Showing posts with label sluggy freelance. Show all posts
Showing posts with label sluggy freelance. Show all posts

Friday, August 28, 2009

Ask Militant Ginger

It's that time again! When I trawl through the 'keyword analysis' to answer the questions that somehow drove search engines into recommending this blog:

Why are so many Americans against the NHS?

Lies, damn lies and statistics. Depending on who you go to, you'll find that the majority of Americans want to keep the health care system exactly as it is, or adopt a single-payer system like they have in most industrialized countries. In February, polls put that figure as high as 59%.

Recently, the National Health Service of Great Britain has received a lot of flak, being held up by conservatives as an example of how 'terrible' a single-payer system would be if it was implemented here in the United States. Admittedly, there are some horror stories about the NHS, many of which I've perpetuated right here on Militant Ginger!

But conservatives neatly side-step the fact that the British health care system is ranked considerably higher than Americas - and the UK has a lower infant mortality rate and higher life expectancy. While American health care at it's best is undoubtedly superior to that of Britain - at it's most mediocre, it's arguably worse.

Sadly, there will always be a compromise between quality of care and breadth of coverage. In many ways, the NHS and the American system are the two most polarized examples of each philosophy - and many Americans will rail against 'nationalized health care' simply because of that reason.

How does the American private health care system work?

Very, very confusingly.

In America, health care is 'private.' That means, unlike in the UK, the government don't own and operate hospitals, ambulances, doctor's offices or laboratories. They're all independent businesses out there to make a profit.

When you visit a doctor, or get a test done, you get billed for it personally. As these medical bills can add up incredibly quickly, most people buy 'health insurance' to pick up some or all of the costs. For example, health insurance will generally cover as much as 90% of the cost of an operation, with the private individual paying the 10% difference.

The problem is that health insurance itself is quite expensive, since the bills are so high. It can easily cost $300 or $400 a month to cover a small family. Therefore, employers often offset the salary they give their employees by offering health care coverage instead. They can get group discounts for using the same company to insure all of their employees - and that means the individual gets a keener rate.

Companies cover either the entire cost of health insurance, or a portion of it.

If you're self-employed you can buy your own health insurance, although you have to pick up the entire cost, instead of a company covering all or part of it. Also, because you don't get the 'group discount' you tend to pay a higher rate.

Finally, health insurance is like car insurance - it costs more or less depending on your coverage. For example, you can get cheap insurance that only covers emergencies, or more expensive coverage that covers the bulk of medical costs. Likewise, you can adjust the percentage of the medical bills you're expected to cover 'out-of-pocket' with higher or lower premiums.

The problem with this system is that health care costs are continuing to rise. In the last decade, health insurance premiums have doubled. That means more and more of a percentage of people's salaries are going towards covering their families.

Even worse, more and more coverage is being dropped by the health insurance companies to keep their costs down. This means the consumer is paying more and getting less - and it's a generally accepted fact that there's not enough competition between health insurance companies to keep prices keen.

It's a system that has both major advantages and serious flaws. The problem with 90% of the people who argue about how to improve the current setup, however, is that they're not fully cognizant of both.

What is a derogatory term for a life-long politician?


A 'Democrat'*.

America's longest standing Senator - and former Ku Klux Klan member - Robert Byrd

*Nod to Tom - Editorial Bear

How do you start writing erotica for money?

Let me get one thing straight- nobody got rich writing erotica.

The opportunities for making money writing sauce, smut, erotica and pornography are increasingly elusive, as more and more people attempt to get in on the act. There's a misunderstanding going on that writing erotica is somehow easier than writing anything else. That's really far from being true.

I have made my fair share of money writing smut - but it quickly lost it's novelty value. The pay is low, the competition is high and it's a fairly thankless task.

But the opportunities are out there. A good place to start is with Hustler Fantasies, who publish about twelve or fourteen stories every month (and pay $25 for each one.) You can find out more here.

Alternatively, you can aim for a higher-brow audience, by submitting something to the queen of Erotic fiction, Alison Tyler, or a high-class magazine like Jacques. Just be aware that they have excruciatingly high standards and you'll either be expected to submit your first few works for free, or share royalties with dozens of other writers.

