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kleefeldoncomics.com



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Titlekleefeld on comics

Length: 18, Words: 3
Description sean kleefeld's daily thoughts about comics and the comic industry.

Length: 71, Words: 11
Keywords pusty
Robots
Charset UTF-8
Og Meta - Title exist
Og Meta - Description exist
Og Meta - Site name pusty
Tytuł powinien zawierać pomiędzy 10 a 70 znaków (ze spacjami), a mniej niż 12 słów w długości.
Meta opis powinien zawierać pomiędzy 50 a 160 znaków (łącznie ze spacjami), a mniej niż 24 słów w długości.
Kodowanie znaków powinny być określone , UTF-8 jest chyba najlepszy zestaw znaków, aby przejść z powodu UTF-8 jest bardziej międzynarodowy kodowaniem.
Otwarte obiekty wykresu powinny być obecne w stronie internetowej (więcej informacji na temat protokołu OpenGraph: http://ogp.me/)

SEO Content

Words/Characters 3356
Text/HTML 9.85 %
Headings H1 0
H2 6
H3 1
H4 0
H5 0
H6 0
H1
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advertisement
advertisement
blog archive
categories
about me
connect
H3
latest posts
H4
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strong
b
i
em
Bolds strong 0
b 0
i 0
em 0
Zawartość strony internetowej powinno zawierać więcej niż 250 słów, z stopa tekst / kod jest wyższy niż 20%.
Pozycji używać znaczników (h1, h2, h3, ...), aby określić temat sekcji lub ustępów na stronie, ale zwykle, użyj mniej niż 6 dla każdego tagu pozycje zachować swoją stronę zwięzły.
Styl używać silnych i kursywy znaczniki podkreślić swoje słowa kluczowe swojej stronie, ale nie nadużywać (mniej niż 16 silnych tagi i 16 znaczników kursywy)

Statystyki strony

twitter:title pusty
twitter:description pusty
google+ itemprop=name pusty
Pliki zewnętrzne 30
Pliki CSS 5
Pliki javascript 25
Plik należy zmniejszyć całkowite odwołanie plików (CSS + JavaScript) do 7-8 maksymalnie.

Linki wewnętrzne i zewnętrzne

Linki 362
Linki wewnętrzne 155
Linki zewnętrzne 207
Linki bez atrybutu Title 353
Linki z atrybutem NOFOLLOW 0
Linki - Użyj atrybutu tytuł dla każdego łącza. Nofollow link jest link, który nie pozwala wyszukiwarkom boty zrealizują są odnośniki no follow. Należy zwracać uwagę na ich użytkowania

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Linki zewnętrzne

kleefeld on comics http://www.kleefeldoncomics.com/
- http://www.kleefeldoncomics.com/
- https://3.bp.blogspot.com/-tulpal_zxfs/wpggdzqrsri/aaaaaaaabjg/rfetvotgbokgydpvea2rkzdvqnpnuifbgclcb/s1600/197974_20100427234314_large.jpg
- https://2.bp.blogspot.com/-yjbkrg0b_4s/wp1mdy9webi/aaaaaaaabn8/txeeq-l5en0f0fnpyx2cmydjt1divypegclcb/s1600/adjustable-laptop-desk-portable-stand-vented-fan-tv-bed-lap-tray-sturdy-black-116776da5bbb605a3c4a38ae7ffd063f.jpg
http://ift.tt/2obnq29 http://ift.tt/2obnq29
http://ift.tt/2pjgusr http://ift.tt/2pjgusr
http://ift.tt/2orzeoy http://ift.tt/2orzeoy
http://ift.tt/2ouxuwf http://ift.tt/2ouxuwf
http://ift.tt/2pbiz4b http://ift.tt/2pbiz4b
http://ift.tt/2oogea9 http://ift.tt/2oogea9
- https://2.bp.blogspot.com/-omkrktbbvmw/wpgnymhmffi/aaaaaaaabji/4yvdevoopmcd9lr4kqj5krs8tjye9lt_aclcb/s1600/d545d558e71663c7ca490fc335991c19_original.jpg
- https://3.bp.blogspot.com/--jq1hrqaroq/wpbbbotqf5i/aaaaaaaabiw/5wn18x4-mjq5w5rek4pbo8uados20agkaclcb/s1600/comic_20170331_1184690447.jpg
helping philadelphia latino children create comics to express what it's like to live while fearing a family member will be deported http://www.newsworks.org/index.php/local/education/102605-immigrant-children-are-using-comic-books-to-express-their-fears-of-deportation-photos
on the pitfalls of various comics research that hasn't been published http://www.thevisuallinguist.com/2017/04/tourist-traps-in-comics-land.html
- https://4.bp.blogspot.com/-qy-i177hgoo/wpvuqjn5h9i/aaaaaaaabiu/iy2cj5r-mt4n765pv6bfwgjnbr8-gvqvgclcb/s1600/content.png
- https://4.bp.blogspot.com/-xfy8bepq7s0/wpqa7rsidii/aaaaaaaabhs/hhg0hni_j40e_q7vr0d-1ohmy2gpqvnyqclcb/s1600/67497.jpg
older posts http://www.kleefeldoncomics.com/search?updated-max=2017-04-17t09:00:00-04:00&max-results=7
home http://www.kleefeldoncomics.com/
- http://www.patreon.com/skleefeld
ads by project wonderful! your ad here, right now: $0 http://www.projectwonderful.com/advertisehere.php?id=66664&type=3
