Kaja and Phil Foglio have launched a Kickstarter to fund the printing of volume 12 of the wonderful Girl Genius webcomic, and to reprint the older books. These are multi-award-winning, independent steampunk delights, and $30 gets you "an actual, dead-tree, SOFTCOVER copy of Girl Genius Volume 12: Agatha Heterodyne and the Siege of Mechanicsburg. 192 pages in full color. Shipped to you by means of one of the largest government agencies on Earth!"
Printing the actual books is our biggest single expense. The first print run of a typical volume costs in excess of US$25,000. If that seems high, you must remember that we print eight thousand of them, and they usually run to around 120 pages. Our latest volume, number 12, will be even more expensive, as it comes in at 192 pages, and we’ll be printing nine thousand of them, because eight thousand wasn’t enough last time. Exciting? Yes, but one can’t pay the printer with excitement.
We also have to ship the books. Actually, we have to ship them twice. Once from the printer to the fulfillment center, and once again from the fulfillment center to the customer. And whether a book is shrink–wrapped with thousands of its friends onto a pallet and loaded into a truck, or carefully packaged for individual shipping, several thousand pounds of books cost serious money to transport.
It's got a short fuse on it because they want to get the books in hand in time for San Diego Comic-Con. Act now!
Girl Genius Volume 12 Printing and Reprint Frenzy!
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Stefan Jones sez, "Web comic master Patrick "Electric Sheep" Farley switches styles with frightening ease. The First Word, an enigmatic story about australopithecine, was done in lovely photorealistic CGI. His new work, Steve and Steve, is sharp line art with sepia-tones. It's about . . . Steve and Steve. Jobs and Wozniak, BSing about evolution, witchcraft, and the cold war under the skeleton of a ruined geodesic dome. I hope he can keep this one going."
The amazing and wonderful Hyperbole and a Half is back, with the long-overdue continuation of the 2011 post on depression. This isn't an entirely upbeat post (as you might expect), but it is every bit as indispensable and smart and great as the previous entries. And it's an ultimately hopeful one, too.
And that's the most frustrating thing about depression. It isn't always something you can fight back against with hope. It isn't even something — it's nothing. And you can't combat nothing. You can't fill it up. You can't cover it. It's just there, pulling the meaning out of everything. That being the case, all the hopeful, proactive solutions start to sound completely insane in contrast to the scope of the problem.
It would be like having a bunch of dead fish, but no one around you will acknowledge that the fish are dead. Instead, they offer to help you look for the fish or try to help you figure out why they disappeared.
Today's XKCD really tickles me. "Is It Worth the Time?" is a handy chart showing how much time you can invest in automating any recurring task in order to save time, on balance, over five years. I am an inveterate automator of recurring task, always looking for ways to shave seconds.
On the other hand, I think I'd halve the figures Randy gives in this chart, because many of the routine tasks you automate will change in some significant way in less than five years and require further work. Also, the chart fails to account for the losses in innovation and serendipity you suffer when you over-optimize a routine task so that you effectively can only do it in one highly constrained way.
Finally, there's the opportunity cost of clearing a relatively scarce large block of time to spend on automation, which may be a better bargain than giving the task more time overall, where that time comes out of a pool of more abundant small snips of time.
In other words, a five day block of time given to automating a task might cost more (that is, might crowd out more productive work) than ten half-day blocks of time or 40 one-hour blocks.
Still: this is crack for me.
On March 25, Randall Munroe ran a strip called Time, an enigmatic, wordless image whose tool-tip was "Wait for it." Ever since, the strip has been updating with subsequent frames, all of them making up a time-lapse animation of a lovely story about a day of sand-castle building at the beach.
The XKCD Wikia entry for the post has animated GIFs and a slideshow showing the progress to date. It's really coming along nicely, and Randall's done some clever things with the back-end to stop people from previewing future frames.
Hidden in the tooltip for today's XKCD, a piece of important existential philosophy:
A human is a system for converting dust billions of years ago into dust billions of years from now via a roundabout process which involves checking email a lot.
A Dec 22 article in the Economist looks at the thriving world of webcomics and suggests that they have broken the awful cycle of mediocre newspaper comics -- a cycle that Bill Watterson decried when he gave up on Calvin and Hobbes. It's a great piece:
Many of these comics are expanding outwards into little media empires of their own. “XKCD”, probably the most innovative, now features a separate blog called “What If?”, on which Mr Munroe answers questions sent in by readers. One recent post asked “if every person on Earth aimed a laser pointer at the Moon at the same time, would it change color?” (The answer is no, unless you can borrow 6 billion one-megawatt lasers from the Pentagon.) “SMBC” and “Ctrl Alt Del” have both experimented with sketch shows and animated comics. “Penny Arcade” has become a sprawling video-games industry phenomenon, hosting games conventions and fund-raising campaigns.
