Bad webcomics

Webcomics as a supportable business model has really dried up post-2007 and the first major web advertiser implosion. If you didn't have an audience on lock when that happened, it was a real uphill battle.
Okay, I need to sperg, sorry everyone.

The webcomic business worked because at the time, there was really nothing to compete with it. In 2002 it took forever to load a video that was only half a minute long, so images had an easier time, and a comic with an archive was the best you could get. More eye catching than a blog, and this was back when most people reading these were impressed if you had photoshop. Then, video came in and killed the webcomic star, but not right away because plenty of these comics still had an audience.

By 2010, it was clear where the internet was heading, and so the old guard started circling the wagons. Gone were the days of link pages or sharing new comers. Even guest strips stopped being a way newbies could make a name for themselves, the likes of Jeph Jacques, Randy Milholland and Danielle Corsetto only inviting their friends to come in. They helped each other, but refused to let anyone else in. The worst case of this was Penny Arcades comics reality show that only took people who were established creators, including David Malki and Erika Moen.

This caused things to grow stagnant, and the rise of social media gave way to the Sarah Scribbles and Catana Comics style of generic relatable comics, but their creators still struggled to make a name for themselves because there was no ad revenue coming in from twitter, facebook or instagram. Most people from that set still need to have an alternate income in order to support themselves. Many were able to get away with commissions, or other commercial work, but most just stuck with whatever job they'd been doing at the time.

Speaking of ads, only 3 out of 1000 people would buy any merch from a webcomic, so unless you had a huge number, you were fucked. Ads, however, helped offset that. Project Wonderful was an easy way to get cash from people bidding on your space and you didn't have to lift a finger. But then adblock came in. Now those freeloaders aren't pulling their weight, so it became even harder to keep the lights on, or make the transition to full time creative.

With a lack of new content, the convenience of places like youtube having all your faves in one place, better bandwidth, and webcomics constantly missing deadlines or some shutting down, the audience dwindled and moved onto other things without any new readers to replace them. The old guard whine and moan about this, when they're the ones who helped cause it when they refused to let anyone new into the fold for fear of losing their readership.

These days, some people are able to do it, but it's a huge time and money sink in order to get started and you're competing with a lot of different factors these days compared to twenty years ago.
 
Project Wonderful was an easy way to get cash from people bidding on your space and you didn't have to lift a finger. But then adblock came in. Now those freeloaders aren't pulling their weight, so it became even harder to keep the lights on, or make the transition to full time creative.
That and Project Wonderful was possibly propped up by a single terrible paid porn webcomic site. That's the only ads that ever seemed to run.
 
The webcomic business worked because at the time, there was really nothing to compete with it. In 2002 it took forever to load a video that was only half a minute long, so images had an easier time, and a comic with an archive was the best you could get. More eye catching than a blog, and this was back when most people reading these were impressed if you had photoshop. Then, video came in and killed the webcomic star, but not right away because plenty of these comics still had an audience.
I don't know how universal my experience was, but webcomics also had a benefit of momentum in that I was just used to reading comic strips already. I kept up with all my favorite newspaper comics every day for years. It was just part of my daily routine.

When my family canceled our newspaper subscription because of this fancy Internet thing, I took to finding a replacement there. I wasn't able to find anywhere to read the classic comics online easily, so I transitioned to reading what felt like the evolution of the medium. I liked finding new strips and catching up with their archives. There were even series about video games (I like those!) and they felt more relatable than the wall of boomer humor that I was used to.

The habit was already there, which is probably why I kept up with objectively terrible comics for so long before I realized I could stop. It wasn't even necessarily video that drew me away, it's just that my standards for what is funny or entertaining rose dramatically after I got online.
 
I don't know how universal my experience was, but webcomics also had a benefit of momentum in that I was just used to reading comic strips already. I kept up with all my favorite newspaper comics every day for years. It was just part of my daily routine.