amazon.com widgets http://ws-na.amazon-adsystem.com/widgets/q?serviceversion=20070822&marketplace=us&id=v20070822%2fus%2f4freedomsplaza%2f8003%2f9d6a706e-d702-4bd1-bbc9-e6b2a803c1d7&operation=noscript
2017 http://www.kleefeldoncomics.com/2017/
april http://www.kleefeldoncomics.com/2017/04/
on history: wham-o giant comics http://www.kleefeldoncomics.com/2017/04/on-history-wham-o-giant-comics.html
on business: c2e2 odds-n-ends http://www.kleefeldoncomics.com/2017/04/on-business-c2e2-odds-n-ends.html
weekly recap http://www.kleefeldoncomics.com/2017/04/weekly-recap_23.html
on -isms: black ink http://www.kleefeldoncomics.com/2017/04/on-isms-black-ink.html
weekly comics links http://www.kleefeldoncomics.com/2017/04/weekly-comics-links_19.html
on history: pvp http://www.kleefeldoncomics.com/2017/04/on-history-pvp.html
on business: try to keep up http://www.kleefeldoncomics.com/2017/04/on-business-try-to-keep-up.html
weekly recap http://www.kleefeldoncomics.com/2017/04/weekly-recap_16.html
on strips: tracy via laguardia http://www.kleefeldoncomics.com/2017/04/on-strips-tracy-via-laguardia.html
on -isms: spider-everyman http://www.kleefeldoncomics.com/2017/04/on-isms-spider-everyman.html
weekly comics links http://www.kleefeldoncomics.com/2017/04/weekly-comics-links_12.html
on history: faves http://www.kleefeldoncomics.com/2017/04/on-history-faves.html
on business: kickstarter, part 2 http://www.kleefeldoncomics.com/2017/04/on-business-kickstarter-part-2.html
weekly recap http://www.kleefeldoncomics.com/2017/04/weekly-recap_9.html
on strips: known unknowns http://www.kleefeldoncomics.com/2017/04/on-strips-known-unknowns.html
on -isms: trina's solution http://www.kleefeldoncomics.com/2017/04/on-isms-trinas-solution.html
weekly comics links http://www.kleefeldoncomics.com/2017/04/weekly-comics-links.html
on history: sabre http://www.kleefeldoncomics.com/2017/04/on-history-sabre.html
on business: to con or not to con http://www.kleefeldoncomics.com/2017/04/on-business-to-con-or-not-to-con.html
weekly recap http://www.kleefeldoncomics.com/2017/04/weekly-recap.html
march http://www.kleefeldoncomics.com/2017/03/
february http://www.kleefeldoncomics.com/2017/02/
january http://www.kleefeldoncomics.com/2017/01/
2016 http://www.kleefeldoncomics.com/2016/
december http://www.kleefeldoncomics.com/2016/12/
november http://www.kleefeldoncomics.com/2016/11/
october http://www.kleefeldoncomics.com/2016/10/
september http://www.kleefeldoncomics.com/2016/09/
august http://www.kleefeldoncomics.com/2016/08/
july http://www.kleefeldoncomics.com/2016/07/
june http://www.kleefeldoncomics.com/2016/06/
may http://www.kleefeldoncomics.com/2016/05/
april http://www.kleefeldoncomics.com/2016/04/
march http://www.kleefeldoncomics.com/2016/03/
february http://www.kleefeldoncomics.com/2016/02/
january http://www.kleefeldoncomics.com/2016/01/
2015 http://www.kleefeldoncomics.com/2015/
december http://www.kleefeldoncomics.com/2015/12/
november http://www.kleefeldoncomics.com/2015/11/
october http://www.kleefeldoncomics.com/2015/10/
september http://www.kleefeldoncomics.com/2015/09/
august http://www.kleefeldoncomics.com/2015/08/
july http://www.kleefeldoncomics.com/2015/07/
june http://www.kleefeldoncomics.com/2015/06/
may http://www.kleefeldoncomics.com/2015/05/
april http://www.kleefeldoncomics.com/2015/04/
march http://www.kleefeldoncomics.com/2015/03/
february http://www.kleefeldoncomics.com/2015/02/
january http://www.kleefeldoncomics.com/2015/01/
2014 http://www.kleefeldoncomics.com/2014/
december http://www.kleefeldoncomics.com/2014/12/
november http://www.kleefeldoncomics.com/2014/11/
october http://www.kleefeldoncomics.com/2014/10/
september http://www.kleefeldoncomics.com/2014/09/
august http://www.kleefeldoncomics.com/2014/08/
july http://www.kleefeldoncomics.com/2014/07/
june http://www.kleefeldoncomics.com/2014/06/
may http://www.kleefeldoncomics.com/2014/05/
april http://www.kleefeldoncomics.com/2014/04/
march http://www.kleefeldoncomics.com/2014/03/
february http://www.kleefeldoncomics.com/2014/02/
january http://www.kleefeldoncomics.com/2014/01/
2013 http://www.kleefeldoncomics.com/2013/
december http://www.kleefeldoncomics.com/2013/12/
november http://www.kleefeldoncomics.com/2013/11/
october http://www.kleefeldoncomics.com/2013/10/
september http://www.kleefeldoncomics.com/2013/09/
august http://www.kleefeldoncomics.com/2013/08/
july http://www.kleefeldoncomics.com/2013/07/
