Kirkman14
Joined 13 years ago
Joined 13 years ago
And Fire Escape was one of many sysops around the world who often repurposed older so-called "public domain" ANSI art to enliven her bulletin board.
This blog post traces the origins of several welcome screens from Fire Escape's BBS, as well as alternate versions made by other people. It shows that adapting old ANSI art was a widespread practice on the BBS scene, and it wasn't limited to sysops or programmers -- even ANSI artists sometimes reused their own work.
I don't think this term is exclusively American ... there were (and are) plenty of European and international ANSI artists. But I'm happy to be corrected.
I got into the distinction a little bit in Part 2 of this series: https://breakintochat.com/blog/2025/12/28/ansi-art-and-webco...
So, for a blog post, PNG is the most robust way to display the art across browsers of all kind.
But you definitely can get the original ANSI files. Lokke packaged every 20 or so of his telecomics into "ALLMACKx.ZIP" archives for distribution. These were very similar to the artpacks that the underground ANSI art scene would eventually use. I uploaded the seven ALLMACK files I recovered and uploaded them to the 16colors ANSI art archive: https://16colo.rs/artist/don+lokke+jr
That's probably the best way (for now) to explore it as a collection or download the original files.
I do have some more Lokke telecomics I located that were not in ALLMACK archives, and so are not submitted to 16c yet. I may just package them up as a "MISC" pack and upload them.
He called his digital comic strips "telecomics," and he used them to channel the skepticism and anger felt by everyday Americans about broken political promises and the looming economic recession.
Lokke would draw nearly 300 telecomics by 1995 as part of his business syndicating and selling unique online content to the sysops of bulletin board systems.
By then the great migration from BBSes to the World Wide Web was well underway. Lokke jumped ship, too, and moved his businesses to the web. His ANSI telecomics were soon forgotten, and many of them were lost.
Decades later, I unearthed 145 of them.
This is my in-depth profile of Lokke's work. It's a unique look back in time.
Will Eisner and Scott McCloud say that what distinguishes comics from cartoons and other forms is that they are sequential. McCloud's definition specifically exclude single-panels like "The Far Side" or "The Family Circus". In his view they are cartoons, not comics.
However, other people have pushed back on this particular limitation of his definition.
The book offered no dates, no details, and no sources. But these red flags didn't deter later editors, bloggers, and content creators from repeating versions of this statement.
To be clear, the assertion was wrong. Eerie drew "Inspector Dangerfuck" pieces in 1994, and there had been much earlier online comics.
Still, the assertion raises a lot of interesting questions: What is ANSI art? Who was Eerie? What was "Inspector Dangerfuck?" Was it even a comic? Were there other ANSI art comics?
I've written a multi-part series tackling these questions and diving deep into the history of an often-overlooked subculture.