In July of last year, I wrote aboutthe death of cartoonist Ian McGinty and the way his death highlighted systemic, pervasive, and longstanding problems plaguing the comics industry and its surrounding cultures. At the end of that essay, I gestured towards the need for experimentation—not merely in regards to the content or aesthetics of comics (though, that would be welcome), but in the manner of their production (and, we might also add, their manner of distribution).