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'Webcomics', also known as 'online comics' and 'internet comics', are comics that are available to read on the Internet. Many are exclusively published online, while some are published in print but maintain a web archive for either commercial or artistic reasons. With the Internet's easy access to an audience, webcomics run the gamut from traditional cartoon strips to graphic novels and beyond.
Webcomics are similar to self-published print comics in that almost anyone can create their own webcomic and publish it on the Web. There are well over 18,000 webcomics currently online[1] with very few of them being financially self-sustaining.
There are several differences between web and conventional print publishing of comics.
With webcomics, the formal restrictions of the traditional newspaper or magazine format can be lifted, allowing artists 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'',[2] where, rather than being confined to normal print dimensions, artists are free to spread out in any direction indefinitely with their comics, as demian5 has done with his scrolling ''When I Am King''.[3] Other comic artists, such as Mark Fiore with his Flash-based editorial cartoons, have experimented by incorporating interactivity and animation.[4]
Still, many if not most webcomics take traditional forms. Some, such as Scott Kurtz's ''PvP''[5] and Tatsuya Ishida's ''Sinfest'',[6] appear stylistically similar to black-and-white newspaper comic strips. This gag-a-day format allows for quicker, more frequent updates, potentially allowing an artist to build up an audience quickly. Other webcomics are presented in the same manner as traditional comic books, manga and graphic novels. These comics, such as Fred Gallagher's ''Megatokyo''[7] and Gene Yang's ''American Born Chinese'',[8] come in a page form rather than a strip form and tend to focus more on story than gags.
Several self-published comic books, such as Carla Speed McNeil's ''Finder''[9] and Phil & Kaja Foglio's ''Girl Genius'',[10] have stopped publishing individual print comics and instead serialise their content as webcomics, in an effort to reach a larger audience. They then only publish printed trade paperback collections.
Some webcomic artists publish comics that do not use traditional artwork. Sprite comics use copied and pasted video game sprites for characters. Similarly, some webcomics are created using clip art, found art and fumetti or photo-comics. Joey Comeau and Emily Horne's ''A Softer World'', for example, is made by photography overlaid with strips of typewriter-style text.[11] Artistic expression in these ready-made comics is funneled primarily into writing. Some artists, such as Ryan North of ''Dinosaur Comics'', have taken copy-pasting of art to an extreme, with every daily strip having identical art, with only the text changing.[12] Pixel art, such as that created by Richard Stevens of ''Diesel Sweeties'', is similar to that of sprite comics but instead uses original low-resolution work created by the artist.[13] There has also been experimentation with 3D art in webcomics.
Webcomics that are independently published are not subject to the content restrictions of publishers or comic 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. The content of webcomics can still cause problems, such as ''Leisure Town'' artist Tristan Farnon's legal trouble after creating a homoerotic Dilbert parody,[14] or the Catholic League's protest of ''Fetus-X'' artist Eric Millikin's depictions of Jesus.[15]
Webcomics which have built up significant archives will often publish collections of strips in books. Those in the form of either newspaper strips or comic books often publish in their respective forms, while artists who create webcomics with nonstandard formats find book publishing more difficult.
Among the earliest online comics were ''T.H.E. Fox'' which was published on Compuserve and Quantum Link in 1986,[16] ''Where the Buffalo Roam'' which was published on FTP and usenet in 1991,[17] ''Netboy'' which was published on the web in the summer of 1993,[18] ''Doctor Fun'' which was published on the web in September of 1993.[19] and NetComics Weekly from Finnish Comics Society, which started in mid 1994[20] and ran through 1999 (2001 in finnish). ''Argon Zark!'', which first appeared in June of 1995, and ''Kevin and Kell'', premiering in September of the same year, may not be among the first webcomics, but they certainly can be said to be among the longest running as they are still being published.
Other comics lay claim to be first, or at least setting the trend, within different genres and art styles.''The Polymer City Chronicles'' which began bi-weekly updates on March 13th, 1995[21] 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 started updating three times a week before settling on a twice a week schedule. 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.
