Cartoons and Web Comics
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54 users here now
Welcome to the ashtray in the corner of the interwebs where the weird strips go when they give up on being normal.
This is where comics show up at 3 a.m. with red ink on their shirt and no alibi.
This comm is creator-friendly. So feel to throw your own stuff into the ring! 'Weird' is better than 'good,' friends! General comics talk is encouraged too.
I'm Buckminster Burkeswood, and I say, "Let's all race to the bottom and freak out Lemmy together!"
What We Want
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Single–panel and short web comics
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Underground, indie, ugly, beautiful, badly lettered, whatever
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Process shots, roughs, sketchbook pages, failure piles
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I don't care what you used to create it. Bring it!
If it feels like something a bored bartender would laugh at, it probably fits. Weird is good!
What We Don't Want
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Uncredited comics
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“I found this on Facebook, no idea who drew it”
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Hate garbage
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Overtly political cartoons
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Posters crying about AI
No external links, only photos with sources. Posting webcomics without linking to original source is not allowed.
founded 6 months ago
MODERATORS
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Pretty much like last one. Pencils, inks, rough idea on paper. Take pic w phone and open on Photopea. Adjust brightness, levels, clean up lines, and erase notes. Add text bubbles, resize, add text (lots of revisions with text), then resize, add frame, my stained paper cardboard layer, crop, export. I spend way more time in postwork mods in Photopea than I spent drawing the original image.
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I create initial page w pencil, pen, markers, charcoal sticks. Usually w rough layout, but a lot of times (ok, most) in final design phase, I resize/move around panels on computer. Highlight colors with pastel sticks, smudging out with newspaper (works better than paper towel!), and fingers. The colors are just for base, because I do my light highlight color phase in Photopea and GIMP. Then scan, take my individual panels into Photopea/GIMP and past into new layer to make layout fit my page and also resize based on banner I'm using. I do a lot of layer work, for tone, glows, adjust brightness/contrast, clean up my sloppy marker work, add text, banner, etc. Been using Photoshop for most of my 25-year graphics career, but now that I'm retired, I didn't wanna pay the subscription (and fuck Adobe!!) so now use Photopea and GIMP. Photopea mostly since it's most like Photoshop, but I'm learning GIMP. System is Linux Mint, Cinnamon 6.4.8.
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Stale Gags © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Some education for the kiddos, via The Purple Claw comic of 1953. I wonder if we'll ever figure that space travel stuff out?
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I knew that Bazooka Gum had it's own little comic, called Bazooka Joe.
I didn't realize that in the 1940's Tootsie Roll candies came up with the same idea for a comic mascot, Captain Tootsie!
He showed up starting in 1943 in comic-style ads, created around artist C.C. Beck (famous for Captain Marvel) and writer Rod Reed, with Pete Costanza and Bill Schreider credited as well.
The strips worked like mini adventure comics that just happened to sell candy. They were usually one-page, action-focused ads, and the sales pitch was simple: Tootsie Rolls meant a quick burst of energy when someone needed it. Captain Tootsie ran regularly for years, with sources commonly placing the run into the mid-1950s.
Early on he teamed up with a boy named Rollo, and the ads often used a kid gang called the Secret Legion, including kids like Fisty and Fatso, plus other recurring kids depending on the strip.
The stories kept things light and “kid-safe,” but Captain Tootsie still got his share of weird opponents. His enemies were characters like Dr. Narsty, Hans & Schmanz, Red the Terror, Monster Man, and even aliens from Venus. Oh the horror!
He graduated from “just an ad” to his own short comic run. Captain Tootsie headlined a two-issue comic book in 1950 published by Toby Press.
Good times. I may, or may not, bring him back to life in comics of my own. :)
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Centaur Boy © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Centaur Boy © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Kloop! © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Kloop! © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Matty! © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Krunn & Frank © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Ashtray Gospel © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Back in 1732, William Hogarth’s A Harlot’s Progress basically lays down a rough blueprint for serial comics, a straight-line story broken into separate images that only really snap into focus when you see how each one leans on the next. Print pirates started cranking out bootleg copies of A Harlot’s Progress in 1732, and Hogarth got pissed enough to haul the whole mess into the legal arena, helping spark the 1735 Engravers’ Copyright Act that people still nickname “Hogarth’s Act.”
The six plates of this early comic follow the life of Moll Hackabout from hopeful arrival in London to death and ruin. Each scene moves the narrative forward, and they're meant to be studied in sequence, plate by plate, like chapters in a visual novel.
The work also uses tools that later become standard in comics. Hogarth repeats characters, props, and spatial arrangements so the eye tracks identity and change across the series.
Great art. The engraving work here is nuts, the kind of slow, obsessive skill that eats whole chunks of a life. Hogarth was hunched over copper, and taken care of shit. He carved lines so clean they still look amazing three centuries later.
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Beyond 8100 © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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Converted to pixel art by hand, but drawn by several chat bots.
Image text:
The Adventures of Woke Cat #03 \ by whoever loves Digit \ nostr:npub1wamvxt2tr50ghu4fdw47ksadnt0p277nv0vfhplmv0n0z3243zyq26u3l2
Creative Commons
"You're still wearing that COVID mask everywhere? Remind me where you even found that?"
"I don't really need it most of the places I go. I am a cat, after all. It's just half a sock I ripped eye holes in, because I couldn't find any proper masks in cat size."
"Honestly, I've never worried much about COVID because I've never let a stranger get within 10 feet of me in my entire life."
"You could catch it from someone you know. They can transmit it asymptomatically."
"Asymptomatically? Like, we wouldn't even know they have it?"
"That's right."
"Well, the human has done nothing but work from home this week, so you know I'm probably safe right now. I guess you wear it so you don't spread anything either?"
"Not today. It's cold out, this keeps my nose warm."
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Beyond 8100 © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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This is where the stories drift in on a weak carrier wave from the layer beside us, the one you keep mistaking for déjà vu. You catch pieces of it in the quiet parts of your day, like an old broadcast bleeding in under the static, familiar and completely out of place. A hallway is two steps longer than it should be, a stranger mouths your next words before you say them, a floor creaks where you swear there's nothing. If you keep listening, really listening, you start to realize it’s not memory at all, it’s overlap.
Let's begin:
Beyond 8100 © 2026 by Buckminster Burkeswood (mr.prol1f1c) is licensed under CC BY-NC 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
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