How does a webcartoonist improve himself? Practicing alone might seem sufficient to some, but without direction, most will just practice themselves into a hole. Rote learning can make you more efficient, but not necessarily better. There are websites which can guide an artist into developing his skills well, by giving good examples and exercises, and lead to a greater understanding of anatomy, and higher quality art. Likewise, there are aids for the writers out there who want to escape terrible characters, awful pacing issues, and atrocious plots. But aside from the art, what is out there to help you present your webcomic? I have yet to find a good site about webcomic production, but I am knee deep in bad ones.
Psychedelic Treehouse is yet another webcomic site by Ben Gordon, aka scartoonist, in which he attempts to combine information that he feels is useful to webcartoonists who wish to improve the business of their webcomic. The first thing anyone will notice, however, is the terrible page layout of PT. The first textual paragraph is a bunch of metatags, presented as a jumbled mess of phrases, some of which link to subsections of the site, while others do not. The purpose of this section puzzles and confuses me. It is an ugly site feature, and will repel users looking for a more professional site to give them advice. After this massive text chunk, Gordon gives two substanceless taglines, followed by a link to a useless "list" style website. By the time the reader reaches any true substance in the Psychedelic Treehouse, he or she is already fatigued by all the empty content they've had to wade through.
Down in the bowels of the front page, PT turns into a two-column format, with the left column being a left-justified list of various categories and subsections, with no organization or formatting cues. The right column is a centered list of site credits and contact links. The formatting wraps lines in odd places, creating lines with two words, followed by a line break. All the credits in the right column are chaotically arranged, and the reader's eye bounces all over the place, instead of following the list cleanly. The left side is only slightly better, with section titles and descriptions having various assortments of font styles and sizes, with very little consistency among either.
But what kind of substance does The Psychedelic Treehouse actually offer? Perhaps it is a diamond in the rough, an object of immense value with an ugly presentation. And perhaps Jesus himself will swoop down on the back of a giant rooster and smite all the terrible webcomics. The majority of sections found on the PT are simply lists of things. A list of webcomics, a list of webcomic collectives, a list of comic portals, blogs, publishers, award winners, podcasts, books, and commission-taking artists. There are even three whole pages of 'miscellaneous' link lists. The most useless of these 'lists' is a gallery of webcomic logos. What is the purpose of these lists? A collection of information is useless if the average reader still has to digest and analyze it himself. These lists are simply pure streams of data, with no evaluation provided by Gordon, thereby making it about as useful as a list of quantum physics equations to the average kindergartener. Ben Gordon is apparently incapable of giving the necessary commentary on the lists he provides, since he has not done so, but with the quality of his writing, I'm not sure I'd want to see it.
A few sections attempt to be more significant than just a meaningless pile of lists, which is what I'd expect from topics such as Site Design Tools and Networking, topics that Ben Gordon has obviously neglected himself. Of course, they're merely lists of links accompanied with a summary of the link, which I suppose is an improvement, but ultimately, it's not enough. Many subsections again devolve into mere lists. One section on Fonts is prefaced by an amazingly inaccurate assessment and analysis on the use of fonts, making the claim that "If you use an exotic font to letter your comic, many people in your audience will see whatever their search engine thought was the closest match." How is your browser supposed to alter the comic image to change the font used, I'm not sure, but Ben Gordon has asserted that it happens, and presented it as fact. The presence of patently idiotic statements detract from the validity of Psychedelic Treehouse as a webcomic resource. It also doesn't help that the font chosen for the page header is Comic Sans.
The remainder of Psychedelic Treehouse's content consists of extremely short 'essays' about webcomics (as well as interviews and reviews crossposted from his other sites). The problem is that these essays are written to push Gordon's concept of what cartoonists should be doing, whether he has any factual basis for saying so, or not. This checklist is full of minor and inconsequential things that only matters to Gordon, but he has presented it as a definitive checklist for new webcartoonists. The truth is, I'd trust his advice about as far as I could throw him. He puts more emphasis on how to make money from a comic, as well as shameless self-promotion than he does about any kind of substantial improvement in quality.
