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{{short description|Comics published online}}
'''Webcomics''', also known as '''online comics''' and '''web comics''', are [[comics]] that are available on the [[World Wide Web|web]]. Many of these web comics are exclusively [[publishing|published]] [[online]], while others are published on [[paper]] but maintain a web presence or [[archive]], for either commercial or artistic reasons. Web comics run the gamut from traditional [[cartoon strip]] styles to an electronic emulation of [[manga]] or [[graphic novel]]s and beyond, using the web's inexpensive costs and low entry barrier to begin publication, seek an [[audience]] and, in some cases, advance sequential illustration as an art form.
{{distinguish|Digital comic|Mobile comic}}
{{Use mdy dates|date=March 2018}}
{{Comics navbar|title=Webcomic}}
'''Webcomics''' (also known as '''online comics''' or '''Internet comics''') are [[comics]] published on the internet, such as on a [[website]] or a [[mobile app]]. While many webcomics are published exclusively online, others are also published in [[magazine]]s, [[newspaper]]s, or [[comic books]].


Webcomics can be compared to [[self-published]] print comics in that anyone with an Internet connection can publish their own webcomic. Readership levels vary widely; many are read only by the creator's immediate friends and family, while some of the most widely read have audiences of well over one million readers.<ref name=PWFeb2012>{{cite web |url=http://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/50797-rich-burlew-talks-about-his-1-million-kickstarter-book-project.html |title=Rich Burlew Talks About His $1 Million Kickstarter Book Project |last1=Allen |first1=Todd |date=27 February 2012 |website=Publishers Weekly |access-date=May 24, 2013 |archive-date=November 2, 2013 |archive-url=https://web.archive.org/web/20131102212947/http://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/50797-rich-burlew-talks-about-his-1-million-kickstarter-book-project.html |url-status=live }}</ref><ref name=ComicsAllianceOct2012>{{cite web|url=http://www.comicsalliance.com/2012/10/02/homestuck-interview-andrew-hussie-bryan-lee-omalley-ms-paint-adventures/ |title='Scott Pilgrim' Guy Interviews 'Homestuck' Guy: Bryan Lee O'Malley On Andrew Hussie |last1=O'Malley |first1=Bryan Lee |date=2 October 2012 |website=Comics Alliance |publisher=AOL |access-date=May 24, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130308091741/http://www.comicsalliance.com/2012/10/02/homestuck-interview-andrew-hussie-bryan-lee-omalley-ms-paint-adventures/ |archive-date=March 8, 2013 |df=mdy-all }}</ref><ref name=USATodayOct2011>{{cite news|url=https://www.usatoday.com/life/comics/2010-04-01-pennyarcade-creators01-ST_N.htm|work=[[USA Today]]|title='Penny Arcade' a testament to the power of gaming culture|author=Geddes, John|date=April 2, 2010|access-date=October 12, 2011|archive-date=July 3, 2010|archive-url=https://web.archive.org/web/20100703031741/http://www.usatoday.com/life/comics/2010-04-01-pennyarcade-creators01-ST_N.htm|url-status=live}}</ref> Webcomics range from traditional [[comic strip]]s and [[graphic novel]]s to [[avant garde]] comics, and cover many [[genre]]s, [[style (visual arts)|style]]s, and subjects.<ref name="CCP">{{cite web |url=http://www.charlestoncitypaper.com/gyrobase/Content?oid=oid%3A36337 |title=Webcomics are profane, explicit, humorous&nbsp;— and influencing trends |first=Steven |last=Lacy |date=November 21, 2007 |work=Charleston City Paper |publisher=Noel Mermer |access-date=November 28, 2009 |archive-date=January 3, 2016 |archive-url=https://web.archive.org/web/20160103034018/http://www.charlestoncitypaper.com/gyrobase/Content?oid=oid:36337 |url-status=dead }}</ref> They sometimes take on the role of a comic [[blog]].<ref>{{cite news|url=https://montrealgazette.com/entertainment/books/from-comic-blog-to-bestseller-kate-beatons-step-aside-pops-is-the-second-instalment-in-a-comics-publishing-phenomenon|newspaper=[[Montreal Gazette]]|title=From comic blog to bestseller: Kate Beaton's Step Aside, Pops is the second instalment in a comics publishing phenomenon|last=McGillis|first=Ian|date=2015-09-25|access-date=January 27, 2019|archive-date=January 18, 2021|archive-url=https://web.archive.org/web/20210118235459/https://montrealgazette.com/entertainment/books/from-comic-blog-to-bestseller-kate-beatons-step-aside-pops-is-the-second-instalment-in-a-comics-publishing-phenomenon|url-status=live}}</ref> The term [[web cartoonist]] is sometimes used to refer to someone who creates webcomics.
Webcomics differ from published comic strips, in that almost anyone can start his own comic strip and publish it on the Web; there is no longer any need to for a creator to meet the approval of a publisher or syndicate. Currently there are hundreds of web comics, most of which are low-quality and sporadically updated. However, a number of web comics have endured, and the best web comics rival their newspaper and magazine counterparts in quality and quantity.


