Review: Eben07: Operation Mongoose

Gentlemen, behold! Following up from yesterday's post, it is time for the promised review of:


The first thing to note is that this chapter is a quick read, at a brief fifteen or so pages. However, it's not necessarily the best intro to the comic--for starters, its focus is not the present-day protagonist Agent Eben07, but rather his grandfather Abel, founder of the ICA. The storyline, told in flashback-style black-and-white rather than the brighter colors of Agent Eben07's contemporary adventures, covers Abel's assignment during the 1970's to assassinate Fidel Castro.

Truth be told, I'm not sure what to make of it.

It's not the art--I've always been impressed by Eben07's artwork, and although it loses a little without color, it's still a strong point. And the story succeeds at its goal of placing the ICA and its founder into American History. What it comes down to is the tone.

There were spots I found funny. Abel's present attempt on Castro's life is interspersed with his reflections on his mission, accompanied by snapshots of past attempts, which are absolutely ludicrous. Plus, the seriousness of Abel's internal monologue and the whole "men in suits" vibe are juxtaposed with such images as Abel in a dress. But that's the thing: the seriousness. Throughout the storyline, there are some rather gravitous musings on the nature of choice and fate in a political context, and Abel, it appears, is intended to be taken as a sympathetic victim of greater machinations, a pawn trying to maintain some semblance of human dignity.

There are numerous moments of humor in the fifteen-page story, but it ends on a deadly serious note. If it's trying for that whole-spectrum-of-human-emotion thing that I discussed earlier with Marooned and Superfogeys, I can't say it succeeds as well.

In all honesty, I've never been sure entirely what to make of Eben07. There's no denying that it's a well-executed comic, but the whole thing is so odd that at times I wonder about its accessibility. The janitor/secret-agent juxtaposition at the core of the thing has a lot of potential, but there's some inscrutable part of it that seems to be taking the whole endeavor too seriously--or perhaps taking it seriously in the wrong way. It's not mine to say that a secret-agent-janitor story can't have its serious moments.

But neither is it mine to say exactly how you can take a secret-agent-janitor story seriously. Such answers are decidedly beyond me.

To conclude, despite everything it does right, Operation Mongoose may not be the best introduction to the comic. Fortunately, though, the latest version of the site includes a page for new readers, and if the comic has piqued your interest, that may be the best place to start.

An Introduction to Eben07 (Now with More Musings!)

It's been about a month and a half since I started my full-time job, and lately I've felt unsatisfied about the quality of the posts here at This Week in Webcomics. It's Sunday afternoon, here I am sitting down to write a post, and I can't remember the last weekend where I wasn't putting together something at the last minute. I suppose it's to be expected--I have less time to work on the blog now, especially if I have a busy weekend, and I guess that's as it should be. But none of that means I have to feel completely at ease about it.

I just wanted to get that off my chest, and it also sets the tone for the upcoming post, which will discuss the comic Eben07, specifically the chapter "Operation Mongoose."

As the Guy Who Does This Blog, sometimes I get press releases from various cartoonists. There's a side of me that feels kind of weird when I do, because--tying into the quality thing I discussed before--I'm not doing serious journalism here or anything. I'm just a guy who can't shut up about webcomics. Still, it's cool to catch word of new developments...so it's not as if I don't appreciate the press releases.

As you know if you've noticed the You-Choose-the-Reviews polls lately, I've been batting around Eben07: Operation Mongoose as a possible subject for review, and on Friday I received a press release announcing that the print edition of Operation Mongoose was up for preorder. I figured it was as good a time as any to finish reading through the chapter and give my assessment.

First, though, a word of introduction for the comic Eben07.

Eben07 is, in essence, a comic about a secret agent janitor. Its titular main character works for the Intelligence Cleaner Agency, whose task is to ensure that the classified operations of America's intelligence operatives stay classified. The Eben07 website presents itself as an official publication of the ICA, disclosing to the American people the information that it is required to disclose by an obscure clause of the Patriot Act. In the form of a webcomic.

A bizarre hook if ever there was one, but it certainly is inventive.

I've seen Eben07 a number of times across the internet, first finding it through the now-defunct comic site WhoShotMyRobot.com. At the time, the website was a confusing mess of HTML, and the "Official Declassifications of the ICA" presentation did little to alleviate my confusion. The site insists on presenting the ICA as a real entity, and framing the comic in a reader-friendly way without breaking character has always been a challenge for it. I've seen the website go through several versions, each one an improvement over the last, and the archives are now accessible and navigable. Presentation-wise, the current version seems to know what it's doing.

Which, in turn, makes it eminently possible for me to review


Full review to follow Monday evening; it's been a busy weekend. Be sure to check back then.

