Creating a comic strip day after day, for week after week, can often become a tiring thing. Even when it is done for a living, the urge to take a break can become tempting to even the most devoted individuals. Some webcomics, when such a time comes, simply take a break for an extended period of time.

Others, however, may choose a variety of filler material, from simply sketches to elaborate and random gimmicks.

What is quite common, however, is the tradition of guest strips.

A number of comics recently have had a few weeks of such art. Some fans are distressed when this happens – especially for story-intensive comics, missing out on plot and continuity for random shinanigans – sometimes ones not even true to the characters – can be less than pleasing.

For myself, I generally view any week of guest strips with both excitement and trepidation. I like seeing a different take given on characters I know and love – and often I will be a fan of the guest artist as well, making the entire experience a pleasurable medley of two great tastes.

However… some guest strips are less than wisely chosen. Some folks may really get the characters right… but others may mangle them beyond all recognition. I know that when I stumble upon a guest week in many an archive, the strips therein seem to serve only one purpose – filler. Not the good filler, the kind that genuinely keeps the reader entertained during a strip’s absence. No, it is merely there to give some evidence of activity, and nothing more.

Which is why I have been very pleased by the quality of guest strips I’ve seen across my favorite webcomics this year. Sam and Fuzzy had some fantastic ones early on, Scary Go Round recently had some nice ones, and there have been countless others that have impressed me.

PvP is currently running a series of guest strips, and that is really what got my attention. Every single strip was picture perfect, giving a new and hilarious take on the cast. The PvP Crisis in particular floored me.

I suppose that as an artist gains more and more of a following, and connections to fellow artists and comic strip makers, it means that the guest strip submissions will inevitably be well crafted – and in enough quantity for the best to be chosen. Whatever the reason, it is a trend I am a fan of, and I hope will be a sign of things to come.

Lots of elements go into whether a webcomic is good or not – and not all of them pertain to the comic itself. Presentation and accessibility are also important elements – one reason why a decent comic with an excellent webcomic design can do as well, if not better, than an excellent webcomic with a poor design.

The insightful Wednesday White gave an excellent description of the importance of the “fold” in the webcomic’s medium. It is an essay I wholeheartedly agree with – make it easy for me to read your comic! Especially if I like the comic, I want reading the latest strips or browsing the archives to be a smooth experience – not an exercise in frustration.

I wanted to talk about an even more specific element – the navigation buttons. You know the ones I speak of – the four big buttons that every webcomic has: First, Previous, Next, Current. Sometimes different names are used, sometimes the list changes – but those four are really the key ones.

I’ve seen them all over the place in different comics. Above the comic, beneath it, on the left, on the right – on all four locations at once! I imagine a lot of comic artists don’t even think about their placement – as long as the links are on the page somewhere, a reader can use them, right?

I disagree.

Paul Gadzikowski does it right. He keeps the buttons just below the comic – the logical place for someone moving through the archives to find them, of course. Most webcomics put them there.

However, he also makes sure, whenever he has an oversized comic, to include the browsing buttons at the top as well.

This means that the archive isn’t just easy to browse for someone perusing it normally – but also for someone reading it from back to front.

Why would someone do so, you may ask? Well, it comes up plenty often for myself. Maybe I’ll miss one or two strips (a not uncommon occurence over a weekend.) Maybe I won’t notice when they return from hiatus. Maybe I’m trying to refresh myself on a minor event in the strip that occured a week ago.

Quickly clicking the ‘previous’ button until I find the last comic I read – or the comic I am seeking out – is the easy solution during these occurences. Unfortunately, when a comic strip is large enough to force me to scroll down the page several times to reach the browsing links, it can be a bit tedious to move backwards through the archives.

Especially if I am also trying to avoid reading the strip in case of spoiling the story for myself.

And when I’ve found the point I want, and am ready to read through in normal fashion? If I should try to hit my built-in browser’s back button to easily reverse my order, I find myself at the bottom of the page, in need of scrolling back up in order to reach the top.

