#webtoon creator rewards

[somesecretpie]

Fans and Creators of Webtoons!

I want to talk about Line Webtoon’s new “Super Like” program and why it sucks for literally everyone.

What is a “Super Like?”

According to their website, super likes are a new way for webtoon creators to monetize their work. Readers can pay real money to buy a super like for their favorite webtoon, and the creator gets a fraction of that money.

Wait, a fraction? Not all of it?

Yep! Webtoon skims quite a chunk off the top.

30% goes to Webtoon, and then another 30% of that amount goes to the payment processor.

So what do creators get? 49 cents for every dollar their fans try to give them. Literally half.

That’s pretty ludicrous, right?

Interestingly enough, they announced that they had a “tipping system” in the works in the same email they ended the CANVAS creator rewards program (and many comic creators livelihoods)

They said tipping system in their social media posts too

Obviously this tipping system is referring to super likes right? They say they’re going to do a tipping system, and then this rolls out.

But “tips” are not something that buisinesses can just take a cut of, at least not in the United States. According to the Department of Labor, it is illegal for any amount of tips from customers to go to an employer.

Webtoon is trying to walk back this language, of course. You won’t find the word “tip” anywhere on their website page explaining how it works. But those old social media posts are still up.

This is all pretty scummy

But wait, it gets worse!

They removed the Patreon button at the end of episodes and replaced it with this:

Yep! That’s right. Webtoon really said “what if we replace the tipping system that already existed with a shittier one where you only get half of it 🥺”

Unsurprisingly, they faced a ton of backlash.

Webtoon was quick to point out that the Patreon button was only removed from the end of episodes and there was still a button on the creator’s homepage. But of course, the end of episodes is where that button matters the most.

Creators know this. Webtoon knows this.

Eventually, after days of continued complaints from creators on social media, Webtoon went on damage control mode and announced that they would be putting the Patreon button back at the end of episodes—

As of right now (May 11th, 2024) the Patreon button is still not back.

***

So…Super likes are “super totally not a tip.”

But if they aren’t tips…what are they?

Well there’s a bit more to the story of what a super like actually is. After announceing the program, the app updated to reveal a new ranking category on the front page

When you click on this ranking tab, you can see that there is now both a daily and weekly ranking

If you’re a CANVAS creator, you know how difficult and seemingly random it can be to get your comic on the front page of the app—so my immediate worry was that comic creators were going to buy superlikes on their own series to get in this ranking and…

Yep, that’s already happening.

But why would webtoon even allow creators to buy superlikes for themselves? How does that make sense?

Surely goading desperate creators into buying superlikes can’t be that lucrative, can it?

No. I think there’s another, possibly even worse reason.

Fandom wars

If you’re into music, you probably are aware of how common it is for super fans to make concerted efforts to get their favorite musician to the top of the billboard charts. They coordinate over social media, stream music on loop as soon as an album drops to inflate the numbers, buy albums in bulk to increase sales, all so that they can say their fav is number one. It’s especially common among K-pop fans and swifties

This phenomena is well documented

Fans of Webtoons can be just as ravenous as K-pop, so I think Webtoon is trying to capitalize on this. They want to encourage fandom war and make money. That’s why they have this ranking. Not only can super fans brag about their favorite series topping the charts but they can wear their super like proudly on their reader profile that webtoon will be rolling out soon.

They’re just testing this super like stuff out on CANVAS right now, but once this starts up with originals? Oh. It will be a very profitable, very terrible mess.

(Oh and I mean profitable for webtoon, not creators, in case that wasn’t clear.)

***

Anyway, if you’re a creator, do yourself a favor and don’t enable super likes.

If you’re a fan of a webcomic, just donate to that creators patreon or Ko-Fi to show your support. Don’t give a red cent to webtoon because they did not do any of the work to make the series you love, alright?

Also check out my webtoon haha.

