ImageText has an article about webcomics in its most recent issue. (This is labeled as last fall’s issue of ImageText but buzzBugle reported it as recently published) ImageText is an academic publication so don’t expect the jaunty style of Comixpedia or Websnark when reading it.
It’s an interesting article, but one that is wrong in enough respects to annoy a serious observor of webcomics. More conjecture and opinionating from me after the break. Continue Reading
Grafik Dynamo created by Kate Armstrong and Michael Tippett is a dynamic webcomic that loads images from Live Journal and generates random narrative boxes and speech bubbles to display along the images.
Other examples of this approach exist on the web, but most of them are not funded in part by the Andy Warhol Foundation for the Visual Arts.
The Conundrunomicon holds many secrets. It also holds many lies. If there’s a trick to telling one from the other, then sadly I’ve yet to find it.
E-merl.com delivers its first update of 2005 with a brand new 24 Hour hypercomic. 24:Three makes use of the latest version of the Tarquin Engine to deliver a snapshot of a comic creatorâ€™s mind over 24 sleep deprived hours. It makes about as much sense as youâ€™d expect, given the circumstances. Continue Reading
Tom Stackpole does the experimental and innovative Invisible Forces for PV Comics and at his own site, bonedancer.com has published such innovative works as Talking Drunk Driver Blues, and the The Diptheria Plague. His newest work at his own site is Jake Dyson’s Big Move.
Stackpole took a few minutes out a hectic schedule for an interview with Comixpedia’s Al Schroeder.
As with everyone else in the webcomics ‘scene,’ I’ve been following the progress of webcomics experimentation with tremendous interest. I track experimental events over on Websnark. I make note of the many and sundry things that webcartoonists do that they simply couldn’t do (or at least not do effectively) on paper. And, with time and energy, I’ve come to develop an opinion about experimentation in webcomics.
Namely, I’m against it.
Looking back on 2004, it’s worth noting the changes, or lack thereof, that the year brought to the ever-fluctuating world of webcomics. Keenspot and ModernTales continued to expand and branch into other areas. The fully independent webcomic remains with us. New webcomics appeared, and many of the same have already vanished. A few of the old standbys have come close to retirement, as some cartoonists have had to rely increasingly on reader support to keep their strips alive. Continue Reading
What better way to explore the limits of the webcomic form then with a webcomic? Miguel Estruego takes us through an exploration of experimental webcomics.
E-merl.com has updated for the month of November with the release of The Formalist, a brand new hypercomic short story about the nature of… stuff.
“Who is The Formalist? Where did he come from? Where did he go? How did he get in there and how will he get out again?”
All these questions and less may (or may not) be answered within. Continue Reading
In the first part of this essay, I discussed the ways in which the comic industry is pervaded by aristocratic structures that prohibit a vast diversification and democratization of publishing, content, and production. In this section, I will turn to examine the democratic structures that work against these existing hierarchies.
My latest graphic book with author Thom Hartmann, We the People, focuses on the pervasive influence that mega-corporations have on American government, and now I would like to look at a similar situation in comics.