New Comic Alert! Up and Out by Jeremy Kaye

Up and Out by Jeremy Kaye

UP and OUT is a gag strip about the world we live in, and let's face it: it's a really, really weird place. Some might view this comic as an investigatory attempt to document the bizzare, but you shouldn't listen to those people, they're weird. Sometimes surreal, always fantastic, this is a one-of-a-kind strip we're dealing with here.


Read Up and Out here.

Happy Pi Day!

Happy International Pi Day! No, sorry, we’re not talking about pie as in cherry, apple or pumpkin, though you can certainly celebrate with any one of those! We are referring to the Greek letter “p”, which represents the ratio of a circle’s circumference! Pi has been calculated to over one trillion digits beyond its decimal point, but is usually rounded to 3.14, which is why we choose March 14 (3/14) to throw a Pi party!


On March 9, 2009, U.S. Congress passed a resolution to support the designation of Pi Day. The goal was to combat low test scores in math by encouraging “schools and educators to observe the day with appropriate activities that teach students about Pi and engage them about the study of mathematics.”


In honor of the holiday, we wanted to share some seriously punny Pi comics:


Heart of the City by Mark Tatulli
Heart of the City by Mark Tatulli


Brevity by Dan Thompson
Brevity by Dan Thompson


The Argyle Sweater by Scott Hilburn
The Argyle Sweater by Scott Hilburn


Non Sequitur by Wiley Miller
Non Sequitur by Wiley Miller


FoxTrot by Bill Amend
FoxTrot by Bill Amend


So, grab your PIE slice of choice, fly that nerd flag high and click here to get your Pi comic fix.

Meet Your Creator: Steve Moore (In the Bleachers)

Celebrating 30 years as a syndicated cartoonist this year, today we hear from In the Bleachers cartoonist Steve Moore!


You might expect me to say that I’ve wanted to be a cartoonist from the moment I popped out of the womb, but I was never an “aspiring cartoonist.” I was an accidental cartoonist.


I showed a warning sign of heading down that path in grade school when I would draw cartoons in the margins of my textbook during math class. But it wasn’t because I wanted to be a cartoonist; I just needed to keep my brain occupied while I flunked math.



I did not set out to be a cartoonist. From the time I popped out of the womb, I wanted to be a veterinarian and tend to the medical needs of reptiles and amphibians. You know, like treating an iguana with hemorrhoids or a frog with flatulence.


I went to Oregon State University and majored in pre-veterinary medicine, but it didn’t work out because I kept my brain occupied with fraternity shenanigans. I didn’t flunk out, but my grades dipped so low that I had to punt the veterinarian dream and change my major to journalism, which did not require organic chemistry and embryology.



In my junior year at OSU, a roommate let me borrow two books: “Whack Your Porcupine” and “Never Eat Anything Bigger Than Your Head.” They were collections of cartoons by B. Kliban. Never heard of him? Then I feel sorry for you, but it’s not too late to catch up. Go here to meet Kliban.


The Kliban cartoons were like nothing I’d ever seen. They were far beyond the madness of even Mad magazine, which I loved mostly because my parents told me not to read it.


Kliban was the spark that got me fooling around with cartoons. Still, I was not “aspiring.” I focused on newspaper journalism. After graduation, I was sports editor at The Maui News when I first caught a glimpse of The Far Side by Gary Larson, who also happened to be a Kliban disciple. Like many others, I was inspired by Larson’s world, so I decided to draw a sports cartoon with a Kliban/Larson spin and – as an afterthought – submit it for syndication.




I sketched about a dozen sample cartoons and mailed them to three newspaper syndicates. A week later, Tribune Media Services offered a contract. One month later, on Sept. 1, 1985, In the Bleachers launched in about 30 newspapers. In 1995, I switched to Universal Uclick.


On Sept. 1, 2015, In the Bleachers will be age 30.




-- I was a news editor at the Los Angeles Times on “breaking news teams” that earned a Pulitzer Prize in 1992 (Rodney King Riots) and in 1994 (Northridge Earthquake.)


-- I resigned as executive news editor at The Times in 1996 and chased a dream of working in animated TV and film. “Open Season” (Sony Pictures Animation); “Alpha & Omega” (Lions Gate Films); “Metalheads” (TV Loonland/BBC); “In the Bleachers” animated shorts (Disney/ESPN).




-- One of my cartoons inspired a new running craze – Instant Gratification Run. Read about it in the New York Times here. 