Congratulations to Doug Wilson and K-9Lives

A week or two ago, I mentioned Doug Wilson's webcomic and short film, K-9Lives, about a conjoined cat/dog duo. A quick update: "K-9Lives" was nominated for best animation at Marbella International Film Festival alongside "Leonardo" by Pixar artist Jim Capobianco, and "Body" by Zhivko Dimitrov. I decided to see for myself what all the fuss is about, and the animated short is decidedly strange. If you like surreal animation, give it a look.

Congrats, Doug! Prestigious accolades are yours in abundance! I like big words.

I also like comics, so be sure to tune in on Monday when I talk about a comic. It will provide ample opportunity for me to use big words.

Getting Nifty with Sluggy Freelance

Welcome back, everyone. Today's post follows up on Wednesday's, in which I shared a Sluggy Freelance experience. Today the ensharening continues, with further reflections on Sluggy Freelance and some of my favorite Sluggy memories.

Like I said before, I'm well aware of Sluggy's flaws: a convoluted accumulation of backstory, a rocky transition from high weirdness to epic drama, and artwork that's decent at best. But no matter what John "Your Webcomic is Bad" Solomon may say have said, I don't consider a bad webcomic. It's no Penny Arcade, but if you can appreciate a "when weird things happen to normal people" story, it's worth reading.

Well, some of it, anyway. Thing's been running daily since '97--that's a lot of comic to read.

As I mentioned before, what I most enjoy about Sluggy is the central cast. They have genuine personalities, and as you spend more time reading their adventures, it gets to be like visiting good friends. Moreover, in a weirdness-driven strip, much of the fun comes from their diverse reactions to the bizarre phenomena around them. Torg meets the weirdness with boneheaded optimism; Zoe faces it with frustrated sarcasm or the occasional freak-out, and later on starts rolling up her sleeves and tackling things herself; Riff's basic response is "more firepower." Riff and later addition Gwynn are instigators of weirdness themselves. Sluggy's got the kind of cast that you can throw into a situation and just let them be themselves, and it's at its strongest when it does precisely that.

The art, moreover, has improved. It started off sketchy, with its share of stiff poses and proportion gaffes, but over time it's shown definite and substantial progress. Characters are drawn much more consistently now; Pete Abrams has developed particular strength with dramatic use of shadow and camera angles. Sluggy Freelance demonstrates that if you consistently pick up a pencil and go to war with the blank space, you will become a better artist. Never underestimate the value of dogged daily perseverance.

And that's true of more than just the art. Sluggy Freelance is significant for the webcomic world in that it showed new possibilities for cartoonists. As one of the longest-running comics online, and one that supports its creator as a full-time job, it's one of the success stories. Moreover, much of that support comes from its donor club "Defenders of the Nifty." As much as merchandise and ad revenue, Sluggy is supported by its fans simply saying, "We like what you're doing, and we want to enable you to keep doing it." Pete Abrams is willing to experiment, develop, and grapple with the balancing act between comedy and drama, and the cumulative effect of his tenacity is greater than any single flaw.

With that said (and said and said and said...get to the fun stuff, Jackson!), it's time for my favorite Sluggy memories.

Probably my favorite storyline of all time is when, after Torg has gone missing in the Dimension of Pain, the gang reach into the wrong alternate universe for him and retrieve a purple-haired Portuguese-speaking Torg. Meanwhile, the Torg we know finds himself in an alternate reality where everything is nice. The weirdness and humor are vintage Sluggy, including the fourth-panel reversal in this strip. In "Fire and Rain," a reference back to this story alleviates the drama with some much-needed humor. Sluggy often relies on classic setups with reversals and "What could go wrongs?" for its humor, but you've never seen them done with purple-haired Portuguese body doubles.

Another of my favorite storylines is Sluggy of the Living Freelance. It's a textbook example of the dynamic between the main cast that I mentioned before: Pete Abrams coops his cast up in a cabin, surrounds it with zombies, and lets the panicked terror do its work. The gags are entertaining, and the conclusion has two ridiculous twists to it.

One last strip bears mention in my Sluggy experience, but first a bit of backstory. In high school, my brother David began wearing gym shorts under his pants everywhere he went. If his pants developed a stain or a hole, or if he suddenly decided to go swimming, he would simply take them off. "You never know when you'll need them," he told us. One day Charles IMed me a link to a Sluggy Freelance accompanied by a single word: "Dave." As they say, great minds think alike.

What's been your Sluggy experience? What are some of your favorite strips or storylines? Drop a comment--I'd like to hear what you've got to say about Sluggy Freelance.

Review: Blank It

Are you familiar with the Theater of the Absurd movement of the 1950s and '60s? It was a new approach to drama that flew in the face of theatrical conventions and presented a world that was fundamentally confusing and ridiculous, defying rational explanation. Dialogue often degenerates into preposterous back-and-forth wordplay, setting and identity are ambiguous and fluid, and meaningless plots with bizarre notions of causality are the norm. In "Theater of the Absurd" productions, sets and props are often minimalist, and some plays have a cast of as few as three or four. Classic examples include Tom Stoppard's Rosencrantz and Guildenstern are Dead, which recontextualizes Shakespeare's Hamlet through the eyes of two minor characters, and Samuel Beckett's Waiting for Godot, in which two everymen wait listlessly for a man who never comes.

