Embeddable comics, huh? Okay. What really gets me about this comic is I was in the interview process to teach in a prison, but I couldn’t do it because of my student loans, which prison officials consider them an avenue for convicts to blackmail me (yes seriously; I didn’t believe it either), so I didn’t get the job. And then I read this and see a reason that is pretty much why I couldn’t even enter the prison. Sure, I’ll suspend belief, because then I’m not sure how much of a story there would be in this strip. Other than the deeply personal relationships and stories that could come out of teaching an English class in a prison. Embeddable comics though. Neat.
Follow-up from BKV: APPLE vs. SAGA #12. A follow-up to yesterday’s press release: I wanted to apologize to everyone for this entire SAGA #12 kerfuffle. Yesterday, I was mistakenly led to believe that this issue was solely with Apple, but it’s now clear that it was only ever Comixology too conservatively interpreting Apple’s rules. I’m truly sorry. I never thought either company was being homophobic, only weirdly inconsistent about what kind of adult material was permissible. I’m grateful that the situation was cleared up so quickly, and I’m delighted I can go back to reading smutty comics on my Retina Display iPad.
Brian K. Vaughan, via fionastaples.
What’s especially interesting is Fraction’s post as well:
Let me shape these two cents in the form of a question mark: in the wake of Brian and Marcos’ experiment with THE PRIVATE EYE last month (week? when? what is time?), have we not heard the bell tolling for digital middlemen, and if not, why the fuck not?
What I find oddly missing in this whole discussion is in the appearance that this digital comics thing only became a topic of conversation because it was bringing mainstream comics and “name” creators to the Internet, like the web needed validation. Why does it seem like there isn’t much credit being given to people who have long been doing digital comics? People like Kevin Church, Chris Onstag, and the Act-I-Vate crew were doing this thing, for free, with hardly any kerfuffle of this variety before there was a business model like ComiXology on the scene. The whole thing wreaks.
- ARRANT: Something I wanted to ask you about is your thoughts on how the digital distribution of comics has, surprisingly enough, strengthened the format of the single-issue comic over longer-form works like graphic novels. What are your thoughts on digital comics and the way they’re served and read?
- ELLIS: I’d be happier, I think, if the walled-garden services advertised their wares as “rentals.” Because if comiXology went away tomorrow, I wouldn’t have a clue how to prise my comics out of my iPad app, and I imagine many people may agree. Don’t get me wrong, I think comiXology is a good service, and I have no wish to single them out. But “rental for life of service” or some similar language would seem to me to be a clearer statement of the situation.
Because the myth among us comic book folk is that webcomics guys, ah, yeah there’s a couple of them making a little bit of money, but by and large they’re all losing their shirts. You know: little kids doing their little thing on the side, that’s the myth. And the reality of it is, no, actually a lot of guys are making a decent living doing this, a lot of guys. And it doesn’t mean everybody can, but it means that there’s a lot more to that, there’s a lot more money in that ecosphere than you dreamed, and some guys are making really good money doing that stuff. And while making really good money is for me not the goal, it’s just to make enough money to keep doing it, the idea that it can be done is great. And what’s also great about the webcomic community is that I have yet to encounter any sense of selfishness, any sense of proprietary ownership, any sense of trade secrets and people being very hush hush with what they’re doing, because that’s stupid. Comic books tend to do that because we’re selling to an audience of 90,000 people, but among the webcomics guys they seem to get the fact that the potential audience is 6 billion people. There’s room for all of us out there. We’re not worried about competition yet among each other.