There haven’t been many new developments in the “Future comics” category of late; that is comics that use animation, gifs, or other tablet- or web-based technology as a storytelling tool, beyond Madefire’s leading the category. It seems like motion comics and the costs of developing platforms have sort of put this on the backburner…plus guided view and the like are now such a standard aspect of reading comics that they don’t elicit much comment.
F YEAH!!!!!! If there is one Halloween tradition in comics that must be kept is a new digital comic by Emily Caroll! Her previous uses of the digital palette to create horror has made her one of the few true autuers of “future comics”—and the print iteration, Through the Woods is one of the best graphic novels of the year. Her previous horror comics like His Face All Red, Margot’s Room, Out of Skin and The Hole the Fox Did Make are all classics of terror and digital storytelling.
Has anyone come up with a definite name for those “swipe” comics? Many use comiXology’s Guided View, but there are other methods. Anyway, they are increasingly popular, and learning how to make them is becoming an actual comics skill set. Jeremy Rock, artist on Thrillbent’s The Eighth Seal, has a process post on these comics […]
Launched last year at San Diego Comic-Con, Madefire aims to be both a publishers and platform for developing next level motion comics/future comics/whatever you want to call them. And now, in traditional start-up fashion. they’ve just announced a $5.2 million round of funding, which was led by original funder True Ventures, with participation from Anthem […]
Oh yeah but speaking on indie comics and arts festival., this weekend THE PROJECTS kicks off in Portland, but it isn’t so much a bazaar of indie comics as a maker festival: THE PROJECTS is a festival of experimental comics and narrative arts, happening at the IPRC and other locations in Portland, OR, on August […]
It’s been a while since we looked at one of those motiony-comicky-giffy-dealies that take comics and extend them in a browsable movable way. Here’s one from the Netherlands. It’s actually an animated book trailer for De Vriend (Friend) by Dutch thriller author Charles den Tex. It was animated and illustrated by Aimee de Jongh and it was coded by Submarine, using a technique called “Skrollr” which unfolds as you scroll through it. (Pro tip: you can also use the down button.)
by Serhend Sirkecioglu From her Tumblr all I know about Jen Lee is she’s a freelancer from Idaho, with a boyfriend, two dogs, two cats, and farmland critters. From all this plus her comics/illustrations on her tumblr, it makes up a gem of a cartoonist. The comic in particular I’m talking about is Thunderpaw: In […]
by Serhend Sirkecioglu
My common complaint with the current wave of interactive/digital comics is the lack of ingenuity, risk, and execution, which fall into three camps. The first is the artist-centric camp where the person who made the comic is a competent cartoonist but has no knowledge of programming and is unconscious of interactivity, so the function feels gimmicky and not worth my time. The second is the program-centric, where the design is strong but the story is not much of a looker or read, and can feel more like a proof of concept than a whole-hearted piece. Finally, the third camp is the ones that peter out because the time and energy put into it outweighs the pay off, leading to burnout and an unfinished story.
A new comic up at Cartoon Movement by Dan Carino is a tragic look at self-immolation and the Tibetan situation.
by Serhend Sirkecioglu
Is this a potentially workable pay model for web comics?!
OK, personally for me, Zombies officially went passe the moment Robert Kirkman appeared on The View, but that’s not deterring people from overdoing it. This web comic, I’ll let it slide ’cause it did more with the tired formula.
Zombies Eat Republicans uses a scrolling format but where The First Word stops, ZER takes it further by incorporating sound and music (although looping, which can become annoying) and having the panels slide into place instead of being a static layout, making the read much more active. The comic employs a dragging command to move the story along; though the arrow keys are available, I suggest the mouse or touch for more control.
While Marvel’s corporate policies don’t allow for too much investment in their print business, they have been really ramping up the digital side of things. Why? Rob Salkowitz looks at the meta side of the new online comics line and AR experiments in terms of how it positions the company:
Yusuke Murata is the manga-ka behind the very popular American football manga EYESHIELD 21. In between massive ongoing series—his next project is called onepunchman—Murata started posting a webcomic via Twitter, bsed on yet another series, Hetappi Manga Research Lab R. The story involves Murata being chased over a cliff by an editor and looming deadlines—no paranoia there!—and he uses unique folded paper and lighting effects to give the story more impact.
by Serhend Sirkecioglu
Well, looks like this Valiant relaunch is going to go places we’ve never gone before. The first issue of X-O Manowar will have a QR Voice Variant—”the world’s first QR code-augmented, talking comic book cover!” Jelena Kevic-Djurdjevic supplies the art. On Wednesday, a preview poster will be shipped to local comic shops so you can preview the technology, which involves a QR code, a smart phone and a steady hand.