Now imagine, for a moment: what if the Theater of the Absurd ethos were applied to a webcomic?

Blank It, a comic co-created by writer Aric McKeown and artist Lem Pew, plunges absurdly right in with two unnamed protagonists standing around in an utterly blank space, with no explanation of where they came from or how they got there. With no one else around, what do they do? What else but strip down to their boxers. The two of them reflect on the opportunity to create new social norms for clothing in this new featureless environment--and when the goatee'd guy re-dresses himself, the guy with glasses is suddenly uncomfortable and must follow suit. The two of them set out to explore their surroundings, and as they begin to encounter other things in the blankness, things rapidly take a turn for the surreal.

It's a real testament to the strength of the writing that it's a full eighteen comics before the two protagonists encounter any object in the blankness other than themselves, yet the comic stays interesting and engaging. Quickly, distinct personalities emerge--the goatee'd guy with the hat is an impulsive optimist, while the guy in the jacket and glasses is a circumspect pessimist. The contrast of their personalities makes for clever, sarcastic, and ridiculous banter between them: particularly when Glasses Guy proposes to conduct an experiment employing Hat Guy's hat.
The strip often toys with the fourth wall without ever quite breaking it--such as, later on in the plot, when a distant mountain range is revealed to be a theater-style backdrop, which collapses when Hat Guy runs into it.

Is this play backdrop a subtle shout-out to the Theater of the Absurd movement? I don't know. All I know is, for all this critical contextualizing and intellectual analysis...I have honestly not laughed as hard in months as I did while reading this comic. You don't have to know a thing about Theater of the Absurd to recognize that this thing is hysterical.

Additionally, the art is solid. The minimalist approach, in both theater and comics, gives an advantage for budget and artwork, as sparse scenery reduces the effort needed for set design. Blank It could easily have had much simpler artwork or even been a stick-figure comic, but Lem Pew is clearly not half-assing it as an artist--and it pays off. The characters' facial expressions and body language are as much a part of the humor as their dialogue. The detailed, Ian-McConville-esque character designs lends detail and sharpness to what would otherwise be a nondescript visual environment. And when the characters' situation starts getting really, really bizarre, it really gives the artist a chance to shine.

For all of its similarities to absurdist theater, though, there is one key difference for Blank It: its tone. Absurdist theater, as a movement, has strong connections to existentialism, grappling with the despair that threatens man when he comes to believe that his world is meaningless and absurd. There's not a hint of despair with Blank It. It's lighthearted, playful, high-energy surreality and sarcasm, rather than darkly comic reflections on the human condition. It's not a tragicomedy--it's just straight-up comedy, and you get a strong sense that the creators are just making it up as they go along, and seeing where it leads.

Blank It is fun, experimental, and exceptionally clever. Plus, with nothing worse than a sporadic profanity or two, it's a good time for just about any comic reader. Instead of making a profound statement about what it means to be human, the sentiment of the comic and its creators seems to be: here's a ridiculous world, so let's have some fun with it. From this reviewer, Blank It comes highly recommended.

Interview: Chris Hallbeck from The Book of Biff

I recently had the pleasure of interviewing Chris Hallbeck, the creator of The Book of Biff. Biff, the titular character distinguishable by his shaved head and crazy eyebrows, has bizarre, full-color, single-panel adventures every weekday over at thebookofbiff.com. His strange problems and stranger solutions make for a fun daily diversion, and cartoonist Chris Hallbeck regularly delivers glimpses into Biff's surreal world, often in themed weeks such as "magic tricks" or "childhood playthings." He and I sat down over email for a closer look Behind the Biff. (And by "he" I mean Chris, not Biff.)

JF: So how did you come up with the Biff character, anyway? And why did you decide to name him "Biff?"

CH: Biff evolved from a doodle that I did in my friend's student planner. We had lunch together and I would draw things to try and make him laugh. Biff became a reoccurring character in those doodles. I liked the name Biff because I didn't know anyone with that name and it could also be used as a sound effect.

JF:I always think of truck drivers when I hear the name "Biff." Or that guy from Back to the Future. But Biff seems to have a very different personality from Biffs like those.

CH: Biff is more of a childlike mad professor.

JF: How does it feel to take Biff from his humble origins to a widely-read webcomic with two print collections? Did you expect Biff to be this successful?

