Qos Comix

I've got a neat way to lay this out that kept my weekend binging from turning into a confused mess. If you want the definitive reading order for 'Dross', start with the main run in publication order — that usually means issue #1, #2, and so on — because the creative team builds character beats and reveals across issues. If 'Dross' is collected into trade paperbacks or volumes, those are often arranged by story arc and are the easiest entry points: read volume 1, then volume 2, etc. When a crossover or mini-series pops up, treat it like a detour: read the issues that directly tie into the plot immediately after the main-issue breakpoint that references them, but don’t worry about variant covers or reprints — they rarely change narrative order.

If you run into single-issue one-shots, origin stories, or specials labeled as 'annuals' or 'extras', check whether they’re listed as prequels or side-stories. These are best enjoyed after you know the characters — unless the special is explicitly called 'prelude' or 'origin', then feel free to read it first for context. I also use fan-made reading guides and the publisher’s official order (if available) to double-check. Digital storefronts sometimes mis-sort issues; always verify issue numbers and publication dates.

Personally, I like alternating between trades and single issues depending on my patience level: trades for lazy Sundays, single issues to savor cliffhangers. Above all, follow the numbering and publisher notes — they’re there to save you from narrative whiplash — and enjoy the art, because in 'Dross' the visual pacing is half the story. I still get a kick out of spotting tiny details on my second read.

My own experience with webcomics is not nearly broad enough to make a definitive list like that. As I said, I read a couple of long-running webcomics many years ago from the authors’ own sites. Since then, the rest of the webcomic scene has exploded and moved to a host of new platforms. Maybe I’ll check some of them out.

I didn’t know that kind of content was available on that site. Mostly I read fantasy and sci-fi, but this sounds like a more diverse selection than I had realized.

The adult comic book market is bursting with talent and often includes artists from Europe such as Enki Bilal. His Nikopol Trilogy is not exactly an adult comic but it does have a very raw, gritty, erotic edge to it. And then there’s the legendary S. Clay Wilson, notorious for his anarchic style in rebel comix, particularly his notorious work in Zap Comix. Often shocking and certainly raw and unflinching, the late artist was never afraid to push the boundaries.

In fact, the world of adult comics is blossoming more than ever before with lots of fresh talent. I wish I could mention them all but for now, let me just name Orenstein, author and illustrator of the simple, charming, fun and yes, sexy adult comic ‘Alfie’ (online at www.alfiecomic.com). As well as classic printed books, a whole new generation of creators are now able to self-publish via platforms such as Patreon, opening up a whole new world of material that is far more diverse than the simple beefcake of Manara or the raw, angry anarchy of S. Clay Wilson’s work.

This series gets way too much serious discourse for what it is: silly adult comics. To me, the best one is the one that will get you to laugh (snort) against your will. An early one of mine was a very long story set up around a broken washing machine of great import. There was so much commitment to making the reader get why this story mattered that it was sort of impressive. But no, these aren’t meant to be scrutinized as literature. They’re all short, crude, and mean to make you laugh. Ranking them is all a waste of time but fun for those who have read them all. I wouldn’t recommend the later ones that look more like generic comics. The series has its biggest charm in the earlier ones with the most peculiar energy of all. That’s just my valley of favorites though.

This would be the one with the fox spirit and the twin infants, right? That is so cute. Print? I wouldn’t count on it. These webcomics are basically created as free labor. Authors are paid in moderation for webcomics in the form of ads and Patreon, but a print version of their work would demand so much more. In addition to the author, you would also have to pay a layout artist, a printing service, a shipping company, and people to deal with customers. That is not something that most webcomic authors could hope to afford. Some of the sweeter ones have been picked up by publishers from time to time, but that is very much the exception to the rule. Your best chance is probably for the author to make it as a passion project at some point. Until then, go read it online and recommend it to people.

So people are still searching for this? I thought that creator had been long forsaken by all in a bygone era of discourse. Huh.

Webtoon. I wrote that title so you’d read this piece about the act of reading Webtoon comics. Yes, the vertical scroll is perfect for building to suspense and comedic moments. An artist can use the length of the scroll to control the pacing of a scene. For example, a reaction panel can be placed just off the bottom of the screen so that the reader has to scroll down to see the character’s expression in that moment. If a comic were online and all the panels for a page were displayed all at once or the comic was read horizontally page by page click by click then the comedic moments would not be timed as well. The medium is the message and ‘Mi Casa Es Tu Casa’ is a Webtoon comic designed for a specific Webtoon size “canvas” and so it must be read on Webtoon in order to get the full intended experience of the comic. Any other format would be a watered down or compromised version of the work, much like watching a wide screen movie pan and scan to fit a smaller old TV.

Creator's preferred medium: Digital. But with beautiful texture that makes you think of traditional ink and wash art. This texture is a deliberate style choice to make the story gothic and old. Every artistic choice the creator makes – even the brush made for their software – is chosen to enhance the atmosphere of the story they are telling. It’s completely holistic, so even the most technical elements are used to further the soul of the story.

In reverse order, ‘Fox’s Day Out’ is a beautifully simple and sweet little side story that reads perfectly as a one-off volume once you’ve read and fallen in love with the main series. However, as a first point of contact with the Fox world, it is a dismal, weightless read. I first attempted to read ‘Fox’s Day Out’ months ago and was utterly stumped and in the end bored by it after three chapters or so. The Fox in question simply went round with a bunch of babies and Fox’s observations of them were largely sort of random and not really all that sweet.

So learn from my mistake and save yourself the bland first impression. The side story is a complement to the main story, not an entry point. It’s a collection of pleasant artwork made even more pleasant because you already love these characters and understand their history. The main story is where you need to build your foundation – the pay-off for reading the fluff spin-off is so much sweeter.