==Medium==
==Medium==
[[Image:Dieselsweeties 01583.png|thumb|Many webcomics like ''[[Diesel Sweeties]]'' use non-traditional art styles.]]
[[Image:Fetusx fx082106painting.jpg|thumb|The themes of webcomics like [[Eric Millikin]]'s have caused controversy.]]
There are several differences between webcomics and print comics. With webcomics the restrictions of traditional books, newspapers or magazines can be lifted, allowing artists and writers to take advantage of the web's unique capabilities.


===Styles===
Many webcomics are little different from traditional print comics, but a few webcomics [[artist]]s have taken advantage of the web's unique abilities. [[Scott McCloud]] has pioneered the idea of the ''infinite canvas'', the idea that webcomics should be free to spread out in every direction indefinitely, rather than confining themselves to dimensions that would fit on a piece of paper. A prime example of this principle would be the latter-day installments of [[T Campbell]]'s [[Fans (the webcomic)|''Fans'']], or [[Cayetano Garza]]'s ''[[Cuentos De La Frontera]]'', as well as several stories by [[Patrick Farley]] of e-sheep.com. Other artists have experimented with the incorporation of [[animation]] into their comics (although purists may believe animation has no place in comics). Critical analysis of this medium can be found at [[Comixpedia]], an online [[magazine]] ([[ezine]]) covering webcomics.
The creative freedom webcomics provide allows artists to work in nontraditional styles. [[Clip art]] or [[photo]] comics (also known as [[Photonovel|fumetti]]) are two types of webcomics that do not use traditional artwork. ''[[A Softer World]]'', for example, is made by overlaying photographs with strips of typewriter-style text.<ref name="Publishersweekly3">{{cite web|url=http://www.publishersweekly.com/article/CA6327720.html |title=It's A Softer World After All |first=Chris |last=Arrant |date=April 25, 2006 |work=Publishers Weekly |publisher=Reed Elsevier |access-date=2009-11-28 |url-status=dead |archive-url=https://web.archive.org/web/20090606062854/http://www.publishersweekly.com/article/CA6327720.html |archive-date=June 6, 2009 }}</ref> 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) [[Page layout|template]] comics and only the text changing.<ref name="attitude3 North">{{cite book | title=[[Attitude: The New Subversive Cartoonists|Attitude 3: The New Subversive Online Cartoonists]] | last=Rall | first=Ted | author-link=Ted Rall | year=2006 | publisher=Nantier Beall Minoustchine Publishing | location=New York | isbn=1-56163-465-4 | pages=115–121}}</ref> [[Pixel art]], such as that created by [[Richard Stevens (cartoonist)|Richard Stevens]] of ''[[Diesel Sweeties]]'', is similar to that of sprite comics but instead uses low-resolution images created by the artist themself.<ref name="Detroit Stevens">{{cite news | title=Diesel Sweeties tackles nuts, bolts of love | first=Michael H. | last=Hodges | newspaper=[[The Detroit News]] | publisher=Jonathan Wolman | location=Detroit | date=January 8, 2007 | page=1E}}</ref> However, it is also common for some artists to use traditional styles, similar to those typically published in newspapers or comic books.