june http://www.kleefeldoncomics.com/2013/06/
may http://www.kleefeldoncomics.com/2013/05/
april http://www.kleefeldoncomics.com/2013/04/
march http://www.kleefeldoncomics.com/2013/03/
february http://www.kleefeldoncomics.com/2013/02/
january http://www.kleefeldoncomics.com/2013/01/
2012 http://www.kleefeldoncomics.com/2012/
december http://www.kleefeldoncomics.com/2012/12/
november http://www.kleefeldoncomics.com/2012/11/
october http://www.kleefeldoncomics.com/2012/10/
september http://www.kleefeldoncomics.com/2012/09/
august http://www.kleefeldoncomics.com/2012/08/
july http://www.kleefeldoncomics.com/2012/07/
june http://www.kleefeldoncomics.com/2012/06/
may http://www.kleefeldoncomics.com/2012/05/
april http://www.kleefeldoncomics.com/2012/04/
march http://www.kleefeldoncomics.com/2012/03/
february http://www.kleefeldoncomics.com/2012/02/
january http://www.kleefeldoncomics.com/2012/01/
2011 http://www.kleefeldoncomics.com/2011/
december http://www.kleefeldoncomics.com/2011/12/
november http://www.kleefeldoncomics.com/2011/11/
october http://www.kleefeldoncomics.com/2011/10/
september http://www.kleefeldoncomics.com/2011/09/
august http://www.kleefeldoncomics.com/2011/08/
july http://www.kleefeldoncomics.com/2011/07/
june http://www.kleefeldoncomics.com/2011/06/
may http://www.kleefeldoncomics.com/2011/05/
april http://www.kleefeldoncomics.com/2011/04/
march http://www.kleefeldoncomics.com/2011/03/
february http://www.kleefeldoncomics.com/2011/02/
january http://www.kleefeldoncomics.com/2011/01/
2010 http://www.kleefeldoncomics.com/2010/
december http://www.kleefeldoncomics.com/2010/12/
november http://www.kleefeldoncomics.com/2010/11/
october http://www.kleefeldoncomics.com/2010/10/
september http://www.kleefeldoncomics.com/2010/09/
august http://www.kleefeldoncomics.com/2010/08/
july http://www.kleefeldoncomics.com/2010/07/
june http://www.kleefeldoncomics.com/2010/06/
may http://www.kleefeldoncomics.com/2010/05/
april http://www.kleefeldoncomics.com/2010/04/
march http://www.kleefeldoncomics.com/2010/03/
february http://www.kleefeldoncomics.com/2010/02/
january http://www.kleefeldoncomics.com/2010/01/
2009 http://www.kleefeldoncomics.com/2009/
december http://www.kleefeldoncomics.com/2009/12/
november http://www.kleefeldoncomics.com/2009/11/
october http://www.kleefeldoncomics.com/2009/10/
september http://www.kleefeldoncomics.com/2009/09/
august http://www.kleefeldoncomics.com/2009/08/
july http://www.kleefeldoncomics.com/2009/07/
june http://www.kleefeldoncomics.com/2009/06/
may http://www.kleefeldoncomics.com/2009/05/
april http://www.kleefeldoncomics.com/2009/04/
march http://www.kleefeldoncomics.com/2009/03/
february http://www.kleefeldoncomics.com/2009/02/
january http://www.kleefeldoncomics.com/2009/01/
2008 http://www.kleefeldoncomics.com/2008/
december http://www.kleefeldoncomics.com/2008/12/
november http://www.kleefeldoncomics.com/2008/11/
october http://www.kleefeldoncomics.com/2008/10/
september http://www.kleefeldoncomics.com/2008/09/
august http://www.kleefeldoncomics.com/2008/08/
july http://www.kleefeldoncomics.com/2008/07/
june http://www.kleefeldoncomics.com/2008/06/
may http://www.kleefeldoncomics.com/2008/05/
april http://www.kleefeldoncomics.com/2008/04/
march http://www.kleefeldoncomics.com/2008/03/
february http://www.kleefeldoncomics.com/2008/02/
january http://www.kleefeldoncomics.com/2008/01/
2007 http://www.kleefeldoncomics.com/2007/
december http://www.kleefeldoncomics.com/2007/12/
november http://www.kleefeldoncomics.com/2007/11/
october http://www.kleefeldoncomics.com/2007/10/
september http://www.kleefeldoncomics.com/2007/09/
august http://www.kleefeldoncomics.com/2007/08/
july http://www.kleefeldoncomics.com/2007/07/
june http://www.kleefeldoncomics.com/2007/06/
may http://www.kleefeldoncomics.com/2007/05/
april http://www.kleefeldoncomics.com/2007/04/
march http://www.kleefeldoncomics.com/2007/03/
february http://www.kleefeldoncomics.com/2007/02/
january http://www.kleefeldoncomics.com/2007/01/
2006 http://www.kleefeldoncomics.com/2006/
december http://www.kleefeldoncomics.com/2006/12/
november http://www.kleefeldoncomics.com/2006/11/
october http://www.kleefeldoncomics.com/2006/10/
september http://www.kleefeldoncomics.com/2006/09/
august http://www.kleefeldoncomics.com/2006/08/
july http://www.kleefeldoncomics.com/2006/07/