[curseoftheeel]

You're not alone! Hey everyone, I hope you enjoy this new page which I think is one of my favorites so far in this comic. I like drawing action scenes and I think this one came out really well, especially to show the speed and erratic movement of Frank's new Seahorse form versus Connie's ability to generate limbs and features of various sea creatures. What a weird comic this has been, but I'm happy to be turning out pages like this.

If you're enjoying Curse of the Eel, please consider donating to my Patreon! I've got several low cost tiers where I share updates of my projects, including early pages of Curse of the Eel and my new romance fantasy comic Honor Bound, which I shared the first couple of pages on here a few weeks ago. I greatly appreciate my patrons that have signed up so far, and if you can spare even a dollar a month, that would help me keep creating comics and would mean the world to me!

Thank you for reading! Also, please share Curse of the Eel with your friends, let's grow the Cult of the Eel before the worlds merge!

[lielasworldprojects]

New "How to Love a Thief" page available now on Patreon.com/lielasworld

[genericpuff]

think rachel needed the hire a bunch of writers instead of drawing assistants after season one so she could focus on one part and not get burnt out while someone else kept track of and developed all her plot points in a lore Bible or something

Honestly yeah, LO is a huge example of why the Webtoons' editors don't actually function as editors, more so just messenger pigeons between the creators and the company who are there to make sure creators are following ToS and otherwise answering questions on behalf of the higher-ups for the creators. And this is especially wild for something like LO because 1.) you'd think the #1 webtoon on the platform would be given all the resources it needs to succeed, and 2.) LO's editor in the end was Bre Boswell who actually has a background in television writing (and yet ironically, the series only got worse after Bre suddenly replaced the previous editors around Ep 100).

Rachel's strong points have always been in conceptual design and illustration. Despite this, LO's own iconic design and illustration aspects that made people fall in love with it in the first place were lost after it became as big as it did. I know folks will argue that LO's production was purely the fault of Webtoons' insane deadlines, but her writing has always been her weakest point and that's evident in all of her previous works prior to LO. She's good at coming up with standalone ideas - again, concepts - but executing them and finalizing them through an actual conclusion beyond the initial idea is always something she's struggled with.

This is also apparent to a point in her art as well, as much as her strengths used to be in illustration and conceptual design, she also clearly struggled in staying committed to the same character designs and concepts for long periods of time and was never good at coming up with efficient ways to reproduce her own art - even gorgeous comics like The Doctor Foxglove Show started off strong just to inevitably slip into the same habits of inconsistent half-assing that LO did, and it wasn't even an Originals series.

Back to the writing though, she absolutely would have benefited from having another writer or two on her team, but unfortunately she also doesn't seem like she's aware of her own faults in her writing or willing to let anyone else in on her process, especially considering she's even admitted that her own writing process is "chaos" and has supposedly convinced herself that the faults in her writing are a good thing.

There's "embracing the chaos" of your own process (my process is chaotic too, I get it) and then there's just going "oh well, sucks to suck, I don't want to bother doing better for the sake of my own dedicated audience so it's fine if I totally whiff the comic's plot".

The reality is that if you've never learned how to identify and break your own bad habits, you'll inevitably think that those bad habits are the norm and/or are what makes you good at what you do - all the while, you wind up missing what could have actually helped you. Rachel started off on a very strong foot with the concept of LO, but then inevitably fell into the exact same bad habits she had with previous works but was now enabled by the contract and money and fame she got through Webtoons to never change - after all, if she was going to keep being rewarded Eisners and merch deals anyways regardless of the quality of her writing/art, what point would there be in improving? From my perspective, she clearly doesn't really have the integrity to improve for the sake of herself and her audience, so as long as the end result is to her benefit, the means don't really matter.

Of course, in the long-term it makes for a very horrid legacy especially in hindsight, but as far as I'm concerned, she got what she wanted regardless.