Ben Gordon provides very little ethos when talking about building a better webcomic site. His own sites are so jumbled, scattered, disoriented and downright terrible. Trying to pass his Psychedelic Treehouse off as an essential resource for webcomickers is laughable. It is essentially a Webcomic Junkyard: Massive piles of junk with a single potential nugget of value contained within. He makes no effort to sort the wheat from the chaff, and as a result his information becomes massive and unwieldy. Anyone looking to improve their webcomic should avoid this site like the plague, since you will waste more time digging for gold without a map than you will spend applying the useful advice to your own product. If Ben Gordon built this Psychedelic Treehouse with his own two hands, then you should think twice about turning it into a clubhouse; the shoddy craftsmanship will fall apart on you at the worst possible moment.
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Sunday, November 30, 2008
Psychedelic Treehouse: Tips on Shoddy Craftsmanship, From the Expert Shoddy Craftsman
Sunday, November 23, 2008
CAR: Ignoring the 'Check Engine' Light for 30,000 Miles (and Counting!)
There are millions of webcomics out there on the internet designed to appeal to niche markets and strange hobbies. No matter your interests, there is probably a webcomic that caters to them. Even if those interests are really dumb. But no matter how dumb the hobby, there are people who are really into these things. I guess maybe they seem dumb to me but these people really enjoy them so who am I to knock it? Or so I thought, until I met possibly the dumbest hobby-comic ever.
CAR (the author insists on the all-caps title of this abomination) is about driving around in a car. That is pretty much the premise of the entire comic. You can probably imagine the kinds of jokes that arise from car driving, and how Jeffrey Faden has managed to stretch this into 250 strips is mind-boggling. Granted, about half of them are about CAR ending or restarting; the joke has been used so much, it's collecting Social Security checks. As for other jokes, "WOAH MY CAR HAS A LOT OF BUTTONS AND SWITCHES!" gets dull fast. Driving like an old man isn't funny either. Basically there are two jokes about cars and they're both pretty bad already.
CAR reeks of the same technophilic MacFaggotry that rubs most people the wrong way. I know you think you're cool, Jeff, but no one cares about whatever gadget you got that provides marginal utility. An obsession with techno music is just an extension of technophilia, because people can act snooty and pretentious about obscure DJs that no one will ever hear, and they sound terrible anyways. If someone you know won't shut up about techno music, then they have also drunk the Apple Kool-Aid (that actually sounds pretty rad, apple flavored Kool-Aid) and you should probably cut all ties with them.
There is very little artistic difference between the earliest comic and the latest comic. Apart from the addition to gradient coloring, the characters look like strange amalgamations of old, cheap anime, and crude doodles done in the back of Freshman Lit. There is no need for more than one pose, since all characters are just talking heads used to further a dialog. And the characters have no consistent characterization, they are simply used arbitrarily to provide a foil to (or give aid to) the author-insert's wacky shenanigans. They are not people, but voices heard by the author that he responds to and interacts with. Essentially, there is only one character, and that is Jeffrey.
Despite grave reservations, I decided to track down Jeff Faden and ask him what, if anything, inspired him to keep coming back to this awful webcomic. Surprisingly, he consented to an interview. My most ardent readers will remember once before when I did an interview, the difference this time is that I'm actually interviewing someone else. So without further ado, I present a depressing interview with an unhinged individual: Jeffrey Faden, author of CAR.
Anti-Snark: CAR has been around for about 6 years; have you learned anything about comic making in that time, and if so, why haven't you applied it to CAR?
Jeffrey Faden: My greatest comicking education comes from Scott McCloud's timeless book, Reinventing Comics, where he leverages the power of the Internet as a content delivery medium that reaches consumers across the world and touches them with the magic of juxtaposed pictoral (or other) images in a deliberate sequence. I've learned, by studying that book, that you don't need to put forth anything with acceptable art, writing, layout, or sense of humor - what is more important is whether your webcomic is accessible to people in wheelchairs and fires off all of its JavaScript successfully. This is why CAR is valid XHTML and looks pretty much worse, and has less readers, than it did in 2002.
AS: God, that's pretentious as fuck. Now, CAR has been stopped and restarted 5 or 6 times. Why do you keep going back to the same failed comic instead of trying something fresh and new? Are you afraid of success, or just change?
