I think of the print and webcomic versions as different animals-related, to be sure, yet discrete. Richard seems energized by the challenges of working within the parameters of print, and it shows. Adaptation does not have to equal blandification! Of course, curious readers may judge for themselves after January 8.

Q2. Will fans of DS be disappointed in the changes for paper version?

I hope not! There’s no way to know how everyone will react, but I’m guessing most of the fans will be amazed at how good it is. I suspect that they’ll be excited to see one of their favorite strips appear alongside great comics like "Dilbert" and "Doonesbury." This is the first launch of a webcomic into print syndication. Webcomics have arrived. Newspapers are reaching out to younger readers by embracing this strip. In the end, what matters is whether a strip is consistently funny. "Diesel Sweeties" is.

The fact that we’re having this discussion proves that this launch is exciting.

Q3. What makes one webcomic (or a comic that’s running in a few newspapers but not syndicated) stand out?

It’s not about where a strip runs or doesn’t run, online or otherwise. When a submission crosses my desk at United Media, I don’t look at its client list or other supporting material-I skip straight to the first sample strip. I read them straight through, as would a newspaper editor or reader.

There are a lot of good webcomics. What elevates "Diesel Sweeties" is the universality of its concerns: love, insecurity, and friendship, all filtered through the irony and affection for popular culture that many of us feign detachment to. Richard is a professional cartoonist, having honed his craft over six years of experience. His writing and artwork work well together. As I said above, the web-only nature of "Diesel Sweeties" neither decreased nor improved its odds of being considered. We look for great comics. "Diesel Sweeties" is great.

Q4. Do syndicate editors routinely look at webcomics? Do you do a lot of scouting? What is your criteria?

I am constantly looking for new comics. I read submissions that come by mail and I surf the Web because so many artists post their work online.

As Keith Haring told me in the 1980s, if I knew The Key to Success I would sell it and quit working. As far as I know there is no formula for a good comic strip; you know one when you read it. Sometimes demographics play a role. Other strips rely on characters, or one-off gags, or serve a niche. Generally it’s safe to say that writing is the most important component; a poorly written strip can’t be salvaged by beautiful artwork. Attractive artwork is certainly helpful and desirable-it’s best to have both components–but what’s really important is that the drawing works with the subject matter. Hal Foster’s line work is astonishing and was great for “Prince Valiant,” but Scott Adams’ drawing better evokes cubicle hell than Foster’s could.

Q5. Are you concerned that sprite art will turn mainstream comics readers off? My feeling is that these comics are limited to a niche audience appeal, rather than a mass audience appeal. Do you have research that says otherwise?

In syndication the idea is always to appeal to a broad audience of readers. “Diesel Sweeties” is a great-looking strip. Period. You’ll be amazed, especially by the full-color Sundays. Far from being a concern, Richard’s artwork is an asset that works with the (ahem) robotic subject matter.

Technology has long been a factor in the evolution of newspaper comics. I still miss the Sunday comics pages of my youth, off register with all those visible dot matrices. Improved printing and production permits comics with a broader color palate, increased range of saturation and gradients, none of which were available to cartoonists one or two generations ago. Drawing has become more abstract and stylized. Letratone and Duoshade are dead, having given way to Photoshopped color and shading. Some strips rely entirely on clip art, which would have been unthinkable a few years ago.

Cartoons are always changing. I suspect that ten or twenty years hence comics will look different than they do today, and that readers will continue to respond favorably to those that make them laugh and think.

Q6. Did you approach Rich or did he submit his feature for your consideration? If you made the initial contact with Rich, will that be the normal acquisition process for United Media in the future - going out and recruiting talent rather than waiting for a submission?

I found “Diesel Sweeties” while looking for strips for “Attitude 3: The New Subversive Online Cartoonists,” the anthology of interviews with and cartoons by webcartoonists I edited. That’s how I met Richard. When I started at United I was asked to find a strip that was ready for syndication; Richard’s was on my short list. I called him and asked him if he was interested in developing a print version of his strip. He said yes without hesitation.

The answer to the latter half of your question is “both.” I will continue to search for new talent. And I will continue to look at submissions. My parochial tastes are irrelevant. If a submission that I think would sell to newspapers crosses my desk, I will sign it.

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