With A:KoTaS, I can easily move back and forth. It didn’t take much on his behalf – a browsing panel at the bottom of every strip, and an extra one at the top on the overly large strips. What Happens Next is another strip that does the same, though in that case all the strips are large enough to merit the dual navigation links. Plenty of others do the same.

But for every comic I found that has this nice, easy little addition, there are half a dozen that don’t. Sure, there are plenty of comics that don’t need it – the entire comic is small enough to sit above the fold, leaving the navigation buttons in easy view regardless.

But there are plenty of others that could make good use of it, and don’t. I don’t believe a single comic on Keenspot has this little convenience, and more than enough of them could use it. Sluggy doesn’t have it. The list could go on.

Does something like this make or break a comic? No, probably not.

But it is just one example of how the design of a webcomic matters. There are many little elements that can make browsing the comic more or less convenient for the reader. Nothing says you have to make reading your comic an easy experience – but the less accessible you make the comic, the less readers you’re going to have.

The Great Outdoor Fight has come and gone. As I suspected, my interest in Achewood faded with it, and I’ve closed the book on that particular tale.

For all that Achewood, as a whole, doesn’t really work for me – I have to give credit to Onstad for bringing at least one stylistic element to my attention – the use of different text for different characters.

I’d seen it done before, of course. But this was the first time that I noticed it so keenly, and it worked so well.

A writer has control of the words his characters speaks, and the language that they use. He can, to a large extent, help to form the speech the reader ‘hears’ when they read the strip – but that control isn’t absolute. Everyone might have a different voice they’ve invented for each character, and it can vary wildly from one reader to the next.

And I’ve seen writers use little tricks to distinguish the speech from different characters – different colorations, different fonts. Cat Legend is a good example – almost every character has their own, unique, speech. Which sometimes works very well – it can make it easy to follow dialogue, and sometimes the chosen fonts and colors are very appropriate indeed.

And for a strip like that, it works especially well – the main characters are faeries and elves and similar sorts. It feels fine to have that sort of gimmick. Unfortunately, it does simply end up as a gimmick, since it applies to every character. It becomes part of the setting, rather than something special – which is fine. It just means that it doesn’t truly help the author establish the character’s voice any more than normal text would.

Achewood, though… Achewood was different. Roast Beef speaks softly. All the other characters that I saw spoke the same, and, as usual, my mind found a voice for them. But Roast Beef, regardless of how I heard him, I knew was speaking differently.

The contrast is palpable when talking with others – especially Ray. Roast Beef’s text is smaller. That’s it, nothing more. It is a simple change – but everytime he speaks, you can feel it. He is a soft-spoken man. Yet his own soft speech makes the other language – even though it is the norm – seem too loud, too bold, too heavy.

I was impressed. That small alteration changed every scene he was in, and very powerfully determined the way I saw – and heard – his character.

I began paying a lot more attention to comics, and noticed more than a few used this device without me having noticed it before. Home on the Strange broke it out, to easily show off the sound of constant nattering and babbling. I’ve seen a dozen more that slipped by mind. It’s a nice device, easy to use, and gives the writer a bit more control over the character.

But in the end, Achewood really did it best. I go back now and glance through the archives – and, as usual, I find it difficult to get engaged. But I take another jaunt through the Great Outdoor Fight, and the scenes between Roast Beef and Ray resonate strongly – in no small part thanks to the contrast between them, one that is powerfully aided by the voice of Roast Beef.

It isn’t it alone – the language he uses is very well chosen, and often somewhat poetic, and it works very well.

It speaks very well of Achewood that even with limited exposure, for someone who wasn’t drawn in being the Great Outdoor Fight, it has shown itself so favorably, and has left its mark on me.

I might not be staying around in Achewood anymore, but kudos to Chris Onstad nonetheless!

It may seem like an ironic time to discuss this element of the webcomic world, but in many ways the recent events have only underscored my beliefs regarding this subject.

Community

All areas of media and entertainment attract their share of fans, admirers, and commentators, both professional and amateur. Book review clubs form in libraries. Conventions are held the world over. Students analyze and discuss everything from poetry to graphic novels.

Many of those discussions find their place on the internet as well, in forums, websites, and the like.