-- I have Essential Tremor, a nervous system disorder that causes shaking, mostly in my hands. It’s not deadly (unless you make a living disarming explosives) but it’s a pain in the butt if you draw cartoons. ET affects 10 million people in the U.S. and millions more worldwide. There is no cure. To control my shaking, I need to either take a medication called “propranolol” or drink an alcoholic beverage. (See “Slug” illustration.)




Either solution is a double-edged sword. March is Essential Tremor Awareness Month. Check it out here.


Read In the Bleachers here.

Twitter Q&A with Paige Braddock



Thanks to the always fantastic and talented Paige Braddock for joining us for another Twitter Q&A today! If you missed out on the chat, catch up below:  



Subscribe to Jane's World

Subscribe to The Martian Confederacy

Order Paige's latest kids book Stinky Cecil here!



Next week, we'll be celebrating the 30th anniversary of Luann by hosting a special Q&A: #AskLuann. Join us on Friday, March 22 at 1:30pm CST! 


This recurring LAUGH TRACKS feature highlights individual Sherpa strips and panels that for one reason or another caught the fancy of the aide de sherpa. It could be anything; the drawing, the writing, the humor, the coloring, that they tried something interesting, or that it's a new step for that particular creator.


We hope this quirky sampler will alert you to features you might not yet have noticed amid Sherpa's abundant, ever-changing, and eclectic mix, and that it gives Sherpa creators a modicum of helpful feedback.







Crooksville 3-10-15






Kirby's Treehouse  3-10-15











Cats @ Work  3-11-15











Wyatt  3-11-15




0-60  3-12-15




1Aardvark  3-12-15





Bazoobee  3-12-15





A complete list of all the Sherpa features can be found here.


Daylight Saving(s) Grace

It’s a time of yawns, running late and droopy eyelids; of trying to remember how to change the time on all your various appliances and of thinking that, if someone says the “T” word to you one more time, you might just lose it.


Sarah's Scribbles by Sarah Andersen


Yes, it’s everyone’s least favorite time of year again – daylight savings. Some of us are wondering why it’s still a thing (seriously, what’s the point?) and others are just trying to milk the less-sleep excuse as long as we can. 


In honor (or in spite) of daylight savings, I’d like to give a special shout out to the one who has kept me going, whose sweet aroma and strong demeanor gets me through each morning … my daily cup of Joe. 


Half Full by Maria Scrivan


For me, the magic of coffee definitely merits its own blog post. Without it, I’m not sure I could post at all; my creative juices might just dry up like the Sahara. A caffeine-less me on a Monday morning is not a pretty sight.


Wizard of Id by Parker and Hart


And then, there’s Tuesday morning … “Race fuel” doesn’t taste as bad as it sounds.


GramDragon by Ben Erway


It’s not like I’m a coffee addict or anything … 


The Awkward Yeti by Nick Seluk


… Because I prefer the term “coffee enthusiast.” The fact that I’m on a first-name basis with my Starbucks barista means nothing; he’s just very sociable (and would never cut me off).


Adam@Home by Rob Harrell


So, while many people argue the point of daylight savings, here’s to something whose purpose can never be debated; the saving grace of daylight savings – coffee.




Exclusive Interview: Greg and Karen Evans

Celebrating the 30th anniversary of Luann this month, we’re sharing a fun, insightful Q&A from creator Greg Evans, and his daughter, Karen, who is the inspiration behind the comic strip. Enjoy!


Greg and Karen


First, we hear from Greg:


Trends, technology, values and ideas have evolved greatly throughout the past 30 years. How have you managed to keep Luann relevant every step of the way?


GE: I'm not sure I always have. My characters don't spend nearly enough time with their noses in their mobile devices. And fashions – where are the skinny jeans? Also, because of advance deadlines, comic strips often seem out of sync with current events. I rarely depict newsworthy people and events in Luann. I worry that I'll send in a strip about Justin Bieber, and then he'll get hit by a bus. But, I constantly strive to assure that Luann seems up-to-date and doesn't become a fossil, like her creator.


What has been the most challenging part of drawing/writing/creating Luann?


GE: As my style has evolved from cartoony to more real, the drawing has become increasingly challenging. I'm not a facile draftsman and I make lots of mistakes. This used to require tedious applications of Wite-Out. Then, 8 years ago, I began drawing digitally on a Wacom Cintiq and discovered a wonderful thing: I could assign a button to "undo." As for writing, it's a challenge to keep the characters interesting as they age into young adults. Luann herself tends to be a bit dull because she lacks any extreme quirks as compared to characters like Tiffany, Crystal, Knute and Gunther. 




