Tag Archives: Webcomics

Webcomics Weekly: Versus

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Versus. The strip is created by Robert White, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Robert White: Versus takes genre types or types of people and pits them against each other in humorous, single panel gag strip ‘battles’.

GP: How often do you update?

RW: Five times a week, Monday to Friday.

GP: How long have you been producing the strip?

RW: Must be about six years now

GP: Where did the idea for the strip come from?

RW: It was back when zombies started becoming popular again: lots of movies, comics and games were doing ‘_________ versus Zombies’ type of stuff and I came up with my own: Pirates Versus Zombies. I wasn’t sure what to do with the idea at first but eventually decided to make up a poster in the style of the sort you’d see for boxing matches. It was whilst making that, that I came up with other ‘versus’ battles and decided to make it into a series. The style of the strips has obviously changed somewhat over the years, but the core idea of taking different genre types and putting them together in an off the wall battle was born from that initial ‘Pirates Versus Zombies’ poster.

Why it’s awesome: This site is a fantastic quick-hit laugh. Check it out each morning while you’re making your coffee, or you have a spare minute or three to read through the archives – whether that’s just clicking randomly on different days (which is what I did for the two sample strips below), or by methodically going through one at a time.

There’s absolutely no reason for you not to be reading this page.

Below you’ll find two strips that were originally posted to the site, the first from November 24th, 2014…fanboysvssportsfans.jpg

….and the second from August 1st of 2016

cannibalsvsdrugaddicts.jpg


If you’d like to have your webcomic featured here, then drop us an email.

Fresh Romance Launches as a Webcomic!

fresh-romanceEmet Comics LOVE webcomics! The company has launched a new website with the goal of bringing you new, exciting, and diverse webcomic content. In January 2016 they launched their first webcomic, Finding Molly: An Adventure in Catsitting. You can read their latest webcomic, Zanaon their website or on Webtoons! At the end of November, the publisher announced it had acquired Rosy Press and would now be publishing Fresh Romance.

So, are there plans for a Fresh Romance webcomic?

Fresh Romance will be an ongoing webcomic, meaning they plan to keep it going FOREVER! Their vision for Fresh Romance is that it will be a mix of original content that they create and redistributed content from beloved creators around the world. They want the Fresh Romance tumblr to showcase the best of romance comics. And the aim is to offer inclusive and diverse stories that delight new and existing “Fresh Romance” readers!

fresh-romanceWhat will happen to the single issues of Fresh Romance?

The publisher is moving away from single issues to bring content you love both on the web and in printed volumes. This way, fans can read free webcomics online and they can focus on creating and delivering the stories you love.

For those who have purchased a 1-year subscription, they will receive a free digital version of Fresh Romance Volume 2 once it is complete!

Already existing stories from Fresh Romance Volume 1 released as a webcomic will introduce new readers to the Fresh Romance library and help build the audience later resulting in better sales down the road.

And volume 2 is coming! Emet Comics will be picking up right where Rosy Press and the creators left off and will be spending the coming year developing and completing new Fresh Romance stories!

We’ve got more details coming in an interview with Emet Comics publisher Maytal Gilboa.

Webcomics Weekly: Old Souls

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a subscription service.

This week we’re taking a look at Old Souls. The strip is created by Liam McKenna, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Liam McKenna: Termination Shock, specifically, is about a small group of people on board a spaceship. The narrative is told through a flashback, and the story tries to explain the fallout of the story’s driving event on the characters that survive it. It’s a heavy twelve pages.

In the flashback, the characters realize they are carrying some illegal cargo that has a homing beacon on it, and they get attacked by a ship that tracks it. They escape, and debate how they will discipline the guilty crew member. It’s sort of a space-age psychological drama told as quickly as possible.

My other strips can vary pretty wildly – sometimes veering into sci-fi, like Termination Shock or Flunderbot. Other times, I’ll do quick New Yorker or The Far Side-style single panel strips. My home base – where most of my work is focussed – is the classic three or four-panel strip, which I offered under the title Old Souls. That’s more standard comic fare, but I like to play around with different formats a lot.

GP: How often do you update (or how often do you hope to update)?

LM: I’m sure anybody that doesn’t work in comics full-time will tell you that they want to update more often, and that’s certainly the case for me.

I spent the last year in school full-time, working towards my Bachelor of Education, and I was lucky to incorporate a lot of comics into my lessons in history and English. I think it’s an important form, and it was nice to be involved with comics even if I wasn’t actively creating.

