Monthly Archives: February 2008

Tweep

It’s a sad truth that the most important aspect of a webcomic is the artwork. The world of print comics (and especially Image Comics) has shown repeatedly that fans will gladly buy comics with prettily-drawn, scantily-clad women rather than shell out the bucks for something that looks rough but has a superbly told story. Indeed, it doesn’t matter if the comic is the next Harry Potter; if the artwork isn’t passable, then most people won’t give it the time of day. Fortunately, there are a few people who are willing to look beyond the cover of a comic’s art and delve deeper into the story, and sometimes they manage to drag me screaming and kicking into a new comic.

It would be merciful to state that the early artwork for Tweep is rough. It would be more honest to say that the cartoonist indulged in rampant cut-and-paste artwork, had blocky characters that were stiff and two-dimensional, and were barely passable. Indeed, the very first comic (which had the character lying in bed, no dialogue or movement except with the last panel to turn his back on the camera) almost had me turn my own back on the comic. But there was something about that first strip (in all it’s CaP glory) that dared me to click the “next” button… and an introduction sequence reminiscent of how I started the Tangents comic years back.

Fortunately, the artwork improves quite significantly. It’s not great art, but the cartoonist has a grasp on lighting and shading and has managed to hide his use of CaP a bit better. More importantly, however, is Tweep’s story… of three housemates and their life. Milton’s the main focus of the strip, and his growing relationship with Julie (who works a couple stores down from his favorite coffeeshop) is one of the main thrusts of the comic, though we do get the occasional story from the viewpoint of housemates Jack and Kate. Add in a bunny that wears a fedora (because Kate thought it looked cute on him), a stray cat that Julie ends up adopting, and the natural awkwardness that comes with the first blush of a new relationship, and Tweep truly is one of those comics you shouldn’t judge by its cover.

Megatokyo

An important aspect of many comics lies in the suspension of the reader’s disbelief. The vast majority of comics utilize fantasy aspects and a variety of storytelling tropes to help enrich the story. But if a comic falls off that foundation, the reader can be jarred out of the story and much of the comic’s enjoyment falls apart as a result. Nor is this only something that happens to new writers; even an established cartoonist can stumble and the resulting dissonance can leave fans wondering what the hell happened.

Fred Gallagher’s Megatokyo has done just that with the recent zombie infection of the ‘Zilla that magical girl Sonoda Yuki was using to fight a zombie army. There are a number of tropes that exist with zombie stories, and Gallagher seemed to be utilizing many of Dan O’Bannon (of Return of the Living Dead) tricks of the trade with the zombie army that Sonoda Yuki and Largo had been fighting (including the fact that fire doesn’t hurt them very well, along with the fact the zombies are smart). Unfortunately, the mixture of genres (giant monsters and zombies) has resulted in a story that is suffering dissonance as the zombies infect the ‘Zilla and zombify it.

Okay. I can buy that a zombie bite can turn someone into a zombie. But in the same comic where the zombies are chomping away at the ‘Zilla’s ankles, the ‘Zilla takes a direct tank round to the chest without going down. Obviously the skin of a ‘Zilla is able to handle such things as high-explosive rounds. How the blazes would a zombie’s teeth, which might penetrate an inch if lucky, be able to penetrate the ‘Zilla’s skin and reach its bloodstream? Maybe if the ‘Zilla had eaten some zombies, it might sicken then. But as it lies now? The comic has jumped the ‘Zilla and I’m left shaking my head and hoping for a change of venue.

Questionable Content

Established webcomics often struggle to balance two conflicting forces. The first, a desire to maintain the status quo, results once characters have established themselves and have settled into a specific role. The second force is the need to change and grow… for without growth a comic risks becoming stale and uninteresting. Newspaper comics are often prime examples of bland unchanging characters that have lost their charm. However, too drastic a change in established characters risks alienating readers and fans of those characters. Change, while necessary, needs to be a natural evolution of the characters else it will feel false.

The recent coital hookup between Questionable Content vestal virgin Faye and reformed playboy Sven is a good example of character shift that while seemingly rapid, actually established roots months back. The relationship between Faye and Sven has long been adversarial though mostly on Faye’s part; Sven has actually long been working to redeem himself in Faye’s eyes and it’s been obvious to me that he’s attracted to her. Still, I must admit I was as shocked as Faye’s friend Hannelore to see Faye in bed with Sven; after taking a minute to assess the situation, I must admit that Jeph Jacques handled the scene with considerable maturity and intelligence (along with a delightful lack of fan-service).

Faye’s psychological issues have long been a core part of her nature. Indeed, her fears of abandonment (due to her father’s suicide years before) were the primary reason why she never hooked up with her roommate Marten. These issues have remained central to Faye with her seeking out counseling; fortunately, this has helped her start to heal. Ironically enough, it may also be partly to blame for Faye and Sven ending up in the sack together. When you consider Faye’s somewhat impulsive nature, it’s actually quite reasonable for Faye to spontaneously sleep with a guy whom she’s been building a relationship with… especially one who has been working to reform his own character flaws, and very likely because of his own attraction to her and her disapproval of his lifestyle.

