That’s right, this whole section concerns erections. I’m just like every other comic in the world.
Okay, as far as Bump In The Knight is concerned there is no interest in it from any artists who could actually match the challenge. If I want to go forward with it I’ll probably have to find one myself, and I don’t have time to deal with that. So that one is going into the “I’ll probably never do it folder” for the foreseeable future.
Since people are curious about the way I describe my relationship with other comic artists I’m just going to say that most of it is just me joking. I’m sure there are people who don’t like me, but mostly I am nothing to other artists. Comics works just like any other profession. If you aren’t in the top tier you aren’t anything to them. There are exceptions to this because of nobodies meeting successes at conventions and stuff, but for the most part artists hang out with people of their own skill/success level or lower. David Willis, (I don’t know the names of some of these guys so I’m just calling them their comics.) Something positive, Homestuck, Questionable Content, Penny Arcade, are all above my station so our interaction is limited at best. Even most of the people on Hiveworks, which I am an associate of, will not talk to me the way they would to someone who is “somebody”. It’s funnier to me to pretend that they are against me, because it frames the situation in a way that I am important enough for them to have an opinion of me at all.
David Willis tolerates my fanart and kindly retweeted about my hospitalization problems. Kriss Straub, of Chainsawsuit, has helped me on a few occasions when he had no reason to. Scott Kurtz of Table Titans, Dave Kellet, of Sheldon, and Brad Guigar, of Evil Inc., have also taken time to help me out when they had no reason to take time for me other than to be nice. I always try to speak well of them because they have proven to be good people based on my personal experience.
People who have actually made an effort to speak to me like regular people are more rare. John Wigger from Zombie Roomie comes to mind. He’s at least a social level above me artistically if not more. Sam Logan of Sam and Fuzzy has actually had long conversations with me, and he is very near top level cartooning if not there already. That’s about as far up as I go as far as more successful/talented peers are concerned.
What this all comes down to is that when I say someone doesn’t like me it almost always means I am invisible to them. And I know you know what I mean by that because so many of you are like me in your general worldview. The same thing happens at your jobs, just in slightly different ways.
I’ve tried to engage artists of higher classes than I, who have similar interests, but the fact of the matter is they already have their circle and they don’t need little people clinging on to them. I make a point to treat newcomers and people of lower station with respect, because I’m aware of what being there is like. It hasn’t faded from my memory. At the same time if I get cornered into genuinely appraising the work of someone else I don’t drizzle sugar on it. If you’re on the b team and you force me to tell you I will. If my appraisal comes as a shock then you have been deluding yourself. It is important, as The Rock often said to “Know your role”. If you’re a jobber accept that, and keep working towards being a main event. I know where I belong, but I take my work seriously. I have to work harder, be on time, and provide a dependable entertainment experience because I lack so much in other areas. I play towards my strengths. I’m not the best, but when the best is on a drinking spree, or pisses away all their kickstarter money, I’m still here. That’s why my middling little comic has done better than comics that are CLEARLY superior on a technical level. I throw all of myself into it. When I get knocked down, I have a little cry, then I get back up and keep right on coming after the big kids.
You can’t always win out over raw talent, but you can certainly make it fear your resolve.