That’s my way of saying I’ve barely updated in the past year. At the time Termination Shock was released, in 2013, I was updating about once a week. I ran a successful Kickstarter and tabled a few shows at the Dartmouth Comic Arts Festival and the East Coast Comics Expo in 2014. Those were awesome experiences. I’d like to do that again. I actually had to look up the years I worked on the strip and I can’t believe it’s been so long!

That means I’ll want to have a lot of new material for convention season in 2017. I should be back to regularly scheduled programming this month. Once a week is likely for updates, and you can check in on Facebook or Twitter.

GP: How long have you been creating the strip?

LM: I drew my whole life, but I didn’t really start thinking seriously about comics – or working at it with dedicated practice – until about 2012 or 2013, I think. I was 24 or 25, working a lousy job and I wanted to vent. It was an outlet. It’s a familiar origin story, I’m sure.

I really enjoyed making comics from the outset, and what surprised me most was how much I enjoyed the patience of the process. Dedicating yourself requires a one-step-at-a-time mentality. Those early strips were ugly, but I could see progress. I still do.

GP: Where do the ideas for the comics come from?

LM: The dreaded question! The flippant answer is I wish I knew, but it’s also the most honest.

It’s probably some combination of my influences, inspirations, emotions. My environment, too. Sometimes I’ll pull something from a conversation and say, hey, that’s a strip.

I like being ambitious with my work, and that means trying to chase ideas that are probably too big. I’ll start with a theme in mind, and I’ll try to invent characters or situations that communicate the idea in an interesting way. That was the case with Termination Shock, where I wanted to show the fallout of a death in a genre that doesn’t always lend it the gravity it deserves.

But to get back to the question, and the source of ideas – any time my mind can wander, it’s probably a good thing for me creatively. I seem to have a lot of good ideas in the shower. You can really collect your thoughts in there, you know?

Why it’s awesome: I first came across Liam’s comics in my local comic shop when I read a print version of Termination Shock; the four page comic was one of the better stories I had read all week, regardless of whether it was a webcomic or an actual comic. The comics posted on Old Souls are all fantastic, whether it’s the fuller length stories or the short snippets of humour (of which you’ll see an example or two below).

As good as the longer strips are, Old Souls has a great selection of newspaper style cartoon strips that truly shine when you just start hitting the random button on the front page; you never quote know whether you’ll be laughing or finding yourself quietly thinking about what you just read.

Old Souls is so much more than a typical webcomic, and by not constraining himself to a set format for the strips, Liam really allows his creativity to flow freely, which is only going to be a good thing for us readers as he explores the longer form web/comics.

 

Below you’ll find two strips that were originally posted to the site. Neither of these are from the longer comic stories.old souls one

And the second;

old souls two.jpg


If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Johnny Bullet

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Johnny Bullet. The strip is created by Hervé St-Louis, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Hervé St-Louis: The strip is about Johnny Bullet, a 1970s professional drag racer who’s
current adventure starts when his best friend dies in a car crash. But
Johnny Bullet quickly finds out that the car was sabotaged. Instead of
staying behind and doing his usual sleuthing, he escapes to Cross Roads,
Tennessee, where he gets embroiled in street racing and local politics.

GP: How often do you update?

HSL: The comic is updated every Sunday.

GP: How long have you been producing the strip?

HSL: I started posting the strip on November 2, 2014. I’ve had to put in a few fillers once in a while when I had major obligations but I’ve never missed an update.

GP: Where did the idea for the strip come from?

HSL: I’m a fan of Steve McQueen and Johnny Comet, the old racing strip by Frank Frazetta.

Why it’s awesome: Johnny Bullet feels like a very old school comic strip – the kind your father (or grandfather, I suppose) would have read in the newspaper comics growing up, which is par for the course with the strip being set in the 70’s. It’s a brilliant homage to that time, and if you never read the newspaper comics from that time, then Johnny Bullet will help you understand just how fantastic a thing they were.

The strip is released simultaneously in both English and French, but neither is a direct translation of the other, meaning that if you are bilingual (I’m not) then you get twice the amount of comic to read, which is a bonus to an already fantastic comic strip. Make time for this every Sunday – it’s a fantastic addition to your day.

