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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 2749
Text/HTML 8.82 %
Headings H1 0
H2 6
H3 1
H4 0
H5 0
H6 0
H1
H2
advertisement
advertisement
blog archive
categories
about me
connect
H3
latest posts
H4
H5
H6
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 348
Linki wewnętrzne 151
Linki zewnętrzne 197
Linki bez atrybutu Title 339
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

Linki wewnętrzne

gocomics.com c/
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Linki zewnętrzne

kleefeld on comics http://www.kleefeldoncomics.com/
- http://www.kleefeldoncomics.com/
- https://2.bp.blogspot.com/--_52c81qzl0/weodto3ouyi/aaaaaaaaarm/qviy7_u7czk3cnl908kjylrraz9hjltogclcb/s1600/logo-uclick-gocomics-stacked.png
line webtoons http://www.webtoons.com
spiderforest http://www.spiderforest.com/
- https://2.bp.blogspot.com/-s9gzzqf6ikm/wejcp_lxlzi/aaaaaaaaaqc/cfrjlhgjrnoxcp2liy3qtlfi5z4gvmtawclcb/s1600/umzingeli.jpg
- https://4.bp.blogspot.com/-ovhjsgbkbow/wewbn7w8nai/aaaaaaaaapo/5k3rwdekhsuyqza3texvt2b2sv12_bp0aclcb/s1600/laurenn-mccubbin.jpg
owen interviews laurenn mccubbin https://lareviewofbooks.org/article/im-not-doing-this-for-you-an-interview-with-laurenn-mccubbin/#!
garth - man of mystery https://lewstringer.blogspot.co.uk/2016/12/a-rarity-garth-comic-from-1946.html
recently posted online https://www.youtube.com/watch?v=v3psob-xnxy
- https://3.bp.blogspot.com/-kz-o8bsi1bs/wextkoaotri/aaaaaaaaap4/sn-bpfgw52ogb7jjbawwy-1yxgk7m0obgclcb/s1600/1567597-web_wings.jpg
- https://2.bp.blogspot.com/-wctd79bogim/wextlkgvlbi/aaaaaaaaap8/hbtqgtlczfsqwg4lhgqwhgvf9le9wibtgclcb/s1600/the-end-spider-wings.jpg
- https://2.bp.blogspot.com/-oncyn9vhres/wev5a9piwdi/aaaaaaaaapc/lid7ejm0daigo7e3a1buozkmobyzz39fqclcb/s1600/shehulk47.jpg
http://ift.tt/2gbn7u0 http://ift.tt/2gbn7u0
http://ift.tt/2gf6pgq http://ift.tt/2gf6pgq
http://ift.tt/2g6vej3 http://ift.tt/2g6vej3
http://ift.tt/2gjwvkm http://ift.tt/2gjwvkm
http://ift.tt/2gyldq8 http://ift.tt/2gyldq8
http://ift.tt/2gpqp33 http://ift.tt/2gpqp33
- https://2.bp.blogspot.com/-4i2d1pw1oco/weefrxmojbi/aaaaaaaaalw/vqmlqljcaxweddj2a4sjsqpzif6dva99gclcb/s1600/kl161129.gif
- https://3.bp.blogspot.com/-bwmw7_omexw/weefrzmbqfi/aaaaaaaaals/5eydurcjidm16kglcg0kjz7qa8gzh0zyaclcb/s1600/lc161129.gif
- https://3.bp.blogspot.com/-0frpxorcmee/weefsmp7dri/aaaaaaaaal0/pdjilexbggkybbd7pxszjqmjebdh3rt8qclcb/s1600/pb161127.jpg
- https://2.bp.blogspot.com/-_35-qwoxsj0/weefr3bw2mi/aaaaaaaaalo/jbxdh5bciro48-jvx6lirltwrsc8dln-aclcb/s1600/circus.jpg
older posts http://www.kleefeldoncomics.com/search?updated-max=2016-12-02t09:00:00-05:00&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
2016 http://www.kleefeldoncomics.com/search?updated-min=2016-01-01t00:00:00-05:00&updated-max=2017-01-01t00:00:00-05:00&max-results=50
december http://www.kleefeldoncomics.com/2016_12_01_archive.html
on strips: hints at the landscape to come? http://www.kleefeldoncomics.com/2016/12/on-strips-hints-at-landscape-to-come.html
on -isms: international awareness http://www.kleefeldoncomics.com/2016/12/on-isms-international-awareness.html
weekly comics links http://www.kleefeldoncomics.com/2016/12/weekly-comics-links.html
on history: web wings? http://www.kleefeldoncomics.com/2016/12/on-history-web-wings.html
on business: format wars http://www.kleefeldoncomics.com/2016/12/on-business.html
weekly recap http://www.kleefeldoncomics.com/2016/12/weekly-recap.html
on strips: catharsis http://www.kleefeldoncomics.com/2016/12/on-strips-catharsis.html
on -isms: jurying philosophy http://www.kleefeldoncomics.com/2016/12/on-isms-jurying-philosophy.html
november http://www.kleefeldoncomics.com/2016_11_01_archive.html
october http://www.kleefeldoncomics.com/2016_10_01_archive.html
september http://www.kleefeldoncomics.com/2016_09_01_archive.html
august http://www.kleefeldoncomics.com/2016_08_01_archive.html
july http://www.kleefeldoncomics.com/2016_07_01_archive.html
june http://www.kleefeldoncomics.com/2016_06_01_archive.html
may http://www.kleefeldoncomics.com/2016_05_01_archive.html
april http://www.kleefeldoncomics.com/2016_04_01_archive.html
march http://www.kleefeldoncomics.com/2016_03_01_archive.html
february http://www.kleefeldoncomics.com/2016_02_01_archive.html
january http://www.kleefeldoncomics.com/2016_01_01_archive.html
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november http://www.kleefeldoncomics.com/2012_11_01_archive.html
october http://www.kleefeldoncomics.com/2012_10_01_archive.html
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february http://www.kleefeldoncomics.com/2011_02_01_archive.html
january http://www.kleefeldoncomics.com/2011_01_01_archive.html
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november http://www.kleefeldoncomics.com/2010_11_01_archive.html
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august http://www.kleefeldoncomics.com/2010_08_01_archive.html
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november http://www.kleefeldoncomics.com/2009_11_01_archive.html
