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Webcomic by Jeph Jacques From Wikipedia, the free encyclopedia
Questionable Content (sometimes abbreviated as QC[1]) is a slice-of-life webcomic written and illustrated by Jeph Jacques. It was launched in August 2003 and reached its 5,000th comic in March 2023.[2] The plot originally centered on Marten Reed, an indie rock fan; his anthropomorphized personal computer Pintsize; and his roommate, Faye Whitaker. Over time Jacques has added a supporting cast of characters that includes employees of the local coffee shop, neighbors, and androids. QC's storytelling style combines romantic melodrama, situational comedy, and sexual humor, while considering questions of relationships, sexuality, dealing with emotional trauma, and artificial intelligence and futurism.[3]
| Questionable Content | |
|---|---|
A sample QC panel, featuring characters (L-R) Marten, Bubbles, Pintsize, and Faye | |
| Author(s) | Jeph Jacques |
| Website | questionablecontent.net |
| Current status/schedule | Updates every weekday |
| Launch date | August 1, 2003 |
| Genre(s) | Humor/Slice of life |
In 2003, Jacques worked at a local newspaper in Easthampton, Massachusetts answering telephones. According to Jacques, the large amount of free time and access to the Internet led him to read webcomics "as something to do".[4] Jacques stated, "I've always been really interested in music, and indie rock specifically, and I never saw any other comics that dealt with that aspect of our culture. I felt like there was a niche there that would work."[5] Jacques posted the first QC on August 1, 2003.[# 1]
Jacques makes his living from QC merchandising, advertising and donations. By 2004, Jacques could support himself and his then-partner based on income from merchandise and advertising sales.[6] Merchandise has included designing T-shirts for the characters in the comic to wear, then selling real T-shirts of the same design.[7] The comic is also supported by donors through Patreon.[1]
Jacques promoted the comic in a number of ways including joining Dayfree Press for some time, and starting a fake feud with Sam Logan, the creator of Sam and Fuzzy, trading insults while linking to each other's comic.[8] QC has also featured guest comics, often in exchange for Jacques writing a guest comic for the creator or for cross-promotion.[8]
Questionable Content was originally updated twice a week, and was later bumped to three strips a week.[9] In September 2004, Jacques left his day job to begin updating Monday through Friday.[10]
According to Jacques in 2008, at one point he would have sought newspaper syndication for Questionable Content, but the thought no longer appealed to him because he does not want to surrender editorial freedom.[4] The webcomic has been published in physical books; as of 2023, six volumes have been released,[11] covering strips 1–1799. The first print collection features some of the earliest strips redrawn in Jacques art style at the time of the book; Jacques said this was because he did not have high-resolution copies of some old strips.[12]
Both the methods of storytelling and the artistic style of the strip have changed considerably since its inception. Originally, Jacques intended the strip to be about "a depressed lonely guy and his robot", but the introduction of the female character Faye led to an increase in Jacques' ideas for the strip. Gradually, he decided he wanted to stop making indie rock jokes and focus more on the relationships between the characters, which had "always been the most fun and interesting part."[13]
Jacques spoke on the evolution of his art in an interview at ComixTalk in March 2006:
The art is constantly changing, as anybody who reads the comic for more than two weeks could probably tell you. I'm always trying different things with the artwork — it's been a goal from day one to continually improve my drawing ability, and I think it's finally beginning to get to the point where I'm halfway decent at it. It's basically survival of the fittest — changes that I think fit in with the overall look I'm going for stick around and get refined, and changes that do not fit in get phased out, sometimes in the course of three or four strips, sometimes over a much longer span of time. I'm trying to get better at using different "camera angles" in each panel and doing more involved backgrounds, both of which are really just a matter of being patient and taking my time with the artwork. There's still tons of room for improvement, and always will be, but I think I'm at least making progress.
— Jeph Jacques, ComixTalk[14]
In strip #1040, Jacques said that he used a Wacom Cintiq graphics tablet[15] to draw his strips. In 2021, he tweeted that his software had been mainly Clip Studio Paint "for years now," and that he only used Photoshop for final layout and some image editing[16] In 2007, he cited Bill Watterson (Calvin and Hobbes) and the webcomic Scary Go Round as his main influences.[17]
Questionable Content takes place in Northampton, Massachusetts. Frequent settings include an apartment shared by Marten, Faye and Pintsize; Coffee of Doom, Dora's coffee shop, where Hannelore, Penelope, Cosette, Emily, and Dale work; and Smif College's Williston Library[# 2] where Marten is employed along with Tai and Claire. (The real Williston Library is at Mount Holyoke College; the public library in Easthampton, Jacques's former residence, is also called the Williston Library.) The comic is mostly realistic with occasional bouts of absurdity, and action primarily focuses on banter between the characters, with slowly progressing plot developments. Due to the emphasis on inter-character dialogue, Jacques rarely uses thought bubbles in the comic.