The late nineties saw the number of webcomics increase drastically. ''Sabrina Online'' first appeared a year later in September of 1996. A year later, in 1997, ''Goats'' appeared (in April), followed by ''Sluggy Freelance'' (in August), ''Roomies!'' (in September), ''Newshounds'' and ''User Friendly'' (both in November). ''Penny Arcade'', ''PvP'', ''Jerkcity'', and ''Pokey the Penguin'' began a year later.
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 advocacy of micropayments has also been a source of debate.[22][23]
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 magazines articles and later appearing in the March 2001 issue of Wizard Magazine.
In March 2000, Chris Crosby, Crosby's mother Teri, and Darren Bleuel founded the webcomics portal Keenspot.[24][25] KeenSpot features invited webcomics artists selected for their popularity, talent and/or quality, offering free hosting, but much like its predecessor ''Big Panda'', taking 50% of advertising revenues. Crosby and Bleuel also started a free webcomic hosting service in July 2000, originally called KeenSpace but renamed Comic Genesis in July 2005.
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. Comics and New Media Contributors included, amongst others, UK-based comic book creators Pat Mills, Simon Bisley, John Bolton and Kevin O'Neill, and the author Clive Barker. Cool Beans or Dead Beans: can the comic barons cross onto the web? 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.[26] The Modern Tales spin-off serializer followed in October of 2002, then came girlamatic and Graphic Smash in March and September of 2003 respectively.
By 2005, webcomics hosting had become a business in its own right with sites such as Joey Manley's Webcomics Nation.Walker, Leslie (June 16, 2005). "Comics Looking to Spread A Little Laughter on the Web". ''The Washington Post'', p. D1.
2005 European alternative comic artists started the screen comic publisher electrocomics.com. They provide selected graphic novels in Pdf-format and some comic strip series. They won the German independed comic award (special prize of the jury) in the same year.
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.[27]
The 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.[28] 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.[29] There are also webcomic communities emerging through the general webcomic sites that cover the medium through news and articles such as Comixpedia and the blog Fleen. Sites providing hosting and other services, e.g. Comic Genesis, Drunk Duck or buzzComix, also tend to aggregate communities.[30]
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.[30]
Usually, webcomics artists have to pay for the costs of art supplies, server hosting and other expenses out of their own pocket, making most webcomics labors of love rather than money-making opportunities. For webcomics who pay for their own hosting, bandwidth is a concern; the more popular the comic becomes, the more costly hosting becomes. There are a variety of webcomic hosting sites; some provide free hosting but require advertising, others are paid for and have no such requirements. Webcomic-oriented hosts will often provide software to reduce the technical knowledge required to set up a webcomic and its corresponding webpages.
There are different ways for webcomic artists to earn money, such as donations, advertising, and merchandising. Some use tip jars (through PayPal, for instance) or solicit donations through drives. Some sell merchandise featuring their artwork, or sell their artwork directly, sometimes under commission. If a webcomic has enough traffic, advertising and/or subscription revenue can also be generated. Some successful webcomics have subsequently been reprinted in compilations, often self-published. Examples of webcomics in print include ''PvP'', ''Penny Arcade'', ''Sluggy Freelance'', and ''Megatokyo'', as well as many others.
Some artists are able to work on their webcomics full-time without needing a day job to support it. This group of "professional webcomic artists" includes James Kochalka of ''American Elf'',[32] Jeph Jacques of ''Questionable Content'',[33] Brian Clevinger of ''8-Bit Theater'',[34] Eric Millikin of ''Fetus-X'',[35] Tim Buckley of ''Ctrl+Alt+Del'',[36] and many others. Most of these artists began their comics as a hobby, but succeeded to the point that they could live off of donations and merchandise.
In addition to individual artists' efforts to profit from webcomics, there are various Internet entrepreneurs striving to develop business models as well. Scott McCloud, a long-time supporter of using micropayments to fund webcomics, was an advisor for the micropayment company BitPass. Some webcomic publishers, such as the Modern Tales family of sites, have used a subscription model.