JF: It's kind of you to suggest that success would be the result of future endeavours in comickery! Rather, I would see success as the total halting of CAR altogether, along with a pledge to never create another comic again. But just between you and me, I've got a secret - the reason CAR has no ads and does not advertise is because its revenue is more than taken care of by formerly Honda Motor Company, and now Toyota Motor Corporation executives who pay me large sums of cash for every frame in which one of their cars appears. (This is why I have made so many comics that repeat the same frame over and over.) Unfortunately, one reason for a 3-year hiatus is due to a giant legal battle with Honda in which I plead to stop making CARs, resulting in the reclamation of my actual car. Fortunately, this also resulted in the end of CAR, until I foolishly forged the same agreement with Toyota three years later. It seems as if I will be forever doomed to make mundane traces of the interiors of a Prius, passing a tedious process off as actual talent.
In summary, it's because I am very rich.
AS: Too bad you still can't afford any talent. Your art is sloppy and your writing is miserable. Which reminds me, why is it that there really aren't any consistent characters in CAR? You just seem to pick from a character design based on someone you know, and then write them in a way that you feel fits the comic. Are you just incompetent, or are the people you know really this inconsistent?
JF: Here's the process:
1. Person I marginally know wants to be put in CAR.
2. I decide I might as well, because I have nothing else to write about.
3. Person doesn't realize they've been put in CAR because I don't tend to keep up with people I've met in real life.
4. I use the character for a considerable amount of time and eventually twist their personality into an unlikeable, completely uncharacteristic mess.
5. Eventually the person notices they're still being used, and removes me from their Facebook friends list.
6. I pretend the character never existed; process repeats.
AS: That sounds like a load of BS. Have you ever considered attending a workshop on writing jokes or drawing people so they don't look like they have a genetic defect where they appear half anime?
JF: When it comes to improving my craft, I like to heed the words of my favorite contemporaries, Mookie and Absath - "if they're buyin', no use in tryin'." Of course, in my case, people aren't buyin', but I like to humor myself into thinking that they would if I cared enough to sell something.
Also, "Half anime" is probably the best compliment I have ever gotten.
AS: Who is your mechanic?
JF: Jesus. The Jesus that atheists worship.
AS: I don't think he's a licensed mechanic.
JF: That would explain the chorus of angels every time I turn on the air conditioner.
AS: Don't you know A/C ruins your gas mileage? If you really loved the planet you wouldn't use it. You don't hate the planet, do you?
JF: CAR still exists. Isn't that your answer?
AS: I'm afraid so.
As you can see, Jeffrey is clearly an imbalanced individual, who values his iPod more than his suspension. Making a comic about cars might not be a bad idea if you are focusing on maintenance or whatever (and actually know anything about cars), but if you're making a comic about just driving cars, you might want to rethink whether people consider you an interesting person or not. If your comic isn't interesting, then no one is going to read it, because it's just that dull.
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Sunday, November 16, 2008
Menage a Three: Betty & Veronica Give Archie Blue Balls
Sure, porn comics can increase your readership with the amount of horny teenagers, but what happens when you make a porn comic without any actual porn? Holding back might create an air of legitimacy amongst less-than-savvy reviewers, who might convince themselves that since there is no nudity, it's not actually a porn comic. This would relieve a sense of shame the creator might have about making such a comic since it's not really porn. "Pornographers are sleazy, creepy people, and that's not me!" they convince themselves. Well I regret to inform you that you are a pornographer, and you are sleazy and creepy. Blueballing your readers just makes you sleazier, because despite being ashamed of what you've made, you continue to make it, because you just love the attention.
Menage a Three is the tale of a poor virgin nerd whose old roommates turn out to be gay (and boning each other) so they are immediately replaced by two totally hot girls! It takes place in the deepest, darkest, dankest bowels of French Canada, which I guess is the home of the artist, Gisèle Lagacé, and I guess explains the title, a french term for a threesome, used only by pretentious yuppies who want to make sex sound classy. At any rate, the lonely nerd suffers a hilarious quantity of sexual frustration due to the fact that he'd rather read comic books and watch anime (and porn, and anime porn) instead of socializing with actual people and getting to know girls. Uh oh, I think I might have alienated some (all) of my readers.