Early in the comic's run, the main drama arose from tension between Faye and Marten. The two were roommates and Marten was romantically interested in Faye, but barriers would keep the relationship from happening.[8]
The comic appears to be set in a reality similar to our own, but with a futuristic twist. For instance, references to music and bands in various strips are current and relevant at the time of publication. On the other hand, the setting is filled with sentient, emotive artificial intelligences with individual personalities (referred to as "AnthroPCs" or "AIs"),[18][# 3] which frequently interact with human characters as though they have been doing so for a significant amount of time. According to academic Rebecca Gibson, "the differences between robots and humans in QC are treated in ways that minimalize conflict, maximize attempts at understanding, and address people as people, regardless of their organo-metallic content... While some have jobs, those jobs are either voluntarily done to maintain independence, or done to earn money for their own benefit. They have choice and autonomy and sentience, and while they are not treated as complete equals—there are plotlines about body purchases and upgrades, and what is wanted versus what can be afforded, as well as comments about personalities—they are, by and large, treated well." AIs can choose companionship and even sex. AIs can be just as good or as unpleasant as humans.[18] Almost all bots have artificial skin color, such as blue, purple, and pink.[18] Jacques remarked of the setting as far back as 2005:[19]
Something people do not often realize is that the world in which QC takes place is considerably stranger than our own. You'd think that with all the little talking robots running around everywhere that this would be obvious, but I am consistently surprised at how often people take it for granted.
AnthroPCs are the only consistent signs of advanced technology in the series; when other technological advances are referenced, they rarely get developed beyond one or two strips. For instance, some of the notable technological creations in QC are the Deathbot 9000;[20] a Vespa scooter that transforms into a battle droid;[# 4] humans living permanently in space, single-stage-to-orbit ramjet-powered spaceplanes, orbital defense satellites capable of conversation.[# 5] The permanent human presence in space was elaborated on in a story arc set aboard the space station where Hannelore grew up.
The internal chronology of the strip is somewhat ambiguous; on January 13, 2006, Jacques stated on a LiveJournal fan community that he has "never sat down and exactly tabulated," but he suspects the total amount of elapsed QC time at that point was "no more than six months."[21] In a Q&A Tumblr post on January 23, 2012, Jacques estimated that it had been "at least a couple years in comic-time since the strip started."[22]
Questionable Content features a diverse group of characters, with an academic noting that "the cast of characters contains many people of color, the various companion and working bots, a trans woman, a man with a bionic hand, [a] spider bot, a dominatrix, an autistic woman, a woman with obsessive compulsive disorder, and a station-controlling AI presence. In other words, Jacques has created a world that not only reflects the diversity of our own in terms of gender, sexuality, disability, mental health, and ethnicity, but has added and addressed issues of AI and robotics."[18]
Questionable Content was used along with Penny Arcade, Fetus-X and American Elf as an example of comics using the web to create "an explosion of diverse genres and styles" in Scott McCloud's 2006 book Making Comics.[23] The comic has been used in the Create a Comic Project, a New Haven, Connecticut youth literacy program sponsored in part by Yale University.[24]
Questionable Content was recognized several times by the Web Cartoonists' Choice Awards. It received at least one nomination every year from 2004 to 2008 (the last year the WCCA gave out awards), and won six awards including winning Outstanding Romantic Comic three years in a row.[25][26][27][28][29]
Graduate student Dennis Kogel used Questionable Content as a case study as part of their 2013 MA thesis at the University of Jyväskylä in Finland. Kogel wrote that the comic has often changed styles, characters and themes over the years, and has done so without marking the beginning of episodes. Kogel wrote that QC had evolved over time into a very different work, "staying the same in name only", arguing that it was difficult to see the "crudely drawn" and loose cartoon style of QC of 2005, the "more manga styled" QC of 2008 and the more experimental QC of 2012 as the same world and characters.[12]
QC's depiction of artificial intelligence is discussed in Rebecca Gibson's 2020 book Desire in the Age of Robots and AI, specifically in chapters relating to robot sex and sexuality.[18]
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