Webcomics Archives - Robot 6 @ Comic Book Resources
Intended to be shared on Facebook and Twitter, the seven comic strips depict Americans living vastly different lives — from the fitness nut to the adrenalin junkie to the hipster — who have one thing in common: They have health insurance. Each four-panel strip has at its center a badge encouraging readers to joint that person at HeathCare.gov.
Being a webcomics creator has its challenges, but here’s one you don’t see too often: finding out the title of your long-running strip is being used by someone who tweeting bomb threats to airlines. That’s the surreal situation Mark Mekkes found himself in on Saturday.
Mekkes is the creator of the long-running Zortic, which he describes as “a weekly science fiction, comedy adventure comic with a lot of parody and popular references.” The comic has been running for 14 years, but on Saturday, Mekkes noticed a spike in traffic and social media mentions. He didn’t think too much of it until he got a phone call from his brother-in-law, who had seen “Zortic” mentioned on the national news. The reason: Somebody using the Twitter handle “King Zortic” had tweeted bomb threats to Delta and Southwest airlines, resulting in two planes being escorted by fighter jets to Hartsfield-Jackson International Airport in Atlanta and then scoured by bomb squads. The threats were ultimately determined to be a hoax.
With the Internet, a variety of comics are available at your fingertips — the hard part is finding the best ones for you. And now Jesse Lucas is curating alternative comics like that for his new venture with Medium, Darling Sleeper.
Described as a “publication featuring comics, art and other independent thought,” Darling Sleeper is just less than a month old and has already posted some fantastic comics by Lucas and others, such as the one excerpted above, Cash & Bubs. In addition to standalone comics such as that, Darling Sleeper is also serializing comics such as The Veil: Lifted by J Johnny and Lucas’ Mercury in Retrograde.
This is Medium’s second foray into comics following the Matt Bors-edited The Nib, which runs political comic strips on a daily basis.
Dark Horse has announced a hardcover collection of Bowery Boys, the webcomic by writer Corey Levine and artists Ian Bertram (Detective Comics, Batman Eternal) and Brent McKee (Outlaw Territory).
Debuting in 2013, the coming-of-age adventure is set amid the political corruption, gangs and xenophobia of antebellum New York City, where immigrant Nikolaus McGovern rallies a crew of street youths after his father is framed for murder.
Collecting the first five seasons of the webcomic, Bowery Boys: Our Fathers will be release in August.
If the title doesn’t give away what the comic is about, then the latest strip (above) certainly does: It’s three panels, typically starring a Batman who’s not quite as grim and serious as his DC Comics counterpart. For instance, one installment finds the Dark Knight practicing intimidation lines before heading out, while in another he enjoys his own rendition of the classic Batman TV theme.
It’s a pretty funny comic that sometimes hits at hard truths — like, say, the apparent low intelligence of Metropolis’ populace. Maybe it’s something in the water.
What’s this affection we have for personifications of popular holidays? Santa can’t just be this weird elf who lives in the North Pole and breaks all laws of physics to shimmy down a chimney that’s too small for him. No, that guy is literally Christmas. If little children were to, say, stop believing in him, he’d up and disappear like Tinkerbell in Peter Pan. If Christmas doesn’t exist, Santa doesn’t exist. Hence, he attains this almost god-like status, presiding over the other holidays like Zeus on Mount Olympus.
The idea has been explored in more popular venues, such as Jack Skellington as the long-limbed King of Halloween in The Nightmare Before Christmas and Santa Claus as a jovial, sword-wielding Cossack in The Rise of the Guardians. (No, not the one with the owls.) If anything, drawing on familiar properties allows creators to fancifully tweak characters that have long been in the public domain. A surly Easter Bunny played by Hugh Jackman? Who would’ve heard of such a thing? Webcomics are represented as well. The most notorious is probably the Christmas adventures that Bun-Bun would have in the pages of Sluggy Freelance.
In Holiday Wars, by Scott King, Michael Odom, Guiseppe Pica and Aturo Said (Volume 1), the personification of holidays is front and center. So what fuels this horrible holiday-on-holiday violence? Basically the core tenets of most stories of this genre: that Santa is beloved, Christmas is the most popular holiday by far, and the Easter Bunny is a total jerk. (It’s got to be those creepy buckteeth.) After the old gods left Earth, the popular holidays band together to keep order and to ward off malevolent spirits, thereby protecting humanity.
The old-school black-and-white sketches are a very good fit for Abby Howard’s macabre sense of humor. This becomes quite apparent in Chapter 4 of The Last Halloween. Characters and horror creatures in previous chapters have generally been more — how do I say it? — adorable? The eight-legged creature that stalks Mona at the opening of the comic looks like something designed by the Jim Henson Creature Shop for the Storytellers series. Visually distinct, but not the stuff of nightmares necessarily.
The monsters of Chapter 4 are more creepily organic like hairless, feral humans. They actually remind me of the creature from XTro, a little-known horror classic that most people would write off as camp until that backward-jointed creature shambles onto the screen.
Kate Beaton remains one of the most recognizable names in webcomics. Hark! A Vagrant began as humorous doodles posted to LiveJournal but has since become one of the most-loved webcomics in the world. It’s been nominated for several awards, winning the Harvey twice for Best Online Comic. In 2011, Time named Beaton’s collection (published by Drawn & Quarterly) one of the Top 10 fiction books of the year.
