1. The Ocean at the End of the Lane , Neil Gaiman


  4. A graphic novel collecting the first five chapters of the espionage thriller by Terence Anthony and Juan Romera. http://kck.st/1fRl3z0

  5. This Kickstarter is to raise funds for the printing of Issue #1 of the brand new series The Stalker! http://kck.st/1nFlOMh

  6. Strange Nation #5
    Norma and Jesse face the fallout from Duma Corp’s destruction of Sydsville, as Norma faces the toughest decision of her life. Plus: Patti and Victor, cheap wine and shady vans!



  7. Anonymous asked: $100 is a lot of money for a single page.







    how much is a loaf of bread? hm? $3? $5? 

    At my local grocery store, bread is about $4.50 for a decent size italian loaf. If I make $7.25 and hour, that means I’d have to work 37 and a half minutes for a Loaf of bread.

    but hey, that’s not so bad right? Work two hours and you’ll have a sandwich, eh?

    Oh hey, turns out I also need toilet paper, rice, chicken, some veggies, a can of soup, and some cereal. (to name a few basic groceries one might need on a budget) we’ll round those things down to $25 just to make the math easier.

    at $7.25 an hour I’ll have to work about 3 and a half hours for basic groceries.

    That doesn’t include bills or gas or all the other groceries I need, That’s ONE quick trip to the store and I already have to work half a day just for that.

    You don’t understand Anon, my pages could take HOURS if not DAYS. Between the sketching, inking, colouring, lettering, and finishing it’s taken at least a full two day’s work if not longer for each page.

    I have a job that pays me beans, I cannot afford to post more pages a week without compensation. I literally cannot afford to do that. Not to mention the idea that art is only worth minimum wage cheapens the amount of work and effort that goes into producing it. I should be making WELL ABOVE minimum wage for my art via page count and commissions but it’s this damn “deviant art” mindset that makes people feel like they’re being swindled for paying a livable wage to artists. It’s rude and childish and I ask that you please stop considering artists as less worthy of affording a normal life.

    You can either pay me what I ask for what you want or stop complaining about what I already give you for free.


    I cannot fucking stand people who tell illustrators that something they produce is too expensive.

    Yall motherfuckers want cheap? Go get some paper, get a fucking pencil and then draw it your motherfucking selves because nobody freelancing on the internet who hasn’t even half made it in the illustration world is charging you ANYTHING close to industry pricing even when some of us are as good if not better. Why? Because of people like Anon. Your name must be out there and known to charge anything close to what your time and skill is worth. Yet still? You are paying for my effort, my time, my blood, sweat and tears and a lifetime of learning my trade.

    A cheap page for yo ass is a piece of paper I haven’t touched yet.


    (As a freelancer I cannot staaaaaaaaaaaaaand people who pull this dogshit.)

    $100 is pretty cheap for a page.

    Basic math, for Anon up there: Break that $100 down into an hourly rate. Factor in materials. Factor in skill and schooling and experience. Bear in mind that a page rate *at all* means there’s a good chance it’s work-for-hire, which means that $100 a page might be all the artist gets, ever.

    And then, when you’ve done that math, think about what that means in terms of how few comics artists make a living hourly wage.

    Want a pro artist, anon? Pay them like a fucking pro.

    I’d like to add the a professional of any stripe has the duty to themselves, and the right to charge a rate based on his skill level and the work he or she puts in.


  9. Strange Nation #4 Preview


    Strange Nation #4 comes out tomorrow (1/15), and is available for pre-order now! And if you haven’t read any of Strange Nation yet, you can start at issue #1! As always, every issue is just 99 cents.
    This marks the halfway point for our series, and the entire Strange Nation team is really, really proud of this issue. It’s definitely my favorite one thus far. But the best is yet to come!
    Here’s a three-page preview,  plus a BONUS panel from the fourth page! Why? Because we love you.





  10. drdavidmrmack:


    A study in panel borders:
    Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.

    I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:

    * You can get away with smaller panels than you think
    * Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
    * Simple is not bad.
    * There are actually a LOT of possible combinations.

    Specific notes:

    Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.

    DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.

    Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.

    The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…

    Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.

    Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.

    Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.

    Panel design is one of the most fun parts of making comics for me.  Creating the structure and rhythm and timing of the page… based on the flow of the story and characters, is where the real magic happens for me.  

    It is that wonderful in between place where the script first takes shape into the visual.  And the arrangement seems to spring from the flow of the script (often with dozens of layouts for possible solutions for each page) and the infinite possibilities always surprise me.  Sometimes it is a matter of simplicity, and sometimes it is a matter of contrast.  And it always seems like problem solving.  It’s a puzzle where ideas first get their visual blueprint onto paper in terms of making that new dimension of “time” in making image have sequence and suggesting the pace of that sequence… encrypting it into the design so it will only live, only be unlocked, inside the readers mind.  I don’t consider the page the actual art.  I consider the real art, the real “happening” of this art form, as taking place inside the readers mind when what is encoded on the page is turned into movement and reality in the stage of the readers mind.  And each person decodes that a little bit differently, and the same person experiences the same comic differently when read at different stages in their life, based on the life experience that they bring to the reading.  The comic page is a navigational tool, a road map, an atlas, but it is very different from the actual geography that the atlas is meant to point to.  That magic that happens in between the panels, is what happens in the readers mind, and it is such a joy to craft a page and panel layout that you hope makes the most of that catalytic effect. You are using imagination in the layout to trigger the readers imagination which will be activated by the panel layout. and in turn make the panels move and sing. 

    (Source: captainmwai, via drdavidmrmack)