Holy shit, we did it. One hundred freaking Otakuz With a Z comics. I can’t thank you all enough for the support, from the diehard fans I’ve met in person, to the ones who leave encouraging comments, and even the ones who left comments with the suggestion that I improve my work by fucking off and dying. You guys are all the best. <3

This whole thing actually started off with one little doodle of a character (Dee, to be exact) back in the summer of 2010. And even though these are my characters and they all live in my head and I’m the one who brought them into this world, I’m still learning about them; their likes, their dislikes, what they love, what they want/need, what they fear, etc. It’s an ongoing process, albeit a fun one.

Anyway, I want to take a moment to thank two groups of well-known people who gave me motivation as well. The first is the Penny Arcade crew, Mike Krahulik and Jerry Holkins. It’s no secret that Mike’s one of my biggest artistic influences. In fact, I can probably point to no fewer than five spots in any sketchbook I’ve used since the start of the comic where I’ve drawn Gabe and Tycho during my warmup time (some have even turned into legit pieces of fanart). Jerry’s succinct timing and pacing with dialog has taught me when to spot when there’s too much or not enough text (though I’ll admit that in a pinch, this may have beed overlooked. Oops!) Still, I’ve learned from them to not regard any strip as a bad one; to not say “That strip was bad or poorly done” but instead to say “Now we know not to make that particular strip again.” So thank you both. Oh, and please make the “In Your Dreams” shirt so that I may have some stylish sleepwear. Thanks.

The second group I’d like to thank is the “How To Make Webcomics” group, more specifically Dave Kellett, Brad Guigar, Scott Kurtz, and Kris Straub. I picked up your book a few months into the strip and I’ve read it and re-read it a number of times. I’ve consulted that book before Google on several occasions and treat it like a sacred tome (despite the coffee stain, ignore that). Not only has it given me invaluable insight on how to more effectively do my craft, but it introduced me to the work of Guigar and Kellett (as well as some of the older work of Kurtz and Straub). If you want to know how to make a great comic and learn the ins and outs of the craft, you seriously need to give this book a read. Worst case, you already know the info it contains via other sources and can use it as piece of reassurance that you’re doing things correctly.

So thank you all so much. This really is one of the greatest jobs in the world and one of the first professions I can truly say is less about money and more about doing something I absolutely love on a regular basis.

Here’s to the next 100 strips!