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Webcomics, online comics, or Internet comics are comics published on a website. While most are published exclusively on the web, others are also published in magazines, newspapers or, often self-published, books. Webcomics can be compared to self-published print comics in that almost anyone can create their own webcomic and publish it. As of January 2007, the four largest webcomic hosting services hosted over 18,000 webcomics,[1] ranging from traditional comic strips to graphic novels and covering many genres and subjects.[2] Very few are financially self-sustaining.[3]
[edit] Medium [edit] FormatThere are several differences between webcomics and print comics since the formal restrictions of the traditional newspaper or magazine format can be lifted, allowing cartoonists to take advantage of the web's unique capabilities. Scott McCloud, one of the first advocates of webcomics, has pioneered the idea of the infinite canvas where, rather than being confined to normal print dimensions, artists are free to spread out in any direction indefinitely with their comics.[4][5] Other comic artists incorporate animations or even interactive elements into their comics.[3] However, the format and style of many, if not most, webcomics is still similar to that of traditional newspaper comic strips like Peanuts consisting of three or four panels. Simpler formats allow for more frequent updates, potentially allowing an artist to build up an audience more quickly. Similar to comic books, manga and graphic novels, other webcomics come in a page form rather than a strip form and tend to focus more on story than gags. Sprite comics are a prominent example for webcomics that do not use traditional artwork. They consist of copied and pasted sprites for characters, often ripped off of old video games. Other webcomics are created using clip art or photographs (fumetti). A Softer World, for example, is made by overlaying photographs with strips of typewriter-style text.[6] As in the constrained comics tradition, a few webcomics, such as Dinosaur Comics by Ryan North, are created with most strips having art copied exactly from one (or a handful of) template comics and only the text changing.[7] Pixel art, such as that created by Richard Stevens of Diesel Sweeties, is similar to that of sprite comics but instead uses low-resolution images created by the artist himself.[8] In recent years, webcomics consisting of 3D computer graphics have emerged, with the figures and models often made using the rendering software Poser. Webcomic creators often publish print collections when their archive consists of a significant number of strips. However, artists who create webcomics in nonstandard formats may experience difficulties to come up with an adequate page layout. [edit] Content Webcomics that are independently published are not subject to the content restrictions of book publishers or newspaper syndicates, enjoying an artistic freedom similar to underground and alternative comics. Some webcomics stretch the boundaries of taste, taking advantage of the fact that internet censorship is virtually nonexistent in countries like the United States.[2] The content of webcomics can still cause problems, such as Leisure Town artist Tristan Farnon's legal trouble after creating a homoerotic Dilbert parody,[9] or the Catholic League's protest of artist Eric Monster Millikin's "blasphemous treatment of Jesus."[10] [edit] HistoryAmong the earliest online comics were T.H.E. Fox, which was published on Compuserve and Quantum Link in 1986,[11] Where the Buffalo Roam which was published on FTP and usenet in 1991,[12] Doctor Fun which was published on the web in September 1993, [13] Netboy which was published on the web in the summer of 1994,[14] NetComics Weekly from Finnish Comics Society, which started in mid 1994,[15]. Among the longest-running webcomics that are still being published are Rogues of Clwyd-Rhan, a Dutch comic that started in Nov. 1994, Art Comics Daily (which began in March 1995), Argon Zark! (June 1995), Kevin and Kell (September 1995), and Slow Wave (November 1995). Other comics' artists claim to have been the first, or at least to have set a trend, within different genres and art styles. The Polymer City Chronicles which began on March 13, 1995[16] has the claim to be the first video gaming themed webcomic. Bob and George, which began to be presented daily in April 2000, was not the first sprite comic on the web, but is often identified as the one that set the trend. In August 2000, Twisted Kaiju Theater debuted. It was not the first photo comic on the web, but is generally recognized as the one that set the trend. It is inspired by Twisted Toyfare Theater, which is published in ToyFare magazine. In the Summer of 2000 Gutterflycomix.com appeared and holds the claim of, if not to be the first, one of the first online comics to try and take full advantage of internet technology, combining traditional comic panel style with flash animation, music and sound, email and other internet based media (it should be noted this type of storytelling is more common today by such t.v. shows as Lost and movies such as The Transformers). The late nineties saw the number of webcomics increase drastically. Sabrina Online first appeared a year later in September 1996. A year later, in 1997, Goats appeared (in April), followed by Sluggy Freelance (in August), Roomies! (in September), Piled Higher and Deeper (in October), Newshounds and User Friendly (both in November). Penny Arcade, PvP, Jerkcity, Freefall, and Pokey the Penguin began a year later. In March 2000, Chris Crosby, Crosby's mother Teri, and Darren Bleuel founded the webcomics portal Keenspot.