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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 gocomics.com is the digital home of many well-known newspaper comic strips. which makes sense since the site is owned by universal uclick, which is the syndicate that has the distribution rights for calvin and hobbes, garfield, the boondocks, doonesbury, cathy, cul de sac, ziggy, the far side, peanuts, and many others. and in early 2017, they'll be launching a completely revised version of their site. the new site (a beta of which is available for viewing) has a radically different design and page layout. it's clearly designed to be more responsive (i.e. it works equally well on desktop and mobile devices) and it's generally more graphic-driven than text-driven. the current design, as near as i can verify, dates to the first half of 2009, after the iphone had launched the smart phone deluge but just before everyone (seemingly) had one. so that the old site didn't work especially well on cell phones is understandable, and that type of update makes sense given the increasing usage of cell phones and tablets for online browsing. two other noteworthy changes are the use of genre pages and automatic recommendations, and the addition of several social media buttons for sharing, pinning, tagging, etc. all of these updates, again, make sense given how the web itself, not to mention how people use it, has changed since 2009. here's the thing that strikes me as interesting here, though. these are all exactly the type of decisions you would make if you were a sort of online collective of comics. like line webtoons or spiderforest. i suspect the only real difference is that gocomics has a little more money to throw behind things than some players. (i'm not privy to the finances of any of these folks, but i should probably point out that line webtoons, while new in the us, has a very robust base in korea; they might even have more money to throw at this than universal uclick does.) this all suggests that universal uclick is putting more money into their digital strategy. step back a moment and let that sink in. a syndicate that caters to newspapers is putting more money into a strategy that bypasses the newspapers to directly target the readers. now, does this mean you won't be able to read garfield when you pick up your local paper any more? probably not. but it does mean that they're recognizing that their old financial model is simply unsustainable, and pivoting to a more direct-to-the-reader mode will ultimately be more successful. although it's a different type of change, it will kind of feel, i expect, like how marvel stopped being a comics publisher around 2000 and changed to a "character-based entertainment company" which "utilizes its character franchises in entertainment, licensing and publishing." that is, marvel still publishes comics, but to them and much of the world, that's almost incidental to the movies and toys and t-shirts and everything else. likewise, i think universal uclick will continue to send their comics to newspapers, but that will be incidental to promoting their characters in licensing opportunities. this is reinforced by their own about page: "universal uclick provides editorial development, licensing and other distribution services for iconic brands like doonesbury, dear abby, miss manners and some of the most significant comics in history..." in other words, universal uclick is in exactly the same business as marvel. syndicates and publishers are gone. it's all about licensing. given the relative accessibility of printing your own books and print-on-demand, this is almost where it has to go in order for these larger companies to survive. universal uclick had been acting as a middleman between cartoonists and newspapers, and newspapers were acting as a middleman between syndicates and readers. in an age where the readers can have direct access to the cartoonists, why bother with the middlemen? so their role has to move away from distribution and more towards a service cartoonists would have more difficulty in handling themselves: the legal crap surrounding licensing. that syndicates continue to syndicate comics is merely a vestigial operation. i expect they'll try to remain in the middleman game as long as they can, but at some point, creators will stop seeing any benefits to syndication and rely on them only for their contract negotiation services. and at that point, the question i would have is -- what difference is there between a syndicated 'newspaper' cartoonist and a webcomiker? one of the reasons i think diversity in comics (both diversity in creators as well as characters) is important is because it helps to enlighten readers into different ways of thinking. by coming at a problem from a significantly different perspective than the reader -- whether that's because of race, sexual orientation, nationality, whatever -- the reader can gain insight into other modes of thought. this can lead to both greater empathy with others, and more creativity in general. but if you limit yourself to diverse voices from the united states, you're still not seeing as diverse a set of material as you could. i think the manga boom has