More to follow; mostly more digital inks of comics from the pencil era of ROCR, but new work should start showing in the next few weeks as well.

The book is unlikely to show up in the near future. After three years of no new updates, there aren't enough people to sell it to, so I want to focus on getting new updates out this year, so I can rebuild and reconnect with ROCR's audience. There will be a book eventually; there may even be several at a time. Just not in the next few months; certainly not before Christmas.

1. I'm not as cool, stylish or photogenic as David Bowie. Obviously.
2. Unlike David Bowie, I can't just drop a bunch of new product on people all of a sudden and expect it to sell or get airtime. I just can't.

To be able to drop a bunch of new product like a book, I have to first rebuild my audience. To do that, I have to create new work. To do that, I first have to fix the issues that make returning to Feral seem so daunting. All that is coming, but it's still going to be slow.

Starting in March, I will start posting works in progress for Feral as Vote incentives for Topwebcomics. These are inked and/or coloured versions of existing Feral pages in varying stages of completion. Some of these may also show up on DeviantArt, but the focus will be on posting them as vote incentives. This will help with rebuilding that audience and will also give me an incentive to work on the pages and immerse myself in Feral again. There's other remaster-related work that also needs doing, but I think I'll be able to carve out time for this now.

The book? I'm still delaying work on that, because of the above. It'll get worked on when I'm good and ready and when there are people around to buy it again.

The only reason for a law forcing teachers and counselors to out gay teens to their parents? Increase suicide among gays. That’s the only possible outcome. “Mainstream” Republicans, when you stand with these people, these hateful, vile, people, you stand directly against me and my friends, against our lives and our livelihoods, so don’t expect me to cut you any slack. You want small government and low taxes? Fine. Disavow the religious right — work within your party to limit its influence, even if that means you lose some electoral oomph in the South — and I will take a look at your agenda with an open mind. Meanwhile, you are in bed with hate, depending on pandering to the worst in our society to win elections, so you can’t expect to be taken seriously except by those who also hate.

I created these three digital redraws partly out of curiosity about how long it would take me to do draw multiple digital pages and what the results would be like, and partly because I was unsatisfied with the originals beyond my usual attitude of "man, I sucked in [insert year here]". I thought that even for 1996, the year they were created, these pages were done in an exceptionally sloppy and careless way, as if I was tired of working on the comic.

A little while before I started working on the redraws, I had noticed that the Brewery storyline with art by Remco Polman, when it was showcased on that rerun site, caused the pageviews there to shoot up, and took it as evidence that the audience that sees these reruns cares a lot about art quality; the better the art is, the more likely that they'll want to read more. So what could be better than replacing some unusually bad artwork with above-average artwork? And it gave me the opportunity to practice digital inking and time myself doing so.

I think all three redrawn pages are much improved. But don't take my word for it; please see for yourself. And please comment on the site itself!

I expected this remaster to be very straightforward: 20 pages that were already in the can from my first attempt at revising it in 2006. All I needed to do was flatten the pages, export at a size where the width was 648 pixels and the height was whatever it came out as, run the pages through pngout and upload.

Of course it turned out to be anything but straightforward. Some master files were missing and I had to dig into some very old back-up CDs to find them. Then some were in different file formats, and different master image sizes, and there were a lot of issues with ragged boundaries and sloppy inking that were pretty much invisible in the original publication, but which had to be fixed before the images could be shown at the much larger size they are now. And this was actually one of the better-organized of the older stories. The others from the same year are a lot messier.

Back in 2001, I decided to write Sauna Opera as a tightly-scripted story of exactly 20 pages, draw them at a larger size than before and scan and process them with the possibility of print in mind. The black and white line art was scanned, as best as I could, at 600 DPI. However, I did not have the computer capacity at the time to colour and letter images at that size with multiple layers. I used GIMP and Paint Shop Pro at the time, and both were big memory hogs that couldn't handle larger images well. So the colour versions and the lettering were done in GIMP at an intermediate size, roughly 1100 x 1600 pixels. What's more, I only coloured some of the pages. Colour at the time was a bit of an extra for me. I took the time if I thought the art was worth it and would be reused for promotional purposes. Finally, I replaced the hand-drawn borders with straighter borders done in GIMP before final export.

In 2006, I made my first attempt at remastering the story. I used Photoshop to colour all the pages that I had originally left in black and white, and did so at full resolution using a layering approach that I'd learned in the mean time. I intended to export at 550 pixels wide, because that was the image width for The Rite of Serfdom and Feral at the time, and in a change of preference, I decided to go with the original, hand-drawn panel borders because they looked more natural with the contents. However, for the pages that I'd coloured in 2001, I used the GIMP files to master directly from, without further conversion. I exported the files at 550 pixels wide and used those on the Drunk Duck mirror, but never got around to uploading them to the main site.