So what is it about the webcomic community that stands out?

Personally, I’d say it is the interaction between creators and readers, as compared to all those other fields.

There are many amateur comics on the web. Many of those, nonetheless, find themselves with a following and a degree of influence. Similarly, there are numerous webcomic review blogs that enter the field without credentials or connections – just ordinary folks having their say on the topics.

Many of the webcomics that rise to ‘fame’ do not have authors that are rolling in piles of dough. They have respect and make a living doing what they like – that simple goal is the aspiration of most of those in the field.

The people making these comics often have their own forums and emails where they will chat with their readers. Some of them will include nods to others in the community, or to their own fans. Many of those forum boards develop their own nature, and the fans of one comic or another might even get a nickname for being part of that following.

And yet, despite the connection – despite the fact that many of those authors are ordinary Joes (and Janes!) – a lot of them do have significant ‘power’, at least in the form of their hordes of fans.

There is a degree of interactivity among all these areas, in the weight the readership has on the creators, the creators have with the readership, and the various creators have between each other. There is no test or trial to move from one area to another, and anyone can publish their own webcomic, regardless of quality.

And yes, in some ways that means there is a lot of amateur elements out there. And favoritism, and, of course, drama.

But in most such communities built up around elements of entertainment, the community is formed entirely of the fans. Movie stars don’t hang out with their adoring public, they wave to them from afar.

In webcomics, the creators and the fans not only interact, but in some places, the line between the two can blur entirely. That’s a valuable thing. That’s pretty damn unique.

They visit each others sites. They give advice, and sometimes band together to face the forces of evil. Some stay independant, others work together. They talk with their readership, and sometimes rightfully tell the people ‘advising’ them to shut the hell up – and sometimes they see inspired comments and take them to heart, and one reader’s words might result in a flourishing change in the comic.

And of course, the community has drama. With the ability to toss out so many opinions, and have so much response between parties almost immediately, with so many outside folks weighing in on the subject, of course drama rears its ugly head. But it passes as quickly as it springs up, most of the time, and quickly enough becomes just a matter of history.

Look at the latest drama, regarding the “History of Webcomics.” Most of the hubbub has died down. Aside from the odd late-arriving anonymous poster over at T’s blog, the discussion there has turned to matters of looove. The thread over at Websnark has degenerated into webcartoonist slashfic. The hurricane has passed, and everyone is back to their normal depraved behavior.

T has posted his offer to take final comments and advice on his work. It will still be produced, and maybe some of the issues people have with it will be removed. So, a day of drama, and the result being something that may actually be… handy.

Now, that isn’t to say the entire thing couldn’t have be handled better – how much better would things have been without the insults and flames and rhetoric, and just the rational questions and concerns? That would have been just fine and dandy with me.

But in the end, the fact that even though we might be stuck with one, we still have access to the other, is inspiring. I like the fact that there are people in the community that can look at the situation and simply be reasonable about it. I can listen to them, and I can ignore the others.

There are a lot of things that make webcomics unique. I’m sure plenty of others could come up with answers beyond the five I’ve talked about, as well as go more in depth into these topics.

Each of these areas has the potential both for good and for bad. The ability to experiment with infinite canvas yields both impressive successes and awe-inspiring crap. The ability to self publish yields edgy, wicked humor as well as sketchy, illegible typos. The ability to communicate at the speed of the interweb yields both constructive discussion and degenerative rambling.

But I’ll take the good with the bad. Given how webcomics are doing these days compared to when they started, and the pace they are going at… I’ve got this funny feeling that other folks may feel the same.

Alrighty, time to get back to the discussion of webcomics themselves, and continue talking about some of the things that webcomics have to offer, both to their creators and the adoring public.

Freedom

Webcomic artists, by and large, do not have editors.

They may solicit advice from their friends or family, maybe have them review a strip before it goes live. They might have a creative partner, and be part of a writer/artist team that checks things over together before posting them.

But they rarely have someone whose job is it to stand there and tell them: “That strip is crap. Throw it out.”

They don’t have someone to correct typos and other basic mistakes.