A number of comic awards have added categories for comics published on the web. The Eagle Awards established a Favourite 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 Cartoonist's Choice AwardsBoxer, Sarah (August 172005). "Comics Escape a Paper Box, and Electronic Questions Pop Out". New York Times.[37] 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.[38]
1. talkaboutcomics.com
2. McCloud, Scott (2000). ''Reinventing Comics'', New York: Paradox Press. ISBN 0-06-095350-0. Pg. 200-233
3. McCloud, Scott (July 2001). ''McCloud in Stable Condition Following Review, Groth Still at Large''. ''The Comics Journal'', no. 235. Pg. 70-79
4. Flagg, Gordon (August 2006). "Attitude 3: The New Subversive Online Cartoonists". ''Booklist'', Pg. 23
5. Kuehner, John C. (December 21, 2004). ''Comic artists use Web to ensnare readers''. ''The Seattle Times'', Pg. F2
6. Brownstein, Charles (January 2002). ''Tape This to Your Cubicle Wall''. ''The Comics Journal'', no. 240. Pg. 56-57
7. CHRONICLE COMICS; No More Wascally Wabbits
8. Yang, Jeff (October 25 2006)as well as "ASIAN POP: See you in the funny pages". ''San Francisco Gate''
9. McNeil's Finder Goes Online Wolk, Douglas
10. Webcomics: Page Clickers to Page Turners MacDonald, Heidi
11. It’s A Softer World After All Arrant, Chris
12. Rall, Ted (2006). '', New York: Nantier, Beall, Minoustchine. ISBN 1-56163-465-4. Pg. 115-121.
13. Hodges, Michael H. (January 8, 2007). ''Diesel Sweeties tackles nuts, bolts of love''. ''The Detroit News'', Pg. 1E
14. Crane, Jordan (April 2001). ''A Silly Little Coat Hanger for Fart Jokes: Talkin' Comics with Leisuretown.com's Tristan A Farnon''. ''The Comics Journal'', no. 232. Pg. 80-89
15. "Michigan State President Acts Presidential". (November 2000). ''Catalyst Journal of the Catholic League for Religious and Civil Rights''
16. T.H.E.-FOX.TXT
17. Where the Buffalo Roam -- First Comic on the Internet Bordahl, Hans
18. The History of Online Comics by T Campbell (Part 2) Campbell, T
19. (December 17, 2000). "Readers know how to find "Fun"". ''Chapel Hill Herald''. Pg. 9
20. What's New With NCSA Mosaic and the WWW (June, 1994)
21. Dr. Otto's Do-It-Yourself Bomb Disposal
22. Misunderstanding Micropayments McCloud, Scott
23. Making the web pay Hammersley, Ben
24. Yim, Roger. (April 2, 2001). "DOT-COMICS: Online cartoons skip traditional syndication and draw loyal fans on the Internet". ''San Francisco Chronicle''. Pg. D1
25. Newman, Heather. (February 2, 2001). "See You In The Funny Pixels Michigan Cartoonists Draw On Web Sites To Find Readers". ''Detroit Free Press''. Pg. 1H
26. Ho, Patricia Jiayi (July 8, 2003). "Online comic artists don't have to play panel games". ''Alameda Times-Star (Alameda, CA)''
27. Publishers Look to Digital Comics Soponis, Trevor
28. Webcomic Communities (Part Two), Interactivity: Fuel for your fave Creator? Cooper, Kelly J.
29. The Future of Webcomics Zabel, Joe
30. A Shrinkage of the Center? Zabel, Joe
31. A Shrinkage of the Center? Zabel, Joe
32. Glenn, Joshua (July 11 2004). "This American Elf". ''The Boston Globe'', p. D2.
33. http://www.questionablecontent.net/faq.php
34. http://www.nuklearpower.com/8bitdonatefaq.php
35. Brenner, Lynn (February 27 2000). "What People Earn: How Did You Do This Year?". ''Parade Magazine'', p. 9.
36. http://ctrlaltdel-online.com/index.php/faq
37. "Attack of the Show". G4TechTV. Aired 12 August2005.
