sorry for him: you get the sense that he actually cares about people, and his only real vice is that he cares more about getting people to like him. Tuna, on the other hand, more often you just shake your head and mutter, "I cannot believe this guy."

At this point in the story, to be perfectly honest, Tuna is a serious cad, and I'd be hard-pressed to name a redeeming feature beyond his right hook. He's persistent, I'll give him that much. But that's not much to hang your hat on when you're persistently bad. In essence, what I'm saying is that even though the art is great, the characters are funny, and the plotline packs more twists and turns than a retro dance move, it really loses some potential when you strain to sympathize with the main character.

Still, Tuna Carpaccio is well worth your time to check out, and it's going to be well worth my time to follow in the future. It's a comedy comic with a quirky sense of humor (I can guarantee you've never seen a comic with as bizarre a beginning as this), and it's very slickly executed. For all his vices, Tuna is hilarious and his misadventures are entertaining.

Tuna Carpaccio is a quality comic. See if it's your style--give it a read.

Friday, August 21, 2009

8/21: Friday Bullet Points

If you haven't seen yesterday's comic-form interview with the creators of Blank It, I'd encourage you to hop down an entry and check it out. But now it's time for...


  • The Multiplex Store launches today. This is especially exciting for me because I am the merch guy! If you place an order, I'll be the guy shipping out your t-shirts and stuff to you. Stop by the store and check out the selection--Gordon McAlpin and I are both very pleased with the shirt designs we've got available, and more are in development right now.
  • In shirt-related-but-non-me-related news, Real Life has done something innovative and awesome this week. Every comic this week was scripted by a Real Life reader! Greg Dean sorted through each day's submissions and created the strip whose idea he liked best. It's a hilarious Shirt Ninja adventure with an epic climax, and it's well worth checking out.
  • Cat and Girl has been similarly at the top of its game this week. It brought us comics about the youth-afflicting social disease sickle cell bohemia and late-80s edutainment software Mavis Beacon Teaches Typing. I learned to type with Mavis Beacon, and I, like Girl, always thought Mavis Beacon really existed, as some celebrity of education. Only thing is, what the heck was Thursday's comic about?

And that's the news. Have a good weekend, and buy lots of shirts! We at This Week in Webcomics are nothing if not shameless.

Friday, August 14, 2009

Top Ten: Nobody Scores Comics #1-275

If you read this blog regularly, you're no stranger to Nobody Scores. While it's not for everyone, its angry, R-rated tales of protracted failure have their own appeal. You have to be a certain sort of person to appreciate the humor, but when you read a Nobody Scores episode, even the most hardened pessimist can't help but think, "At least my life isn't this bad." Plus, the whole thing is one of the best-drawn comics on the web.

With cartoonist Brandon Bolt preparing to take his traditional "summer vacation," from his comic, Nobody Scores readers will have to make do with the archives for the next month. To sate your thirst, I present the top ten comics of the first two years (#1-275), in ascending order of excellence.

As with our previous top ten list, this list is no mere catalog of personal preferences! Each the excellence of each entry on this list has been confirmed by empirical observation and placed in an ordinal scale among the other entries, through the scientific process known as "archive trawling." The results are absolutely normative and free from bias of any kind, and if you dispute them then you clearly have no understanding of comic science.

No, really.

10. "The Confrontational Dead" (NS!#144)
Even though zombie apocalypses have been done to death (pun intended), Brandon Bolt breathes some life into the subject by tweaking the expected ending. Sara and Raoul's dialogue also keeps the scenario fresh. I particularly like Sara's blatantly indifferent response to Raoul's inquiry about Beans.

9. "The Winkerbeaner" (NS!#107)
Nobody Scores loves to comment on the state of newspaper comics, and when you stop to consider it, the Funkywinkerbeaniverse and the Nobodyscoresiverse are a match made in heaven. The only real difference is that the Nobodyscoresiverse is a little more self-aware about its catastrophes. And a little more over-the-top.
Just a little.

8. "The Duckulator" (NS!#175)
When the situation calls for a duck: there's the Duckulator. Inspired "Doofus Ex Machina" surreality, but the highlight is Raoul's authoritative command of the classroom. Truly, he brooks no dissent!

7. "Cynical Girl" (NS!#258)
Jane burns through fads like they're three-way appetizer samplers on Football Night at Willie's Sports Bar. But what does she do when her "casual cynicism" schtick finally sticks? Just ride it out, breaking hearts and shattering dreams all the way.