And while it's natural to want characters to grow and mature, there's a danger of evolving a character from interesting to boring. Once you begin erasing flaws, you risk losing the fun. This is an ongoing dilemma. A similar problem arises with romance. The interesting stuff happens at the start. Once a couple couples, where's the intrigue? Humor resides in conflict. If everyone's pleasant and happy? Yawn. 


What has been the most rewarding part of drawing/writing/creating Luann?


GE: That I don't have to shave, dress and commute. No, honestly, it's the devotion of the fans. I can't believe how passionately invested they are. It's gratifying to know that my work provides a forum for people to engage, speculate, debate and, of course, critique.


You have an extremely active community of commenters online. How does this affect your work?


GE: I look at the number of comments each day because I'm curious about how each strip fares. And I might read the first few. But I don't read them all – they can often be quite distressing. Also, I don't want fans' opinions to influence my stories – although they sometimes do. I have to keep in mind that there may be lots of commenters, but they represent only a tiny fraction of total readership.


After 30 years, do you ever find it difficult to come up with new ideas and storylines?


GE: You'd think that after three decades of dipping into the well, I'd now be scraping out dust. But, the opposite's true. The characters have grown in their complexity and that replenishes the well. I have more story ideas than I know what to do with.


What can readers expect in the future?


GE: I hate to admit this, but in 30 years of doing the strip, I never thought much past lunchtime. Now that my daughter Karen is helping with plotting, we actually have detailed scenarios for the future. Which is great because we're sprinkling current storylines with seeds that will blossom down the road. And trust me, some of these blossoms will be awesome. People ask me if I'm planning to retire. Are you kidding? I have at least another couple of decades of stories to tell. I can't wait to show you what's going to happen next!


And now, let’s pass the microphone to Karen …


What’s it like having a comic strip based on your life?


KE: First, I do get called “the real Luann" a lot when people find out. Which is a wonderful compliment, if not quite accurate. While I may have inspired the idea for the strip, and Luann and I have things in common, I have always felt she is someone I have grown up with, rather than ME. It probably helped that she was 13 when the strip started and I was only 5. And that my name isn’t actually Luann.  


Has your dad ever mentioned anything within the strip relating to your personal experiences that you wished he hadn’t?


KE: The No. 1 storyline that people wonder about is from 1991, when Luann got her first period. This was a huge deal and my dad worked hard to make this a meaningful, and publishable, story. Part of that preparation included getting my blessing. I was 12 at the time and thought it was a great idea. My friends at school all knew what my dad did for a living, and I didn't think they would make it weird for me. And they really didn't —or they were just too embarrassed to! 





My dad is an observant man, but also careful to keep the Luanniverse separate from the lives of his family. Looking forward, Dad and I have talked about how Luann and crew might tackle some other important concerns teens and young adults face. The real challenge is the medium: Newspaper comics are pretty PG.  


As you become more involved with the creation of the strip, what are you most excited/nervous/surprised about?


KE: My dad makes it look easy, but now I know that crafting engaging storylines, balancing a large cast of characters, being funny 365 days a year, and somehow fitting that all into a few small boxes each day is quite difficult. My first attempts were too wordy, too complex and generally not funny. However, I think my dad and I were both surprised at how quickly our creative processes meshed. He is the artist, but I am strong at visualizing. I am the “big picture” planner, but he sees the humor each day. He knows his characters as the creator, I as a reader. We work together daily to drafts plans, refine storylines, and then hash out what, exactly, the characters will say and do in those few small boxes. Writers often comment about how characters "tell" them what to do or "make decisions" of their own, and it’s true! Luann and the whole cast are like real people who sometimes surprise my dad and me by rebelling against our plans or suddenly developing in ways we didn't expect. I am excited to see the characters continue to grow into young adulthood, to see our fan base continue to grow online and to explore fresh ways to tell a great story!



Read Luann here.

Giveaway: Luann 30th Anniversary Prize Pack

Luann Prize Pack


Have you heard the news? Luann’s 30th anniversary is March 17! To commemorate this milestone, we’re giving fans the chance to win a Luann prize pack!