june http://www.kleefeldoncomics.com/2006/06/
may http://www.kleefeldoncomics.com/2006/05/
april http://www.kleefeldoncomics.com/2006/04/
march http://www.kleefeldoncomics.com/2006/03/
february http://www.kleefeldoncomics.com/2006/02/
links http://www.kleefeldoncomics.com/search/label/links
on -isms http://www.kleefeldoncomics.com/search/label/on%20-isms
on business http://www.kleefeldoncomics.com/search/label/on%20business
on history http://www.kleefeldoncomics.com/search/label/on%20history
on strips http://www.kleefeldoncomics.com/search/label/on%20strips
- https://plus.google.com/116005615946522991610
sean kleefeld https://plus.google.com/116005615946522991610
the jack kirby collector http://twomorrows.com/index.php?main_page=index&cpath=98_57
kleefeld on webcomics http://geek-news.mtv.com/tag/kleefeld-on-webcomics/
comic book fanthropology http://www.comicbookfanthropology.com
kleefeldoncomics.com http://kleefeldoncomics.com
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--> kleefeld on comicsabout us contact us --> home features awesome filtered default cropped entertainment style trends premium theme beauty standard comments right sidebar fashion download this template --> latest posts back in 1967, wham-o set aside their frisbees and hula hoops long enough to try publishing a comic book. they produced wham-o giant comics with the intention of it being an ongoing title, but it was cancelled after the first issue (probably in large part due to their inexperience with publishing, i expect). despite it's only single issue run, it does hold a unique place in comics history. the book clocks in at 52 pages, giving it a lower page count than the "80-page giants" that dc had been publishing. however the "giant" part of the wham-o comic's name refers instead to the page dimensions: a whopping 14" x 21"! that's larger than most of idw's artist's edition books. it includes work by comic legends like wally wood, lou fine, ernie colon, and john stanley, and is billed as the "world's largest comic book" with "over 1500 action panels!" ward kimball, one of disney's nine old men, is listed as "faculty advisor" and contributed a short piece as well. what i was hoping to discover in digging around with this was why? why would a toy manufacturer try their hand a comic book, and do one so obnoxiously large? as far as i can tell, none of the editorial staff had any previous (or subsequent for that matter) experience with comics. i've seen a couple suggestions online that posit, wham-o was trying to cash in on the batman craze instigated by the adam west tv show, but i don't see any evidence of that frankly. the various comics included here are either gag strips or straight-up adventure stories; there's nothing reflective of the campy attitude from the show. why the series wasn't continued seems obvious. in the first place, most comics in 1967 cost 12¢ -- wham-o giant comics #1 has a 98¢ price tag. additionally, it's sheer size meant that it couldn't be displayed alongside other comics. i understand that wham-o had to send out a custom display stand in order to hold these. which was placed next to their frisbees and hula hoops, instead of anywhere near a newsstand. they also spent a good chunk of money on advertising, running both radio and tv spots in at least some areas. i found copies of two virtually identical commercials... it would seem that retailers weren't willing to work with wham-o on this at all, and a good many of them sat in a warehouse and were eventually sold off as bulk, to be sold in discount stores for half price. i had to pay $9.00 plus shipping for mine last year. the comics themselves are a bit of mixed bag, as with most anthologies. even though their largest talents were considered past the primes, and not really draws in the comic industry, they still clearly had some solid storytelling chops. not all of the stories are by those legendary creators, though. still, it's a strangely curious artifact whose mere existence prompts any number of questions that i can't seem to find answers for. one reason to go to conventions is to meet up with comic creators. for fans, it's often a matter of having some personal interaction with someone whose work they admire but for other creators, it's frequently a venue for exchanging ideas and best practices. while a lot of creators