6. "The Scott McCloud Injection" (NS!#86)
When Nobody Scores takes on the topic of comics as a medium, self-parody has never been more vicious.

5. "You Just Had to Ask" (NS!#65)
This is your descent into madness. This is your descent into madness on drugs. Any questions?

4. "Meet the New Boss" (NS!#15)
As far as the main cast's interpersonal dynamic goes, this is a textbook Nobody Scores comic. Sara takes over as boss of the apartment, and proceeds to abuse her position. And by "position" I mean "roommates."

3. "Allllnighter" (NS!#61)
High school and college students as well as corporate-minded professionals will identify with this comic--though hopefully not too much. When caffeine proves insufficient to keep her working productively through the night, Sara leverages her resources to create a conducive work environment. The resources are her roommates.

2. "The Trick, Somewhere" (NS!#261)
Even though the official "Nobody Scores with Scoring" 3-strip arc concluded this week, I still consider this to be the quintessential "even when you win, you lose" comic. Everything's going Sara's way--what's responsible for this winning streak? And what will she do with her newfound good fortune? And why doesn't Firefox's onboard dictionary recognize "newfound" or "onboard" as real words?

And my all-time favorite the objectively best Nobody Scores comic of #1-275 is...

1. "Scalia's Gonna Cry" (NS!#116)
Plenty of webcomics mine internet memes as a source of potential comedy, but this is the only comic I've seen to tap into the "diet coke and mentos" trend on Youtube. Brandon Bolt takes a simple prank war between friends and escalates it to cataclysmic proportions, ultimately yielding the most surreal court decision ever to grace a comic page. I'm still waiting for a poster of this one to show up in the Nobody Scores store. Are you reading this, Bolt? I demand posters! Posters!

Totally objective!

Tuesday, July 21, 2009

Adventures of the Irrelevant Webcomic Critic: Penny Arcade

A little over a year ago, shortly before I began this blog, I made a post to my personal blog on the topic of Penny Arcade. The post, titled "The Adventures of the Irrelevant Webcomic Critic," was in a way a precursor to this blog--about that time, I was realizing that if I read so many webcomics, I might as well talk about them with the internet. Here's a slightly-edited excerpt from that post: edited because, well, I am a better writer now.

Lately, Penny Arcade has been falling flat for me. Some of the recent strips have been good--like the one about the crystallized demon blood in the guy's refrigerator--but a lot of them I have just not found funny. The other day I was asking myself why, because I really want to like PA, every time, if at all possible.

Some of Penny Arcade's funniest and most compelling work, I realized, revolves around the concept of
shame, particularly characters' perceptions of merited and unmerited shame. Consider the following comic, in which Tycho is reluctant to share the content of the user-targeted in-game advertising he is seeing: even while laughing, the reader can almost feel his discomfort sympathetically. Here's another one, where Tycho has forgotten his embarrassment and gets far too enthusiastic about the erotic possibilities of science-fiction extraterrestrial encounters. Gabe often doesn't know when it's appropriate to feel or display shame: for example, here. Or here. He is far too open about his endeavors! And that's funny.

But within the past month or so, deep though it may be, that
well of shame has scarcely been tapped. The last place we really saw situational humor of this sort, relying on characters' differing expectations of what should and should not be was this comic. Now, Penny Arcade has a rich and diverse past of jokes, and they need not rely on shame to create quality material. For example: they're typically excellent satirists. However, Samus kicking Pikachu in the face is simply less robust as a comedic concept than Gabe's obliviousness to his own social dysfunction.

Lately I've been thinking about Penny Arcade again, for a variety of reasons. I figured I'd dig out that old post because at the time, I thought the path to a better and funnier Penny Arcade was paved with further explorations of shame. But then they busted out of the slump with the whole Deep Crow thing, and while their current work isn't the best they've ever done, it's decidedly stronger than a year ago. And lately I've realized: Penny Arcade doesn't have to be funny all the time in order to be good.

Penny Arcade provides more than just humor. As I've mentioned before, their take-no-crap attitude brings much-needed accountability to the game industry, whether it's through satirical invectives or celebration of genuinely awesome games. They're not beholden to game companies, retailers, or advertisers. They're not even beholden to their readers, in the sense that Krahulik and Holkins are free to experiment with off-the-wall not-even-gaming-related things like Twisp and Catsby or the Cardboard Tube Samurai.