The prize pack includes:         

-       an archive-quality print of the FIRST Luann Sunday comic strip

-       an archive-quality print of the FIRST Luann daily comic strip

-       a SIGNED copy of the “Luann – 25 Years,” book, packed full of behind-the-scenes history and trivia


Luann Signed Book


To enter, leave a comment on this blog post and include your FIRST and LAST names. This contest will end Tues., March 17 at 10 a.m. CT. The winner will be announced that day on this blog. Sorry, worldwide comics fans ­­– this giveaway is open to U.S. and Canada residents only.


Don’t miss a second of the fun surrounding Luann’s birthday month! Check out the “Ultimate Anniversary Guide” here.


Want more Luann? Read the comic strip here. 

Giveaway: Special Edition PCC Signed Prints – Winners Announced



Thank you to all who entered to win the prize packs featuring exclusive signed prints, including:


-       Back in the Day by Eric Scott

-       CowTown by Charlie Podrebarac

-       FatCats by Charlie Podrebarac

-       Scurvyville by Mark Shank


We've randomly selected two winners. Congratulations to Jonnie Hartling and David Adams! Please email us at with your shipping address and phone number. Please note: You must contact us by 3/17/15 or your prize will be forfeited.


Don't forget! GoComics is exhibiting at Kansas City's Planet Comicon from March 13-15. Stop by and see us in Booth #624 for daily drawings and prizes!

Just Released! Exploring Calvin and Hobbes

Today calls for major celebration! It’s the release date of the brand-new, beautiful, one-of-a-kind book “Exploring Calvin and Hobbes”!

  Exploring Calvin and Hobbes 1


Published by our sister company, Andrews McMeel Publishing, this is the companion book to the extensive Exploring Calvin and Hobbes exhibition at the Billy Ireland Cartoon Library.

  Exploring Calvin and Hobbes 2


The book includes original art with Watterson’s original commentary, and features a fascinating, in-depth interview in which he describes his journey as an artist, revealing details of his early influences and work, syndication submission package, tools of the trade, perspective on the state of cartooning as an art form, and much, much more. 


Exploring Calvin and Hobbes 3

Order your very own copy here.  


P.S.: Andrews McMeel Publishing is giving away one copy of “Exploring Calvin and Hobbes” on its Facebook page! Enter here.

New Comic Alert! The Norm 4.0 by Michael Jantze


The Norm 4.0 by Michael Jantze


The Norm 4.0 comic is about ‘the boy who DID grow up.’ Even though there are now four of them, Norm is still trying to figure it all out before his two kids grow up and he and his wife, Reine (French for queen), grow too old. Married with kids and dogs and parents and friends and work? Yep, that’s now the norm. 


Read The Norm 4.0 here.

Weekend Faves (March 8)

Jim Benton Cartoons by Jim Benton
Jim Benton Cartoons by Jim Benton

So that's where my dogs get all their bad ideas ...



Reality Check by Dave Whamond
Reality Check by Dave Whamond

The clerks at Target would never judge me …



Rubes by Leigh Rubin
Rubes by Leigh Rubin

That's what you get for singing Steve Miller Band.



Thatababy by Paul Trap
Thatababy by Paul Trap

The most wonderful time of the year is almost here!



Doonesbury by Garry Trudeau
Doonesbury by Garry Trudeau

What a fabulous tribute by Garry Trudeau.
-- Elizabeth


F Minus by Tony Carrillo
F Minus by Tony Carrillo

The cow is wearing a sweatband! I can't stop giggling!

The puddin's in the proofin'



Have you hugged your copy editor lately? Well maybe you should, because it's National Proofreading Day, an occasion dedicated to promoting mistake-free writing, and also one of the most festive holidays of the year after Arbor Day and International Tuba Day. But before you brake out the beer funnels, kazoos, and Wite-Out, lets all take a moment too apperciate hte impotence of proof-readers every were because, with out them we all all wood look like fools. (You see what I did there? Excellent. You're hired!)


When it comes to keeping errors and typos out of the funny pages, comics editors like me owe a lot to the people around us — our co-editors, production specialists, paginators and the newspaper editors who run our features — any of whom might point out a mistake before it makes it into print. And, of course, there's the readers themselves, who often aren't shy about pointing out our editorial shortcomings. One old guy in Tucson used to send us his own marked-up copies of the crossword puzzles. In one case, the published clue was "Mariachi wear" and the answer was "Serapes." He wrote: "Mariachis seldom — if ever — wear serapes!" Now I'm not one for tattoos, but that phrase seems as worthy of ink as any I've ever heard.