And they don’t have someone there to tell them what is, and is not, proper material for discussing in one’s comic.

There are two real results of this.

One is that the quality of strips isn’t always consistent. Typos and mistakes can be tossed out there. They can, of course, be fixed after the fact, though not all artists bother doing so. But there isn’t always a quality control, even on the best of strips.

But nothing is funny or perfect 100% of the time, and if the comics we find in our newspaper are an example of what editors think is quality humor, I’m content to take webcomics instead.

Which brings us to the other big impact of the self-publishing nature of webcomics – freedom of material.

Webcomics can be made about anything. With some strips, you might have a warning right up front about where the comic will go. Others might start off light, and abruptly descend into death and tragedy and premarital hanky panky, to the consternation of those who were expecting a ‘G’ rated comic.

But in the end, those comics don’t have ratings. They are the product of the author, and they alone determine the direction the comics go. And with the ability to not have to satisfy constrained limitations, out of fear of offending the public… comes unexpected quality.

There are more than a few webcomics that sport a wicked, dark humor than many people appreciate. I like having access to that. There are webcomics that are just used to promote people’s personal agenda, or spout off their latest barb at their foes. I like that less – but that doesn’t mean it isn’t there, or isn’t the right of the artist to do so.

Because by and large, in the end, the comics being produced on the web? (And here is an important statement, so don’t miss it.)

They are being produced for the artists themselves.

Oh, this isn’t to say that there aren’t artists out there for the money, or that they don’t want to have people actually enjoy and discuss their comic. But while there may be a number of comics that make money now, they didn’t start out like that.

Most webcomics started out as a hobby. As a chance – an opportunity – for the artists to get their work out. Tell their story, do their thing. 99% of the comics on the web remain as such, and even as there are more every year that turn a profit, they are turning a profit for the creators, who are finally getting to do what they love, and make a living off of it. Without limitations, without having to worry about pushing the line. Some comics practically live off of that sort of independance.

Comic books and newspaper strips often change property. DC produces Batman – and while there might be a team working on it for a while, it is never theirs.

Webcomics belong to their creators. They might be forced to change hosting services because of content, but they can still find a home. They might have to deal with lawsuits because of what they say, but they can often weather it. They might have to face drama for the things they say or do, but that is just part of life on the internet.

The ability to own their own strip, and have it take on the life that they alone choose to give it? Priceless.

Format

Yes, it has to be mentioned – the wonderful world of infinite canvas.

The power of the internet is the power of a medium without the standard limitations of pen and paper.

Many popular strips, of course, follow a standard model – several panels in a row. Clean, consistent art.

Others may follow more of a comic book format, producing full pages at a time where the action may require large or small panels as the scene determines.

And others choose to make use of the wonderful things that can only be done with webcomics.

So. Infinite Canvas is obviously a good thing. You can do all the things you can do without it, and you can do a bunch of other nifty stuff too – though that stuff may very well not be easily publishable.

In many ways, infinite canvas is a double-edged sword. The web allows for some amazing creations, but at the same time, has the potential for shoddy browsing interfaces. For unnecessary flash and dazzle. Some webcomic layouts are inspired – others, just confusing.

What is important, though, is that it is a new medium. It is something that gives access to devices unavailable outside the digital world.

Whether it is used for good or for evil, for artistic experimentation or annoying flashing lights, its presence is significant, and the subject of a sizable amount of discussion.

Tune in tomorrow for the stunning conclusion to this epic journey through the fascinating world of webcomics!

…

Alright, crazy mode off. I’ve got one more element that I think is the most important yet, and I’ll be wrapping things up tomorrow with my thoughts on that.

What do webcomics have to offer that makes them unique?

A lot of others have talked about this topic, and given their own answers. There are those who have written entire books that no doubt answer that question. It is something almost every webcomic review likely at least thinks about – what makes this field special? I know these comics are cool, and innovative, and I like them… but why?

Well, I can’t promise I’ll be able to give the perfect reply to all that – but I’ve thought about it myself, and there are definitely reasons that come to mind.