38. comicbase.nl's blog Mirk, Jeroen
★ Cartoonist
★ Comic book creator
★ Comic strip
★ Hypercomics
★ List of webcomics
★ List of webcomics in print
★ Machinima
★ Manga
★ Manhua
★ Manhwa
★ Mobile comic
★ Sprite comic
★ Websnark
★ Webserial
★ Women in comics
Webcomics are similar to self-published print comics in that almost anyone can create their own webcomic and publish it on the Web. There are well over 18,000 webcomics currently online[1] with very few of them being financially self-sustaining.
| Contents |
| Medium |
| History |
| Community |
| Business |
| Awards |
| References |
| See also |
Medium
There are several differences between web and conventional print publishing of comics.
With webcomics, the formal restrictions of the traditional newspaper or magazine format can be lifted, allowing artists 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'',[2] where, rather than being confined to normal print dimensions, artists are free to spread out in any direction indefinitely with their comics, as demian5 has done with his scrolling ''When I Am King''.[3] Other comic artists, such as Mark Fiore with his Flash-based editorial cartoons, have experimented by incorporating interactivity and animation.[4]
Still, many if not most webcomics take traditional forms. Some, such as Scott Kurtz's ''PvP''[5] and Tatsuya Ishida's ''Sinfest'',[6] appear stylistically similar to black-and-white newspaper comic strips. This gag-a-day format allows for quicker, more frequent updates, potentially allowing an artist to build up an audience quickly. Other webcomics are presented in the same manner as traditional comic books, manga and graphic novels. These comics, such as Fred Gallagher's ''Megatokyo''[7] and Gene Yang's ''American Born Chinese'',[8] come in a page form rather than a strip form and tend to focus more on story than gags.
Several self-published comic books, such as Carla Speed McNeil's ''Finder''[9] and Phil & Kaja Foglio's ''Girl Genius'',[10] have stopped publishing individual print comics and instead serialise their content as webcomics, in an effort to reach a larger audience. They then only publish printed trade paperback collections.
Some webcomic artists publish comics that do not use traditional artwork. Sprite comics use copied and pasted video game sprites for characters. Similarly, some webcomics are created using clip art, found art and fumetti or photo-comics. Joey Comeau and Emily Horne's ''A Softer World'', for example, is made by photography overlaid with strips of typewriter-style text.[11] Artistic expression in these ready-made comics is funneled primarily into writing. Some artists, such as Ryan North of ''Dinosaur Comics'', have taken copy-pasting of art to an extreme, with every daily strip having identical art, with only the text changing.[12] Pixel art, such as that created by Richard Stevens of ''Diesel Sweeties'', is similar to that of sprite comics but instead uses original low-resolution work created by the artist.[13] There has also been experimentation with 3D art in webcomics.
Webcomics that are independently published are not subject to the content restrictions of publishers or comic 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. The content of webcomics can still cause problems, such as ''Leisure Town'' artist Tristan Farnon's legal trouble after creating a homoerotic Dilbert parody,[14] or the Catholic League's protest of ''Fetus-X'' artist Eric Millikin's depictions of Jesus.[15]
Webcomics which have built up significant archives will often publish collections of strips in books. Those in the form of either newspaper strips or comic books often publish in their respective forms, while artists who create webcomics with nonstandard formats find book publishing more difficult.
History
Among the earliest online comics were ''T.H.E. Fox'' which was published on Compuserve and Quantum Link in 1986,[16] ''Where the Buffalo Roam'' which was published on FTP and usenet in 1991,[17] ''Netboy'' which was published on the web in the summer of 1993,[18] ''Doctor Fun'' which was published on the web in September of 1993.[19] and NetComics Weekly from Finnish Comics Society, which started in mid 1994[20] and ran through 1999 (2001 in finnish). ''Argon Zark!'', which first appeared in June of 1995, and ''Kevin and Kell'', premiering in September of the same year, may not be among the first webcomics, but they certainly can be said to be among the longest running as they are still being published.
Other comics lay claim to be first, or at least setting the trend, within different genres and art styles.''The Polymer City Chronicles'' which began bi-weekly updates on March 13th, 1995[21] 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 started updating three times a week before settling on a twice a week schedule. 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.
The late nineties saw the number of webcomics increase drastically. ''Sabrina Online'' first appeared a year later in September of 1996. A year later, in 1997, ''Goats'' appeared (in April), followed by ''Sluggy Freelance'' (in August), ''Roomies!'' (in September), ''Newshounds'' and ''User Friendly'' (both in November). ''Penny Arcade'', ''PvP'', ''Jerkcity'', and ''Pokey the Penguin'' began a year later.