CH: I think one of the most important things to happen was that when I got out of college I tried to get Biff accepted as a syndicated newspaper comic. I still have the stack of rejection letters in a box somewhere. I stopped drawing Biff for a number of years after that but when I decided to start it up again it was without any dreams of success. I realized that I just wanted to draw comics for the sake of drawing them. I made zero dollars from this project for the first 2 years but that wasn't a problem since it was not my original goal. The main attraction to me to the concept of drawing a webcomic was that it would cost me a very small amount of money to make it available to a large number of people.

JF: It also allows for more immediate fan feedback; I imagine that's a plus too. What's your favorite facet of being the creator of The Book of Biff?

CH: I like the challenge of it. Each comic is a new puzzle to solve and it's satisfying when I find the solution.

JF: The Book of Biff is a unique webcomic in that it takes the single-panel approach. Apart from the ubiquitous Saturday Morning Breakfast Cereal, it's the only single-panel webcomic I can think of. I'm not sure where I'm going with this question, but do you have any thoughts on Biff's single-panel-ness? What made you decide to go with that format?

CH: There are definitely a bunch more single panel webcomics out there. Savage Chickens is one that I read daily. The reason that I draw a single panel comic is The Far Side. My cartooning developed from drawing in the margins of school books and notebooks. Those small spaces are better suited to a single drawing with a caption than a strip format. I think those early doodles wired my brain for thinking one panel at a time.

JF: The Far Side really is the iconic single-panel comic; it's what everyone thinks of. But one thing that sets Book of Biff apart from The Far Side is its recurring cast—of one. What do you think being able to center the weirdness and humor around a single individual does for your comic?

CH: On the positive side, it can give me speed and focus. The writing can go faster because I only have to figure out what Biff's reaction will be to the situation. And unlike a multi-character comic I don't have complex character relationships and storylines to maintain.

I think having a single character can also be very limiting. There are a lot of jokes that I throw out because they won't fit into the limits of one panel/one figure/one sentence caption.

JF: For a typical comic, what does the creative process look like for you? How do you take an idea from…wherever your ideas come from…and carry it to its completion? Is there a lot of variation in the process, apart from the particular content, or is it pretty standard?

CH: I have a few different writing strategies. Sometimes I think of a funny image and try to reverse engineer a caption to fit it. Sometimes I'll think of a theme and write a list of objects or activities in that theme to bounce ideas off of. Usually I think of some sort of problem that Biff has to solve and then explore a few successes or failures he may experience and then I write down the one that I think is the funniest. The writing is the hardest part and it is the most random in the amount of time it takes. Some comics pop into my head fully realized. Some take days of chipping away at them. I know there's a comic in that idea somewhere I just have to peel off enough of the bad punchlines to find it.

The physical part of the comic is pretty straightforward. I do the drawing in Flash and the coloring in Photoshop.

JF: The relationship between what's weird and what's funny is a weird one. What do you think makes weird things so funny?

CH: I think it's just enjoying something that's new or unexpected.

JF: I'm surprised to discover that you draw the comic in Flash. The linework looks really hand-drawn, at least to me. Do you have a personal preference for digital or traditional craft? Any thoughts on how new digital tools are changing cartooning?

CH: Well, I still draw the lines with my hand. I think there is sometimes confusion when I hear comics described as either "drawn by hand" or "digital." As if artists in the "digital" category are somehow bashing their face into a keyboard to create their images.

The reason I use Flash is because my computer is not powerful enough to draw in Photoshop at the file sizes I like to work in. For me, drawing digitally allows me greater speed an I'm more fearless with my brushwork since I can always undo. I was actually afraid that I was going to lose my pen and ink skills when I first started drawing in flash but I was pleasantly surprised to find that the speed and line quality improvements carried over when I did my first post-digital ink on paper drawing.

JF: Thanks for your time and responses, Chris. Do you have any parting advice for aspiring cartoonists? If you could give one single piece of advice, what would it be?

CH: Keep drawing. If you look back on what you did every 6 months and you hate it then you are going in the right direction.

Jump Leads, Chapter Two

Man. You ever about to go to bed, and you realize you made this promise you gotta keep before you go to bed, and it's not a huge trouble and it's even sort of enjoyable but frankly you'd rather be in bed? That's me right now. But I'm a man of my word, so...time to read through chapter two of Jump Leads, and then talk about it with you.

This installment picks up where the last chapter left off: Meaney and Llewellyn, stranded in an alternate universe, find themselves aboard a cargo ship that's harvesting the energy of a nebula. The crew, immediately suspecting that the newcomers are hostile, hold Llew and Meaney for interrogation...which is interrupted by the intrusion of something else. There's plenty of action and danger, but it turns out that things aren't always as they seem. Not to give the ending away or anything, but the resolution of this episode's conflict did remind me I was reading a humor comic. I felt a little bit cheated, but overall this installment was also worth reading.

