Tall Tale Features very own Barb Jacobs of “Xylia” recently took part in the creation of a beautiful piece of wall paper that features the artwork of 87 of the best webcomic artists out there. It’s truly a thing of beauty, and is the brainchild of Lora Innes, writer and artist of the stunning Revolutionary War adventure/romance comic, “The Dreamer.” All proceeds of this wallpaper go to help fight the incredible injustice of human trafficking. It’s terrifying to read about this modern slave trade that mostly involves young girls sold into sexual servitude. It’s not happening just in places you’ve never heard of…it happens all the time in our cities to girls as young as four. This is from Lora’s site:

“There are currently 27 million enslaved people worldwide- more than double the number of enslaved Africans during the trans-Atlantic slave trade. UNICEF estimates that 1.2 million children every year are sold into slavery, most of it sexual. The US Department of Justice estimates 16,000 victims of human trafficking are brought into the United States every year.”
All these amazing webcartoonists drew a picture of one of their heroines to show solidarity and give hope to these young girls. You can download the wallpaper here, and donate whatever you can. As the father of two young girls, you know I’m going to. Do what you can, and spread the word. Donations will be split between two organizations: Love 146, and Gracehaven House. Take a look at their sites and see what important work they’re doing.

The mad genius behind the syndicated “The Elderberries,” “Barkeater Lake,” and “Toby, Robot Satan,” along with I believe 19 other strips, Corey Pandolph was having an original art sale back in December, and I couldn’t resist seeing what Toby, Robot Satan would do if he entered the world of podcasting.  Corey didn’t disappoint. He is easily one of the hardest working cartoonists ever out there, and I was thrilled to have him on my show way back in May.  Take a listen! He’s also got one of the most entertaining and honest blogs you’ll ever read. Thanks, Fake Rockstar!

Thursday at the Con!

I’ve been to the SDCC the past two years, and I was wondering if the economic downturn would affect attendance, and it has. It’s more crowded than ever! Sold out months in advance this year, and it shows. Wall to wall people, long lines for panels and of course, weirdos in costumes.

I’ve posted pictures on Facebook here, and I’m also trying to do updates via Twitter (follow me at “talltaleradio”), so hopefully if you can’t make it here, you’ll get a taste of it.

Today, I’ve been to two panels.  The first was with Richard Thompson of “Cul de Sac” and “Richard’s Poor Almanack.”  He recently announced that he has Parkinsons, and he is certainly a frail and soft-spoken type. He showed a lot of his early work that led to “Cul de Sac,” and his political cartooning and illustration skills. He’s got such a great and deceptive style…looks simple, but it’s not. There was a caricature of Al Gore that was like something from the movie “The Third Man.”  Darkness and light with watercolor. Beautiful stuff.  He’s such a great writer, too…there was a series of “Toddler Roundtable” cartoons that were hilarious. As in “Cul de Sac,” the kids are talking with intensely intelligent statements, and some how still sounding like kids. I hope to have him on the show soon.  He, Stephan Pastis, and Keith Knight are doing a panel on Saturday at noon called “Syndication is Dead, Long Live Syndication.”  That should be a depresso-fest.

Speaking of Keith Knight, I also attended a panel with five or six “Indie” cartoonists, talking about how to get by as an Indie artist, especially in these economic times. It was a fascinating panel, really…with the general message being “keep your options open and diversify.”  Dave Kellett of “Sheldon” and “How to Make Webcomics” talked about the importance of owning the rights to your work and self-publishing.  He puts out a book around Comic Con, and another at Christmas…both very intentional dates. He sells everything through his site and has total control.  Sheldon is a webcomic, and Dave says he makes all his money through it.

Keith Knight echoed the “control your rights” sentiment, as he had to buy back the rights to some of his early strips, but now he self-publishes everything.  The difference between getting a buck per book and getting 11 bucks per book. Several people also talked about doing obvious things like freelance and illustration gigs if you can find them, but also to look down unconventional areas like teaching and doing workshops.  They all mentioned pushing themselves to go down areas they weren’t used to…doing murals, looking for government grants, etc. (There are a lot of grants out there for artists.)