All jokes aside, proofreading can be a serious business. At best, errors are a distraction for the reader, and at worst they can create a skewed or false understanding of the news. Typos also make the writer, cartoonist or editor feel bad about themselves. To lighten things up, here's a series of classic GoComics features honoring the art and science of proofreading. Click on each image to view more from each strip. And have a fantabulous National Proofreading Day.   — Lucas



















Meet Your Creator: Glenn McCoy (The Duplex, The Flying McCoys, Editorial Cartoonist)

Duplex eno scooter trade


1. Tell us about the early life of Glenn McCoy. How and when did the art bug hit? When did you decide to be a cartoonist?


I’m lucky that I’ve always known that drawing and cartooning was in my destiny.  I started drawing at the age of four. My first drawing was of the Lone Ranger. My Grandpa was a talented guy and had a unique way of teaching me how to draw. He would sit me down next to him at his kitchen table with two blank sheets of paper. My Grandpa would draw a line and then he’d have me draw the same line. Then he’d draw another line and I would match him line for line. In about an hour, we had two identical drawings of a naked woman. Around that time, my Grandma would see what we were up to and chase us out of the kitchen. My older brother, Gary, kept me drawing because he drew and I wanted to do whatever he did. We both collected Peanuts paperbacks, memorizing each punch line and even studying how the gags were structured. At that point I decided I wanted to be a cartoonist. I drew constantly though my childhood and was the cartoonist for my grade school, high school and college papers. I earned extra money as a teen drawing caricatures on the river boats docked on the river, and drumming up small freelance jobs like illustrating place mats for local pizza places. My first steady cartooning gig came after I graduated college and landed the job of editorial cartoonist at the Belleville News-Democrat.


2. Do you have other art styles (any gallery exhibits, stuff like that)? What training do you have? If someone wants to have a career like yours, how would they start?


I do a lot of different things besides editorial cartoons, ranging from comic strips (The Duplex and The Flying McCoys) to children’s books, greeting cards, magazine cartoons and concept art and storyboards for TV and movies. For each editor, I try to approach the drawing differently. Although I spend a majority of my time on cartooning and illustration assignments, I make room in my busy schedule for personal work. This can sometimes be difficult, but I know painting feeds my illustrations, and vice versa. I always have a serious drawing or painting in my studio and I go back and forth from my cartooning jobs. It helps to clear the mind, explore new options and experiment with other techniques. I show my work occasionally at galleries in the St. Louis area.


DP130324 color flattened


3. Could you tell us about your route to syndication?


I guess you could say it was serendipity. It began when I heard of a contest King Features was sponsoring to find a new comic strip artist. The top 50 runners-up were to receive an attractive hardcover book on the history of cartooning. I entered in hopes of winning this consolation prize, and, instead won the contest. At that point, I had the attention of the syndicates, which was a weird situation for a young cartoonist to be in, because I had no strip to show. I spent the next few months working up a series of comic strip ideas, which culminated in the premise for The Duplex. I received a couple of contract offers, including one from Universal, which I quickly signed, and I've lived happily ever after.


Duplex sales kit cover


4. Did you or your syndicate change anything about The Duplex or do we see it as you first submitted it?


When I originally submitted The Duplex to Universal, there was an extra character on each side of the apartment. On the "guy side" were two human friends and their dog, Fang. On the other side were two girls and their poodle, Mitzi. After a few weeks of development, I realized I could kill off the extra characters and incorporate their personalities into the dogs. Lately, the strip has focused more on the guys Eno and Fang because the sarcastic tone of the humor plays better with these two. I like the aspect of Fang serving as both Eno's pet and roommate. I know that at times my own dog seems like a friend until I see it drinking out of a toilet bowl. My friends hardly ever do this. It's this duality with animals being both friend and animal that I try to have fun with.


5. What attracted you to editorial cartoons? Who is your inspiration? Why?


I think what first attracted me to editorial cartooning was the quality of art being produced in the field when I was in college. As an apolitical art student I was inspired by the drawings that Jeff MacNelly, Pat Oliphant and Mike Peters were producing at that time. I was also struck by how much larger the editorial cartoons were in relation to the daily comic strips. I remember thinking what a great job it must be to be able to fill that large chunk of the paper with a drawing each day. Later, when I had landed the political cartooning job, I quickly realized the importance of having sound opinions and that the art was simply a means of expressing those ideas in a clear and concise visual way. I take what I do very seriously and I feel very blessed to be given a daily forum to voice my opinions. It’s a great responsibility and I love what I do.