A big part of that was the art. JjAR, the artist, continues to go the extra mile--environments and characters are skillfully rendered and colored, conveying a strong sense of three-dimensional space. Adding to the effect is the level of artistic detail on the technology (for instance, these backgrounds). Perspective changes (e.g. lofted camera angles) and foreshortening are employed for dramatic effect, with technical precision. JjAR uses his fancy visual tricks liberally, keeping things dynamic, but thankfully he doesn't overuse them. To sum up: continuing the trend of the first issue, the art here is decidedly above the bar set by the average webcomic.

Another plus is the humor and characterization. Llew and Meaney's personalities continue to bounce off each other, the perpetual tension between idealism and realism forced by circumstances to cooperate. There are some clever one-liners, like this quip about how sinister companies pay better than the moral ones, although Llew is a bit of a broken record with his cynical prognostications of interrogational horror. The supporting cast of the nebula-farming ship gets about as much development as you'd expect from folks we won't see next episode, but they provide a setting for our heroes' adventure in the unknown.

And the characterization of our two protagonists is solid and engaging. Llew's wit and Meaney's zeal make for good comedy, and when danger strikes, we care about their fate because they're entertaining. We're invested in their well-being! It's not a deadly serious adventure, but for all their faults, Llew and Meaney are likeable guys that we want to see get out of their predicaments alive. Just as JjAR is a above-average artist, Ben Paddon (the writer) is an above-average writer.

Well, I'm done! That was a fun little exercise, and weird as it may sound, I feel like I've earned the right to go to bed now. I enjoyed reading through chapter two of Jump Leads, and if it sounds from this review like you would also enjoy it, I encourage you to check it out. Ari Collins will be around sometime midweek to deliver his usual alliterative analyses, and I'll be back on Friday with the weekly rundown. Good night, everyone!

Got a lot to talk about for this week! Let's get down to business.

First off, today's the last day of the Sheldon Caption Contest--check out this earlier post for the details and links. Also over at Sheldon, the recent economic downturn has hit Sheldonsoft, so Sheldon's gone to the only place on earth that could conceivably grant him a loan to keep his company afloat: the country of Dubai. All of the strips in the Dubai arc so far have been decently funny, but this one I found especially good. And it wasn't the punchline either! It was the fact that Arthur's approach to gaining wisdom is precisely what someone with a lot of facts but not much wisdom would do. Clever comic there, Mr. Kellett. (Because Dave Kellett is totally reading this blog right now, no really.)

In addition to the Sheldon Caption Contest, I have some other old news that I should have mentioned earlier. A couple weeks back, Thinkin' Lincoln had a guest week, featuring the likes of Eli Parker from Tall Comics, David Malki! of Wondermark, Reprographics' Chris Yates, Justin Pierce from Wonderella, and even the illustrious Ryan North of Dinosaur Comics fame. In case you haven't checked Thinkin' Lincoln in awhile, the guest comickery starts here.

Monday's Thinkin' Lincoln was also noteworthy for cracking me up. It features Amelia Earhart misunderstanding Lincoln's use of a common idiomatic expression. I won't spoil it for you--go check it out.

Nobody Scores finished up another tale of protracted suffering this week: "Nobody Scores with the Chip Invasion." One of the longest Nobody Scores comics to date--and the longest since its Summer Formatting Reboot, clocking in at eight separate installments--The Chip Invasion features an obnoxiously sociable friend of Sara's who turns out to work for the NSA. As the arc spirals toward its inexorable horrific end, we have spy robots, Chad's crush on Jane, insidious marketing schemes, and repeated incidents of police brutality (all of them perpetrated upon Beans). Also, out of nowhere, fungus. The carnage begins here.

Nobody Scores will also be starting another epically huge comic series on Saturday, so we can look forward to even more tales of misfortune and comic violence in the very near future. Hooray!

Another of our favorite long-form infinite-canvas comics nears the end of an extended storyline: none other than Dresden Codak. And I've got to say, Aaron Diaz has kind of made me eat my words. In the most recent installment, we discover that mankind did not evolve to a new level of machine consciousness and merge with the Hob after all; as always, it's difficult to piece together, but the dream sequence that began in Hob #20 apparently didn't end there. Kim's been in the hospital the whole time, left with one arm from her scrape with the time travelers, who seem to have been driven off. As always the art is good, so even if stuff is confusing, it's worth tuning in for that.

Boxer Hockey also updated this week, which has been a rare occurrence lately. And that's unfortunate, because when it does update, the action is quite well-rendered and pretty dang funny. Check out this week's installment to see what's going on with lost-at-sea Not-Gay Chuck, and how the team is faring without him.

So there's been a whole lot of funny this week, but for those wanting something a little deeper, turn your attention to Multiplex. With the release of Bill Maher's Religulous, this week's Multiplex arc picks up where Angie and Jason's dispute about Expelled left off several months ago. Angie finds Maher's go-for-the-throat brand of abrasive comedy insulting, so she walks out of Religulous. She and Jason get to discussing God and science again, and once again they hit a dead end. To be completely honest, I'm feeling kind of tired as I near the end of this entry, but it's customary for me to take note when religion shows up in webcomics, so: there it is. Religion at Multiplex.