do talk to each other already, a convention -- particularly a larger one like c2e2 -- can spark a lot of casual dialogue that leads to solutions to problems a creator didn't even know they had! here's a few random nuggets i happened to pick up this past weekend at c2e2... for artists, bring a stand-up desk. not a full table setup like you might have at home, but something small and portable. nathan lueth had a version not unlike the one i have pictured here (that's not him, by the way; i just forgot to take a picture) with a drawing tablet setting on top. this is useful/beneficial because it means that, as an artist, you can work on sketches, new pages, etc. while maintaining a more-or-less level eye contact with the crowd. often, artists have their heads down in their sketchpads and barely notice when someone's standing in front of their table. this way, with your eyes up higher, you get a better sense of people walking past and you're not completely enmeshed in your drawing. lueth is the first artist i've ever seen do that at a show, and he expressly noted that eye contact was his primary motivation for it. also for artists who take commissions, it can behoove you to bust your hump getting them lined up well in advance of a show. i spoke with daniel govar, and he noted that he filled up his commission plate months in advance. this amounts to guaranteed sales. so he had all of his convention expenses paid for before he left from home, and everything he sold at the convention itself was basically gravy. granted, not every artist wants (or is able!) to take that type of work on and govar is well-known enough that some people seek out his work (not to mention that he's very talented) but it makes for an easier show for him, knowing that he's got everything paid for and he doesn't have to hustle every single moment of the show. also, it's important to not only know the audience for any given show, but to know if that audience changes during the course of the convention. in the case of c2e2, saturday was particularly busy (off-the-record guestimates i heard put it 15% higher than last year) at least in part because of the stan lee/frank miller panel that day. there were a lot of superhero fans in that day. sunday, by contrast, was billed as "family day" and there were a larger-than-typical number of small kids around. which might be problematic if you have material that might be rated pg-13 or higher. i know john blevins mentioned that he had keep a close eye on his who was looking at his material and gently dissuade some kids from looking at it, because it's probably a little too violent for them. by contrast, a vendor whose name i didn't catch went completely ape-shit on a parent who was letting his ten-ish year old daughter just randomly mess around with his display. i suspect screaming at the father and saying his kid was going to become a "trashy cocksucker" because he "let her do whatever the fuck she wanted" probably didn't go over well. obviously, the parent quickly dragged his child away, but i wouldn't be surprised if a complaint was lodged with reedpop who, in turn, might not let that vendor to any future events. i'm not suggesting you need a degree in psychology to deal with obnoxious children at a convention, but a modicum of tact might be the wiser course of action for the sake of your bank account. more generally when it comes to setting up a table, don't build side-walls all the way to the end of the table. some folks erect some kind of frame that stands at the very edge of their table, and hang merchandise on it, taking advantage of the extra vertical space. while this does provide more surface area to showcase work, it also creates a barrier to people seeing you until they're right in front of your booth. this limits the ability of people to scan an aisle from one end to try to get a sense of who's down that way. heidi macdonald, brigid alverson, and i were debating why so many creators going to kickstarter for the first time don't ask for help. particularly those in webcomics, as it tends to be an open community when it comes to knowledge-sharing. we didn't come up with anything definitive, but i suggested that there may be some degree of intimidation? i saw a panel this weekend in which a new creator got up from the audience to ask a question, and