Artistically, Menage a Three has been compared to Archie, with a hint of anime. It is full of traditional anime shorthand and tropes, like the bloody dork nose, sweatdrops, these bizarre rivers draining from eyes, little child versions of the characters for no reason, scribbles above the head of a frustrated character, the list goes on. Every strip is an homage to the honored Japanese tradition of abstracting every emotion to a mere symbol on the character's face. Obviously Giz knows her audience is primarily anime-loving virgins, some of which can only get off to anime porn, so she has added these elements to make them feel more comfortable.
The Archie influence is more than just in the art, however. Many of the goofy puns and trite sight gags are the kind of junk you would expect to see in Archie comics, except for the porno filter applied later in photoshop. The plots are generally mundane and Archie-esque, such as "Day at the Beach" or "Moving Day" where the biggest conflict is whether to eat chicken or hamburgers. The dialog is cheesier than ballpark nachos, and the characters act about as believably as Keanu Reeves. It's not really hard to put a sexually repressed nerd in a frustrating situation with two girls, so why not try a little harder to do it a little better? I guess the Gizzer isn't as committed to this concept as she wants us to think she is.
The characters themselves are very annoying. I don't mean "oh his flaws are so annoying, why do they put up with him." I mean "who could put up with this guy for more than a minute, his behavior is so irritating!" The large french woman, Didi speaks in Frenglish, often swapping between English and French at bizarre times. Speaking between two languages is a mannerism I have never seen done well, as the authors doing it have a tendency to just swap out words and phrases at random, without really thinking about which ones they're doing or why. A little research into this behavior would go a long way, but it's not really worth it, since it really adds nothing to her character other than "she's french." The scrawny "punk rock" (poser) chick Zii has massive boundary issues, and I find it hard to believe that she has gotten no reactions worse than rolled eyes, a shrug and an "oh Zii!" Her behavior is generally a subconscious desire for attention, and if you know someone like this, you know that attention-seeking behavior is always incredibly annoying. The comic book hypernerd, Gary, is a pathetic whiner who always looks like he's about to break out in tears. His inability to enjoy himself makes him a drag on everyone else and his constant protests make everyone want to leave him at home. These terrible characters are about as compelling as a documentary on French Canada, and they certainly make me wish I could just close the browser so I wouldn't have to read this terrible webcomic. Unfortunately, I have to, for your sake.
Menage a Three is a porn comic, without the pesky burden of actually having any porn. The premise of one sexually repressed guy living with two girls was more entertaining back in the 70s when it was Three's Company. I'm not being facetious, Three's Company is about twenty times better than Menage a Three could ever be, simply because it isn't ashamed of itself. Unlike most webcartoonists, Gisele Lagace has at least some artistic talent, but the fact that she is wasting it on this amalgamation of atrocities convinces me that she has no desire to become a great artist, and prefers simple stories for simple people. The Jizzer has given us a terrible webcomic, and expects to cash in quick with the promise of pornographic content, even though she has no idea of giving anyone anything more than a stray nipple. If you want a compelling character-based story wrought with sexual frustration, there are plenty of better ones out there that aren't just sleazy porn. And if you want porn, there's better places for that too. Menage a Three is simply the equivalent of trying to watch the scrambled channels on your TV.
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Sunday, November 09, 2008
Hijinks Ensue (In the Loosest Sense of the Term)
Terrible webcomics are fairly abundant on the Internet, but most are not worth my time to discuss here. Some are so commonly reviled that I believe ripping into them would just be redundant on my part, and others are so uninspired that it's obvious they won't last long enough to give me enough to really work with. It is truly rare to find a terrible webcomic with enough of an archive to give me something to work with, that hasn't already been picked clean by the other vitriolic webcomic reviewers around. I believe I have hit a veritable treasure trove, however, with Hijinks Ensue, a wretched hive of MacFaggotry, pop culture addiction, and one guy in the corner yelling "INFORMATION WANTS TO BE FREE!!" Well, maybe it does, but this is a particular set of "information" that we should keep locked in a hidden vault underground to forget about forever.