And let's wrap it up with some Chainsawsuit. Thursday's comic had a big surprise in the second panel that cracked me up. It was Kris Straub's random standalone humor at its finest. And Chainsawsuit has been generally good lately, so if you're looking for some absurdity and a few good chuckles, take a browse through the recent archives.

So, that's what I liked this week. As always, the comments section is your own open invitation to tell us what you liked this week. Drop us a note and share the funny.

P.S. Real Life continues to be awesome. 'nuff said.

Top Ten: Strong Bad Emails #1-199

It's not technically a webcomic, but Homestar Runner often gets mentioned in the same breath, likely owing to its style of humor, the DIY ethic of its creators, and its general presentation. It's also incredibly popular: hundreds of thousands tune in every week for the surreal adventures of a thick-headed, armless athlete...thing, and his equally strange peers. However, the real star of the show is would-be villain Strong Bad, with his more-or-less-weekly feature, Strong Bad Emails, in which he answers real emails from viewers just like you except with worse spelling and grammar.

The two-hundredth SBEmail, "email thunder," was released early this Tuesday, and to commemorate the momentous occasion, This Week in Webcomics will present a Strong Bad Emails retrospective. Two hundred episodes is a lot to sort through, and the casual Homestar Runner viewer will wonder, "Which emails are worth my time?" Thus, we (by which I mean "I") present the following top ten list: comprehensive, definitive, and entirely objective in its selection, and also with absolutely no sarcasm whatsoever. Zero! Seriously.

Before beginning, I would like to credit the Homestar Runner Wiki, a useful knowledge base for all Homestar fans and an invaluable resource in creating this list. And now, rife with spoilers, it's the Ten Best Episodes of Strong Bad Emails #1-200:

10. helium: SBEmail #38
I'll be honest--the main reason this one made the list at all is because I like Strong Bad's song about "the High-Voice Crew." Still, between Strong Mad's funny voice and an inflatable The Cheat, there's enough funny here to round it out.

9. virus: SBEmail #118
Classically, whenever Strong Bad gets a new computer, it's because horrible disaster befell his old one. In this email, Strong Bad finally gets a virus from a questionable email, resulting in bugs all across the Homestar Runner reality. After a surreal descent into madness, Bubs restores order by blasting the computer with a shotgun.

8. flashback: SBEmail #100
There's not really any coherent thread tying together the discrete bits of this email, but they're all so awesome, you won't care. From the wicked sweet email intro song, to the implementation of "widescreen," to the central flashback showing how Strong Bad met Homestar (in animated picture-book format!), there's plenty of humor here. Additionally, viewers patient enough to sit through Strong Bad saying the word "email" a hundred times will be treated to the mother lode of Easter Eggs.

7. personal favorites: SBEmail #69
No run-down of the best Strong Bad emails would be complete without the email in which Strong Bad gives his own run-down of the best Strong Bad emails. However, Strong Bad is notorious for pulling stuff out of his you-know-what, and the emails he lists are no exception. Every single one of Strong Bad's favorites, except for the first two, are actually too awesome to exist; they're just SB makin' stuff up. Add in one of the funniest Easter Eggs ever, and you've got a winner.

6. anything: SBEmail #78
A sure-fire way to keep the Strong Bad Email format fresh: have Homestar Runner host the cartoon. Have him significantly damage Strong Bad's computer in the process. Throw in a Neverending Story reference as an Easter Egg.

5. trevor the vampire: #10
This email is proof that you don't have to create a masterpiece of animation to make a solid cartoon. It's basically just Strong Bad sitting at his computer and responding to Trevor's message, but the writing is tight and the humor cracks me up even on repeat viewings. Also, it's worth noting that this is one of the weirder emails Strong Bad has received.

4. long pants: SBEmail #127
Strong Bad edits an email inquiring about Homestar's lack of pants. Homestar goes insane. Comedic gold.

3. highschool: SBEmail #140
One of my favorite "parody" emails, this one satirizes the conventions of Hanna-Barbera's countless "Scooby-Doo clone" cartoons. It loses a little momentum toward the end, but the way it riffs on "teen mystery" and "all the characters as babies" cartoons is spot-on.

2. dragon: SBEmail #58
It still amazes me that two of the indisputably best Strong Bad emails, "Dragon" and "Japanese Cartoon," came out back-to-back. Each of them spawned countless new material, from the world of 20X6 to Trogdor's theme song and graphic adventure game, and each is a solid cartoon in its own right. I chose to include "Dragon" rather than "Japanese Cartoon" on the list because Trogdor is slightly more iconic than Stinkoman, and also because of Strong Mad carving the word "DAGRON" into a table, but honestly, you can't go wrong with either cartoon.