basically just thanked lucy knisley for being a source of inspiration -- but had trouble doing so because she was fighting back tears the entire time. you could tell she was profoundly affected by knisley's work, but she was embarrassed and scared to even acknowledge that to knisley. that, to me, doesn't sound like the type of person who would be comfortable going to someone like knisley and asking for advice. speaking of crowdfunding, the two biggest categories (in terms of dollars coming in) for patreon are podcasts and webcomics. make of that what you will. also patreon-related, breaking the $1000/month threshold catches patreon's attention; they listen a lot more closely to those folks. i'm sure there are tons of other business lessons to be learned just by keeping your eyes and ears open on the convention floor, but this is just a quick sampling of what i picked up while i was on the floor this weekend. here are this week's links to what i've had published recently... kleefeld on comics: weekly recap http://ift.tt/2obnq29 kleefeld on comics: on business: try to keep up http://ift.tt/2pjgusr kleefeld on comics: on history: pvp http://ift.tt/2orzeoy kleefeld on comics: weekly comics links http://ift.tt/2ouxuwf freaksugar: webcomics wednesday: inspiration http://ift.tt/2pbiz4b kleefeld on comics: on -isms: black ink http://ift.tt/2oogea9 look, i've been travelling all week and will be rolling into c2e2 almost as soon as i step off the plane on the way home, so today let me just point you to black ink, a documentary that's being kickstartered right now. the movie examines "the contributions to the comic book industry by people of color." but we're less than two days before the campaign is over and it's still a few thousand dollars shy of being funded. (at least as of this writing.) i put in $100 -- what can you chip in? the mighty writers are "helping philadelphia latino children create comics to express what it's like to live while fearing a family member will be deported." as depressing a subject as this is, the article is worth reading for: "in some comics, president donald trump plays the fool who trips down the stairs. in another, he's confronted by bears who want him to appreciate nature and discourage a border wall — and turn the president into a cornstalk."neil cohn reflects "on the pitfalls of various comics research that hasn't been published." yesterday, i was talking about how things are speeding up and business models need to be changed/updated with more frequency now. and that it's increasingly difficult for individuals trying to make a go of things because their expertise is in making comics, not keeping up with technological changes and business distrupters and the like. of course, it's not impossible. and as i sat there thinking about webcomic creators who have weathered at least a few substantial shifts (which would include pretty much anyone working today who had started, say, five years ago) i thought to take a moment to look up just how long some of the "old guard" webcomikers have been at it. i started (and stopped) with scott kurtz. i started with him because he has been around a while, and has been a vocal advocate for webcomics for many years. i stopped because he started pvp in 1998 -- just shy of two decades ago. it's easy to see kurtz's style of illustration and humor evolve over time. what's not as evident is his changing business models. pvp actually started under a gaming website before kurtz took the comic out on its own within its first year. it was published in print by dork storm press for a year beginning in 2001, and was picked up by image in 2003 (allegedly after seeing a piece in wizard magazine that included/referenced the strip i'm running with this post). kurtz offered the strip up for free to newspapers in 2004. there was an animated cartoon version that began in 2007. he launched a spin-off strip called table titans in 2013, roughly at the same time he hired dylan meconis as a writer and steve hamaker as a colorist. the update schedule has changed, the number/types/placements of ads has changed, the types and production of items for sale has changed... i haven't tracked all of the changes super closely, but i daresay every aspect of the comic/site/business has been completely overhauled at least twice since it first launched. i'm