===Content===
The web has, at least potentially, several advantages over the conventional form of publishing. It has removed many of the traditional barriers that prevent an independent comics artist from having his work published (in this sense, web comics are a continuation of the independent comics movement that began with [[underground comics]], and later [[alternative comics]]). As stated above, the restrictions of the usual comic format are lifted, though for functional reasons most still follow it. While newspaper comic strips have to be comprehensible to the average reader, the huge potential audience provided by the Internet allows much more specialization, as can be seen in the rise of such genres as [[video game]]-oriented comics or [[transsexual]] biographies. The fact that comprehensive archives stretching back to the very start of a webcomic are instantly available to the reader at all times can help make much deeper plotlines and characterization possible. And, of course, some comics (such as Eric Millikin's ''[[Fetus-X]]'') delight in the fact that very few things short of blatant breaching of [[international law]] will lead to [[censorship]].
Webcomics that are independently published are not subject to the content restrictions of [[book publisher]]s or [[Print syndication|newspaper syndicate]]s, enjoying an artistic freedom similar to [[underground comics|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.<ref name="CCP" /> The content of webcomics can still cause problems, such as ''Leisure Town'' artist [[Tristan A. Farnon|Tristan Farnon]]'s legal trouble after creating a profane ''[[Dilbert]]'' parody,<ref name="TCJ Farnon">{{cite journal | last1=Crane | first1=Jordan |date=April 2001 | title=A Silly Little Coat Hanger for Fart Jokes: Talkin' Comics with Leisuretown.com's Tristan A Farnon | journal=[[The Comics Journal]] | issue=232 | pages=80–89}}</ref> or the [[Catholic League (U.S.)|Catholic League]]'s protest of artist [[Eric Millikin]]'s "blasphemous treatment of Jesus."<ref name="CatholicLeague">{{cite web | url=http://www.catholicleague.org/catalyst.php?year=2000&month=November&read=1108 | title=Michigan State President Acts Presidential | date=November 2000 | work=Catalyst Journal of the Catholic League for Religious and Civil Rights | publisher=Catholic League for Religious and Civil Rights | access-date=2009-11-28 | url-status=dead | archive-url=https://web.archive.org/web/20100124060541/http://www.catholicleague.org/catalyst.php?year=2000&month=November&read=1108 | archive-date=January 24, 2010 | df=mdy-all }}</ref>


===Format===
To the criticism of many (especially established cartoonists) computer technology has made it no longer necessary for a webcomic artist to actually be a skilled [[artist]]. One popular form of webcomics that have become feasible due to the proliferation of video game [[sprite (computer science)|sprites]] are [[sprite comic]]s, in which existing images of video game characters are pasted into panels and dialogue is added in the form of speech balloons. These types of comics should not be confused with ones that use [[pixel art]], an artform where the artist draws his own low resolution artwork from scratch. Other similar approaches involve using [[clip art]], [[found art]], or photographs.
Webcomic artists use many formats throughout the world. [[Comic strips]], generally consisting of three or four [[panel (comics)|panels]], have been a common format for many artists. Other webcomic artists use the format of traditional printed [[comic book]]s and [[graphic novel]]s, sometimes with the plan of later publishing books.