And I guess that's where they're taking things these days: somewhere new. Krahulik's art has been taking new directions, shedding a bit of its Stephen-Silver influence for a more painterly approach to coloring. Also, with concepts like Lookouts and Automata, and projects like the Penny Arcade Adventures computer games, the two are expanding beyond continuity-optional humor into original storytelling. And if nothing else, the sorts of stories they're telling are at least original.

In short, I'm not sure what the future holds for Penny Arcade, but they do seem to be making better comics as of late, and hopefully the trend will continue. Suffice it to say that while a year ago I was considering taking them off my list of regulars, I'm much more interested now in following what they're up to.

(This post has been brought to you by Google and The Penny Arcade Wiki)

Friday, July 10, 2009

Why Web?

As you may have noticed from my Twitter feed or from the current review request poll, I recently bought copies of Deadpool Classic #1 and #2. Also, I've been picking up graphic novels from the library, such as Marjane Satrapi's Persepolis and K. Thor Jensen's Red Eye Black Eye.

I've had print comics on the brain recently, and I've gotten to thinking: creating a print comic is an involved process, from the creation to the printing to the distribution and promotion. It costs to create a physical, tangible comic--an investment of both time and effort. Creators and publishers alike want to ensure a good return on their investment; they make an effort to avoid bad ideas and to develop good ideas through the editorial process. My Deadpool comics credit a massive creative team in each issue, from directors to writers to letterers to inkers and colorists. Each person brings his own unique talents to the project, along with a silly nickname. But the silly nickname is beside the point.

Webcomics, on the other hand, don't have such an entry bar. (Again, I'm talking about quality, not the silly nicknames.) The low cost of online distribution allows anyone to publish his comics to a site or blog with very little effort. Further, strips can exist on the web that would never get past the editorial process--crude and sketchy trainwrecks drawn in MS Paint, or story-based comics with shoddy characterization and no attention to plot. The upshot of all this is that any comic committed to print will possess a bare minimum of quality that the average webcomic has no compulsion to match, which leads us to the question:

If print comics tend to be better--then why web?

Why--despite my dabbling in Deadpool and "autobiographic novels"--do I predominantly turn to the internet for my comic fix? The simple answer is that I'm a cheapskate. The guy who writes this blog is addicted to clipping restaurant coupons and buys his fish sticks in bulk. But there's a deeper reason beyond mere "economy of reading."

The 'net may have no minimum quality bar, but 'net innovates. There are comics that work on the web that you simply can't find elsewhere. A static-art comic in which dinosaurs discuss philosophical and social issues while a T-Rex is locked in a perpetual cycle of stomping a log cabin? Good luck selling that one to the syndicates! Penny Arcade's MA-rated violence and obscenity would bar them from all but the most lenient publications (even gaming magazines), but their caustic satire and intolerance for crap games brings much-needed accountability to the gaming industry, along with the inspired weirdness of Twisp and Catsby and The Song of the Sorcelator. Similarly, Nobody Scores' R-rated hijinks would be impossibly-pressed to find a home in print, and even if they did, their cynical and anarchic energy could not be adequately contained in anything but infinite canvas. And where else could you find an affectionate parody of superhero comics whose titular character is both a licensed medical practitioner and a ninja?

And the technical proficiency of Dr. McNinja's creative team illustrate the principle: while there is no minimum quality requirement for online publication, neither is there a maximum. There's nothing keeping a talented and hardworking cartoonist from producing comics just as good as those of his print brethren.

I read webcomics because I'm a cheapskate, certainly. But I also read them because I like good comics--and you can't find this level of innovation anywhere else.

Wednesday, May 20, 2009

Jump Leads, Chapter Five

Welcome back to another Jump Leads chapter review! The Jump Leads creative team finished Chapter Five several weeks ago, and now that I've read through it, I'm here to give you the lowdown. If you're not up to speed on Jump Leads, I do recommend reading through from the very beginning--it's a good comic. Fortunately, Jump Leads chapters are fairly self-contained and semi-episodic in nature (at least so far!), so if you want to plunge right in with Chapter Five, it should be easy enough to get your bearings.