[assignedmale]

As a trans creator whose work went viral an awful lot of times and who was targeted by so many hate campaigns that I lost count of them (I started publishing Assigned Male Comics 9 years ago, to give you an idea), I think it would have been very easy for me to go down a bitter path. Our communities are merciless. Our movement is obsessed with ideological purity. It's a fact. Our siblings will devore us for the smallest misstep. It's very easy to become jaded, when you give your entire being to a cause that will treat you as disposable as soon as it's done draining all your energy. When I started getting invited to different countries to speak about my work, I viewed it as some kind of "reward" - I create work that spoke to people, so it got me speaking engagements. I realized that it was in fact the opposite : it's seeing the impact art can have on communities that became the real catalyst of it. With all the hate I've attracted, from transphobes, far-right extremists and other trans people alike, I often wonder why I keep doing it. What is it that makes it that I'm still there after a whole decade, when it would have been easier to let resent and bitterness become my fuel. I always come to the same conclusion. It's meeting all of you, meeting so many communities from all around the planet, that keeps reminding me of the healing and transformative powers of belonging and empowerment. It's only with that in mind that the incredible amount of responsibilities and pressure that comes with a platform such as mine can make sense. Because why do we do this? Why do we burn ourselves out for a cause that we know will throw us away the minute doubt is cast on our ideological purity? It's so that "thriving" may be something more to trans people everywhere than a distant dream. Your activism should be to work towards that. And that starts at home. As a trans person, when you're given a voice and an audience, feeling attacked suddenly becomes a thing of every instant, from the moment you wake up to when you go to bed. It's not something volunteer social media moderators can help you with. I will always have compassion to anyone who goes through that, willingly or not. We ask a lot from trans public figures, who literally put their lives at risk for doing so. It shouldn't be that dangerous to do the work they do. Let's all recognize that. That being said, bullying, high-school-level drama and feuds should never be tolerated. Resist the urge to dogpile and raid. You might be filled with righteousness right now, but I can assure you that you will not feel better afterward. The world won't be a better place for it. When the world becomes too much, I retreat in a corner and write comics. Sometimes, after a long creative process of multiple hours of drawing, rewriting and rewording, I post one of them on the internet. Most of them, I keep to myself. Thousands of Assigned Male Comics strips none of you will ever get to see. I believe that our minds aren't made for the instantaneity of social media. I want my readers to sit back and get thinking, which is why you will rarely see me post more than 3 or 4 times a week, and only a very curated selection of posts. I basically hit the "post" button and run back offline. One day, I'll retire entirely from social media. When that happens, I'll keep posting on Webtoon. Go read the comics there, it's under the title "Serious Trans Vibes". "She's done it," you can then think. "She's thriving."

[theselfstudyenthusiast]

Wakfu : some words from its creator

Today, Tot posted a tweet about Wakfu on X. He shares his vision for the series and talks about the upcoming webtoon.

I translated the tweet in English below but here's the link to Tot's post: https://twitter.com/Totankama/status/1768938315409994040

TRANSLATION FROM FRENCH below

Hello everyone,

First of all, thank you very much for your support. The last episodes of Wakfu Season 4 are now available on Okoo, and I thank you for watching them in such large numbers. Our partner is very pleased with the results, which allows us to consider the future with peace of mind. Your feedback has been overwhelmingly positive, and we are delighted about it. For us, it's the most beautiful reward.

However, some of you have expressed disappointment, particularly regarding the narrative arc of Flopin and his grandfather, Madagaskane. You also want to know more about what happened to the gods.

Allow me to explain the follow-up about that and our narrative intentions.

Firstly, as you know, the Krosmoz universe is constantly evolving. Nothing is ever completely over. Each of our creations always offers you an adventure that concludes but leaves other questions unanswered.

This is somewhat our trademark and is closely linked to the number of media we are dealing with simultaneously. Let's take, for example, the Dofus movie. Joris' story ends, and the entire adventure unfolds from our hero's point of view. Who trapped Julith? This information isn't provided, as we've kept it for potential follow-ups and connections with other projects. It was a "key" piece of information, but it didn't prevent you from focusing on the journey of our little hero.