Below you’ll find two strips that were included in the press kit:

johnny bullet 1

johnny bullet 2


If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Impisha

After a slight gap, Graphic Policy’s spotlight on webcomics has returned. This is the feature where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that… as you may have noticed). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Impisha. The strip is created by Tobey Truestory, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Tobey Truestory: Impisha, once known by many great titles, turned her back on the kingdom she once served, but is thrown into a secret war to win back that very kingdom. Now, she has to be convinced by others to help in the fight against the profane arts that ate the kingdom from the inside out, turning it into something Impisha did not believe in. She’s not eager to help in this fight, but her would-be allies have mapped out a plan to fight as cleverly as the enemy. The end game is to gain the trust of a third party Impisha mistrusts even more, but is seen as a sort of mediator between kingdoms.

GP: How often do you update?

TT: It was slow at first, because I was still trying to figure things out in the beginning of the story. I put if off for a time, got involved with other projects, and was suddenly struct with all sorts of ideas. I picked it back up and tried to put our at least two or three pages a week, but then I got hired on to an Indie publisher, so I was forced to put it down again. After the first project for that publisher was finished, I knew I was gonna have another project to do for them, so I blazed through the pages, almost putting out a page a day. Now that I got the first chapter done in time to start on the next project for that publisher, I can let readers soak in what’s happened so far. I’m really eager to write the next chapter, so as soon as I finish this work for this publisher, I’ll try to go back to two or three pages a week.

GP: How long have you been producing the strip?

TT: If I count all the time I’ve actually worked on it minus the forced breaks, I would day….three months? I’m bad a keeping track of that. Eheh.

GP: Where did the idea for the strip come from?

TT: Several years back, I was playing around with random sketches, and I drew her head. It’s on a receipt that I still have somewhere. I kept stumbling into it whenever I would move things around. Ideas are always running around in my head, and her face would pop up. I thought she was a cool character concept. Small ideas would jump in and our of my mind, but then I started to think about whether or not there was a reason she looked the way she did. I decided there was….that she didn’t always look that way. So, I wondered why. What could have caused her to go…I don’t know, darker? Something bad. Not like a curse. That’s been done. I wanted it to be self inflicted. Ah, betrayal. In a sort of indirect revenge, she turns her strengths into something dark. What strengths? Well, I like chicks swinging katanas, so I started with that. A warrior. Who did she fight for. That group would betray her by becoming something contrary to what she had been fighting for this whole time.

I wanted the enemy to be able to trick her former comrades into embracing something evil. Since she was the best warrior, she didn’t succumb to this influence, but she was sort of outnumbered. After trying to fight something so ingrained in her allies, she turned her back on them.

Enter other characters who want to regain her kingdom. They only see it right that she be the one to fight with them

Why you should care: The art is a unique blend of pencils, inks and digitized imagery that works surprisingly well with the stripped down tale of a reluctant warrior being dragged back into conflict. Impisha frequently features silent pages that allow the action to flow pretty seamlessly. With the series still be relatively new, you can read the entire strip in a relatively short period of time (the silent pages help with that), and it’s worth a look. There’s an interesting idea here that’s depicted more through the art than dialogue exposition, and in all honesty I can’t quite lay my finger on just what it is (at least not enough that I’d write it here), but I’m enjoying the comic nonetheless. Certainly worth a read.

Below you’ll find a page that was originally posted to the site, on March 4th  2016.

impisha 1.jpg


If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Olympus’ Forgotten Children

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Olympus’ Forgotten Children. The strip is created by former Graphic Policy contributor Kenny Coburn, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?Cover

Kenny Coburn: Olympus’ Forgotten Children is an ongoing full length 22 page web comic that takes an honest look at the superhero trope that there are people with god like powers who are above corruption. The world of Olympus’ Forgotten Children is much more honest in how it views humanity than anything you will see at DC or Marvel. The world is not perfect and neither are the people with the most power.

The United States government had finally created a superhero serum to use in war. But, because of crippling debt caused by funding the research necessary to create the serum, the government was forced to sell it to the highest bidding civilians. After a year, those who purchased the serum began to fight back and war began. Fifteen years later, the former superheroes, now known as the Power Cartel, rule the planet. The only other survivors are those working for the Power Cartel or those that have gone into hiding.

It is in this world that three longtime friends, Monya, Kiarynn, and Baxter, begin to try and take the world back from the Power Cartel by any means necessary. Their journey takes them from their underground home through the wastelands of the former United States with only the faint hope of a better future driving them.

GP: How often do you update?

