The Below Zero page 20 breakdown.

This is the latest Below Zero page form artist Shawn Langley. And it is a big one.
Below Zero is a twelve issue revenge story. The forward movement of those twelve issues is powered by the pain of loss which happens in the first few pages.
This flashback page shows the two villains falling in love.
This is the start of what they had, that when taken away is the driving force behind the revenge. So this page has to work.

Up to this point, in flashback, we have seen that young Icicle has never felt a connection anyone in her life. Her own family is indifferent at best. On this page we see (I hope) her connections to the criminal underground take root.
So let’s take a look.
Page 20Panel 1. Here Icicle physically enters the criminal under-world. Shawn initially drew the wall at a 90 degree angle. I suggested slanting it slightly. I think it has made a big difference. The situation seems unstable, but also draws her forward into it.
Panel 2. Part of the script for this panel reads “Piledriver is smiling at her and reaching for the bottle”. I saw it as an implied romantic connection. Shawn drew her facing us with her back to him. This makes her still feel isolated and his gesture is much more proactive. In my vision of it, it was a shared bond. In Shawn’s final product it is him intentionally drawing her out. He is taking action and giving attention that no one had ever given her.
Panel 3. This was just intended to show her having fun with her friends. I think it does that.
And panel 4. The kiss.

Indie Comics in the Changing Economy

Nick Dedual recently posted and interesting piece on his Odd Truth Blog about making comics in “The Great Recession”.
One of the points that he makes is about the increasingly experiential nature of the comic convention.

Nick points out the cons are shifting to be more about what you DID THERE rather than what you GOT THERE.
He is absolutely right about this, and it is only the tip of the ice berg. It is called The Experience Economy, a phenomenon affecting the global economy, accelerated by the faster-than-ever commerce of the web.

I first heard about it a few years ago in this TED Talk.

Basically it is like this…
People used to trade at an agrarian level, where consumers actually consumed the products.
Then came the industrial economy, where consumers were removed from the producers and were given a range of products to choose from. The consumers chose the best products, or the ones they liked the most.
As manufacturing steadily leveled the production playing field, we moved into a service economy. When the product is universally available, the decision to purchase is made based on the service that comes with that product.
And now that customer service is theoretically instant and around-the-clock, that decision to purchase has shifted to the total experience that comes with owning a product.
I am not an economist. Watch the video if you want a real explanation.

Is all of that true of comics? Is it true of indie comics?
To some degree, individual artistic endeavors like making indie comics, will always be on their own micro-trajectory within a larger economic movement. But, also, they’re not.

Let’s walk through where we are in each stage and how it might affect us going forward.

Agrarian Economy-
Lots if the interactions in indie comics fit pretty nicely into an agrarian system. Specifically, I mean the barter economy the fuels much of the actual production. “I will write for you if you draw for me”. Individual producers producing for individual producers.
The one-on-one sales that we make at conventions and where ever else are also at this level. I have it, you want it. Done.
Indie comics will always do fine at this level. Developments at the industrial level and higher may take a chunk out, but they will never close this door on us. Even when we go completely digital, it is still happening at the near-barter level.

Industrial Economy-
Industrialization has largely been a boon to the indie comics world. It gave us Print-On-Demand. Largely as side-effects of movements in the larger economy, we have discovered all kinds of ways to make out comics faster, easier, and cheaper.
Industrialization has also affected consumer expectation. A consumer can now see Rapid City right along side X-Men and Booster Gold, be it paper or digital. That is a great opportunity, but it also affects the way that the books are seen. They are a stack of items to be purchased. While the irregular production and quality of an indie may have once been part of its charm, even a selling point, they have now become areas where the indies might not measure up to their shelf-mates. There is an expectation that comics will be produced on a regular schedule… a monthly schedule.
I am not saying that indies can’t be produced at that rate, I am saying that the expectation is an artificial side-effect of industrialized publishing.
The counter-industrial nature of indie comics gives us some small advantage as we easily side-step into the realms of service and experience. It is easier for a reader to have a personal interaction and relationship with an indie creator than with a large publishing machine. There is, however, a fine line to walk between the two worlds. Similar to the artificial expectation of a monthly publishing schedule, the indies have generated an artificial expectation of personal relationships with creators. And this is great. And it is usually accurate. But, it can cause a creator who is meeting with success to navigate awkward growing pains. It is reasonable for a fan of Rapid City to expect that I would respond personally to emails or letters that I receive. It is not reasonable for a fan of Hellboy to make the same assumption of Mike Mignola. The minefield of expected interactions between my level of success and his is uncharted and ever-changing.