[[Scott McCloud]], an early advocate of webcomics since 1998,<ref>{{Cite web|url=https://scottmccloud.com/1-webcomics/|title=scottmccloud.com - Webcomics|website=scottmccloud.com}}</ref> pioneered the idea of the "[[infinite canvas]]" where, rather than being confined to normal print dimensions, [[artist]]s are free to spread out in any direction indefinitely with their comics.<ref name="reinventingcomics">{{cite book | title=[[Reinventing Comics]] | last=McCloud | first=Scott | author-link=Scott McCloud | year=2000 | publisher=Paradox Press | location=New York | isbn=0-06-095350-0<!--ISBN very different from original invalid number&nbsp;– pagination might differ--> | pages=200–233}}</ref><ref name="McCloud TCJ">{{cite journal | last1=McCloud | first1=Scott |date=July 2001 | title=McCloud in Stable Condition Following Review, Groth Still at Large | journal=[[The Comics Journal]] | issue=235 | pages=70–79}}</ref> Such a format proved highly successful in [[webtoon|South-Korean webcomics]] when JunKoo Kim implemented an infinite scrolling mechanism in the platform [[Webtoon (platform)|Webtoon]] in 2004.<ref>{{cite web|url=https://www.businessinsider.com/what-is-webtoons-2016-2|work=[[Business Insider]]|title=Millions in Korea are obsessed with these revolutionary comics -- now they're going global|last=Acuna|first=Kristen|date=2016-02-12|access-date=February 25, 2017|archive-date=February 18, 2017|archive-url=https://web.archive.org/web/20170218064901/http://www.businessinsider.com.au/what-is-webtoons-2016-2|url-status=live}}</ref> In 2009, French web cartoonist [[Yves Bigerel|Balak]] described [[Turbomedia]], a format for webcomics where a reader only views one panel at a time, in which the reader decides their own reading rhythm by going forward one panel at a time.<ref name=Balak>{{cite web|url=https://www.actualitte.com/article/interviews/balak-auteur-et-createur-du-turbo-media-il-y-a-un-marche-de-la-bd-numerique/64884|work=Actualitte|title=Balak, auteur et créateur du Turbo Media : "Il y a un marché de la BD numérique"|last=Leroy|first=Joséphine|date=2016-03-06|access-date=February 25, 2017|archive-date=February 26, 2017|archive-url=https://web.archive.org/web/20170226131034/https://www.actualitte.com/article/interviews/balak-auteur-et-createur-du-turbo-media-il-y-a-un-marche-de-la-bd-numerique/64884|url-status=live}}</ref> Some web cartoonists, such as political cartoonist [[Mark Fiore (cartoonist)|Mark Fiore]] or Charley Parker with ''[[Argon Zark!]]'', incorporate [[animation]]s or [[interactivity|interactive elements]] into their webcomics.<ref name="attitude3">{{cite book | title=[[Attitude: The New Subversive Cartoonists|Attitude 3: The New Subversive Online Cartoonists]] | last=Rall | first=Ted | author-link=Ted Rall |year=2006 |publisher=Nantier Beall Minoustchine Publishing | location=New York | isbn=1-56163-465-4 |page=9}}</ref>
The prevalent form that the webcomic appears in is in a strip or page form, usually humor-based. Popular examples of this gag-a-day form are ''[[Penny Arcade]]'', ''[[PvP]]'', ''[[Sinfest]]'', ''[[Ctrl Alt Del (webcomic)|CTRL-ALT-DEL]]'', and others. The comic itself can be a simple three panel strip or a multiple panel page. The gag-a-day comic lends itself easily to popular consumption as they are episodic in nature and do not require much foreknowledge of the comic itself. However, on occasion, these webcomics can have various story arcs that elaborate on situations presented in the strips. Usually, these arcs are motivated by the wish of the artist to explore the boundaries of the medium or simply to carry a joke even further.


==History==
This same motivation can lead to a "Cerebus Complex"" &mdash; a term popularized by [[Websnark]], a webcomic [[blogging|blogger]]. The Cerebus Complex (named after [[Dave Sim]]'s comic ''[[Cerebus the Aardvark]]'', which started life as a broad [[Conan the Barbarian]] parody, but wound up a dark and complicated drama) is an attempt of a humorous gag-a-day comic to morph into a character- and plot-driven comic, usually with more serious overtones. The Cerberus Complex usually points to a successful attempt although failed attempts are more than possible. Failed attempts are usually then labeled "First and Ten Syndrome." Attempts that are deemed successful depends on one's subjective opinion but various webcomics that have attempted (and perhaps succeeded at) this transformation are ''[[Megatokyo]]'', ''[[Sluggy Freelance]]'' and ''[[College Roomies from Hell!!!]]'' as well as many others.
{{main|History of webcomics}}
The first comics to be shared through the Internet were [[Eric Millikin]]'s ''Witches and Stitches'', which he started uploading on [[CompuServe]] in 1985.<ref name="Dochak">{{cite web|url=http://m.thegauntlet.ca/story/pioneering-page|title=Pioneering the page: The decline of print comics, the growth of webcomics and the flexibility, innovation and controversy of both|last=Dochak|first=Sarah|date=2011-11-29|publisher=[[Gauntlet (newspaper)|Gauntlet]]|url-status=dead|archive-url=https://web.archive.org/web/20151222133117/http://m.thegauntlet.ca/story/pioneering-page|archive-date=2015-12-22}}</ref><ref name="Paste">{{cite magazine|last=Smith|first=Alexander, K.|date=2011-11-19|title=14 Awesome Webcomics To Distract You From Getting Things Done|url=http://www.pastemagazine.com/blogs/lists/2011/09/22-awesome-webcomics.html|magazine=[[Paste (magazine)|Paste]]|access-date=March 13, 2020|archive-date=September 18, 2012|archive-url=https://web.archive.org/web/20120918022910/http://www.pastemagazine.com/blogs/lists/2011/09/22-awesome-webcomics.html|url-status=live}}</ref> Services such as CompuServe and [[Usenet]] were used before the [[World Wide Web]] started to rise in popularity in 1993. Early webcomics were often derivatives from strips in [[college newspaper]]s,{{Citation needed|date=October 2021}} but when the Web became widely popular in the mid-1990s, more people started creating comics exclusively for this medium. By 2000, various webcomic creators were financially successful and webcomics became more artistically recognized. Unique genres and styles became popular during this period.