Keith also talks about how no one is going to value your work unless you value it yourself.  He used to give out cartoons for free…someone told him to at least charge a buck…people throw away free things.  Got to go in with some confidence when looking for work, and having printed books is a huge advantage. Better than a portfolio or anything else…people are very impressed with the printed books.

Dave Kellett talked about if you’re married or attached, to be sure you have a supportive spouse, and that if you’re both creative, you have to take turns pursuing that art.

A discussion on the difference between syndicated and webcartoons…that the syndicated guys traditionally just want to do their work and then “go play golf.” But that the webcartoonist model requires you to be more of a businessman. Stephen Notley of “Bob the Angry Flower” (one of the greatest comic names ever, by the way) talked about the concept that if you’re NOT a good business person, find someone who is…like the Penny Arcade guys.  If you’ve got a strip with a lot of readers, there are ways to turn that into income, but it might not be your forté.   Miriam Libicki of “Jobnik” talked about how her husband is a numbers guy, and takes care of that part of things. Good to have partners.  Keith talked about his wife, who is German and incredibly organized…she helps keep him on that path.

A talk about pricing your art was very interesting. Stephen Notely said for a time, he auctioned off a blank piece of paper that you could have him draw anything on…and after awhile he found that a price of between $100-200 each was what he could charge for original art. Jim, a cartoonist and muralist/painter, who’s had some shows in London and New York, talked about being confident in your work, and building relationships with many people…lots of his jobs come from “I know a guy who has a friend who needs a mural at his club” sort of thing.

Wrapping it up, Keith feels that indie cartoonists are the best qualified to survive this sort of economy…quoted a friend of his that said “indie cartoonists are too small to fail.”  That they know what it’s like to starve, and are very adaptable…they know what it’s like to have no real “job security” as freelancers. I have to agree with that…the vagaries of the job market have never bothered me, as I’ve always either been a temp or a freelancer all my life, so you go with the flow.

Tune in again soon…more to come!

It’s that time of year…can you feel it? The convergence of geek power from around the world here in Southern California?  Or is that the drool you hear from Hollywood executives looking to make their next killing? (Or to slaughter some innocent unsuspecting comic book? It’s a fine line.)

Here at Tall Tale Radio, I’m gearing up for a hectic four days of interviews, photos, and hopefully some video to be posted right here on the site. I’m going to do my best to post something everyday, even if it’s just some photos and some commentary.  With any luck, I’ll put up some interviews as I get ‘em, but with the schedule of the Con and with several friends in town at the same time, to say nothing of the various professional buds I’m hoping to hang with a little, I can’t promise anything.  At the very least, there will be a truck load of stuff during and after the Con.  I’ll see if I can snag Stephan Pastis, Richard Thompson and Keith Knight after their panel on the state of newspapers. I keep getting all the cool “press” emails inviting me to various screenings and panels, but I’m mostly focusing on the ones that say they’re setting up interviews. (Matt Groening and the “Futurama” crew are going to be there…I’ve sent off some request emails about that, so keep your finger’s crossed! Talk about the holy grail. (Not to mention that I’ve always thought Katie Sagal to be really hot.)

If you’re going to be at the Con, let me know…I want to know what people are interested in, anything I should look for specifically, any interviews or scoops you think I might be able to get, etc.  I’m not really the type to sit in a five hour long line to see a glimpse of “Iron Man II” or anything….I feel like I’d be wasting valuable interview time…but there are a couple of panels I’ll be attending. There does seem to be a bit more of a syndicated comic strip presence at this year’s Con…just knowing that Pastis, Thompson and Knight are doing their own panel is very gratifying.

