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The New Cable

11 Feb

There used to be an expression that flew around in the early days of the internet, especially when it came to file sharing: “information wants to be free.” This is, of course, a stupid thing to say for many reasons, not least of which that it’s a personification; information doesn’t “want” anything. It is not sentient. It simply exists.

What those people really meant is that information should be more accessible, more transparent, and more affordable. After years of being charged $20 or more for ten songs or a movie on a plastic disc, people have embraced the opportunity to download a copy (even if it is not a top-quality one) for nearly nothing. Not surprisingly, those who own the content have fought this tooth and nail, be it the record industry, film studios, publishers; and now we find ourselves in a middle ground where we can obtain much of the entertainment we want sort-of-illegally for free (I use the qualifier because file sharing is legal in some countries, decriminalized in others, illegal in still others); or we can sort-of-buy it legally for a dollar or two (again, I qualify because we don’t so much buy the content as license it, trusting that it will be there in the cloud for us when we want it).

I used to pay about $70 for high speed internet service and another $50 or so for basic cable. Had I sprung for digital cable with movie channels and such, it would have been more like $100. Here in Canada, the television media are controlled by a few large companies regulated by a body called the Canadian Radio and Telecommunications Commission, or CRTC. The CRTC is supposed to regulate these businesses on behalf of the Canadian public, but more often they seem to make decisions that benefit the protectionist interests of those companies, who depend on the income generated by providing Canadian clones of popular American or British series and channels.

There are those who would argue that this system feeds a lot of money into the Canadian entertainment industry, helping to keep all those struggling actors and film crews working, and I’m sure that is true. It is a license condition of those copycat channels that a certain percentage of their programming be Canadian in origin. I don’t want a single precious hair on any single precious Canadian artist’s head to be curled by what I’m about to say.

You see, it occurs to me now that while information may not want to be free, it may very well want to be region-free. It is completely idiotic, for example, that you can buy a DVD in Australia and not be able to play it in America. It makes sense that DVDs may have different formats that reflect the video standards of their home nations – NTSC vs. PAL and what have you. But if you want to import a cool new kung fu movie from Japan, it probably won’t play on your Canadian system. And why not? Not for any technological reason, but because some giant Canadian company hasn’t licensed the content to sell it to us yet.

It is the 21st century. Why are we allowing Rogers, Bell, or Shaw to take a cut of something that they did not make themselves? Why do they get to slap together packages and bundles that ensure a cable subscriber will have dozens of channels they do not want for the sake of getting the few that they do?

This is pretty much why so many of us are “cutting the cord”; cancelling cable entirely and downloading torrents or streaming video through the websites of those copycat networks. But, if some of my friends and I are any indication, the torrenting free-for-all is slowly migrating to content services like Netflix, which- gasp- recommends programs based on what you like, rather than whatever bundles the network wants you to take. Netflix has even started to acquire the rights to new original programming, most famously the cult favourite Arrested Development.

In the ongoing search for more options, some of us have gone a step further and subscribed to a VPN service that allows us to circumvent regional restrictions; which is a fancy way of saying that for $5 a month, I can watch the American version of Netflix instead of the Canadian. And yes, the American one has a lot more options. Do I care that some big corporation that holds the American license for a program is getting a few cents that some other big corporation that holds the Canadian license is not? No. I truly do not give a shit. Netflix is still getting $8 a month from me, and they are able to report and track what I am watching to the people that make the royalties.

This has taken on a new dimension with the recent addition of an Apple TV to my setup, because once the Apple TV has been configured with that same VPN service, hey presto! An app for Hulu Plus appears on the menu. Hulu Plus is sort of like Netflix, except it’s only available in the US and concentrates more on TV, including shows that are currently running. It is also ad-supported. Since it is US-only, it is a little trickier for a Canadian to sign up for it, but it does seem to work (for now anyway) and for another $8 a month, I now have access to new shows from NBC, ABC and Fox, as well as a lot of other smaller networks; plus an assortment of movies, most notably the Criterion Collection, which would be worth the price of admission alone.

So, $8 for Netflix, plus $5 for the VPN, plus $8 for Hulu Plus, and whatever portion of the internet bill I would be paying equals a new kind of cable- digital and tailored to my preferences and devices – for less than the cost of basic cable from a giant Canadian corporation. And since I am paying for those services, the creative folks should be getting royalties somewhere – more than they were getting when I was only torrenting, anyway.