Immediacy

Novels are written seasons to years to decades in advance of when they may actually see the light of day. Comic books are put together months before they are actually released. Even daily comic strips in the paper are often stockpiled weeks in advance.

These delays give time for them to be edited, and ensure they are on hand to meet deadlines, and to go through the process of being published. They aren’t just tradition – in many ways, they are a necessary part of the procedure, and just one of the limitations enforced by working in that medium

On the internet, the deadlines that exist are self-enforced. The process of creating a webcomic strip may be a day’s work, or it may be something briefer. But the process of publishing it often involves no more than pushing several buttons.

That is not to say it is an easy and flawless procedure, as many webcomic authors could no doubt attest after their fair share of technical difficulty.

But it is a set-up that allows webcomics to be updated on a daily basis, often with strips drawn that very day.

This gives the authors a powerful amount of ability to respond to the present. To respond to other webcomics that might give them a cameo, and tip their hat with their own such nod the very next day. Or to give commentary on current events even as they occur. Or to respond to any other concerns that they choose – to change a planned comic for something new, something immediate.

Even those comics with month-long buffers can do this. They aren’t bound to a schedule – they can adjust as they see fit, and adapt, and change.

In the middle of a story, and it just isn’t working out? They can pull the plug and drop it entirely. Or make the alterations that the readership seems to be desiring. And yes, they can even stick to their guns and do it their own way – but they don’t have to.

When a comic book is published, its done. Complete. If the story has some horrible flaw in the beginning, its likely that flaw will stick around until the end.

Webcomics are constantly in motion. It is, in many ways, a power granted by the medium – the internet. But it puts them in an entirely different world than published comics, which have a time-delay with even the simplest works.

This is one of the biggest reasons that the webcomic world is, in many ways, a living organism – like everything else on the internet, time moves quickly. It is one of the reasons why it is so easy to partake in webcomics discussion – there is so much information constantly being presented, and all of it is based in the now.

Accessibility

This is another area I’ve discussed before – the accessibility of webcomics.

First off – by and large, webcomics are free of charge. Bam! End of story – you want to take a look, feel free.

Obviously this gives them a larger audience – namely, the audience of people who will gladly enjoy free entertainment. On the internet, thats a lot of folks.

But it also makes it so much easier to share webcomics.

I have a roommate who is a math teacher. I see a clever math joke in a strip. In under a minute, I can send him a link.

He doesn’t have to be an avid webcomic reader. He doesn’t have to have time to consume the entire archives of a comic. He doesn’t need anything more than a few minutes online checking his mail, and bam! Free humor.

Now suppose that it was a comic strip in the newspaper I saw. Well, easy enough – I could clip it out and show it to him.

But what about friends who aren’t nearby? Well, I suppose I could… clip it out and… mail it to them?

Seems like such a bulky process, with the internet around.

What about a good book? I read a book I like, I can recommend it to friends, and hope they go out and hunt it down. Maybe shell out some cash if they can’t find it in the local library. I can lend it to those I see, though only one at a time.

If I see a good webcomic? Bam! Instant linkage.

This is especially handy for webcomics criticism. If I want to review a book, or movie, or television show, most of what I say will be lost on anyone who hasn’t seen it, unless I spend an inordinate amount of time setting up the background.

Even if they have seen it, they might not remember details closely enough to really get what I’m talking about.

With webcomics, I can link straight to what I am talking about – and if someone hasn’t already read it? They can check it out directly – even if only a few strips to catch them up on the basics, or to refresh it in their mind – and then go see what I’m saying. And if I’m saying something really complicated, discussing story arcs from year one of this comic, and year four of that comic, and so forth? I can link straight to each little obscure arc without difficulty.

Whereas if I start reviewing the full works of Robert Jordan, it might take readers a good bit of digging around to find my references.

Free stuff, immediately available. That can make a world of difference – both in bringing in new readers, and in being able to review the field.

Even outside of anything else – it makes webcomics convenient. It makes them easy. They can be browsed by someone with only a few minutes of time, or someone with hours to burn.

And for a medium that is, at its heart, about entertainment – thats handy.

-To Be Continued-

A good bit more to come, later tonight or tomorrow…