When my family canceled our newspaper subscription because of this fancy Internet thing, I took to finding a replacement there. I wasn't able to find anywhere to read the classic comics online easily, so I transitioned to reading what felt like the evolution of the medium. I liked finding new strips and catching up with their archives. There were even series about video games (I like those!) and they felt more relatable than the wall of boomer humor that I was used to.

The habit was already there, which is probably why I kept up with objectively terrible comics for so long before I realized I could stop. It wasn't even necessarily video that drew me away, it's just that my standards for what is funny or entertaining rose dramatically after I got online.
For me they were fun, free, didn't make any noise and worked on any shitty computer - even the school ones and tablets.
 
I got into webcomics because I was looking for comics from the Newpapers as our local rag had some it had dropped and the syndicates were toe-dipping by posting some of the dailies online. I discovered there were more - so much more.

I miss Doctor Fun.
 
The habit was already there, which is probably why I kept up with objectively terrible comics for so long before I realized I could stop.
I actually sought out the absolute worst I could find, which is why I followed shit like Morning Glory, Billy the Rebel (or whatever it was called), Electric Retard (by an actual pedo), and just absolute crap like that. I wanted to see how bad it was possible for an absolute moron to get when trying to make cartoons.
 
I don't know how universal my experience was, but webcomics also had a benefit of momentum in that I was just used to reading comic strips already. I kept up with all my favorite newspaper comics every day for years. It was just part of my daily routine.
I also stopped reading newspaper strips around the time I found webcomics, but the momentum thing touches on something else important.

What a lot of creators, not just on the web but in traditional medias as well, don't want to admit is that a majority of your audience are casuals. Only a small fraction have the autistic devotion to follow you through thick and thin. For the most part, the people who buy your product or go to your website only go there because it's part of their routine. If you don't give them regular output, they lose interest and leave.

Ctrl+Alt+Delete and Least I Could Do got a ton of shit for being bad Mary Sue fantasies, but they were still successful and a big part of that was that they updated when they said they did. Megatokyo meanwhile lost ninety percent of its audience between 2000 and 2010 because of Fred's inability to get a page out at a decent rate. The likes of Scott Kurtz were always insistent that this did not matter, that audience retention would happen automatically and that you should just post the strip when it was ready, not when you told people it would be there. And his peers would always wonder why he was less successful than other comics of worse caliber but a more consistent schedule. Though of course part of that is because Scott was a mouthy bitch who needed to start a fight with everyone.

This is what caused a lot of people to give up on webcomics. Plenty would go for a while, then the author would get bored and stop putting pages out as frequently, which led to a loss in readership, which required the artist to get a real job, which led to even fewer updates, which eventually made the creator/s give up, sometimes mid-story, and leave the whole thing to rot. Or the comic would gain some attention but not enough to make it into a fulltime career, so the artist would rage quit. Why would you bother with an industry full of content creators that make is clear they don't care about the readers and don't care about the product enough to make sure it comes out done well and on time.

If you can become part of someone's routine, you have an audience member for as long as you can keep it up. And as much as many creative types would like to pretend otherwise, most creative works out there are not worth waiting for.
 
This is what caused a lot of people to give up on webcomics. Plenty would go for a while, then the author would get bored and stop putting pages out as frequently, which led to a loss in readership, which required the artist to get a real job, which led to even fewer updates, which eventually made the creator/s give up,
See also: VGCats
 
Hot take: I'll take Achewood over FLEM because at least the cringy autism has its moments. Jay was Ethan Mcmanus if Ethan was an edgy goth fag Mary Sue instead of a manchild gamer Mary Sue. Even as an edgy comic, FLEM sucked.

What a lot of creators, not just on the web but in traditional medias as well, don't want to admit is that a majority of your audience are casuals. Only a small fraction have the autistic devotion to follow you through thick and thin. For the most part, the people who buy your product or go to your website only go there because it's part of their routine. If you don't give them regular output, they lose interest and leave.