KC: The comic will be released quarterly as currently constructed. We are already hard at work on issue #2. For anyone who does enjoy the project and wants to support it, you can donate to our crowd funding page which will help us fund the project and greatly shorten the timeframe between issues. Every dollar is greatly appreciated.

GP: How long have you been producing the strip?

KC: The first issue has just been released for free in its entirety. Currently, there are thirteen issues in total planned for the project so the series still has a long way to go before it is complete.

GP: Where did the idea for the comic come from?

KC: The idea for Olympus’ Forgotten Children came after watching Captain America: The First Avenger. The premise that a serum that turns a basic human being into essentially a god happened to go to the kindest person in existence just seemed ludicrous. The world doesn’t work that way and I wanted to explore the finer nuances of what would really happen if a superhero serum was created.

It isn’t exactly a pleasant conclusion that I came to, but I think it is an infinitely more interesting one. People don’t normally fit perfectly into the categories of good and bad. This is the idea I wanted to explore. Once I had that premise, I just continued to build logically into the way I saw the future shaping out.

The idea was very simple, but I think the results have been extraordinary.

Why it’s awesome: Honestly, anything I say here will just be a repeat of what Kenny had said above. Instead, I’ll just direct you to the introduction below and the first four pages in the gallery underneath the intro and let you see for yourselves.

Intro


If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Bun Toons

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Bun Toons. The strip is created by Ty Templeton, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Ty Templeton: Bun Toons isn’t “about” anything in particular, except a challenge to my brain:  Every Saturday morning, I wake up and draw a cartoon strip about SOMETHING.  I often don’t even know the subject matter when I go to bed on Friday night, and sometimes wake up without the slightest idea of what it will be.  If there’s something major in the news, either in comics news or real life news, the strip might be about that because it’s where my brain is hanging out…if there’s nothing current happening worth commenting on, I’ll tell a true story that’s amusing enough to share, or I’ll just do something silly and surreal that made me laugh when it crossed my cerebellum.  It’s about allowing my creativity to work without a net on a crushing deadline.  Each strip MUST MUST MUST go up before 4.00 pm no matter what.  (It used to be earlier, but I often get up around noon on a Saturday, and that gives me a little time…).  I allow for about an hour to conceive and write it, about an hour to draw it, and about an hour to colour/letter and post it, and then it goes up online without a backwards glance.  Some weeks I accidentally make something worth remembering, some weeks it’s not funny and best forgotten.  It’s the once-a-week challenge to my creativity that drives it.  I started doing it without any preparation one Saturday a few years ago, and have produced a strip every Saturday I’ve been home ever since then (except a brief hiatus when I was recovering from my heart attack, and my medications left me too spaced out to draw or write with any clarity).   On days when I’m out of town, or attending a store event or a comic convention, I post a re-run, since I’m literally no where near my scanner and computer, I don’t have a choice.  Every Saturday I’m home, it’s my wake up and draw ritual.

There are some Saturdays I grumble about it.  Some weeks I will tell myself “No one is making you do this, you don’t have an idea, just let it slide…” but I get over that in ten minutes and set my mind to SOMETHING.  There have been strips that are read by less than a thousand people, and then there are strips that are read by many tens of thousands of people and get passed around the net virally.  Obviously I prefer it if people read ’em, but in the long run, it’s about a relationship with my own brain, and the concept of “improvisational” cartooning.

Now, if it has any sort of theme or continuity, it’s sort of about what it’s like to be a comic book freelancer.  Many of my strips are about trends in comics, the trouble with deadlines, how my family and I interact.  I show up as a character in about half of them, and when I’m in the story, I appear as a six foot tall white rabbit wearing a t-shirt with my name on it.  But I also DON’T appear in about half of them, which might feature Donald Trump mud-wrestling an alien or something.  I find the ones that feature myself don’t go viral anywhere near as much as the ones that feature Frank Miller, or Batman or something the internet can bite into.  But that’s the nature of spontaneous creativity…I sort of have no control over it, and it goes where it goes.

GP: How often do you update?

TT: As mentioned in the above answer, I update every Saturday that I’m home.  That works out to about 45 a year.  There have been VERY rare occasions when I’ve done two in one week, because something occurred mid-week and I couldn’t help myself and I pipe in.  That’s happened maybe three times in the last few years, so it’s just something when I can’t stop myself.  Normally it’s about the challenge of being clever or worth reading because the clock says I have to.  I always loved the Lorne Michaels line about Saturday Night Live:  “The show goes on, not because it’s ready, but because it’s 11.30 on Saturday night, and we don’t have a choice”.  That attitude informs Bun Toons.  If it’s Saturday morning, I don’t have a choice.  Get creating, mofo.

