Poignant.

Well, I suppose so. But art is communication, and surely there’s a reason to talk?

This looks like pics taken to adjust white balance.

http://en.wikipedia.org/wiki/4′33″ ?

Mr Lapin is right on. Also, where ever the last 2 panels are, I want to be there now.

I don’t have words to describe my love of this.

http://en.wikipedia.org/wiki/Gray_card

http://en.wikipedia.org/wiki/Report_card

Nailing it.

As part of your ongoing commentary…absolutely lovely

Whoa.

For some reason, this of all your comics made me laugh. It’s whimsical.

Figure/Ground!

reminds me: the footage in http://en.wikipedia.org/wiki/Pattern_Recognition_(novel)

Those are long fingers.

http://upload.wikimedia.org/wikipedia/commons/f/f5/Down_to…in_Ships_5.6.1923.png

Wow. Just, wow. Thanks.

Q: is it the same piece of paper or 11 pieces – 11 frames or a single (non-repeatable) frame?

Heavy.

— MrJM

This comic makes me think of The Anti-Coloring Book.

Sometimes the point of these comics is to bring despair. This is the most effective I’ve seen of yours.

Yes and no.

Writer’s block, eh?

Reminds me of some of the work of the artist Ken Fandell—http://www.kenfandell.com/Pages/artworkpages/postits.html

I like your hands. Your nails are a practical length and your fingers are a nice shape.

Also I guess the paper is gathering experiences, being affected by traveling. Hey the paper is a little wrinkled as time passes and kind of so is your hand in places. And the sea is wrinkled of course because it has 4.5 billion years (or 6000 years) of accumulated experiences. Does the Web wrinkle?

A nice reminder that the surface of a non-digital artwork is a physical object too, and as such must necessarily exist in the context of the physical world surrounding it. The perfect culmination of all the strips you’ve done recently that integrate textures and objects in the works, especially as frames for panels. Physical surrounding (including light, which this particular strip plays with in a truly beautiful way) and framing is a massive factor in the experience of an artwork, and it’s something that seems – on the surface (haha) – to be lost in digital artworks, including webcomics, because there is no physical surface on which the work is placed. But Cat and Girl’s recent departures from the digital, and their more recent return, is a wonderful reminder that there is a terrain and a specific framing to everything we see on the web, even though it shifts under the same surface of this monitor’s skin.

Hmmm.

Dorothy’s been posting comics where a panel is photographed in front of a real-world scene to create a “frame” for it. Now that nothing’s drawn on the piece of paper, I’m more conscious of the fact that the comic is blocking something and more curious to know what it is.

I wonder if that’s the point.