pretty sure kurtz will be the first to tell you that he had no idea what he was doing when he started. just looking at everything he's done and all the approaches he's taken, one gets the sense that he spent a lot of time just throwing stuff at the wall to see what stuck. which is fine when you're in your 20s and haven't exactly become reliant on webcomics as your primary (sole?) means of income, but it doesn't take much imagination to see why you'd be less inclined to just throw everything at the wall when you're in your 40s and have being a webcomiker has been your career for well over a decade. i don't have a real point other than to give a tip of the hat to kurtz. not only has he stuck with pvp for nearly two decades, outlasting many traditional publishers in that time, but he's been pretty damn successful at it to boot! i find myself repeatedly returning to ideas from alvin toffler's future shock. one idea he spelled out -- in fact, the idea behind the premise of his book -- is that the world is in fact getting faster. it's not just your perception as you've gotten older; the changes happening in the world are coming at you quantifiably faster than they used to. (i suspect it's at least partly to blame for the current political trend across the globe to veer back towards 1950s sensibilities.) some of these changes stem from technology, and some stem from more people having greater access to technology. regardless of where they come from, though, the world is changing quicker than it used to. i do my best to keep up. i'm actively connected to the web probably most hours of the day, and i've got streams of information coming from multiple different channels simultaneously. much of it is inconsequential, of course -- pictures of people's dogs or what they had for lunch -- but even the pieces that don't have a strong influence on my life can still help paint a picture of what's going on in the world. but for people who don't/can't keep up -- and it's getting increasingly difficult to do so -- they cling to outdated ideas and practices that no longer make sense. for example, there's been talk lately about saving coal mining jobs. except that at least a few coal mining companies are currently devising exit strategies from the business because it's no longer profitable, and in fact more jobs were lost in retail in the past two months than have been lost in coal mining over the past two decades! trying to save an industry that actively doesn't want to be saved in the face of bigger job losses in completely different sectors makes no sense whatsoever, unless you're relying on business information that is decades out of date. likewise, in comics, it doesn't make sense to sell pamphlet comics to the direct market if a book's target audience is more likely to buy a trade collection from a more traditional bookstore. in terms of broader business discussions, this typically isn't a huge problem. major publishers and bookstore chains generally have market experts who, while they might not be able to always predict where the market is headed, are specifically tuned in to the industry buzz and can suggest changes based on market shifts. as noted above, this has become increasingly difficult to do in light of the speed with which changes take place, but there is at least someone on staff whose job is, in part, to keep track of these things. the problem comes in because of one of the other recent changes that not everyone has picked up on yet: the gig economy. we're increasingly in an era where individuals are more in charge of their own businesses, even if that business is just themselves. these are the creators tabling at shows, running kickstarters to fund their next book, doing webcomics and trying to sort out how to make money there... these are folks who are effectively out on their own (not always by choice). they used to be in a challenging spot before, but it's become even more challenging recently. it was challenging before because it requires a whole slew of skills they might not like or be fully prepared for. they just wanted to make comics. which is a great ideal, but that also means sales and marketing and record keeping and all sorts of other fun stuff they need to do on top of making comics. but what makes it more challenging now is that they've got that rapidly