So here we are, almost seven years later again, and the time has come to fix up the 2001-era archives after working on remasters for The Corby Tribe, The Rite of Serfdom and Feral for four long, frustrating years. During those years, however, the archives for those stories that were in the same basic format (vertical pages, six-panel grid) have had yet another size upgrade, and now the target width is 648 pixels. Oh, and I have fully standardized on Photoshop and only use GIMP to convert files in GIMP's native format, XCF, to PSD. So I had to do that, and then fix all the mistakes that were mostly invisible at 418 pixels, but seriously distracting at 648. In the end, the remaster work took two days: one Sunday and the Saturday after that.

And while the final result is a lot more consistent and is pretty much a textbook example of what I do these remasters for—eventually, all comics made after 2001 should be in colour, and all of them should be in one of three formats: 648 pixels vertical, 800 pixels horizontal or 850 pixels vertical with text captions in HTML—I will still have to do more work on these if I ever do prepare these episodes for print.

Plus, in 2012, the type on these comics looks huge. Then again, that is probably an advantage on tablets.

The cover. With the proper cutting applied, it turns out that the title isn't correctly aligned at all.

For example, the title font looked correctly aligned when we were looking at it on the screens. Turns out that when you cut off the margins, it doesn't always work out that way.

The interior of the book. While the actual printing quality is very good, the page that is on the left was intended to be a right-side page, and the one on the right needed to go overleaf on the left side.

We're working with a printer in Egypt. They can give us excellent printing quality for the price. The downside is that we won't be anywhere near them when they print the book, and because this is their first comics project, they don't necessarily always know the expectations. Here you see the interior, with extremely large outer margins and very small inner margins. The reason is that they didn't count the pages as we intended: they started with a left-side page instead of a right-side one, and so all pages that were supposed to go on the left side of the book ended up on the right, and vice versa. Lesson learned: make it really clear where your first page of content is going to go. This is our responsibility, not theirs. On the plus side: the colour accuracy is pretty good—see the first of these two pages on the website for comparison.

At over 340 pages, this book is huge.

The proof copy arrived with a larger shipment of printed goods from Egypt, which was held up at customs for a while. This is annoying but unavoidable as we do not have a huge budget for the book, though if we'd realized the extent of the delay in advance, we'd have ponied up to have it mailed to us instead. Another lesson learned.
This weekend, our original plan was to go through the book page by page to look for layout issues, typos, colour problems and other issues in greater detail. Unfortunately, Aggie was ill this weekend, which meant that we had to change our plans—she spent two days in bed while I did a modest amount of work on other ROCR-related things. At this point, I'm not convinced we'll have it ready for Christmas, especially if the final version gets delayed like that again (please note that the delays are unavoidable as we're doing this on a shoestring budget); however, when it does come out, we will probably be selling it at conventions and events for a year, so Christmas is just a blip in the schedule.

The last time I put out anything in print, it was black and white, photocopied and stapled, and only 48 pages. Even at this early stage, it amazes me that we can do a book like this now.

Read it here. All of it is as originally posted, including a typo that at the time of writing, I have not fixed. As a 24-hour comic, it's not the most polished art-wise, but you get used to that very quickly. I see this as a first draft of something that would need to be polished up and reworked later.

For a change, it's a G-rated comic that you can let your kid read as well, and I intend to keep that up, for the most part, if I ever get to continue it. Doing a child-friendly comic with children as lead characters again, six years after my work for Malmberg ended, was a revelation to me; I didn't remember it being as much fun as it was during this 24-hour comic event.

Please feel free to criticize any aspect of the story apart from the rough art - I already know that it's rough. As this is a first draft, there will be an opportunity to fix issues with character design, pacing, tone etcetera - but while I've got a laundry list of issues myself, what matters more is what other people spot. You can critique here (within 30 days after this is posted, after which the comments section closes automagically) or in the comments to the comic itself.

Kate performing "Running Up That Hill" live with David Gilmour in 1987.

While not a perfect performance, this shows a confident artist on top of her game. You wouldn't know that Ms. Bush hadn't toured for a few years. If a performance at the Olympics was as good as this, the only reason a person could have for disliking it was if they're not into Kate Bush's music, and that's fine. Some people just can't be helped.

Kate performing "Comfortably Numb" with David Gilmour in 2002.

This is not a confident artist on top of her game. It isn't, by far, the worst performance of Comfortably Numb; I like it better than the performances by Bob Wyatt and Bob Geldof that have made it onto David Gilmour DVDs, especially because Kate keeps the original phrasing intact. But it is a hesitant, strained performance. Compared with how David Bowie made this song his own when he was the guest, it falls far short of that.

While the latest live clip is not bad, it's not at the level you need to be when you're performing in front of a billion people. However, if Kate can rise to the level of the first clip, that would make a great impression on at least half of them.

Anyway... the rumours keep changing by the hour. Kate may choose to lip-synch (the organisers apparently prefer this for all artists as they want a glitch-free ceremony), there may be a videotaped performance or (the latest rumour has it) she may not perform at all. We won't know until it actually happens.

August 13, 2012: and now we know. For the benefit of those poor benighted sods who had to watch the ceremony on NBC, Kate Bush did not appear in person, but a new mix of Running Up That Hill, with a rerecorded vocal, was played over a complex dance routine/sports montage. NBC, apparently cut it, along with Ray Davies' appearance, for an ad.