For Wakfu, we operate in the same way. During writing, I choose one hero's perspective, and it's their storyline that I will favour. I don't want to neglect the others (because I love them just as much), and some narrative arcs may be started and then picked up in other media. I understand this may be frustrating when you prefer one character over another and feel they're not sufficiently highlighted. During this season, I clearly favoured the Eliatropes and their family dynamic.

We can never know if what we offer in animation will have a sequel. I've already explained the reasons why. Consequently, narrative choices have to be made. Some might say, "In that case, don't start anything new". Honestly, that would be really sad, and the whole thing would have less scope.

You have to imagine the Krosmoz as a living, gestating organism. Just because you don't have all your answers now doesn't mean they won't arrive soon or very soon.

In concrete terms, the webtoon/manga "The Great Wave" will allow you to reunite with Yugo and Amalia a few months after the end of Season 4.

Flopin and Madagaskane have a story in development. We've opened a door for these two characters with the idea of ​​creating a beautiful series focusing on the relationship between a grandfather and his grandson. We didn't "forget" them; on the contrary, we'll give them a lot of space.

The story of the Goddess, Rasha, and the gods is at the heart of Waven [t/n talking about the MMORG]. You'll learn more about them through the game. It's a topic we'll also address in a potential animated sequel. In fact, it's a storyline we've been working on for years and is one of the most important ones to come.

Regarding the Mechasms, however, there are no plans for them, for reasons I may explain in detail one day. This doesn't mean we won't see them again, but I'd like them to remain completely mysterious, with their intentions unfathomable.

I understand this may be frustrating for some because these projects take time to develop. But if you take a step back, you'll understand that it also allows us to position ourselves in the long term.

We work on the Krosmoz universe over time, with the means at our disposal, and depending on opportunities, we may be more or less ambitious.

Thanks to you and your presence, we're breaking viewship records, and the future looks bright. I hope we can move forward with amazing animation projects faster than we have done so far and quickly provide answers to your enthusiastic questions.

Thank you and see you soon, Tot.

[T/N: This is my translation of Tot's tweet. I'm not a native English speaker but, I hope you can understand what's going on.]

[beesmygod]

one webcomics trend I've noticed for a bit is comics where the creator casts a wide net and publishes to as many sites as possible, so like there's a tumblr mirror, a webtoons mirror, a tapas mirror, a twitter mirror, I've even seen one that has a tiktok mirror (god). Some of these even have the decency to actually have their own website

the idea was to cast the widest possible net in order to get the maximum audience possible, as this was the excuse for people using webtoons despite it sucking raw hot dogs but i dont understand how on earth this strategy could ever work lol

full lol i love to hear myself talk damn. fucking. subnormality webcomic behavior

anyway to highlight the uselessness of google analytics, these are my analytics arranged on "looker studio", a google product i guess they forgot about, in order to make sense of the useless shit they're showing me. you can see this enormous traffic spike from a traffic bot farm advertising their services by ruining your metrics. you can no longer filter these urls from your data.

full image

here's my google adsense conspiracy theory from me shedding light on why i think (STRONG EMPHASIS ON "THINK". IM HYPOTHESIZING) with commentary from someone who knows way more about the subject than my armchair observations.

my marketing strategy is to talk bullshit with people with similar interests while letting people know when my comic updates twice a week. if they want to read it, they can. they're not stupid, they don't need to be forced into reading it if they want to. i assume most of my readers are as broke as i am so i don't hound them to give me money they don't have. i'll never run ads again unless its like. for a friend's thing. hand-cultivated by me. im not looking for a wide audience, i'm looking for an audience of people who "get it" and can see an inherent value in what i create. if they have some spare cash, i make my barrier to entry on my patreon extremely low; 1 dollar a month and you can see things early and go through a backlog of author commentary and design stuff and rewards im sooo behind on im so sorry. im so sick i promise, im coming back!!! anyway i just want real human people to have a chance to see things and enjoy things without making it a fucking hassle, you know.

the most organic, actual traffic i got from my site is from a friend's webcomic that links to mine. 11 people read a lot of pages! that's genuinely making my head spin! that's great! i hope they liked it and will check in again. i love the comic they came from so they are clearly ppl of taste lol.

oh uh. and heres my comic lol. for any cantankerous gay old losers out there.