The 2010s also saw the rise of [[webtoon]]s in [[South Korea]], where the form has become very prominent. This decade had also seen an increasingly larger number of successful webcomics being adapted into [[animated series]] in China and Japan.
Webcomics can also be presented in the same manner as traditional comic books, manga and graphic novels. This is still rather rare and at the time of this writing, the episodic humor webcomics are more common but that is subject to change. The manga and graphic novel-influenced webcomics are usually driven by plot continuity, storylines and character development. That is not to say that a humor-based comic can't have story or character development but usually, story is secondary to the humor. In these continuity-driven webcomics, panels can vary in size and shape. These comics usually come in a page form rather than a strip form and can also be posted in a multiple page format such as chapters.


==Webcomics collectives==
==History==
In March 1995, artist Bebe Williams launched one of the first webcomics collectives, [[Art Comics Daily]].<ref name="New York Times">Peterson, Iver (October 28, 1996). "The Search for the Next 'Doonesbury". ''[[The New York Times]]'', Pg. D9</ref> Newspaper comic strip syndicates also launched websites in the mid-1990s.


Other webcomics collectives followed, with many launching in the next decade. In March 2000, [[Chris Crosby (webcomics)|Chris Crosby]], Crosby's mother Teri, and other artists founded [[Keenspot]].<ref name="sanfrancisco">Yim, Roger. (April 2, 2001). "DOT-COMICS: Online cartoons skip traditional syndication and draw loyal fans on the Internet". ''[[San Francisco Chronicle]]''. Pg. D1</ref><ref name="detroit">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</ref> In July 2000, [[Austin Osueke]] launched [[eigoMANGA]], publishing original online [[manga]], referred to as "webmanga".
Currently, some of the most popular webcomics include ''[[PvP]],'' ''[[Sluggy Freelance]],'' ''[[Penny Arcade]],'' ''[[User Friendly]],'' ''[[Something Positive]]'' and ''[[Megatokyo]]''.


In 2001, the subscription webcomics site [[Cool Beans World]] was launched. Contributors included UK-based comic book creators [[Pat Mills]], [[Simon Bisley]], [[John Bolton (illustrator)|John Bolton]], and [[Kevin O'Neill (comics)|Kevin O'Neill]], and the author [[Clive Barker]].<ref name=Martin>{{cite web
==Community==
| last = Martin
| first = Jessica
| title = Cool Beans or Dead Beans: can the comic barons cross onto the web?
| url=http://www.sfcrowsnest.com/library/zones/2001/nz5841.php
| access-date = 2007-03-15 |archive-url = https://web.archive.org/web/20061018170131/http://www.sfcrowsnest.com/library/zones/2001/nz5841.php <!-- Bot retrieved archive --> |archive-date = October 18, 2006}}</ref> Serialised content included ''[[Scarlet Traces]]'' and ''[[Marshal Law (comics)|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 Steve Conley's ''[[Astounding Space Thrills]]'', Jason Kruse's ''[[The World of Quest]]'', and [[Bernie Wrightson]]'s ''The Nightmare Expeditions''.
With the growth of webcomics, there is also the growth of an online community around webcomics. There are fanbases that artists foster through the use of forums, fan sections and blogs. The artists themselves also create a community through exchanges of emails, links, forum posts as well as art in the form of guest filler strips and cross-overs. There are also general webcomic communities emerging through the general webcomic sites that cover news and articles in the community such as [[Comixpedia]], which have their own general forums. Sites ranking webcomics like [[buzzComix]] and [[DrunkDuck]] also provide a nexus for webcomic creators and aficionados to convene. In addition, there are multiple art forums where burgeoning webcomic artists can display their work for comments and suggestions.