If I haven't talked you out of it, though, I still recommend writing commercial erotica simply to become a better writer. Why? Because it's surprisingly good training for 'real' writing.
  1. Magazines like Hustler have a specific style - and getting a story accepted involves developing incredibly self-discipline to keep within the expected guidelines.
  2. Erotic teaches a writer brevity. Exposition isn't foreplay. Word limits can be brutal. Keeping your writing focused, curt and efficient is an excellent habit to get into.
  3. Most readers are looking for a specific genre - sometimes a specific sex-act - so writers need to learn to cater to their audience. This is the single most important lesson a writer can learn.
It's also excellent training for the simple habits of writing commercially - letters to editors, keeping track of submissions. If you take up writing erotic for money, I can promise you two things. Firstly, if you sell even one story, you will have become a better writer. Secondly, by the time you've sold that story, you'll probably have grown utterly, utterly jaded about how 'easy' and 'fun' writing erotica really is!

Why do women die their hair red?

Because unlike in the UK, where red hair is seen almost as birth defect, most civilized countries consider red hair to be attractive and distinctive, especially on a woman.

In France especially, many women dye their hair red (or some close approximation thereof) and 'the redhead' is a staple of film noir and hard-boiled fiction over in America. A redheaded woman, like the one Bruce Springsteen wailed about, is seen as passionate, sexy, emotional and just a little bit dangerous.

The only problem? You really can't fake it. Because red hair is normally accompanied by pale skin and beautiful green or blue eyes, most women who attempt to mimic a natural Titian end up failing. It can look pretty, but it never looks natural.

And, as I've found out by going both black and blond, that is true the other way around, too!

(This beautiful redhead is Kristen Carter, whose profile on Model Mayhem can be found here.)

What’s the connection between Erica Henderson and Pete Abrams?

Pete Abrams is the incredible brain behind Sluggy Freelance, my favorite webcomic and my first port-of-call when I do the Internet rounds each morning.

Erica Henderson is the sublimely talented cartoonist, artist and all-round everything from I Fail At Life, who I just think is the Bee's Knees.

For a short time, Erica stood in as 'Saturday girl' for Pete's webcomic - allowing him to take a day off from Sluggy to concentrate on his family.

The result was some wonderful artwork that took the wonderful creations of Pete's comic and put Erica's unique spin on them.

Sadly, she's not doing the Saturday art any more - but those filler strips certainly stand out as some of my favorite of all time.

Saturday, February 02, 2008

Saturday Morning Silliness...

Today is Saturday - which means it's Erica Henderson Saturday over at Sluggy Freelance.

Check out the Saturday Filler Strip here - or go right to the source at Erica Henderson's blog here.

In other news - Blogger's spell-check stopped working (I don't know whether to spell things with an 's' or 'z' now.)

Plus, make sure you schedule your shopping and trips to the gym for tomorrow afternoon - the roads will be deserted because it's Superbowl Sunday! I remember a similar situation occuring during the World Cup in 2006.

Go Giants.

Wednesday, December 05, 2007

The Wonders of Webcomics

The Internet has changed the way we enjoy our morning periodicals.

Over in France, for example, my father reads The Telegraph online (for free) instead of have to pay five euros for a two day old copy TGV'd down from Paris.

Likewise, I'll get my 'morning funnies' via the web, rather than reading them in The New York Post.

But in addition to easing access to the news and comics we crave, the Internet offers an increased choice, too. So instead of having to enjoy a nationally syndicated Garfield or Doonsebury strip (two of the most popular comic strips reprinted in papers across the world) we can access much less popular choices with just as much ease.


Imagine... No censored strips when Doonsebury creator Gary Trudeau gets a bit too politically racy for the national broadsheets (like in 2005, when pressure from right wing groups got his strip moved from the 'funnies' section to 'editorial.')

Comics on the web are raw, uncensored and just as funny as the officially sanctioned, syndicated, 'sold out' ones (like Jim Davis' Garfield - who once, for example, used the same punchline for an entire week's worth of strips.)