been fantastic from this regard, helping to bring to the us not only a different style of comic storytelling but also some different cultural perspectives about people and the world. but it points to the difficulty in getting material from other cultures -- many use different written languages. in order to read those manga, most americans would need them to be translated from japanese into english. the same holds true of any language. there's a slew of french and belgian material that's never made into english. there's a good-sized comic scene in india these days, not to mention china and korea. and though we hear very little about it here, there's comic publishers everywhere from russia to brazil. the image i've included with this post is of a comic character from zimbabwe. one of the problems highlighted by much of the bullshit populist nationalism that seems to have been engulfing the world the past year is, in part, rooted in a lack of understanding of "others." whether "other" means someone born in the same country as you but wears a culturally different article of clothing, or they have a different amount of melanin than you, or they practice a different religion, or... the hatred of "others" has been played up by the likes of boris johnson, donald trump, and marine le pen; specifically trying to capitalize on the cultural ignorance of their constituents to encourage them to fear and hate anyone not like them. but by actively reaching out, and taking in comics (or any other media, for that matter) of those other cultures, we can gain a better understanding and appreciation of where those "others" are coming from. and by eliminating the unknown, we eliminate the fear. and by eliminating the fear, we eliminate the hate. so maybe, when you're tracking down holiday presents for your friends and family, see if you can snag a comic or two from another country. while not everything is in english, many are. and that can help bridge the gap that some politicians are deliberately trying to turn into an uncrossing chasm. ben novotny owen interviews laurenn mccubbin "about how she brings comics form into the gallery, as well as her upcoming work on bitch planet." lew stringer finds garth - man of mystery from 1946 to be something of a, well... mystery. che grayson, who created the comic rigamo, presented a ted talk earlier this year about needing superheroes and it was recently posted online. so there's been all this discussion lately about how they're adding some underarm webbing to tom holland's costume in the upcoming spider-man: homecoming. the discussion usually is quick to note how steve ditko drew them in for the first issue, and john romita picked up on them, but whether or not they continue to be seen in the comics is hit or miss depending on the artist. the question then, in a response to the purported movie usage as a sort-of built-in glider or wings, pivots to "has spider-man ever actually used those underarm webbing things to fly?" a couple of quick google image searches turn up these two images... considering that i recalled one of those images and i'm not even much of a spider-man fan, i don't doubt there were hundreds of spidey fans out there who immediately could've told you that he's done these full-on wings before, and the underarm webbing was never really used like that. the single panel is from amazing spider-man #8; the extended sequence is from avengers annual #11. neither of which were particularly difficult to locate online. now, maybe it's because my interest in marvel comics spun out of a more archeological nature. i enjoyed trying to figure out how all these pieces fit together to form a overarching universe. so i'm perhaps more tuned in to the broader picture of their history, but i'm just surprised that, in the discussions i've seen, very few people bring these ideas up -- that if spider-man wanted to use his webbing to fly, or even glide, he'd need to design something different than his usual underarm webbing. a lot of folks have brought up his penchant for creating web parachutes, but mostly in response to the general question of can spidey "make stuff" with his webbing. i suppose this is perhaps why i don't feel as much attachment to the marvel universe any more. marvel has over the past decade or so, largely eschewed historical context and continuity, and it would seem that their primary audience has as well. rather, the audience they've attracted in recent years is not very concerned about long-term continuity, and the previous audience who has, like me, largely left. that's their prerogative to change directions, of course, and i certainly can't fault them for trying a different approach to attract new readers. after all, the older guys like me who liked the continuity are getting older and literally dying off. so a change of this magnitude needs to take place in order to corporately survive. (well, survive as a publisher. they're making more than enough off films and licensing these days that they don't have to worry much about closing shop even if they stop doing comics altogether.) whether or not it's a change that will be