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 advocacy of micropayments has also been a source of debate.[22][23]
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 magazines articles and later appearing in the March 2001 issue of Wizard Magazine.
In March 2000, Chris Crosby, Crosby's mother Teri, and Darren Bleuel founded the webcomics portal Keenspot.[24][25] KeenSpot features invited webcomics artists selected for their popularity, talent and/or quality, offering free hosting, but much like its predecessor ''Big Panda'', taking 50% of advertising revenues. Crosby and Bleuel also started a free webcomic hosting service in July 2000, originally called KeenSpace but renamed Comic Genesis in July 2005.
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. Comics and New Media Contributors included, amongst others, UK-based comic book creators Pat Mills, Simon Bisley, John Bolton and Kevin O'Neill, and the author Clive Barker. Cool Beans or Dead Beans: can the comic barons cross onto the web? 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.[26] The Modern Tales spin-off serializer followed in October of 2002, then came girlamatic and Graphic Smash in March and September of 2003 respectively.
By 2005, webcomics hosting had become a business in its own right with sites such as Joey Manley's Webcomics Nation.Walker, Leslie (June 16, 2005). "Comics Looking to Spread A Little Laughter on the Web". ''The Washington Post'', p. D1.
2005 European alternative comic artists started the screen comic publisher electrocomics.com. They provide selected graphic novels in Pdf-format and some comic strip series. They won the German independed comic award (special prize of the jury) in the same year.
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.[27]
Community
The 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.[28] 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.[29] There are also webcomic communities emerging through the general webcomic sites that cover the medium through news and articles such as Comixpedia and the blog Fleen. Sites providing hosting and other services, e.g. Comic Genesis, Drunk Duck or buzzComix, also tend to aggregate communities.[30]
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.[30]
Business
Usually, webcomics artists have to pay for the costs of art supplies, server hosting and other expenses out of their own pocket, making most webcomics labors of love rather than money-making opportunities. For webcomics who pay for their own hosting, bandwidth is a concern; the more popular the comic becomes, the more costly hosting becomes. There are a variety of webcomic hosting sites; some provide free hosting but require advertising, others are paid for and have no such requirements. Webcomic-oriented hosts will often provide software to reduce the technical knowledge required to set up a webcomic and its corresponding webpages.
There are different ways for webcomic artists to earn money, such as donations, advertising, and merchandising. Some use tip jars (through PayPal, for instance) or solicit donations through drives. Some sell merchandise featuring their artwork, or sell their artwork directly, sometimes under commission. If a webcomic has enough traffic, advertising and/or subscription revenue can also be generated. Some successful webcomics have subsequently been reprinted in compilations, often self-published. Examples of webcomics in print include ''PvP'', ''Penny Arcade'', ''Sluggy Freelance'', and ''Megatokyo'', as well as many others.
Some artists are able to work on their webcomics full-time without needing a day job to support it. This group of "professional webcomic artists" includes James Kochalka of ''American Elf'',[32] Jeph Jacques of ''Questionable Content'',[33] Brian Clevinger of ''8-Bit Theater'',[34] Eric Millikin of ''Fetus-X'',[35] Tim Buckley of ''Ctrl+Alt+Del'',[36] and many others. Most of these artists began their comics as a hobby, but succeeded to the point that they could live off of donations and merchandise.
In addition to individual artists' efforts to profit from webcomics, there are various Internet entrepreneurs striving to develop business models as well. Scott McCloud, a long-time supporter of using micropayments to fund webcomics, was an advisor for the micropayment company BitPass. Some webcomic publishers, such as the Modern Tales family of sites, have used a subscription model.