The chapter begins with a fresh change of scenery. Llew and Meaney land their jumpship in a tropical forest, which provides a nice visual change from the steely blues and metallic interiors of previous dimensions, at least for the first half of this issue. The jungle is detailed and lushly rendered--no surprise there, as Jump Leads has showcased strong artwork from day one. Run-ins with yellow-suited patrolmen quickly reveal that Llew and Meaney are not alone on this tropical island: far from it.

This chapter introduces a villain to the comic. General Donald Gray is a one-time conqueror of the world who returned political rule to its original holders when he grew bored of his newfound power. Now, like a martial artist who lives for the thrill of the fight, he develops elaborate schemes while giving himself deliberate handicaps, and foiling his plans has become a training exercise for field agents. Gray is a truly bizarre villain. Time after time, his character pokes fun at sci-fi concepts and conventions by parodying and subverting them:

General Gray, with his cliche-laden plans straight out of a James Bond film, appears rather eccentric and harmless. Right?

Until he gets his hands on jumpship technology, that is. With the realization that there is an entire multiverse out there waiting to be conquered, Gray decides to get back in the game. Cue the obligatory ominous music: dun dun dunn!

Jump Leads is as much a comedy as an adventure series, and even with the threat of a new villain, this chapter maintains a humorous tone. Llew gets his turn with the shoulder-angels, and while the "manifested crisis of conscience" trope is a bit played-out, here it's executed with enough wit to keep it entertaining. The script delivers several clever lines, such as Meaney's parting threat in the last four panels of this page, and the absurd contrivances by which our protagonists escape capture had me busting a gut more than once. General Gray is a truly ludicrous villain, but by the end of the chapter, we're ready to take him at least as seriously as we take Meaney and Llewellyn.

This chapter is one of the strongest so far, in terms of the potential it opens up for the comic series: in my estimation, rivaled only by Chapter Three. The Jump Leads creative team is already bringing out Chapter Six, so I'm eager to see where they take things from here. At this point, I don't think you need to be told--I'm sold.

Friday, April 3, 2009

4/3: Week in Review

Geeks Next Door Dungeon Mastering comic team up
Webcomic geeks are rarely just webcomic geeks; find a webcomic enthusiast, and chances are he's also a video gamer, an anime nerd, or a tabletop RPG geek. Hence, from time to time you get comics like Penny Arcade's Fallout Puppet Comics, or the following news item which I received via press release...

The comic Geeks Next Door is teaming up with Dungeon Mastering to deliver an exclusive comic storyline starring the GND characters. Veteran gamers Matt, Jessi, and Barry will be introducing Jessi's closet-geek sister Maggie to the ins and outs of D&D, with Matt in the role of dungeon master. I've happened across Geeks Next Door a few times before, and it's a funny comic with colorful and upbeat artwork. The collaboration looks like a cool project, too, so if you're a tabletop roleplayer, be sure to tune in. The series starts tomorrow, 4/4, and will update every two weeks at DungeonMastering.com, with a new comic and commentary from Matthew, Jessi, and Maggie.

And Geeks Next Door isn't the only comic teaming up. Least I Could Do, in its most recent storyline, is teaming up with every webcomic in existence for the LICD Ultimate Final Civil War Invasion Crisis Thing. It's a comic event so big, it prompted the creator of Goblins to pull an April Fool's joke in which he threatened to sue Ryan Sohmer for unlicensed use of his characters. More about April Fool's Day later, but you can start reading LICD's Ultimate Crisis Thing right here with the intro spread.

After a long absence from the online cartooning world, You'll Have That creator Wes Molebash returned this Monday with a new comic: "Myron and Charlie." I've been looking forward to the launch of his new project ever since Wes announced it late last year: Wes has a sharp black-and-white style, and to be entirely honest, I've missed his down-to-earth sense of humor and storytelling. Rather than the gag-a-day format of You'll Have That, this new strip has an ongoing storyline with a definite end to it. It's too early to tell exactly where it's going, but so far, we've been introduced to Myron, a boy with an artistic streak and a desire for a best friend. You can catch the updates every Monday, Wednesday and Friday over at the You'll Have That site.

Over at Real Life, Greg Dean has been running "open letter week," in which comic-character Greg reads open letters to a variety of individuals, including Family Guy producer Seth McFarlane, everyone on Greg's Facebook friends list, Neil Patrick Harris, and others. The open-letter action starts here, and wouldn't end right if it didn't end with a twist punchline. Bonus points if you saw the twist coming, but Greg's expression in the final panel really sells it.

