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Patrick Farley

The Comixpedia End of 2006 Roundtable

Our second annual virtual round table on the year in webcomics features comments from Eric Millikin, Daku, Gilead Pellaeon, Mike Russell, Lewis Powell, Alexander Danner, Eric Burns, Michael Rouse-Deane, Johanna Draper Carlson and Gary Tyrrell.

We Need Open Standards in Webcomics

Before getting too far into this, a clarification: open standards and Open Source are not synonymous. Both are objectively good things, and many, but not all, Open Source projects also conform to open standards. Here's the difference, as I understand it: Open Source projects allow programmers to share actual source code, the internal stuff that makes programs work, with one another, and improve upon one another's ideas; open standards, on the other hand, allow programmers to write programs that interact well with programs written by others -- without necessarily having to have an understanding of the internals of the other programs. HTTP, which defines the transport mechanism for web pages, for example, is an open standard. Internet Explorer, a non-Open Source program from Microsoft, can implement HTTP to talk to the web server, which runs Apache, an example of Open Source software -- and Apache, in turn, can talk back to Internet Explorer using the HTTP open standard. Both web browser and web server are key pieces of software in your experience of browsing the World Wide Web. Neither has to know how the other works, in order to be able to work together -- and you, of course, don't have to know anything about any of that, more than likely. Which is probably why there hasn't been a lot of action on open standards in the webcomics world. Comics creators, after all, are artists. Open standards aren't about artists communicating with people (which is what you do when you make your artistic choices -- choices which should always be left infinitely free) -- open standards are about computers communicating with other computers and computer programs.

Serializer Is Alive!

Eric Millikin writes that relaunched today! New comics today include:

  • Jen Sorensen's "Slowpoke”
  • Rick Smith and Tania Menesse's “Shuck Stripped”
  • Spike's “Templar, Arizona”
  • Eric Millikin's “Fetus-X”
  • Tom Hart's “Hutch Owen”
  • Ryan North's “Dinosaur Comics”

Here is a full list of all the wonderful artists contributing to Serializer. It includes Patrick Farley with "Apocamon," Renee French with "micrographica," Sam Henderson with "The Magic Whistle," and Emily Horne and Joey Comeau with "A Softer World."

Publisher’s Weekly refers to many of serializer’s artists as “art comics favorites” and “critical darlings.” London’s Sunday Times has called serializer “high art,” and The New York Times thought some of our comics were “Well drawn and funny.” The Comics Journal found some Serializer comics to be “daring, entertainingly perverse” while The Guardian found artwork on serializer that “threatens to seriously tamper with one’s smug equilibrium.”

The Gathering... of the News!

 Fetus-X Returns to Serializer.netFinally, the impending return of Serializer - the art comic outpost in the Modern Tales kingdom - is near (Eric says end of October). This would be the last of the MT sites to return after server crash/upgrade issues. A partial list of the artists on the roster for the relaunch include:

  • Nick Bertozzi, Drop Ceiling
  • Patrick Farley, Apocamon: The Final Judgement
  • Matt Feazell, Amazing Cynical Man!
  • Renée French, micrographica
  • Merlin Goodbrey & Douglas Noble, The Rule of Death
  • Tom Hart, Hutch Owen
  • Eric Millikin, Fetus-X
  • Casey Sorrow, Feral Calf
  • Joda Thayer, Few and Far Between


Joystiq, a popular videogame blog has a weekly poll on its readers favorite webcomics. Naturally these are all gamer webcomics but I was surprised to see in the most recent poll that Press Start To Play is essentially tied with Penny Arcade in popularity and another webcomic I hadn't read before, Fanboys In Love, was in third place.


SPX Update: Jeph Jacques (Questionable Content) will be sharing a table with Malki (Wondermark). Fred Grisolm (Hate Song) also will be there.


Andy Bell (Creatures In My Head) is having a launch party for his Zliks toys on Friday 13th in New York City.

Good news at the Fortress of Dumbrellatude: R Stevens is looking for help with his t-shirt n' swag shipping empire.

Exciting tasks include folding t-shirts, filling orders, counting things, moderate computer use and discussing the paranormal at length. Perks include being away from the general public and occasional free goodies. Also, money.


We're closing in on NaNoWriMo (National Novel Writing Month) and like others I am thinking about giving it a try this year...

Funny, but this was exactly like a lot of my sports practices as a kid. Only for baseball...

Subtlety, thy name is Willis...

Drunk Duck Bought!; Blog Roundup and Other News

Drunk DuckPlatinum Studios bought Drunk Duck. Platinum Studios held the Comic Book Challenge contest at the San Diego Comicon this summer (which DJ Coffman won). (Both Talkaboutcomics and Journalista had notes on this story this morning.)

Journalista also points an interview between MIT Director of Comparative Media Studies Henry Jenkins and Chicago digital-media consultant Todd Allen on webcomics, micropayments and the migration of comics from print to the Web.

One more Dirk Deppey catch: Irresponsible Pictures comments on a paper by typography theorist Bill Hill on tranferring text from screen to Web, and its relavence to today’s digital-comics debate. (Have I mentioned how much I appreciate the return of Deppey to daily reporting/commentary? Of all of the "comic journalists" I've encountered, he was the first to "get" webcomics)

The BugPowder blog reports on a planned satire of the official 9/11 Commission Report. If you're interested you can check out the first few pages of The 9/11 Report : The Real Version.

We're closing in on 24 Hour Comics Day - there'll be an edition of it at Comica in London, U.K. (full list of locations here).

Is it just me or does the "Little People" art project referenced in this Drawn post beg to be turned into a comic? Or has some webcomic already exploited this artistic angle?

Anyone heard anything from Patrick Farley lately? I wish he had more time/money to make webcomics...

Comic Foundry points to the trailer for the film adaptation of Frank Miller's 300.

Webcomics In Print has a nice roundup of recent webcomic-related books here. Over at the Webcomicker, Gilead Pellaeon notes Scott Kurtz's potential second career at naming menu items. And another webcomics blog calls it quits: this time it's the Kea's Nest.

Patrick Farley

Patrick Farley: I Will Finish Mother Of All Bombs!

Patrick Farley drops in his blog that he is working on the graphic novel Mother Of All Bombs that he started work on in January 2005.  The political comic features artworks from Justine Shaw (creator of Nowhere Girl). 

Farley has posted a few panels from the work-in-progress. 

Music And Comics: Two Great Tastes That Taste Great Together?

Chances are you like comics and you like music, but do you want them fused together?

Tym Godek takes a look at music and comics and examines how they interact, what creators have come up with to date and where we might go in the future.

Webcomics: a Medium, not a Genre Pt. 2

Thought we might continue this discussion since the forums have been renovated.

To recap: Webcomics is and should be a medium for creators to tell their stories, not unlike books, movies, theatre and video games. They are not a genre that has been defined by PvP, Penny Arcade, Keenspot and the like.

Why make Webcomics?

I'm doing a formal paper on Webcomics for a senior Folk Art course and I need some opinions, concepts, quotes, examples from YOU, the expert on the subject. So, if you're feeling helpful, I've got a few specific questions - or if you're VERY interested, you can eMail me at <>.

1) Why make webcomics?

2) Do you feel connected to a webcomic community? (why/why not?)

3) Do webcomics reflect in some way upon this community?

4) In what ways do webcomics bring the community together?

5) What traditions do authors draw upon, and have webcomics developed any of their own, unique traditions?

6) Webcomics: "High" art or "Folk" art? Explain.

Feel free to add any tangents, examples, images, links, etc. THANKS!