On March 2, 2002, [[Joey Manley]] founded [[Modern Tales]], offering subscription-based webcomics.<ref name="alameda">Ho, Patricia Jiayi (July 8, 2003). "Online comic artists don't have to play panel games". ''[[Alameda Times-Star]] (Alameda, CA)''</ref> The Modern Tales spin-off [[serializer]] followed in October 2002, then came [[girlamatic]] and Graphic Smash in March and September 2003 respectively.
With the emergence of such communities, there are also divisions within them. There are writers and artists with further lines of specialization within these two general categories. For writers, there are various genres of interest each with their own subgenres respectively such as comedy, fantasy, science fiction and (auto-)biographical. For artists, some are all purpose while there are others who specialize only in pencilling, inking, lettering as well as coloring. Of course, in the fan-based webcomic communities, there are the fanbases of different webcomics with varying degrees of interest.


By 2005, webcomics hosting had become a business in its own right, with sites such as [[Webcomics Nation]].<ref name=WashPost>Walker, Leslie (June 16, 2005). "Comics Looking to Spread A Little Laughter on the Web". ''[[The Washington Post]]'', p. D1.</ref>
As with the Internet, the webcomic community has already seen much controversy. Since the nature of a webcomic is closely tied to art as well as popularity, emotions can run high 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. The flames of controvery can also be fanned by a particular webcomic's fanbase, especially if they are rabid.


Traditional comic book publishers, such as [[Marvel Comics]] and [[Slave Labour Graphics]], did not begin making serious digital efforts until 2006 and 2007.<ref name="PWcomicsweek">{{cite web|title=Publishers Look to Digital Comics |url=http://www.publishersweekly.com/article/CA6393781.html |access-date=2007-05-02 |author=Soponis, Trevor |work=[[Publishers Weekly]] |url-status=dead |archive-url=https://web.archive.org/web/20070127001532/http://www.publishersweekly.com/article/CA6393781.html |archive-date=January 27, 2007 }}</ref> [[DC Comics]] launched its web comic imprint, [[Zuda Comics]] in October 2007.<ref name="Newsarama">{{cite web|title=PERAZZA ON THE LAUNCH OF ZUDACOMICS.COM|url=http://forum.newsarama.com/showthread.php?t=134710&highlight=zuda|url-status=dead|archive-url=https://web.archive.org/web/20100305085613/http://forum.newsarama.com/showthread.php?t=134710&highlight=zuda|archive-date=March 5, 2010|df=mdy-all}}</ref> The site featured user submitted comics in a competition for a professional contract to produce web comics. In July 2010, it was announced that DC was closing down Zuda.<ref>{{cite web |first=Ron |last=Perazza |url=http://zuda.blog.dccomics.com/2010/07/01/the-future-of-zuda/ |title=The Future of Zuda |work=The Bleed |publisher=[[DC Comics.com]] |date=July 1, 2010 |access-date=July 1, 2010 }}{{dead link|date=January 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
Some examples of controversies that the webcomic industry has seen are the breakup of [[Megatokyo]]'s founding duo of [[Fred Gallagher]] and [[Rodney Caston]], [[Scott Kurtz]] of [[PvP]]'s accusation of [[Fred Gallagher]] of stealing [[Megatokyo]] away from [[Rodney Caston]] and more. There have also been various "flame wars" that different webcomic fanbases have participated in. There have even been cases where a webcomic receiving a bad review would cause a flame war such as with [[Comixpedia]]'s scathing review of [[Little Gamers]] prompting the creators to urge their fanbase to respond with derogatory comments.


==Industry==
==Business==
{{main|Business of webcomics}}
[[Image:Xkcd philosophy.png|thumb|''[[xkcd]]'' (2005) is among the many financially successful webcomics.]]