GP: How long have you been producing the strip?

TT:  I’ve been doing them as a weekly webcomic for about five years …BUT I’ve been doing the self-portrait rabbit cartoon strips for decades now.  The rabbit-icon first appeared in an old Fantagraphics comic series called “Critters” and he’s appeared in various industry newszines like SHOPTALK, REALMS, AMAZING HEROES, THE COMICS JOURNAL, etc.

Whenever I’m asked to do a column or an essay about something, I tend to do the rabbit.  Some of the rhythms of the strip are inspired by Feiffer’s stuff, as well as the basic idea of having a rodent stand in for me coming from MAUS.

GP: Where did the idea for the strip come from?

TT: The very very first rabbit strips came from nearly thirty years ago, when I was just starting out as a cartoonist.  I was married to a model, and she used to take work trips to Europe to do photoshoots, or spend a week or so in Manhattan on a gig, etc, and I used to do these little comic books for her when she got home, each entitled “What I did while you were gone”.  This was so she wouldn’t feel she was missing anything at home…and it made drawing them SO much easier to give all the characters animal totems instead of having to do recognizable portraits each time I needed a character to appear.  So I became a rabbit, and my friend Glenn because a squirrel, and various people because dogs and cats and badgers so that anyone could follow the story without wondering who was who.  The first time a Bunny story was actually published was because of a cartoonist friend of mine named Bernie Mireault, who was staying with me in Toronto for a few days, and he saw one of the little comic books, and asked if he could draw it up on full sized paper and “do it up right” for a story in Critters Magazine (a comic devoted to “funny animal” stories from Fantagraphics).  Bernie was insanely talented, so I said “Sure”…and then Bernie took the story and drew it up WONDERFULLY…except he changed my animal totem into a bear.  When I asked him why, he said I struck him more as a bear than a rabbit.  The story ran in CRITTERS (I forget the issue number, sorry…)…it’s called ‘THE TOTALLY TRUE TO LIFE 11:15 PM McDONALDS DRIVE THROUGH WINDOW CAPER” and you can read it here.

It got a good response from folks who read Critters, so I did a few more for the magazine, returning to being a rabbit in the second instalment, when I started drawing them myself.

Why it’s awesome: Because you honestly never know what to expect. Whether it’s a strip about Bill Finger’s involvement with Batman, or everything you need to know about something in four panels, there’s always something worth reading uploaded to the page. I read the webcomic every Sunday morning, and it never disappoints.

Below you’ll find a couple of Alex’s favourite strips (although it was tough it pick out just two, we stayed away from the Bill Finger strips that we recently linked to back in February for Graphic Policy’s Bill Finger week).

The first was posted to the site in November of 2015.thats-my-sickness.jpg

The second, is from October 2015;

halloween-true-life-websize.jpg


If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Blood Catalysts

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Blood Catalysts. The strip is created by Griffin Cost, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Griffin Cost: Blood Catalysts is a magical realist action-crime drama with absurdist undertones, taking place in 2003 in Northern Chihuahua, Mexico. The story follows a “family” of hitmen under the shaky new leadership of their old boss’ daughter, and begins when a young American boy is thrust into their world due to near-impossible circumstances.

I don’t wanna reveal much more, but I do feel compelled to point something out: this is NOT a fantasy webcomic, despite the genre having “magical” in the name. Maybe I’m mincing words, but I’ve had to explain this to almost all of my friends, some of whom were genuinely confused as to the whereabouts of the magic. Essentially, the story itself takes place in a world where the laws of reality still very much apply, save for one or a few exceptions that impact the characters within it. In a lot of ways it’s like a sandbox, or a social experiment in fictional form, where the craziness of one or a few instances help shed light on otherwise foreign and unrelatable human experiences.

GP: How often do you update?

GC: I update chapter-by-chapter on my site, with release dates for each chapter being announced about a month in advance. There’s a lot of reasons I don’t release Blood Catalysts page-by-page or in a similar system, but it boils down to three major factors:

-I’m a full-time college student.

-Some chapters and pages are more difficult/time consuming to draw/write than others. I’d rather build hype for one big release at a time than fuck with people by occasionally changing up the posting schedule.

