The digital comics juggernaut comiXology is having quite a week: Mark Waid put his Insufferable, which is also hosted on his own Thrillbent site, onto the service, and the company signed a deal with Andrews McMeel for digital versions of Doonesbury, Dilbert and Big Nate. And today comiXology debuted something that was initially announced in October: ComiXology Submit, which allows creators to submit their own creator-owned comics to the platform. Here’s the deal, fresh from the press release:
With a cheerful crowd, a pleasant venue, and plenty of exciting creators and books, this year’s MoCCA seems to have been deemed a success. Both Christopher Mautner and I were there, and we decided that rather than write two separate blog posts, we would have a dialogue in which we contrast our impressions of the show. If you’re looking for a more comprehensive report on the show, check out the MoCCA report by our CBR colleague Alex Dueben as well as Tim Callahan’s writeup of his visit.
Chris: I’ll start: Was this your first time at a small-press comics show? I know you’ve gone to NYCC and several manga/anime related shows before, but I didn’t know if you’d been to something like MoCCA before? What was your general impression?
Brigid: This was my first time at MoCCA and my first time at a small-press comicsshow like this, although I have been to art shows with a similar feel.
First of all, I loved the locale. I actually used to live a few blocks away, so it was a bit of a homecoming for me to walk through Madison Square Park in the sunshine. The building itself had a nice, open, loft-like feel with plenty of rough edges—it felt artsy.
The show itself seemed like a giant, really good, Artists Alley. (I kept getting this feeling of deja vu because there were so many people I had just seen at C2E2.) The show definitely felt crowded, but never overwhelming. I made a pretty good circuit of the floor, but I felt like I missed as much as I saw, and I could easily have spent twice as much time there as I did.