One of the best uses of the web, IMHO, is to post older comics that otherwise would never see the light of day. Today, the always informative Journalista links to this post on Big Boy, the iconic cartoon restaurateur. The post includes photos of a Bob’s Big Boy (it was Azar’s where I grew up), menus, some truly horrible black-and-white photos of salads, and an entire Big Boy comic. Because that was the best thing about Big Boy—the food was pretty good, but you got a comic with it. Of course, the comic was free, only about 16 pages long, and cheaply produced, so most people threw them out; I don’t have any of my copies, which is why I was so tickled to see one on the web. 

The allure of most of these comics is not so much nostalgia as the surreal gloss that the years have given them. That’s certainly the case with two classic Christian comics, Hello I’m Johnny Cash and The Gospel Blimp, Continue reading →

Awards time: WCCA nominations close today. If you’re a webcomics creator and somehow missed the memo, get on over there. We’ll wait. Meanwhile, Xavier Xerxes interviews WCCA chair Frank “Damonk” Cormier at Comix Talk. 

In other awards news, Broken Frontier gives their Best Webcomic Creator award to Ursula Vernon for Digger.

Alexander Danner takes a look at webcomics readers (interfaces, not people) at Webcomics.com.

Will webcomics kill newspaper strips? The McGill Tribune uses that as a teaser for a nice survey of the world of webcomics.

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First webcomics get booted off Wikipedia, now this: Diamond has rejected three webcomic-related comic books that were planned for this year’s Free Comic Book Day. Johanna Draper Carlson has the scoop at Comics Worth Reading, and she interviews Keenspot Entertainment co-owner Chris Crosby about the decision.

Keenspot has been participating in FCBD since 2002. Crosby is also affiliated with ComicGenesis.com and Blatant Comics, both of which have also participated in years past. Blatant’s planned 2008 FCBD issue would have promoted a print graphic novel scheduled to come out this spring. Keenspot planned an anthology of its print comics, and ComicGenesis, which is a webcomics hosting site, was putting together an anthology of webcomics plus a how-to guide.

But no. According to Crosby, Diamond’s FCBD committee rejected all three titles on the grounds of Continue reading →

I love Ryan Armand’s Minus. If for some reason you have missed the memo on this one, it’s a well imagined, beautifully rendered comic that mixes magic and childhood to good effect. It’s whimsical without being cloying, and the best comics in the series, like this recent one, have a hallucinatory effect not unlike a looser version of Little Nemo in Slumberland.

Apparently I’m not the only one who likes it: This week, the Japan Media Arts Festival recognized Minus in its Manga Division; it is one of only a handful of online manga that were “recommended” by the jury, and the only non-Japanese title in the group.

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As the first webcomic talk I’ve felt compelled to write about in nearly two months, I felt it prudent to bring this up for discussion.

Via R. Stevens, via the PvP blog, Scott Kurtz found this little nugget dropped by Diesel Sweeties creator and well-rounded merchandiser, R. Stevens, on twitter.

As someone who writes, draws, makes a website, answers customers and helps pack merch … I don’t have much sympathy for striking writers. Want real royalties and freedom? LEAVE the studio system!

As a conversation starter that hopefully will not degenerate into the usual “You’re the bitch!/No, your mom is the bitch!” type webcomics arguments, I’m interested to see where those of you who fill the same shoes as Stevens (or more) fall on this debate. Do you side with the majority of the country in saying the writers deserve what they’re asking for, or is Stevens right in calling the writers out for wanting something they’re not entirely entitled to?

Discuss.

It’s the end of the year and no one can resist they’re own top 10 lists. Time might just be the worst offender with not one list but posting 50 top ten lists. One of these is these is a review of graphic novels and you’ll never guess who made number one. Not surprisingly I haven’t heard of most of the print material except for the last one, the complete collection of Peanuts. So where is the complete Calvin & Hobbes collection? Let’s see what webcomics Time believes worth gracing they’re website?

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Who needs Cliffs Notes when you’ve got the web? Recently I stumbled on two webcomics based on classic books, each completely different but each well worth a look. Somehow I made it through college and grad school without reading the originals, but the comics versions are so entertaining I’m tempted to pick them up.

The War of the Worlds: This is a straightforward adaptation by Ian Edginton of H.G. Wells’ novel of the same name, rendered with a smooth, very readable look by artist D’Israeli. The story is straightforward: Aliens arrive from Mars and terrorize the populace for a while but ultimately are dispatched in a surprising and satisfying way. For a story about aliens terrorizing the earth, this comic is strangely soothing. Maybe it’s the glimpses of pastoral English countrysides.

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