Service Economy-
When a major purchase factor is the mode of delivery, you are in a service economy. The old-school comic convention dealer room is some bizarre hybrid of agrarian, industrial, and hunter/gatherer. And it is the opposite of service economy. It thrives on the scarcity of service. Though there is some thrill in hunting down that certain rare treasure, those sales conditions would not exist in a world where there were other service options. Which is why I am amazed that those show-floors still exist. Ebay exists. Ebay is a kryptonite crucifix to comic con back-issue retailers. As a side thought, maybe they exist as some nostalgic experience economy… but how long can that last?.
The positive effect of this trend is that more con attendees are there to look something other than rare back issues. I will talk more about what they are looking for in the service section.
With digital delivery and print-on-demand, the indie creator can compete pretty well in a service based market place. It is harder for us. We simply have fewer resources to devote to every aspect of the customer relationship. But, the fact is that the tools are there. And, the more that more of us use them, the easier they get to use.
The barrier of delivery, a key factor in a service economy, is rapidly vanishing for the indie creator.

So, what’s left?
Experience Economy-
The wild west. As the industrial and service fields get more and more level, the remaining stand-outs are those that excel in creating a great user/reader/fan experience. In comics, no one knows what this means yet. At best, some folks have a piece of it. And, until the big publishers can really get a handle on their experience model, this is a chance for us indies to seize some ground.
The strength and power of the major publishers comes with a bit of immobility. Because their appeal is so broad, it often fails to reach readers directly. Personally, as a fan of big-time superhero comics, I often have to shrug and willfully over-look something by saying “well, that wasn’t meant for me”. Indies, however, don;t have the luxury of having this problem. Our readers have sought us out because they want what we have. They are a self selected group whose expectation is expectation is for more of what we are already doing.
Outside of content, which is where the experience economy lives, the indie creator can offer a much more direct experience to a reader or fan.
That is the value of social media. That is why I write this blog.
That is why I work in the Rapid City Open Studio. None of those are a product. None of those even help get a product in to, or cash out of, a reader’s hands.
They are part of what a reader thinks of when they think of Rapid City.
That is the reason I try to have a personal conversation with anyone who approaches my table at a con. That is why I will draw silly stuff on the comics if a reader will let me. That is why I let folks with kids know just appropriate my books may or may not be. It isn’t just to sell a book right in that moment, it is to create a pleasant experience that can be carried forward to the next interaction.
Which brings me to the idea that inspired this post to begin with.
From Nick Dedual:

…as comic cons become more pop-cultural events and less about comic books, the audience at the comic con will look more for experiences they can enjoy at the moment…

More and more, the comic con is becoming an event. Attendees are there for the experience. So, what does that mean to those of us in Artists Alley? How can we take advantage of this?
The bigger guys host panels and make announcements, but not everyone can do that. What can we offer in the realm of live experience at a convention (or some other venue that we have not yet thought of)? And, how can we monetize that experience?
Is it enough to just generate good will and hope that it comes back in the form of a strong fan base? Can we sell “A lunch with Josh Dahl!”?
I don’t know.
Right now, our versatility and connection to our audience seems to be offering us a lead in this new market…
How do we take that lead before it slips away?

-Josh Dahl

I am here… and there.

A modern comics maker has to also network and be a part of the greater comics community.
I do this better than people who do it badly, but not as well as people who are really good at it. But, with as fast as things change on the social media landscape, I bet everyone feels this way.

Ok, so here’s where I am and what I am doing there as of early February 2014.

