I'm thinking about that weird thing that happened with a bunch of different webcomics in the late 2000s, where I guess a ton of artists all kinda realized at the same time "Oh shit! A very significant amount of my audience is gay teens, but also I kinda made my comic 100% straight people without really thinking about it! I should do something about that!" and then suddenly a bunch of queer characters popped into existence from the creative void

The interesting thing was tho, that because a bunch of these artists were straight and cis and didn't really have any fuckin idea how to write queer characters, they just sorta shrugged and defaulted to how they would write any other character, i.e. like a normal fucking person.



Again, I point to Wapsi Square, where the MC showed absolutely no signs of attraction to girls that I could tell (and I really *wanted* some lesbian or bi representation in comics at the time), so the sudden switch seemed highly artificial.

And yet, when he started with the new set of younger characters with a prominent bi relationship, it was handled a lot better, although still a little disjointed. But by then the whole narrative was disjointed, so it kinda worked.

@Nezchan Yeah honestly there were very levels of transition-smoothness, I think the comics with long-term overplots fared better overall because there was more of an incentive to stay the course and feel things out slowly, The gag-a-days had a lot less going usually so of course they'd jump on any new material they had

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