-Releasing in bulk rather than in pieces lets me edit each chapter up to release, resulting in fewer (or zero) errors, less dead weight in the story, and an all around superior product. Plus, you, the reader, get a full-fledged story with every upload rather than breadcrumbs over the course of weeks.

In spite of this irregular schedule, I still average well over a page per week in terms of actual page count divided by weeks since launch.

GP: How long have you been producing the strip?

GC: Chapter Zero (The prologue to the series/Volume 1) was released on June 16th, 2015, but I went through at least thirty drafts of the script over the course of a few years beforehand.

GP: Where did the idea for the strip come from?

GC: The original idea came when I was in high school, wanting to be edgy as fuck and prove to everyone I was DIFF’RENT.

At the time, I was immature and just kind of angsty and nihilistic about everything. Even though I’ve (hopefully) grown out of that mindset, the underlying sentiment of being angry and confused at a world you can’t understand, of feeling like every time you think you understand something having it blow up in your face, and of being constantly weighed down with fear about what the next day will bring, or even how many days you have left, that sort of adolescent existential crisis and need to matter still comprises the thematic core of the comic. However, rather than being a comic about nihilism and the worst of humanity, and being written by someone who advocates those viewpoints, the story is more or less an treatise on death and decay (moral, mental, physical, societal, etc.), as well as the realities and unexamined shadows that lead some to adopt certain philosophies and lifestyles. It’s less about the politics of Mexican crime and more about the human tragedies that everyone shares, and the ones could’ve been our own had life dealt us a different hand of cards.

Couple that with a personal interest in Mexican art, magical realism, psychology, and my guilty love of late 90’s/early 2000’s action movies, and you can get a decent idea of what Blood Catalysts reads like. If that piques your fancy, give it a go.

If not, do it anyway. It’s free.

Why it’s awesome: Blood Catalysts is a fantastically well illustrated comic that really makes excellent use of both light and dark textures in the artwork. The strip often uses some really interesting story telling methods that combine the art and text into some genuinely fantastic comic strips that give the reader a lot to love. I don’t, honestly, have much to say beyond what Griffin has already said above because I don’t want to simply repeat what he says, but Blood Catalysts is well worth a read when you get a chance. You won’t regret it.

Below you’ll find a selection of strips that originally appeared on the site.

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If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Woohooligan

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Woohooligan. The strip is created by Sam Dealy, who was kind enough to answer a few questions for us about his webcomics below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Sam Dealy: The official tagline for Woohooligan is “Our madness is method free!”

It started out as a variety comedy, in the vein of Gary Larson’s Far Side, just individual, unrelated strips.

Since April, I’m publishing a very tongue-in-cheek, ongoing story about a typical(?) Midwestern girl’s adventures in heaven and hell. It was meant originally as a very loose parody of Dante’s Divine Comedy that started with the premise of reversing traditional conservative Christian ideas about sin, so in this story God is fine with gay people, but you still go to hell for eating bacon. Jesus is black, all the interesting people are in hell and the gods of other religions (Thor, Loki, etc) are also real. More recently, our snappy-dressing, gay Lucifer is more or less date-raped by an unassuming girl from Ohio.

This current story is about half-way through, so I expect to finish it some time probably late this year. It starts here.

GP: How often do you update?

SD: This past year it’s usually at least once per week, but it’s a little more involved than that.

I got a cancer diagnosis a few months ago and it shocked me out of my complacency about a career change I’ve been working on since 2006. So I set a goal for myself of replacing my disability income with my comedy by Jan 1, 2017. That’s a really ambitious goal that means I have to roughly double my income every two months.

Anyone who’s curious about that goal or would like to help can read more about it here. And for those willing to help spread the word about Woohooligan and my goal for this year, I’m giving away free copies of my first ebook, Into Dorkness. More info about that is also on that page.

So realistically to earn a living from my comedy by the end of the year, I have to put in at least 40hrs/week on both new pages as well as a lot of self-promotion and marketing. I’m probably putting in closer to 60 hours a week on average right now, but that also means my earnings are currently a little under $1/hr right now, so I need to improve on that.