Rapid City on Facebook
My personal Facebook. I use this just like everyone else does. I also use it to keep in touch with some comics people. i use it to comment on comics news and events. This is my way to do all the normal sharing that most people do, as well to get my actual name out there. I am careful to not come off like a stalker or something, but when I can make a relevant comment to someone who is actively making comics, it gives me one more drop of name recognition. This is a tough one, because I know this behavior is on the edge of annoying. I don’t comment just to comment. I comment when it is relevant.. or amusing. That is the goal anyway.
Of course, I also use this account to communicate with other comics people and to participate in various comics groups around Facebook.
Facebook groups. I am a member of a few and I have started a few. Some are better than others, but healthy participation never hurts. As with all other parts of the internet, stay positive.
Rapid City on Facebook. Chances are you are seeing this post through my Rapid City Facebook page. You know how this works. This is where I share anything that i think a fan of Rapid City might want to see. It gets a little reperitive here because it cross-posts from other places on the web. Sometimes I pay to have these posts bumped, usually if they have some good art in them.
Rapid City Open Studio on Facebook. This is a special thing. It is a closed group for people who are actually working on a Rapid City comic. This is where we do our collaboration, out in the open. For anyone who is curious about how the collaborative process works, this is where you can watch it happen.

Rapid City on Twitter
Twitter is great for running conversations and commentary. I am not very good at using it. I have just never adjusted to the pace of it. Maybe I need some better desktop app for it or something. I have just never gotten used to following twitter updates. Not using it to its ful advantage, I generally use it to get word out about things I have updated in other places. I do occasionally get in to a conversation about making with other creators.

This blog
Here it is. This is where i write about making Rapid City Comics.

Rapid City on Tumblr
Somewhere in between Facebook and Twitter. I still do not get how to use it or what niche it fills. I try to keep up my Tumblr in hopes of figuring out how to use it. I think one of my problems with it is that I do not know how to use it as a reader/user. Do i browse it? Do I have some sort of “feed” of interesting Tumbls that I follow like on Facebook? I am not sure what it is doing.

Rapid City on Instagram

Instagram
Shawn made me set one up. He is the artist, so I trust him with the visual stuff… though I do not know how to best use it.

And probably some others that I should be keeping up on.

And Linkdin. Crap I forgot that one.

Please click on these. Share them. Like them. Comment on them. Whatever you do… do it to these links.

-Josh Dahl

The tools of the trade

For those of us in creative fields, modern technology just won’t stop providing great new tools. Everything you need, or want, to do can now be done quicker and slicker.

But tools can also be a hindrance. Your efforts to maximize efficiency can take the place of the thing that you were trying to do efficiently. XKCD did a great cartoon illustrating this.

Tools are great, but they can become excuses. I can’t do ______ because I don’t have _______. That is a lie that you tell yourself because you are afraid to commit to doing _____.

Because dithering over the details and the versions will make you feel like an expert craftsman without actually taking the creative risk of putting your product out into the world.
Stop trying to get it right and just get it done.

Sorry for the rant. To smooth things over, and to give you positive proof that you don’t need the proper tools to get the job done, I give you two balloons and a box.

Self-publishing superheroes.

I just read a pretty good article about what a bad idea it is to do what I do.
Self-publishing superhero comics is a hard thing to do.
A lot of what is great about superheroes, a lot of what us fans really love, is best done in the big flashy style that just comes so easily to the big-money publishing machines. This is not a shot at them or a poor-me on me. It’s just the truth.
Actually making the comics is hard. Selling them is hard. Finding your audience is hard. Finding wider success is hard. And reaching your goals… well, that can be pretty hard as well.

Making indie superhero comics. Your indie superhero comic can look and feel really cool, but it’ll have the slick magnitude of the big guys. You can get real close, and technology closes that gap every day. Even if you get the look, you are fighting your ass off to gain ground that these guys eat, drink, and sleep on every day.
As a writer, I face a similar, up-hill, battle. One thing that is so cool about the superhero story is the scope. The world, the heritage, the pre-suspended disbelief. None of these are essential to a good superhero story, but they are nice to have. They are also hard to get. For me, each of these qualities requires a confident and steady hand. Push too hard and it is schlocky. Go too easy and the tone is lost. A big, established, superhero universe has all of those things without even trying.