Do you see what is happening, CRTC? Rogers, Bell, and Shaw? You are obsolete. Concentrate on what we now need in this country: reliable high speed internet and related services at a reasonable price. Stop trying to be movie moguls; you suck at it.

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Apple TV

6 Feb

I have been telling my son Jack for a while now that I would give him my Playstation 3; he uses it far more than I to play games, and ever since I moved to a smaller place I found I was really only using it for Netflix once in a while, and using the iPad more often to stream video or whatever else. Besides, Nicole has a PS3 that I can use up in Kingston if I feel like playing my few games for it.

So after doing some research, I picked up an Apple TV and am pretty impressed with it so far. It is easy to set up and accesses services like Netflix as well as whatever media I have on my MacBook. If you are like me and have replaced cable with watching torrents of TV shows, you have probably noticed that you are more likely to find torrents of shows in an iOS-friendly format than .avi files, so this has turned out to be good timing for that as well. (If you’re going to use iTunes to share your torrents, you may want to uncheck the “copy files to iTunes library” option in iTunes preferences to prevent your hard drive filling up; and check out the “Automatically add to iTunes” folder on your hard drive as a potential destination for downloads).

There is a cool function called AirPlay that allows you to mirror whatever is on your iPhone, iPad, or Mac on the TV; useful for presentations, other video formats, etc. Apple TV is compatible with the Unblock-US VPN service, so you can access the US version of Netflix and other services like Hulu Plus. You can also stream digital radio and podcasts like on other devices.

Apple TV is essentially the kind of digital hub that a lot of people use an old computer for, optimized to interact with other Apple devices. The only drawback I have encountered with it so far is that the remote is small and light and potentially easy to lose. Fortunately, if you have an iPhone or iPad, you can use the Remote app instead.

A new Apple TV costs $110; refurbished older models sell on the apple store for about $90. For some reason, people try to sell “jailbroken” older models that allow you to play other media formats and they are asking well over $200. I can’t imagine how that could be worth the price. But if you are like me and already have a bunch of other Apple devices for it to interact with, Apple TV is a bargain.

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Adonit Jot Touch

31 Jan

I posted the other day about how much I love using the iPad as a multipurpose device. As a cartoonist I use it for writing and editing my comics scripts in Celtx, keeping track of ideas in Evernote, reading webcomics and galleys and books, and so on; but the missing piece of the puzzle, until now, was the ability to actually create artwork. I bought a stylus along with the iPad a year ago, a $15 thing that was functional for replacing my fingertip and giving the feel of using a really thick pencil; but I never warmed to it as a device for actual drawing. Nor did I care for the art apps that I tried, most of which were either free or had been purchased for my iPhone a long time ago, scaling up poorly to the larger screen.

Meanwhile, my dear Nicole had bought me a nice Wacom Intuos 4 graphics tablet for Christmas not long before I got the iPad, and it was a revelation compared to the decade-old Graphire that I had been halfheartedly using to create the occasional short comic or illustration. The Wacom was the missing piece I needed to really create comics in digital form, from start to finish, on my Mac in Manga Studio EX. After scaling the learning curve I launched a webcomic with Nicole and have been happily cartooning and slowly improving since.

Of course, it’s not that simple. As the saying goes, mo’ comics, mo’ problems; spending more time drawing means more potential strain on my eyes, shoulder, back and so on. I had serious issues when I was younger with tendonitis in my shoulder and am not keen to repeat. That means it’s beneficial for me to be able to vary how I work, which includes kicking back with a sketchbook in my lap instead of a full-sized laptop. There have been several occasions where I have done roughs for the webcomic on paper, taken a picture of the rough with the iPad camera, shared the result with my MacBook via Dropbox, imported the roughs as a layer in Manga Studio, and kept working. Not the most elegant solution, but a start.

What I have started doing this week after buying the Adonit Jot Touch pressure-sensitive iPad stylus is drawing directly on the iPad screen, essentially skipping the step of drawing on paper and photographing it. Of course, I could have been drawing with a regular stylus all along, but the advantage of drawing with the Jot Touch (or its non-pressure-sensitive brother, the Jot Pro) is like drawing with a pencil in your bare hand instead of a crayon in a mitten. Your mileage may vary, but for me the Jot Touch is the deciding factor in whether or not I want to draw on the iPad at all.