[ihopesocomic]

Sorry for the mini-essay but I think people massively underestimate how much hard work and dedication goes into a Passion Project. People think that creators who make free content, who do their work as a hobby and not as a job, must only get enjoyment out of it.

That’s not how it works. Doing it purely because you want to doesn’t automatically make the more challenging, frustrating, or (gasps) TIME CONSUMING parts of the project any less burdensome. If anything, it makes it worse because you aren’t being paid for all of that labor. You’re just doing it for the sake of doing it, and as rewarding as it can be, it can also be demanding.

Im finally publishing a fanfic for the first time and don’t get me wrong, it’s been great to get feedback on my work and interact with a community. I love that there are usernames and profile pictures I can actually identify because they’re regulars on my work.

But does that mean I don’t have to constantly redo work because I don’t like how it turned out? No. Does that mean I always update on time? No. Never get burnout? No. I still very much go through all of the things paid writers do, because the Creative Process is difficult and demanding no matter what they paycheck is or isn’t.

And all of that is just if you guys WERE missing updates, which you’re NOT. So like… these complaints are not only very entitled and ignorant, but also just confusing. People really just be mad for the sake of being mad, I guess?

Anyways yeah, free content creators are still content creators, and passion-driven hard work is still hard work. You two are cranking out absolutely STUNNING visuals, compelling characters and engaging worldbuilding every single week and that’s amazing. Thank you for your hard work and I’m sorry about the twerps that don’t appreciate it enough!

Ah the price we pay for being human and having a brain, amirite haha

It's to be expected, to a certain point, that people simply don't understand that things like comics and cartoons take time. General impatience is something that can be ignored. If people asking for updates bothered us, we wouldn't post anywhere ever haha You gotta have at least SOME backbone if you want to do a comic. Or anything really.

Comics are a TON of work, and I knew this going in cuz I've done shorter comics before. It is not to be treated as if its easy. (Well, its easier than animating a whole series by yourself LOL) There's a lot of pre-comic planning that people don't tell you about. And that's just the stuff you have to do before you even start drawing. Of course this only applies to long-form storytelling, there's different rules for different kinds of comics.

And I won't even get into what it takes to making the comic itself, there's a lot of parts that need to be considered like formatting, time-management, what shortcuts you have to take to save on labor, and getting across as much information as you can in a short amount of time, while using mostly visuals. It's a skill, so it can be learned haha

A lot of doing comics is on-the-job training. Which I know can be frustrating for perfectionists, but from a reader's perspective, part of the joy of webcomics is seeing how far the art has come. And you can't exactly get out a webcomic if you keep redoing things over and over. You'll burn yourself out even faster. This is why it's important to have a plan lol it just makes it easier to adjust if you have to change things, than if you have no plan at all.

Even if RJ and I for whatever reason no longer felt passionate about this story, and wanted to move on to something else entirely, we wouldn't leave everyone hanging. We'd tell everyone what happens one way or another. Because too many people just abandon a story just to tell another one, and that's not fair to people who were here to read a story that appealed to them.

But the entitlement of people sucks, the constant heckling, the fact we can't moderate our own comment section, and more importantly Webtoons just sucks as a site anyway. - Cat

[usamamoweek]

Meet the Creators - Daikon

What username(s) and platform(s) can folx find you on? (Please include links!)

I write under the penname "Daikon", which was unfortunately already taken on Ao3 and Tumblr, so there I use @daikon1

I do also still technically have a FFN account, but it is no longer being maintained or updated.

(Fun Fact) What is your favorite kind of potato?

Oh gosh, I've spent like a week thinking about this and still don't have a good answer. It's probably either twice baked or french fries with some kind of condiment (ranch, BBQ, BBQ ranch, honey mustard, I could go on)

How long have you been creating works in fandom spaces? How long have you been active in the SM fandom?