Ctrl+Alt+Delete and Least I Could Do got a ton of shit for being bad Mary Sue fantasies, but they were still successful and a big part of that was that they updated when they said they did. Megatokyo meanwhile lost ninety percent of its audience between 2000 and 2010 because of Fred's inability to get a page out at a decent rate. The likes of Scott Kurtz were always insistent that this did not matter, that audience retention would happen automatically and that you should just post the strip when it was ready, not when you told people it would be there. And his peers would always wonder why he was less successful than other comics of worse caliber but a more consistent schedule. Though of course part of that is because Scott was a mouthy bitch who needed to start a fight with everyone.

This is what caused a lot of people to give up on webcomics. Plenty would go for a while, then the author would get bored and stop putting pages out as frequently, which led to a loss in readership, which required the artist to get a real job, which led to even fewer updates, which eventually made the creator/s give up, sometimes mid-story, and leave the whole thing to rot. Or the comic would gain some attention but not enough to make it into a fulltime career, so the artist would rage quit. Why would you bother with an industry full of content creators that make is clear they don't care about the readers and don't care about the product enough to make sure it comes out done well and on time.
Questionable Content and Dresden Codak's creators would also go out of the way to thank supporters and fans (until Aaron went full tranny and wasted time on Twitter). Stabhand would do different things like play some music. Greg Dean was endearing until he went full retard, and I'm not surprised PVP is dead (What's Scott doing these days?). It's amazing how Pigbald's comics get worse every year. Even if they hire people to write and draw comics, this is bad:

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I wish someone archived Shitty Webcomic's posts on Pigbald.
 
and I'm not surprised PVP is dead (What's Scott doing these days?).
This is actually hilarious in a way.

Back in 2008 to 2015, Scott was celebrating because newspapers and print comics were dead. The internet and webcomics were the wave of the future, to the point where he wanted to retire the name 'webcomic' because clearly they were going to take over. When Comixology debuted, he bemoaned that they were keeping prices high to match what the stores were charging, and when Mark Waid launched Thrillbent, he declared that the pros were finally here. Thrillbent closed down after a year, Mark making more money selling print copies of Insufferable than the site ever did, and when Comixology's numbers were finally released, the best anyone could hope for was 10% of total sales. As in, you have fifty thousand readers, maybe five thousand bought digital.

Then, a few years ago, he finally realized that things were falling apart for webcomics, and got a literary agent so he could sell a GN based on his spin off comic Table Titans. It worked, and he quit PVP in 2022 to focus on his new series for kids about the characters in middle school discovering D&D. Which confuses me, the main thing people liked about TT back in the day was the fantasy stories, not the real life shit, but whatever.

The man who railed against the print medium now relies on it completely. And to me, that will always be funny.
 
he even still alive? he was an OG deathfat

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He talked about this on one of the Penny Arcade DVDs. Apparently he has Kallman Syndrome, which is why he's fat but also why he had such a high pitch voice and couldn't have children. He did lose weight, though he's still fat. It's also why he sees farts as just a funny noise, he can't smell anything so he doesn't understand why people are grossed out by them.

The funny thing is he got on testosterone and actually mellowed out when most dudes who take steroids get angrier.
 
He talked about this on one of the Penny Arcade DVDs. Apparently he has Kallman Syndrome, which is why he's fat but also why he had such a high pitch voice and couldn't have children. He did lose weight, though he's still fat. It's also why he sees farts as just a funny noise, he can't smell anything so he doesn't understand why people are grossed out by them.

The funny thing is he got on testosterone and actually mellowed out when most dudes who take steroids get angrier.
gosh, another jahans? did kurtz ever mention micropenis and going blind? though I guess he's prob a somewhat less severe case with his life more in order. also, jahans got testosterone shots as well and became a ball of anger with a booming voice and facial hair, v interesting to have a compare n contrast for such a rare affliction.

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