Artistically, Joel Watson is atrocious. H.E. looks like some sort of hideous amalgamation of the late Movie Comics and the abominable Shredded Moose (which I will probably save for another day). The artist clearly has no confidence in his own abilities, since he feels the need to draw young GENERIC FOX PRESIDENT with the goatee seen in earlier panels, so the reader knows who the kid is. Facial expressions are stiff and unvaried, while poses are robotic and jerky, giving the characters a sense of realism not seen since robots enslaved humanity. Because of the terrible art, this joke falls flat, since a casual reader wouldn't know the difference between this Eli character and the original, without close examination. The guy needs to study some anatomy, because no one's neck should stick out like this, nor should one's eyes be haphazardly bulging from one's head. Unfortunately, the art is not the worst part of this comic.
Putting the art aside, there is still plenty of terrible in this comic. The excessive addiction to television and movies is offputting, especially since there is rarely a joke about either that can be made funny by a webcomic. First of all, most of the shows enjoyed by nerds generally make fun of themselves by being so terrible. But when a nerd tries to defend these shows by appealing to some universal code of dorkery, it's not funny or amusing, just depressing. Second, if you can't stop watching a show because it has turned bad (or always been bad) then you deserve whatever misery you receive. Lastly, movie and television jokes often require that the reader has watched the movie or show in question, and if he hasn't, it is rarely funny. Also, you can't include spoilers in the joke in case people are intending to watch it, but haven't yet, so that cuts down on quite possibly a million potential jokes. Ultimately, a comic about movies or television shows is usually not worth it, considering that it often ends up being a very weak joke that few will get (or want). Because they are passive media, you can't make jokes about simple mechanics like videogames can do, and aren't broad enough to encompass a large portion of readers like current events tend to do.
But worse than the pop culture minutia, I feel, is the torrent of incorrigible MacFaggotry that permeates this webcomic like grease on a pizza. The worst thing about Apple products is the smugness that surrounds its consumer base so thickly that you could cut it with a dull knife. Apple fans have a tendency to treat Steve Jobs as the second coming of Jesus Christ, and every product he craps out as manna from on high. They admittedly acknowledge that they will buy anything Apple releases despite whether they really truly want them, especially when they know that a better model will be released a year or so later. Instead of waiting until the value fits the price, Jobsians will buy up everything and get angry about it later. And when a product with even remote similarity to an established Apple product is released, such as Microsoft's Zune, MacFags get extremely butthurt about people getting excited about an alternative choice to their beloved Apple, and call it such things as "inadequate," "second-rate" and "crappy."
And then there's a bizarre amount of hypocrisy. Berating Microsoft for their latest ad campaign where they show the diversity of PC users as being "off-target," while the Mac ads have become increasingly negative makes me wonder if people like Joel Watson can even compare something as transparent as an ad campaign, or if they simply follow the Apple party line. Harassing Wal*Mart for selling DRM protected music when the iTunes store is essentially nothing but DRM protected media is stupefying. Shifting blame to the manufacturer instead of the distributor with baseless accusations is the kind of selfish fanboyism I've come to expect from the MacFags out there. I could go for days giving examples of Apple fanboys attacking other companies for "reprehensible acts" while defending Apple for those exact same acts. Vista is too restrictive with respect to the consumer experience? Better defend Apple's restrictions regarding the consumer experience!
And what group of Applefans would they be if they didn't have a completely unnecessary podcast? I listened to one or two and all I can say is "ugh." It's basically an amalgamation of all the jokes they couldn't frame as a comic strip, as well as boring, detached-from-reality commentary, much like the ones that can be found under the comic strips. Who wants to listen to this terrible comic as a podcast after reading this terrible comic as a webcomic? Not me, that's for sure. And I'm surprised that a webcomic run entirely by MacFags has such poor site design. Framed with massive ads, the actual strip is always pushed over to the right, where, if you don't have your browser window full-screened, requires that the reader scroll over to read it. How irritating! There is an additional sidebar on the RIGHT side, under the comic, where Joel Watson begs for donations followed by another ad. Joel even considers this atrocious comic his full-time job, and wants to increase his income from it to self-sufficient levels. Hey, if you want to make a little more money, just add a few more ads! Separate each blog post with an ad, sell ads in your podcast, just make more of them!