changing landscape to account for as well. as soon as they settle in to a business model that seems to work, some external forces swoop in to change the landscape entirely. print-on-demand did that. ad blockers did that. kickstarter did that. patreon did that. who knows where the next distrupter will come from? but the point is that more of these disrupters will keep coming in and changing how they do business, whether they want them to or not. and that is going to make being on top of things more and more critical for creators as they move forward. large companies not only have those experts watching business trends but they have a financial cushion to moderate fast external changes. most creators don't have either luxury so it behooves them to stay as informed as possible alongside making comics people will enjoy! older posts home advertisement ads by project wonderful! your ad here, right now: $0 advertisement amazon.com widgets blog archive ▼  2017 (97) ▼  april (20) on history: wham-o giant comics on business: c2e2 odds-n-ends weekly recap on -isms: black ink weekly comics links on history: pvp on business: try to keep up weekly recap on strips: tracy via laguardia on -isms: spider-everyman weekly comics links on history: faves on business: kickstarter, part 2 weekly recap on strips: known unknowns on -isms: trina's solution weekly comics links on history: sabre on business: to con or not to con weekly recap ►  march (26) ►  february (24) ►  january (27) ►  2016 (306) ►  december (24) ►  november (26) ►  october (26) ►  september (26) ►  august (26) ►  july (26) ►  june (25) ►  may (27) ►  april (24) ►  march (26) ►  february (25) ►  january (25) ►  2015 (253) ►  december (25) ►  november (20) ►  october (20) ►  september (21) ►  august (20) ►  july (21) ►  june (22) ►  may (20) ►  april (21) ►  march (22) ►  february (20) ►  january (21) ►  2014 (259) ►  december (23) ►  november (19) ►  october (21) ►  september (21) ►  august (21) ►  july (23) ►  june (21) ►  may (22) ►  april (22) ►  march (22) ►  february (21) ►  january (23) ►  2013 (342) ►  december (23) ►  november (30) ►  october (28) ►  september (26) ►  august (29) ►  july (30) ►  june (30) ►  may (28) ►  april (30) ►  march (28) ►  february (28) ►  january (32) ►  2012 (372) ►  december (32) ►  november (32) ►  october (29) ►  september (31) ►  august (31) ►  july (31) ►  june (31) ►  may (32) ►  april (30) ►  march (30) ►  february (31) ►  january (32) ►  2011 (367) ►  december (32) ►  november (30) ►  october (31) ►  september (30) ►  august (30) ►  july (30) ►  june (30) ►  may (31) ►  april (31) ►  march (30) ►  february (32) ►  january (30) ►  2010 (382) ►  december (35) ►  november (30) ►  october (29) ►  september (30) ►  august (28) ►  july (30) ►  june (31) ►  may (32) ►  april (30) ►  march (39) ►  february (33) ►  january (35) ►  2009 (365) ►  december (32) ►  november (30) ►  october (31) ►  september (31) ►  august (31) ►  july (28) ►  june (30) ►  may (31) ►  april (33) ►  march (36) ►  february (20) ►  january (32) ►  2008 (358) ►  december (24) ►  november (24) ►  october (34) ►  september (33) ►  august (32) ►  july (30) ►  june (32) ►  may (28) ►  april (31) ►  march (30) ►  february (28) ►  january (32) ►  2007 (382) ►  december (30) ►  november (31) ►  october (31) ►  september (34) ►  august (36) ►  july (33) ►  june (32) ►  may (30) ►  april (34) ►  march (32) ►  february (28) ►  january (31) ►  2006 (249) ►  december (30) ►  november (34) ►  october (26) ►  september (21) ►  august (23) ►  july (20) ►  june (21) ►  may (16) ►  april (19) ►  march (30) ►  february (9) there was an error in this gadget categories links on -isms on business on history on strips about me sean kleefeld sean kleefeld is an independent researcher whose work has been used by the likes marvel entertainment, titan books and 20th century fox. he writes the ongoing “incidental iconography” column for the jack kirby collector and “kleefeld on webcomics” column for mtv geek. he’s also contributed to alter ego, back issue and comic book resources. kleefeld’s 2009 book, comic book fanthropology, addresses the questions of who and what comic fans are. he blogs daily at kleefeldoncomics.com. view my complete profile connect copyright © 2014 sean kleefeld -->


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