I technically submitted my first fanfiction to a Buffy archive back in 2004 but MERCIFULLY they didn't end up sharing it on their site. I discovered FFN around 2007 but didn't start actually posting content (and then only sporadically) until 2009.

Regarding fandom spaces, I've come to and from the Sailor Moon fandom over the years; in 2005 I was OBSESSED with Alicia Blade and was dying every time she updated Love Potion #19. Over time, I wandered away and found other fandoms to invest in (shoutout to Kingdom Hearts) though I was much more of a lurker than anything. I didn't really find my way back to Sailor Moon until 2019 when I stumbled on @floraone (and started dying every time she updated The Unintentional Seduction of Chiba Mamoru). Ignoring one fluke-y and OOC piece from 2014, I've been writing for the SM fandom since mid-2020 and am hoping to stay here for a while :)

What type(s) of creative works do you usually make? (fanfics, digital art, cosplay)

I'm a strictly fanfic kind of girl.

What do you enjoy about creating for the SM fandom?

I love the characters and am low-key obsessed with the dynamic between Usagi and Mamoru. I started watching Sailor Moon when it was first airing in the US in 1995 and when I say that shit was formative for me, I am not exaggerating. My favorite relationship dynamic is definitely snarky, stupidly-in-love A seeks sunshine-y-but-perpetually-annoyed-with-them B.

Are you strictly UsaMamo or do you create for other pairings as well?

I don't mind having various sideships in my works, but I don't think I have the emotional investment in any other SM ships to actually write a piece centering them.

What inspires you to create works for Usagi and Mamoru?

TBH, I have been struggling a bit with inspiration of late (I had a bad bout of burnout early in the year that I'm still recovering from) so, you know, once I figure that out... XD

In general, I've noticed that music tends to be something I find very inspiring. The right lyric can shake up my thought processes and sometimes give me a whole piece of writing (see: then you showed up...) In the event that music isn't working, brainstorming with my beta, @floraone, can nearly always unstick me when I can't find any momentum.

If the question is supposed to be more of like, why UsaMamo, see above re: what I enjoy about creating for SM.

Do you tend to work on multiple projects (WIPs) simultaneously or try to finish one at a time?

I don't like to have multiple multichapters going at the same time if I can avoid it. I do tend to have a multichapter in the works, and will pause my active multichapter for a fandom event (such as a gift exchange or UsaMamo week) or if I have a plotbunny I can't shake. However, I tend to try to keep any side works short (ideally a one shot or a novella-length multichapter).

I also have a handful of ideas/story fragments that are basically paused in my drafts folder because I don't have the interest/bandwidth to tackle them at this time, but I might eventually come around to. In an ideal world, I would finish them one at a time

Do you prefer large projects (chaptered fics, webtoons/zines, highly detailed art) or small projects (one-shots or simple art)?

They both have their own challenges and rewards. I find it's much easier to hit a wall in a multichapter, whereas a oneshot you get to finish and push out and "check off", as it were. However, a multichapter tends to grow an audience and have folks invested in where it's going, which is both lovely and validating (and sometimes a lot of pressure!) Multichapters are a lot more of a commitment - I can get an idea for a oneshot and churn it out in a week when I'm feeling inspired, whereas a multichapter invariably takes more time and (at least for me) I don't feel like I can take on several at once in the same way I can tackle a oneshot plotbunny and keep moving. A oneshot is also more of a self-contained "complete thought" while a multichapter can be a bit more sprawling, which gives you more space to explore and innovate.

All that is to say, I'm not sure if I really have a strong preference one way or the other. I like both, for different reasons.

Are there any common themes, situations, tropes, or mediums in your work?

LOL so basically whatever I'm currently tackling in therapy tends to pop up in my writing. Grief and self-worth are big ones lately, which I think is part of the reason I'm feeling less inspired of late. While they are important things to process, I don't necessarily always want to be grappling with those heavy feelings during my fun creative times.

Also, you know. Idiots in love. Healthy and accurate portrayals of sexuality. Minako being a disaster queen. And when I can work it in, I love self-referencing my own works in a kind of multiversal invocation

Is there anything you haven’t explored artistically and would like to try?

