Webcomics cover a wide variety of issues and topics. Some of the comics/topics include Penny Arcade, a comic about gamers and the gaming industry; Megatokyo, a comic targeted at anime fans which also discusses Japanese Culture; and Ubersoft.net: Home of the Help Desk, a comic poking fun at MS, drawn by an OS/2 user. There is even a comic site about web forums ("The Slashdot/Kuro5hin Chronicles," written by Jin Wicked).
So what does the future hold for traditional comics? Dark Horse Studios has (or rather, had) a building across from SGI (the local equivalent of the US DMV) downtown in the city I live in, Saskatoon. This was the place where the Death of Superman was inked and coloured. As I implied earlier, the studio closed recently. Some "we're moving in" signs for some other business hang over the old Dark Horse Studio logo.
At a time when traditional comics have had their prices inflated 400% over the past 10 years, web comics are increasingly the entertainment of choice for online comic fans. Some comics which started online have grown considerably from their original 1:1 strip/joke setup, now having with large epic story arcs. Sluggy Freelance is an example of this. Because of how it's grown, and the fans that have support it, Sluggy has even been published in paper form. The book sales and hits have shown that you can make a decent living off of online comics. This is something many people seem to have missed in the climate of the slowing economy.
Penny-Arcade, as another example, is surviving off of donations since the collapse of the banner ad network that previously sustained it. Most of the web comics I've mentioned, while not being a huge money maker for some mega corp, help keep an author (or two) somewhere in a few extra dollars so they can continue to share their work with the public. Dan's Data, an Australian hardware review site I frequent, said it best with "Minnows 1, whales 0.," an essay about running a succesful site online. Essentially, without all the overhead of running a big business, individuals can be very succesful online -- a lesson that some people seem to be waking up to.
So it seems like Scott McCloud's dream of a world where comic fans are able to get their comics directly from the source, rather than through the dilution of middle men, is slowly coming to pass. While the traditional comics are still having to deal with the realities of printing, shipping, etc., small, tightly focused comics are finding fan bases that can sustain the authors involved. Perhaps in 20 years we'll find the concept of printed comics to be just a fun way of having an archived copy of your favourite comic around for power outages.