1. death metal: SBEmail #141
As the Homestar Runner universe's resident Bad Guy, Strong Bad is heavily into metal music. This email tackles it head-on, poking not-so-subtle fun at the stereotypes and conventions of the genre. High points include a Teen Girl Squad cameo, Strong Mad's flat head and invisible mystical orbs of power, a creeping rusty meat video on the Half Hour Death Metal Dungeon Hour, and a scene in which Larry Palaroncini from Limozeen illustrates the difference between hair metal and death metal. It's hard to pick a definitive SBEmail, but if I had to pick, I would choose this one. And I would be right.

Determining the top ten Strong Bad emails was by no means an easy task. We (I) employed a rigorous and scientific process to eliminate all but the best and place them in sequential order; as a result, numerous otherwise good emails had to be excluded by virtue of being merely good. If a SBEmail that you have enjoyed didn't make the list, feel free to mention it in the comments, perhaps even providing a link so that others may enjoy it. You may even dispute this list, if you enjoy being wrong! I am never ever facetious and always completely serious. No, really.

Review: Dresden Codak

So: it's Dresden Codak review time, as promised.

You probably already know about Dresden Codak. It's the subject of much buzz in the webcomic world, some of it positive hype, some of it scathing criticism. Nonetheless, for those few of you who haven't come across it before, Dresden Codak is essentially a weird free-wheeling exploration of philosophical esoterica. With huge, experimental, lavishly-illustrated comic canvasses, DC creator Aaron Diaz takes concepts from science and philosophy, and takes them on bizarre creative journeys like something out of your strangest dreams. It's very much a comic for nerds.

Dresden Codak has gone through several stages in its creative development. Early comics have an experimental style and no consistent cast, although there are a few recurring characters (such as the geriatric superhero Oldman-Man and Victorian intellectuals Rupert and Hubert). However, by comic #22 or so, a cast has begun to emerge: science geek Kimiko Ross, her "possibly nuclear-powered" (?) friends Dmitri and Alina Tokamak, and Tiny Carl Jung, who is exactly what his name suggests: a foot-tall version of one of modern psychology's founding fathers. The comic follows this cast fairly consistently (with a few diversions) on freewheeling, self-contained adventures that descend into weirdness and folly. Then, with the 32nd comic, DC changes format again: as of February '07, it's been following an ongoing storyline titled "Hob" about a robot from the future and transhumanism and stuff. The art settles into a consistent look (which is a wise stylistic choice when you're entering the realms of continuity), the tone gets a bit more serious, and there is, on the whole, more comic-book-style action. At present, the storyline has not yet concluded.

So, what's to like about DC? The most obvious thing is the artwork: Diaz clearly has chops. I could talk at length about how great his artwork is, but a picture is worth a thousand words, so go check out his gallery. The man has outrageously creative concepts and the skill to illustrate them beautifully. My only real complaint about the artwork is that he tends to use bold colors, which can look overly cartoonish. Also, while the gratuitous chest shots of its protagonist may draw in more readers, they really don't add much to the work. But those are minor complaints. His backdrops are particularly imaginative: towering edifices and floating things and funky Mayan-esque robot tanks.

DC's writing, on the other hand, is a mixed bag. I'll be honest: while I've enjoyed the Hob storyline, I really do think pre-Hob DC is some much stronger work. It's fueled by a solid premise--the exploration of an esoteric concept through cartooning--which gives Diaz an opportunity to play with science and mythology and get creative in his illustrations, and the length of each comic gives him ample opportunity to take each comic to some crazy conclusions. For example, Rupert and Hubert begin with a preposterous armchair-science discussion of how to exceed the speed of light, and end up, through a series of surreal turns, end up elaborating on Victorian table manners. Another of my favorites, "Dungeons and Discourse", cleverly combines philosophy and tabletop role-playing. The illustration is top-notch, particularly in the subtlety of the shading and texturing, and the application of philosophical concepts to a fantasy RPG gives ample opportunity for wit. For example, a horde of skeletal dire postmodernists who are immune to causality and attack with arrows of deconstruction.

In addition, the older DC comics are bound together by a more subtle theme: a motif of folly. Kimiko pursues a goal yet consistently finds her efforts not so much thwarted as made trivial. She finds employment in her subconscious, only to discover that working in your dreams violates federal labor laws. She faces down shadow-creatures to acquire a vial of absolute truth, which she drinks, only to find out it's supposed to be applied topically. Her ideas get stolen by a bear. Her failures, which often stem from her overly analytical nature, make her more accessible and human. But, like I said, this is subtle. It's in the background of the comic-fun-with-esoteric-ideas premise.