In past years, I’ve been a little timid about approaching people. I’m not the most gregarious of folks out of the blue. But I think I got my “press” feet under me last year, and it’s really why the people are AT the Con…exposure and marketing. I’m hoping that I have the problem of having TOO much stuff this year. We’ll see. I’m going to take a lot of pictures, and if I can, some video, too. And lots and lots of Red Bull. Don’t forget the Red Bull.

I stumbled onto Frazz a few years ago, back when I was doing my own little webcomic called “BookSmarts.” Mine was a single panel that if I was hyping to a Hollywood producer would’ve been summed up by saying “It’s the ‘Far Side’ meets literature.” Now THERE’S a million dollar idea. Still…it was fun. Doomed to failure, but fun.

What got me right away about “Frazz” is the art. I know there are the inevitable comparisons to Bill Watterson, and I do see the resemblence…and there’s a certain gentleness about the humor that captures the spirit of young kids learning in school and the wonders of childhood. But “Frazz” stands on it’s own brilliantly. I envy his looseness and flow of line, and his characters are all unique in design and spirit. I was brought in by the art, but the writing kept me, the path that all good comics take to our hearts. “Frazz” is unabashedly intelligent and literary, and revels in it. I love the portrayal of Caulfield, the main protagonist of the strip, really.  He’s extremely intelligent and curious, and a refreshing role model in a world of smart-ass kids in the entertainment world. He’s somehow simultaneously too smart for the room and young and naive….a delicate balance.

Frazz himself is more of a sounding board for the kids around him in his job as the school janitor. (He’s also a well-off musician and triathlete…it’s complex.) He’s often playing the role of mentor, muse, partner-in-crime, greek chorus, and average one-on-one basketball player. The dialog is swift and intelligent, and the strip often makes a very sweet and gentle point. There are a lot of quotable moments, and you find yourself wishing you’d had teachers and janitors like the ones in the strip. (And Frazz’s girlfriend Ms. Jane Plainwell is surprisingly hot…it must be the brains.)

“Frazz” isn’t guffaw-inducing, but it never fails to make me smile, think, or ponder the implications. How often do you get a dose of philosophy and learning in your daily comic? There are three books available through Amazon, and you can read the strip here. I’m having Mr. Mallett on the show in the near future, and it’ll be a real treat to meet him.  He’s apparently a tri-athlete like Frazz, so I’m already tired thinking about talking to him.

I wanna blog! Really, I do! And since I’m not posting a show this week due mostly to several old high school buddies, a boat in San Diego, and copious amounts of margaritas and 18 year old single malt scotch.  That’s all I’ll say.

But, I’ve got several big ones coming up, including a great interview with not one, not two, but TWO recent Reuben award winners, Mark Tatulli and Dave Coverly, as we’ll be chatting about their amazing night at the Reubens where they won Best Strip and Best Artist respectively.  Can’t wait for that! And then, it’s Sarah Ellerton of “The Phoenix Rising,” and “Dreamless.” And lots of fun in the coming months, as we count down towards San Diego Comic Con at the end of July, where I have all sorts of big plans.  (Let’s see how many actually happen!)

But, in the meantime, I want to start spending more time on the site, unlocking my vast word horde for your reading pleasure. I know that something I want to do is to give some love out to the comics I really enjoy reading, both print and web. Some might be popular and known, some might be obscure and weird. But we’re all brothers and sisters here, and passing the word around is how we find new and cool things.

In that vein, I urge you to check out “Candorville” by Darrin Bell. This is one of the best strips out there, definitely in my current top 5.  Darrin is a former politcal cartoonist, and it shows in his work. He walks that fine line that “Bloom County” did back in the day…overtly political without being pedantic or preachy. Left leaning, but open minded, and in the tradition of all great satire, “Candorville” is first and foremost funny. As with most all strips that I really love, the art is top notch.  I love his style. His characters are well defined and unique, and I care about all the different storylines that weave their way in and out of the narrative. Darrin’s been off on a lot of Twitter gags lately that just killed me.

