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One of Watterson’s strengths was really selling what it was like to be a kid, and that includes all the shitty parts. The way nobody listens, how Calvin has to do so many things he hates just because someone told him to, how often things are just never explained to him, how unfair life is and how there’s nothing he can do about it.

And obviously Calvin is neurodivergent in probably a ton of ways. I think its extremely easy to see the ADHD and the autism, and I know a number of people see him being plural as well, and I think the text can support all of that. Most of that wasn’t intentional, as far as I know—Watterson didnt set out to write a kid with ADHD, he just wrote what he knew and had seen around him.

And he’s left handed, and yet I can’t for the life of me remember a time when that is brought up or addressed, and that does feel intentional to me. As an example of the ways the world just cannot and will not accommodate your differences, being left handed is one of the original and most straightforward poster children.

So I love especially that it was just… snuck in there, without being called out in any specific way. He could have! It would not have been hard to have an arc about Calvin learning that the reason so many things are hard for him is at least in part because none of the tools were made for him.

There’s a bunch of left-handed family members of one of his childhood friends! Source: that friend is my uncle.

there’s one night per year where something is allowed

The Goblin Throne Part III page 74 is up! This is it -- the final page of the book :,)

To everyone who's been following along since the beginning almost three years ago -- thank you so much for reading!

Over the past 7 or so years, we've seen this absolute shift in expectation, migration, and stagnation in the webcomics sphere which applies to style, sustainability, and the platforms grip on readers and creators

I'll be the first one to say that webcomics are not an easy way to make money and a majority of folks who make them rarely see profit. This has always been the case! But when virality, siphoning audiences from all over, and opportunity to 'get printed' presented itself, that expectation shifted.

So let's talk about what those expectations are now: 🔴Demand for Higher quality- less readers will check out beginner looking works or comics that feel too 'faulty' in style meaning less excitement to see webcomics grow over the years. Polish is expected and commented on consistently by readers

There is also an expectation for specific visual and narrative styles. This applies to other social media platforms too- in that works that take less investing in are often promoted and prioritised. That means less risks on narratives, less nuances, and shorter series running.

🔴All on one site/app- That may seem pretty fantastic for getting new readers (and is the absolute main sticking point for so many artists) but when algorithms and specific series are wanted, your works have a harder chance getting to the people they need to. The search function is trash for a reason

I'm not one to toot the competition flute, but there's a level of that at play when the spotlight for that platform is actually pretty small. What you get is a lot of readers checking out the same comics, and not spreading it all out to find yours (their subs have a cap for this reason)

🔴Sustainability (and lack thereof)- The creator of these comics are often burnt out and given little support- all while fighting to see what is allowed on the platform with its excitable censoring. I won't speak for originals (there's many testimonies you can find) but their experiences of burn out are harrowing

With the high production expectation for a person who is rarely given help (often has to hire out of pocket for that) and the readers who want Updates Now, it's a frustrating place to post your comics with no rest. It's 2026, we shouldn't be treating cartoonists this way still.

Webtoons (the company) is always going to be interested in making a profit. That's sort of where it all starts and stops here. They'll embrace the slop machines (more slop sources) for investors, they'll mistreat creators, cancel 'unprofitable' comics, censor work, and protect that bottom line. That's their MO, always!

So when I see these conversations that inevitably float around about Webtoons and how the only response is 'stop using it', I think we also need to deconstruct what it's done to creators and readers and how they engage with/create works too- because it doesn't seem that simple of a solution

Webtoons has solidified itself in webcomics as the Place to start and stop with comics. They want you to use their app of course, but they've conditioned folks to think it's the only way to share your stuff. How do we break this? How do we get people to stop using it?

We share resources 😎

I only know the barest minimum about coding so I use the free version of the >>>Breakdance<<< plugin to design my sites. The backend looks like this:

It takes some playing around with but it's not as intimidating as coding from scratch. It was actually even fun once I got the hang of it.

Coding webcomic navigation can be tricky so I use the free version of the >>>Toocheke<<< plugin to handle my archive and navigation buttons. There's even a >>>guide<<< to help.

Yes I have to pay for domains and hosting myself. I think it's worth it.