And in what was possibly the most stunning update this week, this comic from Penny & Aggie dropped a bomb on me. Uptight religious fanatic Charlotte displays a surprisingly tender side, and what's more, the girl can write! Holy Sonnet, Batman! Comics are a visual medium, but this one showcases the power of good writing to flat-out knock you off your feet.

And, seeing as Wednesday was April Fool's Day, it's time to conclude this entry with the...

April Fools Watch:

And that's what's awesome this week. Have a good weekend, and, as usual, I'll see you next week with more awesome.

Friday, March 27, 2009

3/27: Week in Review

Happy Friday, all. It's time to take a look at what's happened this week, webcomics-wise.

First: I know this blog focuses less on "webcomics industry news" and more on "comics I liked this week," but it would almost certainly be remiss if I did not mention the New England Webcomics Weekend which happened this weekend. Three metric buttloads of cartoonists were in attendance, and many of them chose to create comics about their NEWW experience. Jeffrey Rowland, in his not-really-autobiographical strip Overcompensating, has particularly had a whole lot to say about it. Read his comic: he has a crazy knack for dialogue and I do not give his comic enough love.

Scott Kurtz also weighed in with an autobiographical NEWW comic that is perhaps funnier to webcartoonists than webcomic readers, and Kris Straub further celebrates with a suitably crazy Chainsawsuit comic. If you happen across any other shareworthy NEWW comics, feel free to share 'em in a comment.

Perhaps facilitated in part by the Webcomics Weekend, this has also been a big week for guest comics. Meredith Gran of Octopus Pie kicked off a guest week on Monday with this excellent strip from David Willis, Questionable Content dropped an enormous and exceptionally well-drawn guest strip from Lucid TV (lucid-tv.com), and Bobwhite rocked a guest week that included an F-Chords/Bobwhite crossover from the Straub. If you miss F Chords as much as I do, it was a welcome visit from Ash and Wade, however brief.

Also running guest weeks recently were Allan Wood's daily journal comic Allan and Unwinder's Tall Comics by Eli Parker. Typically, Allan stays painfully close to the ups and downs of its author's real life, but Allan's guest week (starting here) featured a bevy of comics with a hilarious disregard for reality. Celebrating a year of Unwinder's misguided adventures, the Tall Comics guest week featured a variety of really extremely tall comics, including a truly inspired foray into clay-model photocomics. I myself even collaborated with my friend Joe Harris on a Tall Guest Comic! I am hardly an objective journalist, so go check it out.

And finally, at the emailed recommendation of one Sanjay Kulkarni (creator of Cowbirds in Love), I have begun tuning in to Moe. Moe features a unique art style, with bold linework, earthtone colors, and a kind of calculated sloppiness to it. This week's comics feature everyman Moe's clueless and solipsistic forays into the world of organized religion, starting with confession. I definitely recommend it--I laughed out loud at each of this week's updates, especially this one.

And with that, this update draws to a close. I'll see you next week, with more to say about webcomics as always. Got a good comic to share from this past week? Drop a comment!

Thursday, March 12, 2009

3/12: Week in Review

Today is the first day of Animation and Gaming Ohio. I will be a guest there, talking about webcomics with a host of people who are there because they like video games and anime. Tough sell? Perhaps. But geeks are geeks, and let us not forget that there are manga-style webcomics and video-game webcomics as well.

It is with perhaps the most famous of these video-game webcomics that I begin today's entry.

For several weeks now, I have found Penny Arcade even odder than usual, and not especially funny. With tangents into 90s pop-culture figures such as John Stamos and New Kids on the Block, and a bunch of stuff that you probably won't understand even if you read the accompanying newspost, it's felt like Tycho and Gabe have developed their own language of funny that they babble incomprehensibly to each other. And it's certainly funny if you put forth the effort to study their new language--but such activity is anathema to the casual reader. Who has time to decipher their arcane ululations?

Well, I am happy to report that this week, there is no need to decipher anything. On Monday, PA pokes fun at the challenge of marketing books in a technology-driven age. Wednesday brings us a satirical jab at GameStop, the pawn store of video games. And today, our beloved comic does not disappoint, shamelessly mocking Fitty Cent's new game "Blood on the Sand." Krahulik and Holkins are really at the top of their game when they're lampooning the market-driven ridiculousness of the video game industry, and I think much of this past week's success stems from the fact that they're laughing at things.

And we're laughing too.

What else has made me laugh this week? Let's have a look.