[17][18] Crosby and Bleuel also started a free webcomic hosting service in July 2000, originally called KeenSpace but renamed Comic Genesis in July 2005. In July 2000, Austin Osueke launched eigoMANGA a web portal that published original online manga "webmanga". Within this year, eigoMANGA brought comic book industry attention to webcomics after being featured in many comic book web magazine articles and later appearing in the March 2001 issue of Wizard Magazine. In August 2000, Scott McCloud's Reinventing Comics, half of which consisted of a treatise on webcomics, was published. Though sometimes controversial, McCloud was one of the first advocates of digital comics and remains an influential figure in the webcomics field. His theories have sometimes led to debates about where webcomics should go and what, precisely, they are. McCloud's early advocacy of micropayments has also been a source of debate.[19][20] In 2001, the subscription webcomics site Cool Beans World was launched after a high profile publicity campaign including extensive print advertising. It won Internet Magazine's "Site of the Month" award in October 2001.[21] Contributors included, amongst others, UK-based comic book creators Pat Mills, Simon Bisley, John Bolton and Kevin O'Neill, and the author Clive Barker.[22] Serialised content included Scarlet Traces and Marshal Law. In March 2001, Shannon Denton and Patrick Coyle launched Komikwerks.com serving free strips from comics and animation professionals. The site launched with 9 titles including Astounding Space Thrills by Steve Conley, Buzzboy by John Gallagher, and Johnny Smackpants by Coyle. On March 2, 2002, Joey Manley founded Modern Tales, offering subscription-based webcomics.[23] The Modern Tales spin-off serializer followed in October 2002, then came girlamatic and Graphic Smash in March and September 2003 respectively. By 2005, webcomics hosting had become a business in its own right, with sites such as Comic Genesis, DrunkDuck, Smack Jeeves and Webcomics Nation.[24] In June 2006, Universal Press Syndicate editorial cartoonist Ted Rall focused on webcomics for the third volume of the Attitude: The New Subversive Cartoonists series, and included comics such as The Perry Bible Fellowship, Cat and Girl, and A Lesson Is Learned But The Damage Is Irreversible.[25] While comic strip syndicates had been present online since the mid 1990s, traditional comic book publishers, such as Marvel Comics and Slave Labour Graphics, didn't begin making serious digital efforts until 2006 and 2007.[26] DC Comics launched its web comic imprint, Zuda Comics in October 2007. [27]The site features user submitted comics in a competition for a professional contract to produce web comics. [edit] Business Further information: List of self-sufficient webcomics Very few artists are able to work on their webcomics full-time without needing a day job to support it, among them Tim Buckley of Ctrl+Alt+Del[28] and Randall Munroe of xkcd.[29] Generally, webcomic creators can make money by placing banner ads on their websites, selling original art, merchandising and print collections, offering commissions and by asking for donations. Several cartoonists like Phil and Kaja Foglio of Girl Genius have stopped publishing traditional comic books and instead serialise their content as a webcomic to reach a larger audience. Often, the webcomic is later published in the form of trade paperback collections.[30] Some webcomics, such as Helen, Sweetheart of the Internet, Macanudo, Van Von Hunter[31] and Diesel Sweeties[32] have been syndicated and published on daily newspapers' comics pages. Others such as The Perry Bible Fellowship and PartiallyClips have been published in smaller alternative newspapers, or printed in magazines, such as The Order of the Stick in Dragon Magazine[33] and Get Your War On in Rolling Stone.[34] [edit] CommunityThe growth of webcomics has also resulted in the growth of online communities around webcomics. There are fanbases that artists foster through the use of forums, fan sections and blogs, and many artists maintain close relationships with their fans.[35] The artists themselves also create communities through the exchanges of emails, links, forum posts as well as art in the form of guest filler strips and cross-overs, and band together in collectives.[36] Sites providing hosting and other services, e.g. Comic Genesis or DrunkDuck, also tend to aggregate communities.[37] As with the Internet, the webcomic community has already seen much controversy. Since the nature of a webcomic is closely tied to quality as well as popularity, flame wars can ensue especially if a controversy involves a particularly popular webcomic and/or its artist. Many of these controversies are caused when webcomic artists post an opinionated piece, whether it is that day's update or news post. Rivalries—imagined or not—between different artists are also a common spark to the flame. The controversy can also be fanned by a particular webcomic's fanbase.[37] [edit] AwardsMain article: List of webcomic awards A number of comic awards have added categories for comics published on the web. The Eagle Awards established a Favorite Web-based Comic category in 2000, and the Ignatz Awards followed the next year by introducing an Outstanding Online Comic category in 2001. After having nominated webcomics in several of their tradition print-comics categories, the Eisner Awards began awarding comics in the Best Digital Comic category in 2005. In 2006 the Harvey Awards established a Best Online Comics Work category, and in 2007 the Shuster Awards began an Outstanding Canadian Web Comic Creator Award. The Web Cartoonists' Choice Awards[38][39] consists of a number of awards that have been handed out annually since 2001. The award has an online award ceremony which is essentially a series of comics depicting the "ceremony" by a variety of artists. The 2007 awards also had a real-life awards ceremony at Megacon. The Clickburg Webcomic Awards (also known as "the Clickies") has been handed out annually since 2005 at the Stripdagen Haarlem comic festival. The awards require the recipient to be active in the Benelux countries, with the exception of one international award.[40] [edit] See also
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