If you want to turn comicking into a sufficient source of income, you should be prepared to churn out more than 3 comics a week. You're going to have to bust your ass to make a living in this world, half-assing a comic without decent art or subject material and hanging out with your friends in front of a microphone is not going to cut it. Streamline your frontpage so that it isn't absolutely burdened with thousands of links and ads. A minimalist site design would serve you well, especially considering your intended audience. As you are now, Hijinks Ensue, you are the most basic incarnation of "terrible." Oh, and what the hell is this? Simplifying a candidate like this is insulting not only to the candidate, but also your readers. Do you not think they're smart enough to make this kind of decision based on actual facts, instead of simply following whatever you say? Well maybe not, since they think your comic is worth reading. Forget I said anything.
Hijinks Ensue is a webcomic that I find to be very valuable, not because it has any redeeming qualities, but because it has none. A truly terrible webcomic like this usually does not have a substantial body of work for me to review, and when one does, it is often already well-known enough that I would essentially be beating a dead horse. This comic is basically the worst I have seen all year, and I appreciate it for giving me something to review. However, now that I have reviewed it, I kindly ask that these hijinks cease ensuing, because they are not at all amusing, just noisy and annoying.
Tuesday Addendum: Oh god I had spent so long working on this terrible webcomic that a few things I intended to mention failed to make it in, because by the time I finished the penultimate paragraph, I was already trying not to vomit all over my laptop.
The blog posts that accompany every comic page are so self-fellating, so auto-congratulatory, I wonder if Watson's head would explode if someone informed him that he is NOT the center of the Internet. They also end up inadvertently explaining the joke in case someone didn't get it (and wanted it in the first place). Lets face it, Joel, you're not that clever, so quit patting yourself on the back. Just stick to related topic links and pull your head out of the clouds. Oh wait I forgot that Mactards can't comprehend the concept of separating their ego from their writing. My bad.
One page in particular raised my ire, and it's something I have railed against before. Some webcartoonists don't grasp the concept of Services. You PAY people to do things so YOU don't have to. Even if it is something as menial as printing out your awful comic to glossy paper. If you don't like paying the service charge, then just roll up your sleeves, buy the supplies you need to do it yourself, and GET TO WORK. No one is forcing you to go down to Kinko's to print out a comic to sell to schmucks for an extra $10 in your pocket. It's not like you're even selling the original artwork. I guess all the idiots really do have too much money.
I apologize for missing these two atrocious aspects of this comic the first time through. I guess I'm going to have to start writing an outline down on paper beforehand to make sure that all my vitriol is fully expended the first time through.
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Sunday, November 02, 2008
Political Webcomics: More Baffling Than Voting for Pat Buchanan
In my opinion, the most patriotic day this year is November 4, Election Day. I enjoy the democratic process by casting my vote in favor of the most reprehensible candidates, because inciting suffering on the citizens of my county, state and nation is something that gives me a perverse pleasure. In honor of the upcoming election, I decided to take a look at what the world of webcomics has to provide in the realm of political comics. And I wish I hadn't.
The first one I looked at is one I had glanced over before: Right Left Center by the guys who also do Electronic Tigers. Since then, however, the comic has simply devolved into even more ridiculous political cartoons. In the latest comic, he has presented Democrat candidate Barack Obama as a skewed charicature of his actual views, sporting conflicting socialist and fascist strawman arguments, and the icing on the cake is a series of "citations" from right-wing sources which are already significantly misconstrued, and then he removes what little context is left. The previous page isn't much better, pushing the same ineffective talking points that have been on the table for months, and thinks they'll work this time. Of course, they're just the generic arguments made against Democrat candidates, so it's not like this Republican mouthpiece is spewing anything that hasn't be spewed before. The main problem with RLC is that it's just too damn wordy. Political comics have never been around to change anyone's mind; instead, they just need to poke fun at some recent political (or otherwise national) event and twist it into a humorous analogy, metaphor, or charicature. RLC fails at this with incredible swiftness, but since the primary demographic is racists and people who want to argue with racists, I'm sure they find the stiff, one-sided haranguement of Democrats to be amusing.