I use Feedly to keep track of comic updates. It's like a subscription system you can use across different sites (look into RSS feeds if you've never heard of them!)

As a personal preference I don't maintain comments on my sites anymore and simply run a discord server instead. I like it much better when folks' comments are not permanently tied to my pages. I think it allows every reader to have a focused experience catching up to the story.

_______

The day Webtoon started advertising in Times Square I was actually pretty upset because I KNEW it was going to bring an unhealthy culture of expectation towards webcomics. I knew it was going to define what a webcomic was to millions of people who were unaware of what they were outside of that app.

But much worse was how Webtoon normalized pressuring webcomic creators to appeal to the widest audience possible, because now normal everyday people who don't share your interests might see you and judge you and leave nasty comments on the work you care so deeply about. You don't HAVE to use that platform. You don't HAVE to cater to that audience. You don't HAVE to design your narrative to appeal to the widest audience possible. I will tell you a secret:

You will be loved for the same things you are hated for.

In the world of entertainment the worst thing you can be is not hated, but forgettable.

Over the past 7 or so years, we've seen this absolute shift in expectation, migration, and stagnation in the webcomics sphere which applies to style, sustainability, and the platforms grip on readers and creators

I'll be the first one to say that webcomics are not an easy way to make money and a majority of folks who make them rarely see profit. This has always been the case! But when virality, siphoning audiences from all over, and opportunity to 'get printed' presented itself, that expectation shifted.

So let's talk about what those expectations are now: 🔴Demand for Higher quality- less readers will check out beginner looking works or comics that feel too 'faulty' in style meaning less excitement to see webcomics grow over the years. Polish is expected and commented on consistently by readers

There is also an expectation for specific visual and narrative styles. This applies to other social media platforms too- in that works that take less investing in are often promoted and prioritised. That means less risks on narratives, less nuances, and shorter series running.

🔴All on one site/app- That may seem pretty fantastic for getting new readers (and is the absolute main sticking point for so many artists) but when algorithms and specific series are wanted, your works have a harder chance getting to the people they need to. The search function is trash for a reason

I'm not one to toot the competition flute, but there's a level of that at play when the spotlight for that platform is actually pretty small. What you get is a lot of readers checking out the same comics, and not spreading it all out to find yours (their subs have a cap for this reason)

🔴Sustainability (and lack thereof)- The creator of these comics are often burnt out and given little support- all while fighting to see what is allowed on the platform with its excitable censoring. I won't speak for originals (there's many testimonies you can find) but their experiences of burn out are harrowing

With the high production expectation for a person who is rarely given help (often has to hire out of pocket for that) and the readers who want Updates Now, it's a frustrating place to post your comics with no rest. It's 2026, we shouldn't be treating cartoonists this way still.

Webtoons (the company) is always going to be interested in making a profit. That's sort of where it all starts and stops here. They'll embrace the slop machines (more slop sources) for investors, they'll mistreat creators, cancel 'unprofitable' comics, censor work, and protect that bottom line. That's their MO, always!

So when I see these conversations that inevitably float around about Webtoons and how the only response is 'stop using it', I think we also need to deconstruct what it's done to creators and readers and how they engage with/create works too- because it doesn't seem that simple of a solution

Webtoons has solidified itself in webcomics as the Place to start and stop with comics. They want you to use their app of course, but they've conditioned folks to think it's the only way to share your stuff. How do we break this? How do we get people to stop using it?

We share resources 😎

Also, for webcomic creators who either make their own website or use a comic platform like Comicfury, consider using a peer-to-peer ad network like Comicad.net to advertise your webcomic and create ad space on your own website.

If something has a big fandom, publishers and studios know they can make money off it. This is why we see publishers openly acquiring and selling things that were originally posted as fanfic, like Alchemised, Heated Rivalry, etc. It’s why the horrid wizard woman considers people participating in her fandom to be supporting her political causes.

The real answer is taking Ennigaldi-Nanna to see the Smithsonian Museums. She was the high priestess of Ur, daughter of Nabonidus, King of Babylon. He is considered one of the kings most interested in archaeological history and likely passed this off to his daughter, as she ran what is considered the first museum of chronologically organized and labeled artifacts from the last 1500 years of Babylonian history.