And, he’s a big old Star Trek and fantasy geek. There’s a recent running storyline that involves illegitimate children, a bitchy fiancee, and a centuries old coven of vampires.  (Trust me, it all works together somehow.)  I love the unabashed love for all things geeky that the main character, Lemont Brown has, and the “ships that pass in the night” relationship he has with his friend Susan. You know it’s a good strip when you’re laughing at the gags, but you find yourself honestly caring about the characters.  Will Susan tell Lemont how she feels? Will Lemont realize his fiancee is not only a terrible woman, but apparently a vampire? What scheme will C-Dog come up with next, and why is he so damn cool?

Darrin is African American, and in a lot of ways, his comedy is like Chris Rock’s…he can say things and make fun of things that I just couldn’t, and it’s hilarious.  He holds a mirror up to racial relations on a regular basis, but again, it’s all about the funny.  I love the politcal stuff, I love the lunacy, I love the character stuff that can be truly touching…he walks a lot of lines and does so brilliantly. I think “Candorville” should be required reading for anyone who is trying to learn how to do really effective comedy with a political bent, but also how to develop characters and relationships you really care about, and that you can mine for comedy gold.

Back in my Comics Coast to Coast days, Darrin came on the show and we interviewed him. You can check that out here.  He’s funny and thoughtful in real life. Being a big comic book fan, I’ll have to see if he’s going to Comic Con this year, and I’ll try to get him on the show.  But until then, read his stuff, buy his books, and add “Candorville” to your must-reads.

<a href=”http://www.podcastalley.com/”> My Podcast Alley feed!</a> {pca-e3cbfc0148d554bef3accffffd4ad456}

Hey!  Big thanks to Brian Dunaway of the venerable Comics Coast to Coast for getting me this information…and because of that, Tall Tale Radio now has its very own phone number! Thanks to the fine folks over at K7.net, you can, too! Gimme a call and I’ll get the voice mail file in my email.  Ain’t technology great? And the best part is, you’ll probably end up in the show! So call me, let me know what you think of the show, comments about previous shows, questions for upcoming guests, a nice recipe for a ripping lentil soup, or to just call and be surreal. Enjoy!

Sorry it’s not toll free…but hey, you’ve probably got free long distance, so stop whining!

I’m a history buff, and that includes art and comics history.  There was a great time period for comic and underground art back in the 1960s, and one of the great visionaries of that time was Vaughn Bodé.  His style influenced a generation of cartoonists (and grafitti artists), and his stuff is beautifully drawn and wonderfully subversive.  You should check out his work and find out all you can about Cheech Wizard.

Here’s a link to a great, rare interview of Vaughn talking at the Toronto Comic Con in 1974.  Well worth a listen.

One of those influenced cartoonists is Justin Thompson of Mythtickle…you can see Vaughn’s guiding hand in much of his character design and organic flow.  Justin and Brian over at Comics Coast to Coast got a great interview in with Vaughn’s son, Mark, who is carrying on his father’s legacy with his own twist on the style, and it’s a great listen.  Mark is about my age, with about seven hundred times more experience and knowledge of the comics world.  He’s big time, people, and big things seem to be in the works for Cobalt 60 and Cheech Wizard.  Check out the interview here.

This is a link that was forwarded from Brian Anderson of “Dog Eat Doug.”  It’s a 30-minute lecture that Howard Tayler of the most excellent “Schlock Mercenary” talks about the business of making money off your webcomic and the whole idea of using something free to generate income.  He recently passed the 3,000 strip mark, so I think the man has a little bit of experience in this matter.  Here’s the link:

http://ow.ly/fcs

I know there’s all sorts of conversations back and forth between cartoonists about how to make a living doing what we want to do, and this speech certainly something to ponder carefully. Starting your own business is never easy, and I think Howard is always upfront about the amount of time and effort it takes, and the skills required to be successful.  Just like opening a coffee shop or a boutique would be difficult and complex, and a ton of work, so is getting your webcartoon up and running to the point where money is coming in.  I think this should be required viewing for anyone in the industry, at least as a jumping-off point for discussion.