Nothing's coming to mind! As mentioned, I'm a writer through-and-through, so I'm not interested in trying a new medium at this time. I think if I did come up with some form of experimental writing I wanted to play with, my beta would be delighted to support me, but right now I'm happy to stick to mostly traditional romantic comedies with a side of emotional processing.

[thatoneluckybee]

Almost NOTHING Webtoon related is better than finding out that a series you love is becoming an Original. I fully support series who want to stay on Canvas. It's up to the creator(s). Being Canvas allows more creative and schedule freedom with is perfectly okay. But it is SO SO SO exciting to know a story is about to be improved tenfold and that the creators are being recognized for their hard work and efforts and are being rewarded for it!

[lielasworldprojects]

Early access to my Halloween comic parts 1-2

Characters are from my webtoon "How to love a Thief"

[chiire]

EMERGENCY COMMISSION Hey guys, this is a sudden announcement but I'm opening up some emergency commissions to help save some funds. If you didn't know, Webtoon Creator Rewards is ending this February and I'm trying to save up for my ongoing projects. It's really regretful that Webtoon rewards is ending, as it's not only my main source of income, but also for many other artists. Just a heads up, my commission slots are only confirmed once payment is received upfront. That way we're both on the same page and everything runs smoothly. Thanks for understanding! If you're interested in my style and want to support me, you can email me at dyumintart@gmail.com. Any help is greatly appreciated   You can also help me by spreading the word and sharing this post to reach a wider audience. --- If you want to help by buying me fries, here's my kofi account https://ko-fi.com/dyumint You can also support me on patreon.com/dyumint 

[genericpuff]

Hi! I'm a rookie comic artist and I've been having trouble finding platforms to hold my comics, and I don't want to resort to Tapas and Webtoons. Do you have any recommendations?

There are loads you can try for sure!

ComicFury - great for that old school 2000's webcomic host vibe, allows you to design your own sites via CSS/HTML but comes with easy to learn site-builders as well. You can also host your site through them (and it'll only cost you the domain name). Allows NSFW content, strictly anti-AI.

GlobalComix - just recently released their app, the site itself has been around for the last few years, they have a very sleek and up-to-date backend that offers loads of analytics information, paywall features, and even different reading layout options to suit any creator's needs. Allows NSFW content, isn't anti AI but does require creators to follow their rules and be transparent in their series' labelling so that readers can make informed decisions.

NamiComi - so far a promising alternative to Webtoons that apparently has its own rewards program, though I haven't tried this platform yet so take my word on it with grains of salt.

Dillyhub - Owned by the same parent company as Tapas (Kakao) it's a cozy enough site, let's you share both comic series AND illustrations so it makes for a great hybrid if you want a place that allows you to share both.

All of these, by the way, don't have the 'potential' for massive traffic numbers like Webtoons and Tapas do, but what they offer in the way of backend tools, creator resources, and monetization options absolutely makes up for it. After all, for 99% of creators on WT/Tapas it's impossible to get seen anyways, so if you're gonna be doing your own networking, it may as well be on a site that gives you far more control and options in how you share your work.

Hope that helps! Good luck!! <3

[kaileighblue]

Webtoon and how to fake it.

As you may be aware I have a webtoon. A relatively popular one I guess? Multiple times a week on different webtoon communities people ask how to get views. I, as an expert, am here to learn you a thing.

Obviously you need to have a comic, but I'm potentially talking to people that already do. The best advice I have for the actual comic is post consistently. You can post once a month. bi monthly. Every week. Whatever just make sure you keep a schedule and a buffer.

This spread sheet of my subs, views and notes about that month. The first few months I didn't keep notes so they're guesses.

There's barrier to entry that is skill and effort put into it but I mean I don't have much of those and I still get by.

While I was furiously making my first few updates I watched every youtube "how to webtoon" out there and followed a few. I joined some discords and am now up to 4.