As far as I'm concerned, there are four comic strips that I read every morning (taking me a combined total of about four minutes.)

Sluggy Freelance, Something Positive, Least I Could Do and Sore Thumbs.

There are many, many other 'web comics' out there, but I think keeping up with four of them taxes the maximum amount of brain cells. These are the best, as far as I'm concerned.

Top of the list is Sluggy Freelance.

Is it not Nifty?

This is a sci-fi webcomic written and drawn by Pete Abrams. First hitting the 'net in 1997, it's the episodic adventures of mild-mannered web designer Torg and his best friend, shadowy inventor Riff.


Over the course of the decade Pete has dedicated to the comic, both his storytelling and artistic skills have developed noticeably - transforming the strip from a cheeky series of broad parodies to an incredibly deep, complex sci-fi epic featuring a broad range of colourful characters.

Pete is good, end of story. Although it's difficult to just 'dip into' his massive archive of comics, once you've got into the complex and twisting adventures his characters go through, it's difficult to disentangle yourself.

Pete's comic is remarkable for several reasons. Firstly, just how entertaining it is. Every day, he produces a new strip that is complete and amusing in and of itself. Insert that strip into the complex and evolving stories he creates, the humour (which is always present) takes a back seat and the thrilling adventures of Torg, Riff and friends become the major focus. It's very easy to get invested in the lives of these lovable characters.

Pete keeps things constantly fresh. Unlike most comics, he's never afraid to change things around completely - permanently killing off characters, or changing the established status quo. The fact that nothing is sacred - and every one of his characters is vulnerable - makes their adventures a lot more thrilling.

He's also willing to take the comic in a completely random direction from time to time - like ignoring Torg and Riff for six months while he presented an exceptional sci-fi adventure following supporting character Bun Bun on a cross-dimensional adventure in the 'seas of time.'

But the number one reason why Pete Abrams is so remarkable is that his comic pays. Through his regular updates, superior storytelling and sheer enthusiasm, he has created such an loyal audience for Sluggy Freelance that he can run the comic (and associated merchandising enterprises) as his full time job.

Now that's talent.

Something Positive


Although Sluggy Freelance is the webcomic I enjoy the most, my favourite one has to be Something Positive. It's an unashamedly autobiographical webcomic by Boston based actor, writer and artist R. K. Milholland.

Started at the end of 2001, Something Positive follows the day-to-day life of Daven MacIntire and his friends. Daven is clearly based on Milholland himself - and the author has explained how most of the cast of Something Positive are based on people he knows and experiences they've had.

It's a complete departure from Sluggy Freelance, being largely character-driven and featuring very understated and convoluted plots. All of the main characters in Something Positive are flawed, but lovable. Daven himself is a cynical, bitter young man - but intensely loyal to his friends and in possession of a very clear sense of right and wrong. His best friends Aubrey and PJ are likewise slightly twisted - one being a vengeful psychopath and the other endlessly lusting after the wrong (often homosexual) men.

But with R.K. Milholland's cast, flaws are strengths and the fact that his characters are clearly far from perfect makes them even easier to engage with.

Just because it's a character-driven comic, that doesn't mean it's not absurd. Crazy plot twists and a thin line between reality and farce make the situations Daven and his friends encounter wonderfully absurd. One minute, Daven can be worrying about his hairless, boneless cat getting flushed down the plughole (and winding up in a 'crossover' with other famous webcomic Queen of Wands) and the next, the laughs get shelved when his lead character is faced by the poignant and unsettling news that his father has been diagnosed with Alzheimer's.

It never pulls any punches and it's always full of surprises, which is why I think Something Positive is a truly exceptional webcomic.

Least I Could Do

On the other end of the 'largely autobiographical' scale is the webcomic of Ryan Sohmer.


Least I Could Do follows the adventures of gregarious Rayne Summers, who is clearly modelled after the author. Unlike R.K. Milholland's main character, however (who is just as flawed as the author - if not more so) Rayne seems to be a gloriously idealised paragon of masculinity, which makes the whole autobiographical aspect seem slightly narcissistic.