Selling indie superhero comics.
Buying and selling are very complex. That’s why economics is such a varied and complex field of study. But, without even an associate’s degree in that field, I can boil down the economics of selling indie superhero comics. The people who superhero comics do not tend to buy indie comics; the people who like indie comics do not tend to buy superhero comics. It is a hard fight to get credibility with either group, and that venn diagram overlapping sweet spot is way too small.

Finding an audience for indie superhero comics. I hate the myth of the “well served” fan. People who think it is dumb to make indie superhero comics will tell you that fans of the superhero genre are already well served. Fans are already getting their fill, so why bother giving them more? That is silly. Fans of a thing always want more of that thing. Provided it is good. Provided it is what they want, but also something they don’t already have. As a side note, this is something people who are not fans of the genre just can’t quite see. As in any genre, there are endless layers ripples to explore while sticking firmly in the realm of the genre. But I digress. My point is that there certainly are people out there who would love to read a fresh. well crafted, superhero story regardless of who publishes it. But the fact is that big publishers have a lot more muscle to fight for those limited dollars. Even non-comics readers know about The X-Men, while I count myself lucky for every single eyeball that falls on an issue of Rapid City.

Finding wider success with an indie superhero.
The last time some young, indie, creators came up with a character and rode that character to success and fame was in the 30s. It was Superman and they were famously screwed for decades. It just doesn’t happen. There are lots of paths to lots of successes that begin with an indie superhero, but they never end with that same hero. Of course, there could be some small time hero book out there about to prove me wrong. I would love it. I would love it if I was the one to prove me wrong! But I’m not holding my breath.

So why do it? What is the point? What is your goal in all of this?
That’s the hard part, really. Knowing what it is you want. You can’t reach your goal if you don’t know what it is. If your goal is to make the next X-Men, making indie comics is not the way to do it. If your goal is to get discovered and re-invent the X-Men, well, good luck.
If, however, your goal is to make great superhero comics then there is a good chance that you’ve already succeeded.

And that’s the “why”.

I am a life-longer lover of superheroes. So, to me, this just makes sense as the only real option.
Success is almost impossible. The opposition is gigantic, unstoppable, and indestructible. No one has ever succeeded. Everyone who knows anything will tell you that failure is the only possible outcome. And, the only possible window for success is to believe that what you are doing is the right thing and do it no matter the cost.

Well, that sounds like a great superhero story to me.
What else could I possibly do?

-Josh Dahl

“It’s Clobberin’ Team!”

For a few months now I have been kicking around an idea for a new project. Something that would happen in a superhero/villain world, but would be mostly focused on ass-kicking.
I got the idea while listening to The Transplants at Boston’s House of Blues. Some of their songs are just so bad-ass that I started to think about writing a story that could match that level of ass-kick. I thought about it for a while and then just let it go.
Then just the other day, I was thinking about the difference between Daredevil and Batman. Batman uses theatrics, and all of the tools at his disposal, to make himself mysterious. No one is sure about him. Even crooks who have been beaten up by him think that he might actually be a monster. That mystery and fear are essential to the impact he has on his prey.
Daredevil, on the other hand, has no mystery. Most people know who he is. And even if they don’t know that he is a blind lawyer, they know for sure that he is not actually a devil. What they do know for sure, from experience, is that he is going to kick their ass. That is what he does. He puts fist to face, and everyone knows it. No matter what power or weapon you pull out, you know he is going to counter it and punch, or kick, or hit you really hard.
And that led me to thinking about the security staff at the lock-up facility where I work. They hold a very specific spectrum of power over the boys there.
And it is similar to the effect that Daredevil has. Everyone knows that he is not going to kill. But they also know that the fun is over and the pain is coming. Talk and dance and run all you want, the pain is coming.
Now consider your regular superhero universe. Consider how often threats are dealt with only to emerge again. How many times do bad guys get out of jail> Come back to life? All the time!
So how do you deal with that?
Simple. Forget killing the bad guys. Forget arresting them. Forget reforming them. Jut kick their asses. Let them know that if they go out dressed as a bad guy, they are going to get beaten up.
I think a guaranteed ass-kicking is a pretty effective deterrent. Even a jail sentence is so uncertain and has so many variables that it becomes a bot abstract.
Anyway, this idea is gestating. Watch for it to take shape somewhere down the road.