Tuesday's Shortpacked looks at the worst jobs in Hollywood, delivering laughs in every panel, compounding the ridiculousness with each successive Bad Job and culminating in a coup-de-grace punchline. Did you ever think about the fact that someone had to render that thing? You'll laugh, because the only alternative is to weep for the guy.

Gill also brings the laughs this week, as Gill discovers a missing wallet and, guided by his television-weaned conscience, tries to convince his dad to help him return the wallet. In the process, he learns that reality seldom happens in the way that television often presents it.

Calamities of Nature breaks the fourth wall this week in order to open up the Reader Mailbag. Each comic features two of the main cast answering a piece of fan email to humorous effect. It occurs to me that the fourth wall with Calamities is more of a garage door that Tony Piro raises and lowers at will. But at any rate, I enjoyed all the Reader Mailbag comics, particularly today's, which incorporates an extended artistic gag.

Keong "speearr" Chan, creator of the now-retired daily comic T-N-T, launched a new comic this week: Terence N. Tijuana. His latest offering is a mix of art styles and subjects, loosely centered around non-chronological snippets from the life of its titular character. Topics include the well-meaning lies parents tell, mothers-in-law, and the future--all treated with a liberal dash of surreality. Give the archives a quick read and see how you like it.

Finally, I discovered a new comic with a truly bizarre premise this week. It takes the format of a reality TV show: Griffin Griffins is offered a chance to live rent-free for one year in a luxury condominium that exists outside of space and time. Sharing the living space with Griffin are four alternate Griffins from parallel universes, ranging from White Trash Alcoholic Griffin to Wannabe White Gangsta Griffin. It only updates once a week and currently has a small archive, but you've probably never read a comic like this, so it's worth checking out. Good art, too.

What did you find funny this week? What made you laugh out loud? Drop a link in the comments and share some humor with us.

Friday, March 6, 2009

Poll: The Watchmen in Webcomics

The nominees are in, and the polls can begin. Which of the following delivers the best Watchmen comic?

Cast a vote for your favorite using the form above this entry. The poll will close on Tuesday (3/10) at 11:59 PM EST. Should you wish to vote "other," please drop a comment and share a link to the Watchmen-related webcomic you wish to vote for. And if you haven't seen it already, continue reading below for today's special feature: Recommendation Rampage Friday!

Friday, January 30, 2009

1/30: Week in Review

Welcome back! It really is good to see you back here. It's been a fun week so far at TWIW, and it's also been a fun week out there in the internet. Let's have a look at some comics--and, as part of my ongoing endeavor to talk about comics with you rather than talk about comics to you, let's have a look at them together.

First of all, Shortpacked. This week, Ethan laments that Batman has died in comics yet again, while trying to keep his best face forward running the store. In today's strip, Shortpacked creator brings the heavy stuff, and with the Batman parallels here, Ethan's character, and the recent events in which Ethan and the staff helped save the store from a hostile takeover, the crazy thing is I think it works. Shortpacked readers--what do you think? Legitimate drama, or self-indulgent Willis-babble?

Next--and this is a quick one--those familiar with The Book of Biff know that it typically has "themed weeks," with a common thematic element running through each comic. For the life of me, I cannot figure out this week's theme. Here's Biff from Monday, Tuesday, Wednesday, Thursday, and Friday. Can anyone discern what the theme is?

And with a couple of questions on the table, let's also address that central question that this blog endeavors to answer: What were darn good comics this week?
  • Penny Arcade wrapped up its epileptic fit of continuity, "Further Songs of Sorcelation," in which Gabe forces Tycho to watch a DVD based off a hideously-written fantasy novel series. A hilarious, well-drawn extended parody of crappy geek franchises: in my opinion, it's PA at the top of their game. "Further Songs of Sorcelation" begins here.

  • In Wednesday's comic, Hijinks Ensue levels the funny cannon at Microsoft's new product, Songsmith. The strip's clever dialogue satirizes a product that nobody needs, and while the art isn't daring or anything, it's expressive and it gets the job done. This is what I love best about Hijinks: the witty, acerbic geek-culture commentary.

  • In two of its installments this week, Nobody Scores delivers sardonic laughs on the topic of popular art vs. fine art. The latter comic in particular features a lavish illustration that drives home the joke.

Leastways, those were the comics I found to be outstanding this week. What rocked your socks off? Drop a comment and share the excellence.