My Patreon page promises at least two pages per month once I get to about minimum wage for those two pages (at about ten hours per page), which happens at around $187/mo. My target date for that goal is May 1st. So far I’ve produced a lot more than I’ve promised. So, if it seems like I’m not promising much on my Patreon, that’s because I don’t want to promise more than I can deliver and fall short. I’d much rather make smaller promises and be able to exceed those expectations. So I’m not going to promise to deliver the moon in the early days before I’m even earning minimum wage, and I hope people are happy with me delivering more than I’ve promised. :D

In January, I put out four pages (so one a week), two bonus pages just for my Patreon supporters, and a tribute to David Bowie. Patreon supporters also got access to a high-res copy of that David Bowie tribute, you can see here.

I also publish a progress report detailing all the things I’ve worked on over the previous month and how we’re doing toward the goal. It helps keep me honest with myself and it lets everyone else know what I’m doing to promote Woohooligan! The first update for January showed that we’re ahead of schedule. :D

GP: How long have you been producing the strip?

SD: Man, it’s been a while now. :D I started in 2006, so this is year ten.

I had a couple of stumbles in previous years. I didn’t publish anything in 2008 due to not having the computer equipment I needed (and also still working a full-time job elsewhere).

At the end of 2013, I was in the hospital with the doctors worried I would slip into a diabetic coma and then immediately after that we moved across country to Ohio to the best house we could afford, which needed about $11k in immediate major heating and plumbing repairs, so I had to scramble for software engineering work to pay for all that. So there was another gap through most of 2014.

And then in April is when I started on the current story and have been publishing that consistently several times per month, so if you only counted the current story that’s almost a year now.

GP: Where did the idea for the strip come from?

SD: Depends which idea you’re talking about. ;P

I started in 2006 because I didn’t like where my life had gone. I wanted to do something better and in particular I wanted to make people laugh. That’s still the dream I’m after today. I have this crazy goal to earn a living making other people laugh. :D

The current story started innocently enough… it was an offhand joke about gluten-free diet advocates being zealots, like Jehova’s Witnesses or other missionaries. Once I’d shown someone sent to hell for eating bacon, I thought, “what if God hates bacon, but he’s fine with fags?” (I’m pansexual, I can say “fag”. :P) That led to “what if we just reverse all the rules that conservative Christians have?” So once you start down that road, obviously rich people don’t get into heaven, etc. The rest of the story grew naturally from there.

Why it’s awesome: The mind of Sam Dealy is a hell of a place to visit. Whether it’s his single panel comics (of which you’ll find one below), or the longer form episodic story that he’s producing (two installments are below), his website is one that I was lost in for hours, and his first book literally almost made me late for my day job. His comics are funny, engaging and sometime very thought provoking. Whether you pick up one or two of his books (and they’re all good), or just spend time reading the website, prepare to loose yourself for hours. And you’ll love every minute.

Below you’ll find a selection of strips that were originally posted to the site;

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If you’d like to have your webcomic featured here, then drop us an email.

Webcomics Weekly: Blue And Blauw

Welcome to Graphic Policy’s spotlight on webcomics, where we take a look at one of the many comics available online every Monday: Webcomics Weekly (but don’t be fooled by the “weekly” part of the title; the feature may happen more or less frequently than that). We’re defining webcomics as any comics published online for free consumption by the general public that doesn’t require a  subscription service.

This week we’re taking a look at Blue And Blauw. The strip is created by Nuno Kelly, who was kind enough to answer a few questions for us about the webcomic below.

Graphic Policy: In a nutshell, can you tell us what the strip’s about?

Nuno Kelly: Two outsiders building a life in Amsterdam, meeting the locals and other immigrants, and facing the reality of life and work abroad and the culture shock that comes with it. So while it’s set in Amsterdam, there’s something there for anyone who’s moved away from home or found themselves living and working in a strange environment.

GP: How often do you update?

NK: Every Monday, but it might go twice weekly in a few months.

GP: How long have you been producing the strip?

NK: Since 4 January 2016. So not very long.

GP: Where did the idea for the strip come from?

NK: From personal experience – I’ve been living in Amsterdam as a foreigner for over ten years, so I try to funnel that into the strip along with lots of more general living and working situations that deserve to have a bit of fun poked at them.

Why it’s awesome: This is one of those webcomics that you can read either the entire story in order, or pick a page and just enjoy it. Blue And Blauw (pronounced as “blue and blue”) is a brilliant read however you choose to do it; there’s a subtle humour here that emerges as a physical comedy in certain scenes an as some brilliantly dry verbal comedy in others.

Below you’ll find two strips that were originally posted to the site;3-Bakfiets.jpg

And the second;

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If you’d like to have your webcomic featured here, then drop us an email.

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