successful or not in the long term remains to be seen, but it does seem to bode well for them in the near term. and the only apparent downside is that, as the movies and tv shows become more and more well-known, the people who can identify the source material become less and less forthcoming to this new audience they might well resent, or even acknowledge. i like books and reading. no surprise there, right? the last time i was in between jobs was a period of about six months, and i was not at a want for reading material because i had such a backlog already accumulated. it should also come as no surprise that i have a mixture of digital and printed material. and a large part of why i might choose one over the other is availability. in some cases, it's an older work that no one has gotten around to digitizing yet. for example, sensational she-hulk #47 does not seem to be available anywhere, even though comixology has the rest of that series' run. in other cases, it's a newer work that the author and/or publisher only released digitally because they wanted to gauge interest before committing to a large (i.e. expensive) print run. clifford meth's comic book babylon was never released in print, i believe. now there are all sorts of reasons why any given book might be released one way and not another. but, by and large, it usually boils down to: nobody in legal control of the contents thinks it would be profitable enough. that's not to say they're necessarily right or wrong, but that's their reading of the market. and despite my, or anyone else's, personal reading preferences it's hard to fault them for their decision. even if you really, really, really want that big reference book available digitally so you don't have to lug the thing around while you're on a research trip, it's not reasonable to expect the publisher to make put in the time and effort to format a digital version just so it's easier on you. likewise, you can't complain that a digital book hasn't been printed up just because the internet access at the favorite tree you like to read under is spotty. as much as i enjoy and appreciate the benefits of digital publication, my book buying habits aren't going away any time soon because, until all these often obscure works that i'm doing research on are available electronically, i'm going to have to keep referring back to dead tree versions of them. here are this week's links to what i've had published recently... kleefeld on comics: on business: success in 2016 http://ift.tt/2gbn7u0 kleefeld on comics: on history: environmental origins? http://ift.tt/2gf6pgq kleefeld on comics: weekly comics links http://ift.tt/2g6vej3 freaksugar: webcomics wednesday: communication channels http://ift.tt/2gjwvkm kleefeld on comics: on -isms: jurying philosophy http://ift.tt/2gyldq8 kleefeld on comics: on strips: catharsis http://ift.tt/2gpqp33 one of the "problems" with newspaper comics is a lack of immediacy. that is, because of the lead time needed to get the comics from a cartoonist to seeing print in a newspaper, there's at least a minimum of two weeks before a cartoonist can comment on current events. (although, frankly, with today's technology, i strongly suspect that could be cut down considerably if any cartoonist or syndicate really was interested in doing so.) but that's why so many strips avoid the issues altogether and fall back on relatively innocuous and staid gags. interestingly, though, with president-elect trump's almost daily bouts of absurdities, he's quickly becoming a figure cartoonists can rely on for ongoing parody. it seems like he's been nominating another racist for yet another cabinet post every other day, and making absurd, unproveable claims just as frequently. since i, like so many others, are still processing how so many racist fucktards are willing to send this country to hell for the increasingly futile-looking hope of "draining the swamp", it's refreshing to be able to see some catharsis through newspaper strips, a venue not normally associated with processing the daily news. to that end, i've collected a minor sampling of this week's newspaper strips commenting on some of this political bullshit. i may have modified the caption on family circus to hurry my own catharsis along. older posts home advertisement ads by project wonderful! your ad here, right now: $0 advertisement amazon.com widgets blog archive ▼  2016 (290) ▼  december (8) on strips: hints at the landscape to come? on -isms: international awareness weekly comics links on history: web wings? on business: format wars weekly recap on strips: catharsis on -isms: jurying philosophy ►  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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on -isms: jurying - 0.07% (2)
weekly comics links - 0.07% (2)
october (26) ►  - 0.07% (2)
september (26) ►  - 0.07% (2)
putting more money - 0.07% (2)
december (30) ►  - 0.07% (2)

Here you can find chart of all your popular one, two and three word phrases. Google and others search engines means your page is about words you use frequently.

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