There are other nice aspects to the Jot Touch; really well designed packaging, an ingenious magnetic USB charging base, a protective screw-on cap that covers the magnetic base when in use, and a spare pressure sensitive tip is included. Like the Jot Pro, the tip of the stylus is covered by a clear plastic disc which is required for the iPad to identify the stylus as a valid input device, but since it is clear your eye can focus on the actual tip of the stylus, resulting in greater precision when drawing.

Is it perfect? No. It’s never going to replace the Wacom for me, because the Intuos is much more sensitive and offers customization. The Jot Touch does have a couple of buttons like a Wacom stylus, but the software I have used with it so far (mainly Procreate and Sketchbook Pro) either does not use them or does not allow for customization. The charging/power indicator light is not as intuitive as it could be. There are limitations associated with using the iPad itself too, most notably whether or not an app offers “palm recognition”, which would allow the artist to rest his or her hand on the screen while drawing. Finally, a really annoying limitation of the Jot Touch is that because it uses Bluetooth, the iPad assumes it is some kind of audio device like a headset, and mutes Music and other audio apps when the stylus is turned on, which means you can’t listen to music or podcasts through the iPad while you draw.

Overall, though, most of the issues I have experienced are more to do with the drawing apps, which is out of Adonit’s hands. I don’t really feel like I can make a recommendation for drawing apps yet; so far I am preferring Procreate to Sketchbook Pro, but they both have their pros and cons.

The price of the Jot Touch is no small consideration as well. It lists for $100, which is pretty expensive for a stylus or any kind of niche tool (though by Wacom standards, it’s about what you would pay for some of their pens or accessories). I got it on sale for $75, and I feel it was worth that, because the difference it will make to my workflow and the potential for being able to do better and better work at the rough stage is worth it to me. I think it is probably quite possible for a cartoonist of sufficient skill to use the Jot Touch to make comics entirely on the iPad.

Again, your mileage may vary. If you are a brush and ink cartoonist who is just starting to think about digital tools, the Jot Touch is probably not for you; get a good Wacom tablet and put in the time with Manga Studio or Photoshop until you are over that learning curve. If you are already comfortable with digital tools and want to experience what is probably the closest you can get at this point to true drawing on the iPad, check out the Jot Touch.

Anniversaries

29 Jan

Lots to celebrate this week. First and foremost by a large margin is four years with Nicole. The first few months were rocky and tempestuous, and we still have difficulties, but it’s nice when your worst relationship problem is that you live apart some of the time and want to spend more time together.

One of the unexpected ways that we have bonded is by collaborating on our webcomic, Time Wounds All Heels, which turns 6 months old today. That may not sound like a long time – especially for a weekly comic – but TWAH is by far the most sustained creative effort I have been involved in since I started drawing comics over 20 years ago, and has been exposed to the largest audience (rapidly closing in on 25,000 views). I’ve never felt so enthusiastic about drawing every day.

Finally, it’s been just about a year since I bought the iPad 2, partly so that I could see what kind of platform it would be for making and viewing comics. The short answer: a great one. The iPad is the kind of device I used to dream about when I was hunched over my light table, watching the same UMDs over and over on my PSP. Depending on what I’m doing, the iPad is my radio, TV, web browser, book or comics reader, video game platform, planner, typewriter, and sketchbook. It would have been nice to get it at the lower price it sells for after the introduction of the iPad Mini, but otherwise I couldn’t be happier with it.

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I’d Still Be Writing 2012 on My Cheques if I Still Wrote Cheques

14 Jan

…which is just a roundabout way of saying that I haven’t quite adjusted to the new year yet. The end of 2012 was a mad dash of holiday visiting and times with Nicole and Jack, then moving in to my new digs on Duke street, then getting back to work, part of which involved sorting out a new laptop and extracting work-related stuff from my Mac. Not to mention trying to get ahead of schedule on the webcomic, which is going reasonably well.

