Over the last year or so, there’s been an increasing amount of talk in creator circles about the low page rates being given out by independent publishers for some of the smaller books. The last two or three years, publishers have been putting out a lot more titles than they used to and a lot […]
We’ve quoted Blerdgurl (formerly Derpygurl) before on promoting at cons, and she has a new post out called 10 Ways to Promote Your Project for Free With Bloggers, Journalists and Podcasters with the subtext of not being annoying. It’s a pretty clear step by step examination of how to get known in the social media […]
Short answer: no. Faith Erin Hicks has a far more informative and entertaining longer version, which includes anecdotes and concrete evidence of how she broke in while living in relatively remote, Halifax, NS. A few years ago I was at a dinner with a bunch of people I knew casually. They all worked in the […]
Here’s a comic that sums up all the money stuff we’ve been talking about for the last few weeks. The unnamed cartoonist in Alex Fellows’ ICE CREAM has just purchased a fancy refrigerator he can’t really afford. I think most of us will empathize with the financial soul searching, credit card juggling and marital discord […]
This is an old link, but Robort Boyd has posted a slideshow he delivered on Comixploitation! that rounds up some of the more egregious examples of horrible artistic rip-offs in comics over the years, from Siegel and Shuster and Jack Kirby on to modern day matters: So what’s it like for a comics freelancer today? […]
Not only are these tiny Yotsuba&! figures from Kotobukiya adorable as the dickens, they got me thinking about the place of merchandising in a creator’s business plan.
After yesterday’s gloom parade over the economics of comics, and the small number of people who seem to be making a good wage from making them, writer Kieron Gillen delivered another set of metrics that was far more cheerful. He wrote it in response to a website’s concern trolling over sales of The Wicked + […]
Being in comics is great, it’s a golden era, new readers, yadda yadda. But this golden era is mostly the product of people slaving away at drawing boards and computers for long hours and a meagre living. And now here are some numbers to prove it. David Harper, formerly of Multiversity, has just launched […]
With all the comic cons and comic arts festivals going on, creators and exhibitors are becoming increasingly picky about what shows they go to. A lot of it is scheduling, but more and more what makes a good show is whether it’s profitable or not. You may recall the the Devastator and The Beat did a survey to get an idea of how and how much money people are making at shows. And of course there have been various arguments over whether cosplay, celebrities or hot dogs on a stick have more effect on poor sales at shows.
On the questionably damp morning of the last day of ECCC ’15, I caught up with Image creator Nate Simpson in a small breakfast place called The Crumpet Shop in Downtown Seattle’s world famous Pike Place market to talk about the second issue of Nonplayer, close enough to taste. The conversation spans his interest in narrative art, AI, and a discussion on creating comics in an rapidly gestating environment. Simpson is known for his work on Nonplayer, the first issue of which came out a few years ago. He lives in Seattle with his wife and young child and while he’s not working on game art, he wakes up at 3AM daily to turn out comics pages.