6. Are some editorial topics harder to draw than others? Why? What are the toughest ones? Why? Do you ever avoid those issues because of drawing issues? Are there any issues or events that you have just had artist’s block, and you simply could not make the idea two-dimensional?


Some topics are tough because I’ve touched on them so many times in the past. Issues like government corruption, wasted tax money, voter fraud … I’ve done so many cartoons on these subjects that the challenge becomes finding some new angle or visual metaphor to express my feelings. Another challenge is when a huge story breaks, like 9/11. In these instances, I know that every cartoonist in the world will be drawing about the same thing, so I try to avoid the obvious ideas that I think others will do and come up with something that will stand apart from my peers. Writer's block is a very real part of cartooning and something I deal with on a daily basis. Deadlines are forever looming off in the distance and there’s no getting around them. The challenge of a cartoonist is to find the best idea in the short amount of time you’re given. Once I have an idea, the real work is done, because the drawing is what I enjoy the most. Ultimately, deadlines are vanquished because the threat of not getting a paycheck is one hell of a motivator.


7. How long does the average editorial cartoon take? Why do they take more or less time?


When people ask me how long it took me to draw a specific cartoon, I usually reply “about 20 years.” Each cartoon is the cumulative product of years of honing my drawing and writing skills and comes from a lot of hard work and discipline. The hardest part about what I do is finding the right idea. This is a process that can take a few minutes or all day. My drawing style is intended to look casual and spontaneous, but I will oftentimes redraw the same cartoon four or five times because it doesn’t have the right loose feel I’m striving for. In the last few years, I’ve started coloring my drawings in the computer, which sometimes doubles or triples the time I spend on a cartoon. I usually use up every last minute of my deadlines.


8. Walk us through the process of an editorial cartoon from concept to finished product. How long does it take? Does anyone else see the process, and do they have any say over the direction?


I usually begin each day reading the paper and checking news sites and blogs on the computer over breakfast at a coffee shop. If I’m in my studio, I’ll listen to the radio or have cable news programs running with the sound down. I jot down topics that I feel strongly about or issues that the readers are writing about on the letters page. On a good day, I’ll have a list of five to 10 news items to choose from. On most days, it's really an editing process. The ideas are out there, waiting for me to react to them. Ultimately, my

final decision is based on which news stories I feel most strongly about, because it’s these topics that spark the best ideas. The next phase is to simply have fun scribbling sketches and free associating words, thoughts and images. This probably looks like “goofing off” to the untrained eye, but it’s at this stage in the process when the best ideas begin to appear. Once I’ve settled on my cartoon idea, the drawing seems to go by quickly because it’s at this stage that I have the most fun. I pencil out the drawing in a very rough form because I like to surprise myself in the inking phase, making last-minute decisions and adding small details and visual jokes. Once the cartoon is inked, I scan it into the computer and add color in Photoshop. Then, I step back and brace myself for the wave of angry letters that follows.




Read The Flying McCoys, The Duplex or Glenn’s editorial cartoons.

Twitter Q&A with Ben Zaehringer of Berkeley Mews



Major thanks to Berkeley Mews creator Ben Zaehringer for joining us on Twitter today for a live Q&A! If you missed the chat, catch up below:



Subscribe to Berkeley Mews here!


Be sure to follow us on Twitter and join our next Q&A on Friday, March 13th with author and cartoonist Paige Braddock (Jane's WorldThe Martian Confederacy and Stinky Cecil)


This recurring LAUGH TRACKS feature highlights individual Sherpa strips and panels that for one reason or another caught the fancy of the aide de sherpa. It could be anything; the drawing, the writing, the humor, the coloring, that they tried something interesting, or that it's a new step for that particular creator.


We hope this quirky sampler will alert you to features you might not yet have noticed amid Sherpa's abundant, ever-changing, and eclectic mix, and that it gives Sherpa creators a modicum of helpful feedback.







Zootopia 3-3-15




1Aardvark  3-4-15





Courageous Man Adventures  3-4-15





H.I.P.  3-4-15





Jordan and Bentley  3-4-15




Picpak Dog  3-4-15




Snow Sez... 3-4-15




Crooksville  3-5-15




A complete list of all the Sherpa features can be found here.