I started interacting with the webtoon canvas twitter in April. Shortly after first posting.

Including participating in their art challenges or answering their questions. It is of my opinion that got me their eye and thus promotion. I still respond at least once a month. The promotions definitely help, but as you can see it doesn't mean they will stay.

June was a summer coins event like the one currently running but it had even more comics to pick from. I never actually saw my comic there and for a few weeks had no idea why I suddenly got a boost but someone finally told me.

I participate in some romance book communities including those that specialize in monster romance. So I got some promotions from there.

Sub4sub doesn't get you readers. Make art for creators you like and make friends. Creators who genuinely like your work and do work like you are more likely to help you find your audience. Besides on webtoon you can't seen see who subs to what do what good does that idea even do?

I comment on webtoon youtubers. I comment on webtoon reddit. I post thirst traps on tumblr. I started posting more on tumblr in general(and forgot everything I ever cared about.). I started posting these chars on tiktok and and ended up making a comic because literally one person asked. I could probably do more and do better but I do a lot of art and sometimes time is limited.

No matter what you make there's some community out there you can participate in. Make fanart for things like your comic and post it everywhere related. Tag it on general social media sites. etc. Post it on other sites like Tapas, Global Comix, etc. You can do them all but I only really do global comics because formatting is boring.

Also just got on bluesky and making myself their problem.

The Halloween promotion was the biggest push and that's not necessarily luck but demon guy=Halloweeny.

There was a noticeable drop at the time they got rid of the reward program. March 2023 being the end of it. I don't know if/how that was related but it seems true for other people too.

And uh that's the end I guess. Basically here's every reply to every time someone asks how to popular.

[the-werewolf-prince]

The Werewolf Prince Crypt of Terror Cover Art

You might recognize this as the cover of the limited 1st edition issue cover for TWP Chapter 1, now available in my Etsy. While supplies last.

So I love pulp comics, kinda got into it when I got done with Goosebumps as a kid. And kinda went into a Golden Age comic fascination rabbit hole, as Denver has a lot of great comic book shops, and when you only have $2 to spend on entertainment, It has become a bit of a (now hiatus) hobbie. Tales from the Crypt is def one of my faves. I loved the show as a kid, I enjoyed the comics as a college student, and I'm now very nostalgic for it.

All new VIP tier patrons can receive a copy of TWP issue 1 (Autographed or unautographed) while supplies last!!! Receive other awesome rewards including Behind the Scenes, early access to merch, a production credit & exclusive art, starting at $1.00 a month! Thank you for reading & your support!

Or purchase a copy of the Werewolf Prince issue one on my etsy!

The Werewolf Prince is a passion project 10 years in the making. It is a silly, derivative, and sincere story born from my love of monster of the week TV shows, survival horror video games, gothic literature, campy films, seinen manga, 90's animation, shonen anime, and homoerotic art throughout history. I truly hope you enjoy it. And please, let me know your opinions in the comments. Stay Classy

Art, Characters & Story © Sorbet Mystery

Read the comic! A free way to support the comic is to enjoy it and subscribe! leave a comment, share with someone you enjoy reading comics with!

Webtoon: https://www.webtoons.com/en/challenge/the-werewolf-prince/list?title_no=393305

Tapas: https://tapas.io/series/The-Werewolf-Prince

The Duck: https://www.theduckwebcomics.com/The_Werewolf_Prince/

[downthetubes]

WEBTOON announces plans for global comic talent contest in 2025, offering $1 million dollars in prizes

WEBTOON Entertainment is on the hunt for the next wave of visionary webcomic creators with “Webcomic Legends,” a new contest with over USD $1 million in prizes

WEBTOON Entertainment Inc., home to some of the world’s largest storytelling platforms, is on the hunt for the next wave of visionary webcomic creators with “Webcomic Legends,” a new contest with over USD $1 million in prizes. The contest will highlight emerging talent on WEBTOON’s CANVAS platform, rewarding 40 outstanding webcomics with cash prizes and the opportunity to join the WEBTOON…