IF for comics

I spent this past week working on Rudyard Kipling’s poem If with my students at work. So, it has been on my mind lately. So, it has been on my mind lately. I decided to see if I could adjust it to work for making comics.

IF you can keep your deadlines when all about you
Are losing theirs and blaming it on you,
If you can trust your creative vision when your collaborators doubt you,
But allow that they might know what they are talking about too;
If you can give an artist the time that’s needed, without becoming frustrated,
Or using twitter, don’t deal in bickering,
Or being reviewed, don’t comment back,
And yet don’t have too slick a web page, nor too high-brow a blog:

If you can pitch – and not make pitches your master;
If you can blog – and not make blogging your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same; (no change)
If you can bear to read the things you’ve posted
Misquoted by a-holes to make you look a fool,
Or watch your dearest project crumble, or be deleted,
Only to open a new file and start again:

If you can throw lots of money into printing, promo, and travel,
And stake it all on one single con,
And have the turn-out be lousy, and then do it all again,
And barely post a word about your loss;
If you can force your heart and nerve and brain,
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’ (no change)

If you can speak on panels and not be a douche,
Or talk with big name pros – and still geek out with fan-boys,
If neither tweeting foes nor well-meaning friends can hurt you,
If all fans matter to you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of script written, or panel drawn,
Yours is the world of comics and everything that’s in it,
And – which is more – you’ll be a comics creator, my child!

Comics versus time

One of the scariest things about making your own comics is the fact that you are making your own comics.
That’s it. Just you.
If I don’t get a thing done, it doesn’t get done. And there’s no one who’s going to say ” hey, are you done with that thing yet? ”

So, how do you overcome this lack of accountability?
You just do.
Three are lots of little tricks you can apply to trick yourself into feeling like the eye off the panopticon is on you. But it isn’t, it’s just you.

For example. I committed to making a new blog post this evening. And then I spent a whole, long, day at work. And then I had a huge, yummy, burrito for dinner. And, suddenly, it just seemed like a great idea to go to sleep. And I could have. I did for a while.

But I knew better. Personal accountability is a slippery slope. If I let myself slide once, I won’t respect me anymore. I’ll start to take advantage of my own leniency.

Even cranking out a crappy post like this is better than going soft on my personal obligation to create a blog post.

2013 in Rapid City

2013 was the biggest year ever for Rapid City.
Biggest sales.
Most pages.
Most cons.
Most press.
Most pin-ups.
Most work.
Most money.
Most frustration.
Most success.

To paraphrase Rudyard Kipling…

I dreamed, but did not make dreams my master.
I thought, but did not make thoughts my aim.
I met with triumph and disaster,
and treated those imposters just the same.

My successes and my failures are both the same.
Neither one is anything but a chance to learn and do better next time.

And, speaking of doing better. Watch out for more Rapid City: Below Zero in 2014

State of Rapid City

Here’s what’s going on with Rapid City comics.

Comics
Rapid City comics are being made right now.

Issues 1-4, by Josh and Kav, are complete. They form a complete story called “Objects at Rest”.
Click on the STORE link above if you want to buy them from me.

The “Objects at Rest” collection is in the works.

Kav is currently drawing issue #7. Issues 5-8 are a murder mystery involving Hourglass and Maxwell Murder. These pages are coming along quickly now, but the books themselves might take a little while.

Watch our collaboration live in the Rapid City Open Studio.

Artist Shawn Langley is set to begin working on “Rapid City: Below Zero”. This will be a twelve issue super-villain revenge epic.  We hope issue 1 will be in my hands on time for New York Comic Con.

Appearances
Josh will be at M.I.C.E. September 28-29 in Cambridge,MA. Stay up to date through their facebook page.

Josh will also be wandering the floor of NYCC, October 10-13. If you are an editor, or press, , or a fellow creator, or just a cool person and want to talk to him there, get in touch.

Josh is also looking into this Harvard Book Store thing, but we will know more in a little while.

Online
You can find us at:
The Rapid City home page.
On Twitter
On Facebook
The Rapid City Open Studio on Facebook

Press
Please contact Josh for review copies, more information, or to set up interviews.