That said, the new year is treating me pretty well. I’m quite comfortable in my Duke street room, was able to squeeze a surprising amount of the stuff that I prefer to keep in it, and took the opportunity to get rid of some unnecessary junk at value village. My typical day involves sitting at my desk or on the bed and tapping away at the keyboard or scratching away on the Wacom while going through various series on Netflix. It’s like being in a kind of productive hibernation.

I should get off my ass and get back to running and meditating. One thing at a time, I suppose. At least I have been getting some reading done, most notably some books I got for Xmas: Corpse on the Imjin by Harvey Kurtzman, Came the Dawn by Wally Wood, The Year of the Beasts by Cecil Catellucci and Nate Powell, and The Sisters Brothers by Patrick deWitt. Coming up are Pete Townshend’s autobiography and volumes 3 and 4 of the new volumes of Love and Rockets.

I’m heading up to Kingston this weekend, with a quick stop in Toronto on the way, to visit Nicole for a couple of weeks. I also need to book tickets for the second annual trip back up with Jack on the train for his March break. It’s a 24 hour trip; good thing he likes the train!

I’m hoping to find a Jot Touch pressure sensitive stylus while in Toronto to see how it works with Sketchbook Pro on the iPad. SBPro is a pretty impressive drawing app and I could easily see myself using it for general sketching and roughs for comics, once I have a stylus that allows for more precision than the cheap pinky-sized thing I have now. I’ll post some results once there is something to post.

For now, back to drawing. Hope your new year is going well.

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The Silent History

10 Dec

The Silent History is a serialized sort-of-interactive novel available from the iTunes store. It is the story of a near future world where a significant number of babies have been born without conventional language acquisition: they don’t speak, they are not deaf but don’t seem to respond to speech, they cannot learn sign language. They simply are silent. The book is told from the point of view of several people, each with his or her own agenda and experience as the years pass and the “silents” grow older.

The book is divided into 6 parts, each of which has 20 short chapters that are being released on weekdays, so that the entire story will have been distributed after about 6 months. As I write this, four months of the story are remaining. If you buy the app, you can also become a “reporter” who submits geotagged short stories about your experiences with the silents in that place.

If all this sounds kind of cool, well, it is. The Silent History app is a triumph of interface design and a great idea. But, it is also extremely frustrating, because I don’t really want to wait four more months to finish reading this story, and there isn’t really any reason why I should have to. The conceit of the interface is not worth the waiting game. And the conceit of the geotagged reports is even worse: you can only access them if you are standing in the exact place tagged by the writer. That’s great for people living in, say, New York, where there are currently 33 reports available; but the closest one to me is somewhere in Montreal. Since these user-generated reports are presumably non-canonical, I can’t imagine why the app maker essentially makes it impossible for many users to ever see them.

The Silent History is a cool idea gone horribly wrong, promising a good story to its subscribers and then saying we can’t have it; or we can, but very slowly. I do recommend you read it if you get a chance, but you might want to wait until March.

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Digital Comics Thoughts, Fall 2012

19 Oct

You may recall that after the beginning of this year, I bought an iPad and posted some words about digital comics, particularly what they should cost (especially if they are coming from a major publisher) and how they could be produced by independent artists. It’s hard to believe that it was less than a year ago that people were fretting about how Marvel and DC would get their books to market, what it would cost, how it would impact comic shops, and so on.

My opinions on all of that stuff have not changed much, but I do have more data to work with now in terms of my own experience and buying habits, so I thought I would check in. So, here is a bit of an update:

1) Paid legal downloads. I don’t do a lot of this, and when I do it tends to be either a title on sale in Comixology or one that is “on special” for a limited time. I usually hear about these deals on Twitter, where I follow dozens of cartoonists and publishers who work in all genres. I have not yet gotten into the habit of checking Comixology every Wednesday to see what’s new; but then I haven’t been in that habit with comic shops for a long time either. Generally, I don’t care for paying a same-as-print price for a digital file which I can’t freely copy but which I have to store; this applies to video games and other software as well as comics. That said, I have found some nice gems when I bother to look, like Paul Tobin and Colleen Coover’s Bandette or Penny Arcade’s Lookouts comic.

2) Unpaid legal downloads. Some artists, especially webcomics artists, have experimented with providing samplers or archives of their work for free, like Rich Stevens’ Diesel Sweeties or Mark Waid’s Insufferable. J. Torres invited reviewers to do the same with the first volume of his series Bigfoot Boy, drawn by Faith Erin Hicks; a book which I recently picked up in print. I expect I will do something similar in the future once I have enough instalments of my own webcomic, Time Wounds All Heels, built up.