It would be easy to try and explain away Faye’s actions, perhaps by suggesting that Faye got drunk and that affected her better judgment. However, she had only had one drink the entire night. While Sven’s “come-hither” look did cause Faye to start blushing, in the end it was Faye who took the initiative. Nor was alcohol a factor when she climbed back in the sack the next morning to have seconds after deciding it was better than going home to cry about it. (Though I must admit to some amusement that the first thing Faye does when she wakes up in the morning is grab her glasses, rather than pulling on a shirt or some undies. Sure, it let her get a good look at Sven’s bottom, but I doubt that was on her mind when she first grabbed at them. I mean, seriously… why her glasses?)

The rest of the story is fairly easy to predict. It is comedic tradition for Faye’s female acquaintances to glom to the fact that Faye got lucky last night. From there, Dora will quickly figure out that Sven was the only guy Faye could have shacked up with, and she’ll want to castrate her brother for “taking advantage” of her friend. Raven will want to kill Faye because she wanted Sven for herself, and has for some time now. But I suspect that Faye will be able to keep Sven’s balls safe for now (if only to go back for thirds and fourths and probably fifths), and Raven’s easily distracted. More interesting, however, will be how Faye’s roommate Marten reacts to Faye and Sven shacking up.

For close to a thousand updates, Marten had a crush on Faye. He held her when she was sick. He caught her when she stumbled. He was willing to wait for her, and it took Faye pushing him away and insisting he move on before he did, and before he and Dora started to date. In an ideal world, Marten would be happy for his friend and for the fact that she’s starting to heal. But it’s rarely an ideal world. Jealousy and unhappiness over lost could-have-beens may strain not only his friendship with Faye… but also his relationship with Dora. It would be an ironic twist for Marten to end up single just when Faye ended up dating his ex-girlfriend’s brother.

Jacques has managed to tell this story with a combination of humor and maturity that is quite refreshing, and while his artwork could use some brushing up (specifically, blankets don’t lie flat on top of people; some wrinkles and shadows would help in making the blanket look more three-dimensional), it’s nice to see a sexual story told without fan-service and the like. Jacques proves once again to be an established cartoonist willing to bring change into his strip… and in doing so making his characters all that more human.

The Broken Mirror

Perhaps one of the most important aspects of any good story is a strong background foundation to build upon. Many of my own stories utilize significant back-story from which characters grow and plots expand upon. However, back-story can also be the bane to a well-told story as there is the temptation to dig up that foundation and show it to everyone around. Unfortunately, by unearthing this foundation, it weakens the actual structure of the story itself (unless of course it’s published separately from the story – the Lord of the Rings and The Silmarillion are perhaps a good example of this). This weakening can be found in the nihilistic science fiction story The Broken Mirror, which focuses on several individuals who suffer considerable misfortune and end up turning to a virtual reality world called Domino to escape their woes.

The problem with TBM is that over a hundred pages are used in telling the back-story of Galen Gray and Xara Watson, and another 14 pages set years in the future… hinting at just how horrific things get for our protagonists even once they try to escape their lives. While dystopian storytelling is no stranger to webcomics (and indeed to science fiction in general), the childhoods of Galen and Xara are presented in painstaking detail, with Galen suffering from emotionally abusive parents determined to squash his dreams, and Xara from the illness of a beloved older sister. The question is, of course, what is TBM about? Is it the story of Galen, Xara, and other characters we’ve only barely been introduced to? Or is it the story of this virtual world, and the effect it has on these wayward dreamers trying to escape an overly harsh reality?

I’ve mixed emotions about the story. While its dark beginning leaves no real doubt as to the eventual end of the comic (and in turn doesn’t lead to false expectations as to the story itself), did we need to see every aspect of Galen and Xara’s life up until now? Might this not have been something better left through judicious use of flashbacks to give us hints of just how bad Galen had it in the real world, and of the gaping emotional wound that Xara has suffered? Fortunately, while the story content itself is depressing, the story is told fairly well and the artistry is clean and the coloring… well, let’s just say that if I hadn’t read that the artist, Jarkko Juhani, used Photoshop for his art, I’d have thought it colored by hand. Despite the flaws of excessive back-story and depressing storyline, TBM looks to be a story worth reading, and one I’ll check monthly to see what progress has been made.

White Noise

There’s a truism that the more things change, the more things stay the same. This is especially true of science fiction, where despite advances in technology and the like, many aspects of society are still familiar to us. Part of this lies with the need for readers to identify with characters in a story – if a story is too alien, only the most hard-core science fiction reader will remain interested. And while it may be understandable for post-apocalyptic stories (which very often are grounded in the science fiction genre) to retain elements of pre-apocalyptic culture, I still find it a tad disconcerting seeing some truly familiar settings in such stories.

