I’ve been reading webcomics for as long as webcomics have been a thing. The Big, Important ideas early webcomics artists
struggled with in the late 90’s presaged so many of the exact same debates around distribution and monetization and ethics and audience and tech and accessibility and artistic validity that journalists and authors had a decade later. And the decade after that. And, sheesh, are still having a decade after that
. I’ve been following the scene all along, even if nearly half of my saved “Comics” tabs bring up projects that haven’t updated in years.
So I was thrilled when October Gale
hipped me to Paranatural
, a teen slice-o’-life comic that immediately goes off the ghost-train rails, brilliantly engaging with, skewering (and yet somehow still embracing), every trope you might expect to encounter along the way. Every time you think you know what beat or line or gag is coming next, Morrison surprises and delights you.
But like many longtime comic artists, Morrison has been trying to cope with/heal drawing injuries, despite needing to crank out art at a pace and quality that keeps the audience around. The latest update is an experiment I think will pay off: telling the story in illustrated prose rather than full comic pages.
Like every geeky SFF writer, I’ve played with the idea of writing comics. In fact, one of the biggest laughs I’ve ever gotten was at a con, when I asked a panel of artists what mistakes prose writers typically make when first trying to write comics. *tugs collar, hisses*
Telling aspiring writers “the secrets” of the publishing industry is its own cottage industry, with countless people who don’t have much of a track record offering to unlock the gatekeepers’ gates for you, you undiscovered genius, you.
has actually pulled back the curtain on how publishing works in this one, with absolutely crucial truths for anyone trying to break in – and it’s not just me, undiscovered genius aspiring novelist
, saying so. Check out all the actual industry insiders who agree