3) Unpaid borrowed downloads. This is probably more common with regular novels being lent as ebooks through public libraries, but I have been able to read a fair number of graphic novels lately through a galley service, which provides DRM-protected books that expire after a few months. They are intended to be read in Adobe Digital Editions, which is a terrible thing to try to read with on a standard computer screen; and thanks to Adobe’s butthurt over Apple not wanting to deal with the piece of shit known as Flash, there is no version of ADE for the iPad. Fortunately, an independent app called the Bluefire Reader will handle ADE content, so I am able to read those books in a comfortable format. The tradeoff is that if I finish a book, I write a review about it on my blog and send the resulting link to the publisher. Seems fair enough. It tends to be smaller publishers like First Second, who can harness the power of online reviews for their sort of books perhaps a little better than a more-scrutinized publisher like Marvel. My only complaint about this route is that some publishers do not provide a very readable copy of the book; presumably concerned about DRM being broken and PDFs of their books being released into the wild, they submit a very low resolution file that makes the artwork look like shit and the text difficult to read. In which case, why bother?

4) Free online comics. Apart from the above mentioned galleys of graphic novels, these are far and away my most common source for reading comics now, from old favourites like John Allison and Tatsuya Ishida to relatively new ones like Kate Leth or Eric Dyck. Webcomics artists support themselves all kinds of ways, from website ads and physical merchandise to day jobs and commissions. I try to support the ones I like however I can.

5) Ethically questionable downloads. Let me get this out of the way: I download torrents of stuff, especially TV shows, movies recently released on DVD, and the occasional album by some band I want to check out. Downloading torrents is legal in Canada (though uploading is not, resulting in some confusion, but I suspect the main goal is to discourage wholesale widespread piracy rather than downloading something for personal use). I have no qualms about downloading TV shows; to me it is no different from having digital cable, and it is not my problem that Media Corporation A has not yet figured out how to measure and bill Media Corporation B for it. The big reason I don’t have reservations about downloading TV or new DVD releases is that the quality of the resulting file is not a replacement for what you would buy; it’s watchable (usually) but it’s not HD, it’s just a compressed AVI or Quicktime rip of a better quality product. I think it’s fair in the sense of sampling, and there have been numerous occasions where downloading that way has led me to buy the DVD later for myself or as a gift.

However, I am not so comfortable with downloading rips of digital comics as torrents, or ebooks, or other situations where the file you get is basically the file you would get if you paid for it. As a result, I have done very little torrenting of comics, with the exception of a few situations where I have already paid for the series in print and would like to have a digital copy to carry around or refer to. The most notable instance of this is Lone Wolf and Cub, which I originally bought in the form of Dark Horse’s tiny trade paperbacks; 27 volumes at about $12 a pop, totalling over $300 in comics which due to my advancing age and sudden need for bifocals, I could no longer read. So, I downloaded them and am not losing any sleep over it. Your mileage (and local laws) may vary, of course.

So, the main lesson I have taken away from owning an iPad so far is that I am reading more digital comics than I expected I would even a few months ago, and sometimes even paying for them despite my initial skepticism of services like Comixology. If there is ever a service like Netflix for comics that allows access to a content library for a flat fee, I would probably be all over it. Publishers with deep backlists, like Marvel and DC, might want to consider it as a way to generate interest in the current adventures of their characters.

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Open Letter to Vic Toews

22 Feb

I signed a petition recently addressed to Vic Toews, a Canadian MP who is championing legislation that would allow law enforcement to obtain a lot of information about private citizens’ internet usage without obtaining a warrant first. His office sent an automated reply listing myths about the bill and trying to justify it. My reply follows:

Hi Vic,

Thanks for your reply. However, I still don’t accept your responses as reasonable compromises for so-called safety. Furthermore, I resent you wrapping this intrusive legislation (and yes, gathering people’s IP addresses and ISP information is intrusive) as “Protecting Children from Internet Predators”. We have a due process of law, a system where law enforcement must prove to a judge that this sort of intrusion is warranted.