Awards
A number of comic awards have added categories for comics published on the web. The Eagle Awards established a Favourite 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 Cartoonist's Choice AwardsBoxer, Sarah (August 172005). "Comics Escape a Paper Box, and Electronic Questions Pop Out". New York Times.[37] 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.[38]
References
1. talkaboutcomics.com
2. McCloud, Scott (2000). ''Reinventing Comics'', New York: Paradox Press. ISBN 0-06-095350-0. Pg. 200-233
3. McCloud, Scott (July 2001). ''McCloud in Stable Condition Following Review, Groth Still at Large''. ''The Comics Journal'', no. 235. Pg. 70-79
4. Flagg, Gordon (August 2006). "Attitude 3: The New Subversive Online Cartoonists". ''Booklist'', Pg. 23
5. Kuehner, John C. (December 21, 2004). ''Comic artists use Web to ensnare readers''. ''The Seattle Times'', Pg. F2
6. Brownstein, Charles (January 2002). ''Tape This to Your Cubicle Wall''. ''The Comics Journal'', no. 240. Pg. 56-57
7. CHRONICLE COMICS; No More Wascally Wabbits
8. Yang, Jeff (October 25 2006)as well as "ASIAN POP: See you in the funny pages". ''San Francisco Gate''
9. McNeil's Finder Goes Online Wolk, Douglas
10. Webcomics: Page Clickers to Page Turners MacDonald, Heidi
11. It’s A Softer World After All Arrant, Chris
12. Rall, Ted (2006). '', New York: Nantier, Beall, Minoustchine. ISBN 1-56163-465-4. Pg. 115-121.
13. Hodges, Michael H. (January 8, 2007). ''Diesel Sweeties tackles nuts, bolts of love''. ''The Detroit News'', Pg. 1E
14. Crane, Jordan (April 2001). ''A Silly Little Coat Hanger for Fart Jokes: Talkin' Comics with Leisuretown.com's Tristan A Farnon''. ''The Comics Journal'', no. 232. Pg. 80-89
15. "Michigan State President Acts Presidential". (November 2000). ''Catalyst Journal of the Catholic League for Religious and Civil Rights''
16. T.H.E.-FOX.TXT
17. Where the Buffalo Roam -- First Comic on the Internet Bordahl, Hans
18. The History of Online Comics by T Campbell (Part 2) Campbell, T
19. (December 17, 2000). "Readers know how to find "Fun"". ''Chapel Hill Herald''. Pg. 9
20. What's New With NCSA Mosaic and the WWW (June, 1994)
21. Dr. Otto's Do-It-Yourself Bomb Disposal
22. Misunderstanding Micropayments McCloud, Scott
23. Making the web pay Hammersley, Ben
24. Yim, Roger. (April 2, 2001). "DOT-COMICS: Online cartoons skip traditional syndication and draw loyal fans on the Internet". ''San Francisco Chronicle''. Pg. D1
25. Newman, Heather. (February 2, 2001). "See You In The Funny Pixels Michigan Cartoonists Draw On Web Sites To Find Readers". ''Detroit Free Press''. Pg. 1H
26. Ho, Patricia Jiayi (July 8, 2003). "Online comic artists don't have to play panel games". ''Alameda Times-Star (Alameda, CA)''
27. Publishers Look to Digital Comics Soponis, Trevor
28. Webcomic Communities (Part Two), Interactivity: Fuel for your fave Creator? Cooper, Kelly J.
29. The Future of Webcomics Zabel, Joe
30. A Shrinkage of the Center? Zabel, Joe
31. A Shrinkage of the Center? Zabel, Joe
32. Glenn, Joshua (July 11 2004). "This American Elf". ''The Boston Globe'', p. D2.
33. http://www.questionablecontent.net/faq.php
34. http://www.nuklearpower.com/8bitdonatefaq.php
35. Brenner, Lynn (February 27 2000). "What People Earn: How Did You Do This Year?". ''Parade Magazine'', p. 9.
36. http://ctrlaltdel-online.com/index.php/faq
37. "Attack of the Show". G4TechTV. Aired 12 August2005.
38. comicbase.nl's blog Mirk, Jeroen
See also
★ Cartoonist
★ Comic book creator
★ Comic strip
★ Hypercomics
★ List of webcomics
★ List of webcomics in print
★ Machinima
★ Manga
★ Manhua
★ Manhwa
★ Mobile comic
★ Sprite comic
★ Websnark
★ Webserial
★ Women in comics
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psst.. try this: add to faves