I stumbled across White Noise thanks to its inclusion in the female webcartoonist collective Tomgeeks. The story takes place over a hundred years after aliens invaded the Earth, devastating the surface and performing genetic experiments on the human survivors of the apocalypse. If we’d never learned what the aliens did to devastate the planet, I’d have been much happier. The science fiction purist in me cringed upon hearing of the alien technology (which violates several laws of physics). Fortunately, it’s only a background detail and not exactly important to the story at hand. The story focuses on two people, Lohaun and Wren, who are fleeing from the destruction of the domed city where they lived.

Naturally enough, the destroyers are other humans… in this case a group of humans who believe in human purity and are determined to kill off those humans who are continuing the alien genetics program (allegedly to fight off the aliens in case they return). Wren is one of those human-born experiments, possessing a furry prehensile tail, along with strange dreams of an odd white-furred creature named Winter, possessing a tail much like his own. Lohaun fills the obligatory role of the adult trying to keep her ward ignorant of what’s going on in an attempt to protect him (which doesn’t work very well). It’s the characters that help bring WN to life; this is important seeing that the plot has taken a while to build. But if you like epic storytelling and aren’t a science fiction purist, then White Noise will likely be an enjoyable addition to your reading selection.

Footloose Comic

One thing many cartoonists enjoy doing is tossing unexpected twists into their comics. Sometimes these twists are spur-of-the-moment affairs that happen when cartoonists have a sudden spurt of inspiration. Sometimes they’re vindictive switch-and-baits meant to prove fans wrong when someone makes too accurate a speculation on where the story will go. And sometimes they’re planned out from the very beginning. Footloose just recently pulled off a twist that no one saw coming, and while in looking back I can see one or two small hints that verify the twist wasn’t made out of the blue, I do have to wonder at the lack of clues as to An’s little secret.

That being, An’s a girl. That’s right, the person that Keti, our main protagonist, has been crushing over for several chapters now, the person who has in many ways been the focus of a lot of attention from both protagonists and antagonists, has been playing a reversed Crying Game. As for why she’s been using magic to hide her gender… well, the teacher for the School of Indiscriminate Whacking with Oversized Weaponry is a testosterone-laden troglodyte who in all likelihood would have refused to teach a girl how to fight. There are a number of reasons as to why An would hide her gender. The only question is: did Alice Nuttell and Emily Brady do too good a job in hiding this little secret?

While it would have been nice to have a few more hints to work off of (outside of the fact An was remarkably neutral in expressing interest in Keti – even now I’m unsure as to if An is attracted to Keti or not, her gender notwithstanding), I can understand why we had no real hints. An was doing everything in her power to hide the fact she was a girl. Considering the comic focused on Keti as the protagonist, we had few chances to see what made An tick. For the reader to get tossed a bone over An’s gender would be poor writing, taking into account that An was doing everything in her power to keep this secret, even from those she considered close friends. And while it might have been nice to have a few more hints as to An’s secret, it’s how An’s friends react to this secret (especially Keti, who’d developed a rather impressive crush on An) that has me eagerly waiting the next few updates.

Life and Death

I first came across Life and Death during the Crossover Wars. It was a one-shot, and didn’t really do anything more than give us a quick joke, but the comic still caught my attention. LaD is primarily a gag-a-day strip that utilizes puns, word play, and the occasional storyline to keep people interested. In particular, death-related humor frequently scampers across the panels with a reliance of puns that would have my former roommate struggling to breathe. I have no doubt that Steve, who was hired to be Death after he brought a shotgun to the job interview, would wait with glee and try to drive my roommate over the edge until he keeled over.

The majority of LaD comics follows Steve’s antics as he tries to kill people whose time has come. He’s a mixture of Wiley Coyote and Invader Zim, with a large dash of competence mixed in, and takes a huge amount of delight in killing people off when their time has come. He doesn’t always succeed. Indeed, he takes tremendous offense when someone manages to outwit (or even accidentally evade) him. But whether he’s chasing the cast of Final Destination across the panel with a chainsaw or dragging the corpse of an idiot who jumped out a window to evade him, just to burn the body in an apartment fire (which was the original intended death), Steve manages to take tremendous pride in his work.

Perhaps of more interest than the various deathly antics of Death can be found with Steve’s coworkers, who include his friend Bobby who works as Life, various angels, Time (who is naturally enough a woman and an impromptu nurse – Time heals all wounds, and waits for no man), Chaos, God, some valkyries (including Brunhilde from The Kamics who is dating Bobby), and other assorted entities. If Jonathan Oliver can pull a pun out of it, you can be sure the character will make an appearance. Despite the preponderance toward humor and blatant silliness, LaD manages to mix story in with its humor. Even at the darkest moments of the comic, Oliver manages more often than not to find something funny to add to the strip. That in and of itself makes LaD worth reading; assuming that the puns don’t kill you that is.