This approach, I think, better suits Diaz's strengths as a cartoonist, particularly as a writer. However, in the Hob storyline, he's...well, decided to tackle actually having a storyline. The results, in my opinion, have been rather uneven. There are some promising moments, such as an intriguing show-rather-than-tell beginning, and some funny lines, mostly coming from the time travelers' clueless grasp of past culture. Additionally, this action sequence captured what I liked best about old DC: getting creative with science through sharp illustration. The notion of science superheroics is both awesome and funny! However, the story has also been rife with misfires: several episodes of Wall-o'-Text Exposition Theater and a confusing narrative jump, for starters. Additionally, some comics feel like contrived, heavy-handed attempts at character development that exist solely to manipulate the reader into sympathy for Kimiko. "I come in peas?" Come on, Diaz. That kind of "endearing" malapropism is generally reserved for The Family Circus. Fact is that Kimiko, in her nerdiness, is not a very charismatic spokesperson for transhumanism, and when she actually succeeds at things, she runs the risk of becoming a Mary-Sue. This is a risk which Diaz has not entirely been able to mitigate.

But for all its flaws, Dresden Codak is a pretty good comic. However, no discussion of it would be complete without addressing the panel layout and update schedule. Some people complain that DC's panel layout is unorthodox to the point of incomprehensibility, but I've rarely had trouble following it. Maybe it’s just me. Additionally, DC updates quite irregularly, sometimes taking upwards of two months between new comics. It’s up to you if it’s worth the wait to stay tuned in. As for me, I’ll happily pass the time between updates with Dr. McNinja and Nobody Scores.

Review: Thinkin' Lincoln

Welcome to a special installment of TWIW. Thinkin' Lincoln turned three years old last week, so I want to do a special feature on what Thinkin' Lincoln means to me personally. (FUN FACT: "Personal" is just another word for "biased!")

Thinkin' Lincoln is a daily webcomic, created by Miles Grover using Adobe Flash, about the anachronistic adventures of Abraham Lincoln. It takes place in a strange world where various historical personages (Abe, George Washington, Queen Elizabeth II, Charles Darwin, Amelia Earhart, and others) exist alongside each other, generally carrying on in the way that roommates and coworkers do, having ridiculous banter and putting up with each other's crap. Their world is also populated by a fish deity, a fish devil, and a bunch of undead historical personages, like Zombie Mark Twain and Skeleton Shakespeare and Vampire Charles Dickens. And a crocodile with a beard. Oh, and did I mention everyone is a disembodied head?

WTF, Miles Grover. W. T. F.

Initially I was really weirded out by the disembodied-head thing. The art is decent, but it's primarily a vehicle for the day's joke, so it tends toward minimalism. The historical figures' faces are highly stylized, as if someone took a portrait of them and removed all the shading and traced their facial details with a thin-point sharpie. Which works, but will be a turnoff for some people. It was for me. I liked the idea of historical characters interacting with each other and having arguments about who was the better president, etc., but oh man those DISEMBODIED HEADS soooo creeeeepy.

But I kept coming back to it. There were all these links across the internet, and they kept leading me back to Thinkin' Lincoln! And I would read the day's comic and try to get on my way, but one day I found myself reading through the archives again--and this time, I was laughing out loud. In spite of the creepy disembodied heads! As much as I would have preferred a comic with humanoid presidents, this was still a funny comic, and who knows, maybe some people prefer the disembodied heads from a stylistic perspective. I can't deny that it makes for some funny strips, especially when it gets subverted. And Miles did this hand-drawn comic with embodied Lincoln while his computer was in the shop, so I think this is something I can live with.

In short, I had to admit to myself that I reluctantly enjoyed Thinkin' Lincoln. The premise of the strip is fundamentally juxtaposition: specifically, the juxtaposition of Very Important Historical Figures carrying on with all the emotional maturity of fourteen-year-olds. I think it gets the balance right when it takes the characters' historical roles and personas seriously, basing its absurdity on the foundation of history. Sometimes the absurdity still works without the presidential context. Other times, though, Miles Grover abandons his historical base, and it ends up as just an excuse for Abe Lincoln to utter Napoleon-Dynamite-esque euphemized swears like "holy pooping craps" or "butt-cruds." It's like standing in the middle of a seesaw and trying to keep the ends from striking the ground: it's hard, but it's pretty impressive if you keep it up for a long time. And Miles Grover has been keeping it up for over three years.

Which brings us to last Friday's three-year-anniversary comic. This is definitely my favorite TL comic in awhile: it essentially takes the Thinkin' Lincoln premise of ahistorical absurdity and turns it on its head. Lincoln, ostensibly the strip's crazy guy with impractical ideas, suddenly observes the ridiculousness of the world he lives in! It's the sort of strip one could only create with three years of comic history to draw on, and it's a great capstone for everywhere the strip has gone so far.

So, in summary: Thinkin' Lincoln? Pretty good webcomic. Good for a daily laugh, if you can get past the floating-disembodied-heads thing. And if I can, then you can too.