It’s not difficult to see why Beaton’s comics are popular: Her style is unmistakable; it’s loose and deceptively simple, as if she just had a funny notion only seconds ago, and yet manages to be successfully comedic with its goofiness, bug-eyed faces and rubbery body language. Her love of history helps, too (she has a bachelor’s degree in history and anthropology from Mount Allison University). There’s a lot of life that goes into both the caricatures of royal dead dudes and the attention to detail on the period costumes. And then Beaton has them act and talk like a bunch of teens. It’s a magical formula that combines goofiness with an air of respectability… like, say, a classy Victorian lady smoking a cigarette and talking like an urban tough guy. It’s the sort of thing that gets her invited to participate in a diverse array of projects, from Marvel’s non-canon superhero anthology Strange Tales to the notoriously sophisticated (and sometimes inscrutable) pages of The New Yorker.
A long time ago — say, 1999 — in a galaxy not so far away, the history of interlocking bricks was altered forever when, for the first time, LEGO licensed an intellectual property. X-Wings, TIE Fighter, and AT-ATs had been designed and assembled by hobbyists for years, but now you could put together a design that was blessed by both LEGO Corporation and Lucasfilm! Complete with actual minifigs! The agreement managed to coincide with the rise of several nerdier properties, and the once unthinkable was now possible. What a glorious future we live in to have both a LEGO Gandalf and a LEGO Rocket Raccoon?
But this world isn’t always met with open arms. As Professor Cane on Community once lamented, “What happened with LEGOs? They used to be simple.” Some fear that the focus on licensed merchandise — and the specialty parts that it takes to make, say, the Batwing — places limits on a child’s creativity. The diversity of available parts seem to be a godsend for Internet content creators, however. How It Should Have Ended’s parody of The LEGO Movie looks like it could have come straight off the screen. Meanwhile, some enterprising souls put together a LEGO version of Star Wars: The Force Awakens just one day after the official trailer debuted.
“It feels like the right time to do it. The characters have outgrown the setting, the premise and the format,” he explains on his blog. “I’ve tinkered with the comic for three cases, with mixed results — a whole story of giant pages, then lots of little strips, but I’ve felt like I was in a holding pattern for the last couple of years. I don’t want to stop telling stories with these characters, but I’m not sure I can do much more with them without returning to the drawing board. There’s definitely more to come from Charlotte, Shauna and the rest of them, but you might not see much of them for a little while.”
Emily Carroll, who chilled us with such haunting webcomics as “His Face All Red,” “Margot’s Room,” “Out of Skin” and “The Hole the Fox Did Make,” is back with some Halloween thrills with “When the Darkness Presses.” She explains it as a comic “about being haunted,” so we’ll just leave it at that.
Ahead of New York Comic Con, Action Lab Entertainment has announced it will publish Katie Cook’s popular webcomic Gronk: A Monster’s Story.
Debuting in 2010, Gronk centers on a young monster who turns her back on monster-kind (primarily because she’s too adorable to scare anyone) and moves in with her human friend Dale and her pets Kitty and Harli.
A Harvey Award nominee, Cook is widely known for her work on licensed properties like Star Wars, The Lord of the Rings and IDW Publishing’s popular My Little Pony: Friendship Is Magic comic series.
“I’ve been approached before about taking my self-published books to another publishing ‘level,'” Cook said in a statement, “but it’s ALE that, in the end, I trust to do it. It’s a team that is made up of some of the nicest people I’ve gotten to know in comics and they really are trying to put together something special. I am thrilled to put Gronk (and myself) in their lineup.”
Cook will exhibit as NYCC in Artists Alley (table C-1o), and will sign a limited-edition issue of Gronk Friday and Sunday at the Action Lab Entertainment booth (#3044).
Premiering in August, King Maul centers on a savage warrior (named King Maul, of course) who burst out of a portal in space with ominous narrative boxes dubbing him a conqueror, destroyer and creator of an empire. His first battle, with an unnamed green-skinned alien, is less Conan the Barbarian and more WWE Raw — in a good way. In early episodes, fighting is briefly delayed when Maul is offered to smoke a mysterious substance, only to be renewed with his newly established battle cry of “Baaaaaaaaaaallllllssss.”
“Thank you all for coming this far with me!” the cartoonist wrote on her website. “It’s been amazing journey. You’ve all been truly spectacular. I couldn’t have asked for better readers.”
Long, long ago there was a little movie called Star Wars, and it and its two sequels became the highest-grossing movies of all time. Yet, there was a time the interstellar saga wasn’t quite as mighty a pop culture juggernaut as it is today. Some time between President Reagan’s “Star Wars” SDI initiative and Lucas’ CG retooling of his cinematic babies, Star Wars existed primarily in the books, comics and video games that made up the Expanded Universe. Star Wars was a nerdier pursuit, when the true fans followed the adventures of Mara Jade and Admiral Thrawn.
Since the prequel trilogy, Star Wars has barreled back into the mainstream like a hungry Rancor. Merchandise depicting Darth Vader, Yoda and newcomers named Asajj Ventress and Savage Oppress peek from the shelves of every Toys R Us, Walmart and FYE.
If there’s something Star Wars fans love to do, however, it’s laugh at themselves: For example, Jeffrey Brown has released three books that play around with the idea of Darth Vader as a doting father. Darths & Droids, meanwhile, has turned screenshots of the Star Wars saga into a long role-playing game.