Vic, I think this entire exercise is political grandstanding on your part, your own little branch of your boss’ attempt to push through an expensive and unnecessary crime bill. I’m sure you and your people and your party also have good intentions – at least I hope you do – but we have bigger problems in this country than the crime rate (which is in decline, have you heard?)

If you really want to do something about the internet that would be of value to Canadians, you might want to consider making it more accessible to remote communities; to investigating the pricing policies of major ISPs like Bell and Rogers; and campaigning against proposed changes to fair use and copyright laws that keep content out of the public domain. If you really want to do something that benefits children, take a look at the state of education across the country. Do schools and teachers have the resources they need? Do kids have safe places to play in every city? Are arts and recreation programs well-organized and -funded? If you take a moment to investigate any of these questions I bet you will find room for improvement; places where you can really make a difference as an elected official of the Canadian people instead of your grandstanding.

It’s not too late to do the right thing, Vic. I know it’s hard to admit when you make a mistake, especially when the eye of the media is upon you. I hope you have the integrity and sense to do something that actually matters while you are in your position of privilege.

Scott Marshall
Citizen of Canada

If you want to write Vic’s office, his email address is vic.toews.c1@parl.gc.ca.

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Oy With the Digital Comics

28 Jan

Had an interesting exchange with comics writer Ed Brubaker (@brubaker) on Twitter last night, in which he claimed that if digital comics were priced at a dollar, companies would need to sell 50,000 copies just to pay the creative team, to say nothing of editorial, promotion, and other production costs. That struck me as a very high number based on my research, but I have no doubt that he’s right; it just means that my previous numbers were way off.

My friend Michael also chimed in to claim that the cost of running the server farm for digital comics would be comparable to the cost of printing and shipping paper ones, and while I don’t doubt that there are substantial costs, I do know the printing business a little; I suspect that the true per unit cost of serving a digital comic is a matter of pennies as opposed to dimes for printing and shipping hard copies.

So anyway, the point is I was full of shit on my numbers the other day. I apologize. It’s frustrating that real word figures are so hard to get ahold of. For what it’s worth I did obtain numbers from the latest edition of the Handbook for Pricing and Ethical Guidelines for the Graphic Artists Guild. They expect writers to get paid $75-120 per page, pencillers $100-250, inkers $75-200, letterers $40-50, and colourists $100-150. These numbers align with a similar document from Australia. Which means the cost of talent on a typical comic with 22 pages of story is about $9000 to $18,000 US for people getting paid “scale”. Depending on the cut a company gets per comic sold, that certainly aligns wih Brubaker’s claim.

Does that change my conclusion from the other day? Yes and no. I still believe that a low price point, like a dollar, will encourage strong sales growth and defuse a certain amount of piracy, just as it has with music. The adjusted numbers just means that the time to profit for a publisher could be much longer than I thought. Of course, with digital they have more time.

Brubaker went on to say that he wants to make sure artists get paid fairly as this shift continues, and I quite agree. Comics are a business with a history of ripping off the talent and sometimes the readers too. So while I do sympathize with Brubaker’s sentiments, I think he and the mainstream comics industry should also take careful note of what consumers appear to be saying: that the price of comics is too high, be they print or digital. The perceived value of a $4 digital file is far lower than that of one on paper. Digital is an opportunity to give the readers more without the added expense of printing and distributing more paper. It may also be the first time that a one-person operation, thanks to the lower overhead, can compete in the same solar system with a major publisher if the product and user experience is good enough.

Anyway, I will leave that stuff to the pros for now and obviously I will be watching with interest. I still plan to write about the experience of reading digital comics, and based on some tinkering last night I have more thoughts on iBooks Author, so watch for that stuff in the next few days.

Quick Update on iBooks Author and Digital Comics

27 Jan

So in the last few days I have been doing a lot of experimenting with comic readers on the iPad. I’ll have a post about that experience in the next few days. In the meantime, you should check out the blog of R. Stevens, creator of the webcomic Diesel Sweeties and other cool things. About a month ago he experimented with digital comics by publishing a free PDF of the beginning of DS. This week he followed up by using iBooks Author to create a free iBook of the DS comics that ran this past December. I have read both of them in the iBooks app and they look great. Stevens has some good points about this sort of publishing from the cartoonist’s point of view. Check it out here and here and download some cool comics while you’re at it.

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