But considering I write the adventures of a modern-day Saint who shares an uncomfortable number of characteristics with myself, I should be the last person to criticise Mr Sohmers!

Rayne Summers is a lovable, geeky young man who just happens to have rippling abs and is totally irresistible to women. He has a fluffy upper management job in an enormous multinational company, which means he enjoys an enormous paycheque and office without having to do any work.

Throw in his ability to escape unscathed despite all sorts of negligent and criminal behavior and you've basically got a comic dedicated to Ryan Sohmer's wish fulfillment.

In theory - although it's actually a lot, lot better than that.

Least I Could Do is a hugely entertaining romp which is presented in an incredibly slick, professional style. Out of all the webcomics I've mentioned, Least I Could Do looks the best - by an astonishing margin. The drawing is simply unparalleled. The sort of thing you'd happily pay money for in a bande dessinee shop.

This is because, right from the very beginning, Ryan Sohmer approached running a webcomic like a business. While Sluggy Freelance and Something Positive have seen their artistic merits grow and develop over the years, Ryan Sohmer started off by using a professional artist to 'draw' his webcomic while he concentrated on the writing.

Which is why it's consistently hilarious, looks fantastic and is updated without fail six days a week. No other webcomic can match the slickness of the Least I Could Do operation.

Sohmer's style means that the appearance of Least I Could Do has changed dramatically since it was launched in 2003. Originally, Trevor Adams drew the comic, in a brisk, cartoony way that presented Sohmer's writing in a serviceable manner. Adams was replaced by Chad Porter, who developed the style into something slightly more complex and presentable. In August 2005, Lar deSouza took over drawing duties and he's responsible for the high quality art we enjoy today.


During that time, the characters grew and developed as well - and in his defence, I think Ryan Sohmer's portrayal of Rayne moved away from a wish-fulfillment 'Mary Sue' to an independent character who existed on his own merits (much like I hope Adventure Eddy has done.) Ryan does make still appearances in the comic - as Rayne's slick, handsome older brother Eric. however it's much more character driven than it was before and Rayne Summers often takes extended absences from the driving seat to give the other cast members an opportunity to shine.

Right now, I believe Ryan Sohmers and Lar deSouza are attempting to get a Least I Could Do cartoon show off the ground. I wish them the best of luck with that - I think it would translate to television brilliantly.

Sore Thumbs

Last, but not least, comes Sore Thumbs.

Sore Thumbs is completely different from all of the other comics I've mentioned. Written by Chris Crosby and illustrated by Owen Gieni, 'Thumbs is a totally absurd Manga style comic with broad political overtones.

It follows the adventures of ultra-liberal Cecenia (a busty babe with ambitions in television hosting) and her super-conservative brother Fairbanks (who fantasizes about playing video games with George Bush Jnr... in the nude!)

Together, they run video game store 'Sore Thumbs' - which inexplicably takes them across the world, interacting with world leaders, despicable terrorists, Hollywood actors and miniature polar bears.

It's all deliciously silly - and takes regular swipes at politics and popular culture. It also looks amazing - Owen Gieni's drawing talents perfectly mimic the Japanese 'manga' style.

Because it's so silly and 'out there' - plus the fact that it's only updated three times a week (on account of the high art quality and full-page content every update) - it's not as easy to 'get into' Sore Thumbs as the other comics I've mentioned. However it's the first port of call if you want a quick, irreverent comedy hit or an instant spoof on a topical hot potato.

Web Comics

What impresses me about all the guys behind these webcomics is their dedication. Just the simple process of updating a blog every day is beyond most of us. The thought of producing a high-quality comic that's part of a complex story arc seven days a week astonishes me.

Sure, successful web comic gurus like Peter Abrams and R.K. Milholland can make a living off their work - but for what they earn, you can tell that it's really a labour of love that keeps them scribbling.

It's an enormous amount of talent, hard work and discipline that goes into producing these amazing webcomics - so even though I dedicate mere seconds to enjoying them each morning, I hope the authors know how much their hard work is appreciated.

Please visit the following:

Sluggy Freelance
Something Positive
Least I Could Do
Sore Thumbs