The next one I found was Keenspot's longest-running political comic, Sore Thumbz (the z is extreme), which was originally supposed to be YAGC (Yet Another Gamer Comic) but writer Chris Crosby hasn't played a video game besides those dang ol' Marty-o Brothers, so he uses it as a political mouthpiece. Like RLC, Sore Thumbz has a tendency to stretch a gag out way too long. Unlike RLC, it's not as bad as RLC. Still, it's not without a veritable gold mine of faults. The conservative mouthpiece is an obnoxious loud-mouthed business owner, while his liberal counterpart is an equally obnoxious large-breasted bimbo, and both are about as flat as Iowa. The art is really kind of sloppy, as these two characters will often change size and shape between pages and even panels, but the glaring flaw is the writing. Chris Crosby wedges a liberal joke into pages where it's really unnecessary, and pushes his left-wing character to always be correct. 99% of the time the conservative is portrayed as either a raving lunatic or a smug jackass, detracting from his emphasis as a serious counterpart and turns him into a mere comic foil. A better design for this setup would involve both characters being used equally, by which I mean using them whenever appropriate for a joke, rather than leaning on the left-wing jokes and ignoring the others.
But when it comes to forcing a joke, none does it better than Keenspot's newest addition, M. J. Offen's Politicomic. It's only been around for a month and a half, but has still managed to strike me as the worst attempt at political humor on the Internet. Actually calling it a comic is kind of iffy, since all the art is just photographs of the candidates after they've been shoved through a handful of Photoshop filters. In fact, if just playing around with photoshop is enough to get on Keenspot these days, maybe I'll give it a whirl. I mean, I'm sure I can come up with better jokes than McCain Kong. Of course we all know why this Obamanation ended up on Keenspot, and that's because Chris Crosby wants to give a leg up to all the liberal political webcomics out there, even if they don't really come close to deserving it.
Of course, a lack of art is not uncommon in webcomics, especially when politics are involved. Get Your War On thrives with nothing less than old clip art and a foul, sarcastic mouth. While it focuses on the Iraq War and the politics related to it, GYWO is not above discussing other political issues, like the economy, or various campaign bizarrities, and railing against the war and the Republican party has given GYWO a boost in popularity among moody teenagers and high-minded college students who consider it to be much more poignant than it really is. So much so that it has been modified into a series of animated shorts. The truth is, anyone can manufacture popularity through faux outrage and obscenity. Loud ranting is not funny, and sarcasm gets old after just a short while. A political comic without these things has a greater chance of being appreciated for its wit, rather than just being blindly followed by those too dumb or high to differentiate between quality and trash.
The last political comic I found before I got sick of looking is known only as The Pain (a reference to The Princess Bride, no doubt) which provides the same cynical look at current events as GYWO, except providing actual art. Actually, the art is populated by nothing but grotesque distortions of reality, like looking at life through reverse-beer goggles. The comics often carry a severe tone of pessimism and misery, interjected with wild bouts of mania, and I wouldn't be surprised if the author had Bipolar II disorder. Many of the scenarios presented aren't grounded in reality, but instead play up fantasies of anarchy, martial law, and apocalyptia, and the artist seems driven by nothing more than his most base desires, rather than any desire for social, moral, or economic reform, so his writing suffers from a lack of conviction to any kind of viewpoint other than selfishness. I guess that makes The Pain the perfect political webcomic for self-centered assholes who would rather wallow in their own misery instead of doing something about it, so I'm surprised it's not more popular than it is.
American Politics are generally about which human being the people detest the least, and can stand to vote for without hurling. Voting, like surgery, tends to require that the participant not eat for many hours prior to the procedure. Most voters don't even vote for their own interests, but rather some imaginary future version of themselves that doesn't actually resemble them at all. Regardless of who wins, I can expect that there will be plenty of moping around the nation, and I will revel in their misery. Additionally, I can expect to read a few comics complaining about America electing the wrong guy, from political and non-political webcomics alike, and all of this griping will be met with the same response: "Why didn't you try to do more?" Political cartoons have never been very funny, and political webcomics mangle the genre even more, trying to squeeze the blood of comedy from the stone of politics. If presented with a referendum to continue political webcomics, do the responsible thing: vote no.
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