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: 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