Staff Pick: Adam@Home

Hello again, comic fans! I was super stoked to do another staff pick post, but even more so when I saw that Adam@Home hadn’t been picked yet! This strip has become the star of my “My Comics Page,” always delivering a good laugh.


The main character, Adam, is a work-from-home husband and father, who perfectly exemplifies a true-to-life family man. The trials and tribulations of Adam’s life are as relatable as they are hilarious, which is why I find this strip so endearing.


For starters, like any real, hardworking adult, Adam relies on the elixir of life — otherwise known as a strong cup of coffee — to keep him going. I can appreciate anyone who shares my enthusiasm for (addiction to) coffee.





Although he works hard, Adam never allows work to get in the way of family time (something every one of us should remember to do).








That being said, every parent needs a break now and then, and that’s OK.






Adam is more than a parent, though; he is also a thoughtful husband. A true romantic … so long as you keep in mind that it is the thought that counts.






Through it all, Adam reminds us of the need to find humor in the everyday mistakes. Life can have a very cruel sense of humor sometimes, but it’s not hard to feel better about your own life when you see Adam’s hilarious mess-ups.






Adam@Home exhibits all the relatable realities of marriage and parenthood – and makes them funny! Balancing a family and a career is hard work, and I love that Adam makes some hilariously epic mistakes and can laugh them off. After all, that’s what life’s all about, right?

—Amanda, Marketing Intern


Subscribe to Adam@Home!

Stephan Pastis Nominated for 2014 Reuben Award

Source: National Cartoonist Society


The National Cartoonists Society has announced three nominees for the 2014 Reuben Award for “Outstanding Cartoonist of the Year.” Pearls Before Swine cartoonist Stephan Pastis is among the elite!


It’s been an incredible year for Stephan Pastis. Last June, he collaborated with Bill Watterson, who guest-illustrated a series of Pearls Before Swine strips. In addition to creating Pearls Before Swine, Pastis is also the author of the children’s book series “Timmy Failure.”


The highest honor that the profession bestows, the Reuben Award for Outstanding Cartoonist of the Year is chosen by a secret ballot of the members of the National Cartoonists Society.


The winner of the 2014 “Outstanding Cartoonist of the Year” will be announced on May 23 at the annual NCS Reuben Awards dinner in Washington D.C.


Congratulations, Stephan! Your friends at GoComics are rooting for you!


Learn more about the Reuben Awards here or read Pearls Before Swine here.

GoComics Returns to Kansas City’s Planet Comicon



Teaming up with our sister company Andrews McMeel Publishing, we’re heading to Kansas City’s Planet Comicon (March 13-15), and we can’t wait!


Located in booth #624, we’re offering daily drawings, giveaways galore and tons of comics swag!


PLUS! FoxTrot creator Bill Amend will be signing at our booth on Sun., March 15 from 2:30-3:30 p.m. CT! (PCC attendees can also find Bill at his booth (#2770) throughout the weekend!)


And that’s not all! Stop by and see us for:  


• Daily giveaways including Peanuts 65th anniversary commemorative buttons, free GoComics PRO memberships, major comic book collections, calendars and other comic-related promotional items.

• Archive-quality prints of the iconic first and last Calvin and Hobbes comic strips and popular Peanuts comic strips available for purchase.

• GoComics T-Shirts featuring the slogan “Read Comics Every Day” available for purchase.


• A selection of comic books for purchase, including the brand-new Exploring Calvin and Hobbes and many, many more titles from Andrews McMeel Publishing.


What are you waiting for? Get your Planet Comicon tickets here!


Can’t make it? Follow the fun on Instagram, Facebook, Twitter, Tumblr and Pinterest.

Giveaway: Special Edition PCC Signed Prints



We’ll be exhibiting at our hometown’s Planet Comicon (PCC) later this month, and we can hardly contain our excitement! We’ll be sharing fun-filled details very soon, so stay tuned!


The Comicon excitement bug has hit us hard, and we want to share it with you! We’re giving away TWO prize packs featuring exclusive SIGNED prints from PCC 2014.


The prize packs include the following signed prints:


-       Back in the Day by Eric Scott

-       CowTown by Charlie Podrebarac

-       FatCats by Charlie Podrebarac

-       Scurvyville by Mark Shank



To enter, leave a comment on this post and include your first and last name. Limit one entry per person. This contest will end on Tues., March 10 at 10 a.m. CT. The winner will be announced that day on this blog.



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