The Adolescents- Death on Friday
Margaret McPoyle is my hero.
On the subject of Webcomic pacing, if you’ve never read Platinum Grit by Trudy Cooper (of Oglaf fame) and Danny Murphy, it’s a comic that really stuck with me over the years that basically shook up everything I thought I had cemented in my brain about webcomic publishing the first time I read it.
Some frame of reference so people know where I’m coming from with this, When I was a kid I didn’t get into comics via Marvel and DC style superhero stuff like most kids who grow up with comics do, my aunt was pretty active in the underground comics scene in Vancouver back in the day when xeroxed basement zines were filling the independent media role that blogs do today. She would send me all sorts of creator owned comics, better known ones like Bone and Usagi as well as more underground stuff like Muu Press’ Mad Raccoons and some totally off the radar collections of personal stories by local artists, that kind of thing. Platinum Grit was a product of this comics scene back in the early 90’s and survived long enough with its head above the water to make the transition online when independent comic creators started realizing the internet had the potential to to be a game changer in the world of self-publishing.
Platinum Grit made it’s transition online in a little more of a unique way than most other print comics, instead of being posted page at a time entire chapters were uploaded in a shockwave player that separated them panel by panel.
Another side note, something I’ve noticed about the vehicle of delivery for a story and how much control different mediums give you, unillustrated books give you as much room as you want to go on at whatever length you want about what is happening inside the heads of the characters and how everybody reacts emotionally to everything, but you have almost no control over what speed the reader will absorb your story at, how long they’ll spend on every moment, or how they imagine your world and the characters in it. You can describe settings and appearances at any length that pleases you and you are guaranteed the reader will not see the same face or room or whatever you’re picturing in your head. Conversely, a comic allows you to explicitly spell out “this is what the character looks like, this is what they wear, this is what the world looks like” you can adjust the mood and environment, in some cases even the colour to suit the atmosphere you want to convery, but that introspective character work often requires a more subtle hand than writing allows and your character’s inner workings might be more up for interpretation. You have limited control over the pace a reader might absorb your story with by working with panel size pacing to influence the gravity of different action. Finally a film generally gives you the least control over internal dialogue of these particular three examples of telling a story, but the most opportunity for visual and timing manipulation. You control every minute detail of the scene, the colour, the sound, the timing, assuming your audience is watching in a theatre you control exactly how long they absorb every moment of the story to the fraction of a second, but you generally only get one to three hours to say everything you need to and you need to cooperate with a huge team of people to effectively communicate your vision. I’ve told people in the past I feel like a book gives you a graphite pencil to draw as much as you want in as much detail as you want on as large a canvas as you can manage, a comic book gives you a set of coloured pencils to tell the same story on a ten foot canvas, and a film gives you any media of your choice to convey the same idea on an index card.
By setting up a comic in this sort of shockwave format it starts to fall into a middle zone between graphic novels and film, playing out similar to a storyboard. You force the reader to focus on one panel at a time, rather than allowing their eyes to dart around the page and possibly spoil set-ups for themselves. Platinum Grit is not the first comic to employ this sort of “flash comic” technique to presentation, and it was far from the last, but it’s the most effective I’ve seen in the sense that it’s still planned out in page format thanks to it’s underground print comic roots, makes the transition to print better than most other shockwave comics. I find a lot of these Flash comics feel as though they were only intended to be read as Flash comics, which is not wrong, just an editorial decision that creator made. Platinum Grit walks the line more effectively than I’ve seen other stories manage.
It’s a comic I found when I was getting near twenty years old that brought me back to what it felt like as a little kid reading those indie comics that my aunt used to send me in the early 90’s better than any other webcomic I’ve ever come across, and that’s something I really love about it.
Pearl remembering her father Ganondorf, the previous pearl.
What if Millennials’ aversion to car-buying isn’t a temporary side effect of the recession, but part of a permanent generational shift in tastes and spending habits? It’s a question that applies not only to cars, but to several other traditional categories of big spending—most notably, housing. And its answer has large implications for the future shape of the economy—and for the speed of recovery.
Read more. [Image: Kagan McLeod]
It’s safe to say that a decent number of Tumblr users are a part of the Millennial generation. So, tell us: Do you own a car or house? If not, why?
IT’S BECAUSE THEY HAVE NO DISPOSABLE INCOME YOU THUNDERING IDIOTS. Fucking preference has nothing to do with it. 50% of college graduates have no job! They all have the most student loan debt ever! What are you asking this question for?!
Also: housing is a good bit more expensive now.
My parents got a 15-year mortgage on a new house in the mid-70s. The house was $32,000. Average home price in that area now? $190,000.
So, home prices went up. Food prices went up. Health care prices went WAY UP. Rent prices went up. Higher education went up so damn high that some of us forgo that all together. Energy prices went up. Car prices went up.
Prices of prices went up.
We also pay cell phone bills, internet bills, data plans, text plans, online subscriptions, cable/satellite tv, netflix, DVR subscriptions — bills that didn’t even exist 30-40 years ago. We also use computers and smartphones and microwaves and other consumer electronics that didn’t exist 20-50 years ago.
We need medications and doctors and contact lenses and tampons and maxi pads and other things that cost money just to be alive and keep us healthy.
Most of us can’t afford to:
- Get married and have a “Traditional” big wedding
- Buy a house
- Buy a new car
- PLAN to have children
- Take two, consecutive weeks of vacation.
Jobs that paid 50k in the late 1990s now pay between 30-35. Interest rates that favor consumers have gone down.
So I say, no. We are not choosing not to buy homes. We’re not choosing to take the bus in cities where there’s no good public transit. WE ARE NOT CHOOSING TO LIVE WHAT SOCIETY DEEMS AS AN UNDESIRABLE LIFESTYLE.
Don’t even get me started on the fact that these two people in the picture are young white hipsters. Young black and brown folks have been forgoing homeownership and buying new cars for decades, this shit isn’t new, pal. You’re just acting like this shit is new because it’s hitting white folks.
anyway, my point is: We are fucking broke.
read the commentary above ^^
"Hey. Hey, guys. I know the economy being fucked up is totally our fault, but what if we tell people the next generation…wants to be poor?”
Oh look I’m reblogging this again.
The promotion for Anchorman 2 is on fucking fire. I need this.