One thing they have in common is how they make their money. The typical audience for one of the leading web comics is between 1m and 10m unique browser visits per month, comparable to a medium-sized newspaper website (the website of the Daily Mail, the best-read newspaper on the web, gets 100m per month). But unlike on newspaper websites, where advertising is the main source of revenue, the audience on web comics are not just readers—they are also customers. Most artists sell T-shirts, books, mouse mats, posters and other paraphernalia. The most successful at monetising content is said to be Mr Inman: his site, “The Oatmeal” made $500,000 in 2011 from its audience of around 7m unique visitors per month.
Amplified by social media—Mr Inman has some 700,000 Facebook followers—this audience can be powerful. One extremely long and exceptionally geeky comic last summer on “The Oatmeal”, extolling the virtues of the inventor Nikola Tesla and attacking his better-known rival, Thomas Edison, somehow snowballed into a campaign to save one of Tesla’s labs on the outskirts of New York. By leveraging his immense traffic to attract donations and to sell T-shirts and other gear, Mr Inman raised $1m in nine days—enough, with matching funding from New York State, to buy the building.
Triumph of the nerds (Thanks, Martin!)
The Oatmeal's "Some thoughts and musings about making things for the web" really captures a lot of the joys and sorrows of working in a creative field in the age of the Internet, especially the toxicity of spending too much time reading nasty comments, and the difficulty of maintaining self discipline. My one quibble -- and it's a major one -- is the business about "inspiration."
For me the major turning point in my working life was when I figured out that the work I produced when I felt inspired wasn't any different from the work I produced when I felt uninspired -- at least a few months later. I think that "inspiration" has to do with your own confidence in your ideas, your blood sugar, the external pressures in your life, and a million other factors only tangentially related to the actual quality of the work. If creative work makes you sane and happy (and if it supports you financially), it's terrible to harness it to something you can't control, like "inspiration" -- it sucks to only be happy when something you can't control occurs.
We've hit the halfway mark on the Humble Ebook Bundle, a name-your-price, support-for-charity, DRM-free ebook promotion. With one week to go, we've added in FIVE more books: XKCD Volume 0; Zach Weiner's Save Yourself, Mammal and The Most Dangerous Game; Penny Arcade: Attack of the Bacon Robots; and Penny Arcade: Epic Legends of the Magic Sword Kings.
If you've already bought the bundle
and paid more than the average, these are unlocked and ready for you to download. If you're new to the bundle, you have seven days to buy these ones. Don't miss out!
Update: Derp -- misunderstood who got the new titles! If you've paid, they're yours.
Complexin writes, "Drew, of daily webcomic 'Toothpaste for Dinner' and 'Married to the Sea,' among other sites, seems in danger of going offline. He's offering special discounts on t-shirts, a book, and original music in hopes of generating enough revenue to keep it going. According to his Twitter stream he's not interested in donations... but if you enjoy the comics consider purchasing some of the associated items from the Sharing Machine store. I own a few of the t-shirts, and they are well-made, sized correctly for women, AND bitingly hilarious. Bonus: comes in men's styles, too."
I don't own any of Drew's tees, but I do own, cherish and highly recommend his book.
Nothing Can Possibly Go Wrong: YA webcomic "full of teenagers building homemade robots in their basement"
Comics awesomecreator Faith Erin Hicks (Zombies Calling, Friends With Boys) is serializing a new comic online called "Nothing Can Possibly Go Wrong," adapted from a Prudence Shen YA novel. When the serialization is done, the whole thing will be published between covers by the marvellous FirstSecond books. FirstSecond's Gina Gagliano describes it as "full of teenagers building homemade robots in their basement." Sounds like my kind of thing!
Nothing Can Possibly Go Wrong (Thanks, Gina!)
Back in 2011, Mark blogged about the Wormworld Saga, a free, beautiful, multilingual webcomic created by Daniel Lieske. Now, Lieske has produced a world of beautiful merchandise for people who want to support his project, show off their fandom, and look stylin'. He's structured the merch production as a Kickstarter -- back it at different levels to get different items.
At the core of the Wormworld Saga are its fans. They support the project in many ways including donations, fan artwork and translations. The fans made the development of the Wormworld Saga App possible and the fans are the ones that spread the word about the Wormworld Saga on the internet so that over a million people have already become aware of it.
Funding an independent project like the Wormworld Saga is a huge challenge. And although we've already made huge steps, the financial future of the project is still not secure over the long run. With this kickstarter campaign we want to turn our focus on an aspect that we've largely neglected up to this point: there are virtually no fan items available for the fans of the Wormworld Saga! And we finally want to change that.
The Wormworld Saga Treasure Chest by Daniel Lieske — Kickstarter (Thanks, Dave!)