Some creators of webcomics are able to do so [[professional]]ly through various [[revenue]] channels. Webcomic artists may sell [[merchandise]] based on their work, such as [[T-shirts]] and toys, or they may sell [[printing|print]] versions or compilations of their webcomic.<ref name="Publishers2">{{cite magazine|last=Wolk|first=Douglas|date=2004-11-01|title=Web Comics Send Readers Looking for Books|url=http://www.publishersweekly.com/pw/print/20041101/36779-web-comics-send-readers-looking-for-books.html|magazine=[[Publishers Weekly]]|access-date=November 17, 2017|archive-date=November 16, 2017|archive-url=https://web.archive.org/web/20171116083158/https://www.publishersweekly.com/pw/print/20041101/36779-web-comics-send-readers-looking-for-books.html|url-status=live}}</ref> Webcomic creators can also sell [[online advertisement]]s on their [[websites]].<ref name="movingon">{{cite web|url=http://observer.com/2015/11/webcomics-changing-business-model/|title=The Webcomics Business Is Moving on From Webcomics|last=Dale|first=Brady|date=2015-11-16|work=[[The New York Observer]]|access-date=March 13, 2020|archive-date=November 30, 2019|archive-url=https://web.archive.org/web/20191130212309/https://observer.com/2015/11/webcomics-changing-business-model/|url-status=live}}</ref> In the second half of the 2000s, webcomics became less financially sustainable due to the rise of [[social media]] and consumers' disinterest in certain kinds of merchandise. [[Crowdfunding]] through [[Kickstarter]] and [[Patreon]] have also become sources of income for web cartoonists.<ref name="ObserverPatreon">{{cite news|last=Dale|first=Bradly|url=http://observer.com/2015/11/patreon-webcomics-and-getting-by/|title=Patreon, Webcomics and Getting By|date=2015-11-15|newspaper=[[Observer.com]]|access-date=March 13, 2020|archive-date=September 29, 2020|archive-url=https://web.archive.org/web/20200929053917/https://observer.com/2015/11/patreon-webcomics-and-getting-by/|url-status=live}}</ref>
Commercial expectations for webcomics are relatively high-- whether they are realistic or not remains to be seen. This industry was first started by various hobbyists who took advantage of the [[Internet]]'s ability to broadcast content to a mass audience. The older, more established webcomics are the most successful as well as the most popular. Usually though, artists have to pay for the costs of art supplies, server hosting and other expenses out of their own pocket. Thus, many webcomics were intially labors of love. However, with the growth of webcomics, there are several free options for the new webcomic. There are free webcomic hosting sites such as [[KeenSpace]] as well as link sites and forums for webcomic artists to advertise or "plug" their webcomic. There are webcomic services for artists who are willing to pay for it such as [[KeenSpot]], the premium version of [[KeenSpace]] as well as commercial webcomic sites such as [[Modern Tales]], [[Serializer]] and [[PV Comics]].


Webcomics have been used by some cartoonists as a path towards [[Print syndication|syndication]] in [[newspapers]].<ref>{{Cite news|last=Staff report|url=http://www.greensboro.com/blogs/gotriad_extra/new-comic---phoebe-and-her-unicorn--/article_fa8d0efe-d3fb-11e4-8091-8357d61bda6c.html|title=New comic - 'Phoebe and Her Unicorn' - debuts today|date=2015-03-13|work=[[News & Record]]|access-date=March 13, 2020|archive-date=December 7, 2021|archive-url=https://web.archive.org/web/20211207005457/https://greensboro.com/blogs/gotriad_extra/new-comic---phoebe-and-her-unicorn--/article_fa8d0efe-d3fb-11e4-8091-8357d61bda6c.html|url-status=live}}</ref> Since the mid-1990s, Scott McCloud advocated for [[micropayments]] systems as a source of income for web cartoonists, but micropayment systems have not been popular with artists or readers.<ref>{{cite web|url=http://webcomicsreview.com/?p=151&page=3|title=Making Lightning &ndash; An Interview with Scott McCloud|last=Zabel|first=Joe|author-link=Joe Zabel|date=2006-06-21|work=The Webcomics Examiner|url-status=dead|archive-url=https://web.archive.org/web/20080324025118/http://webcomicsreview.com/?p=151&page=3|archive-date=2008-03-24}}</ref>
There are different ways for part-time (amateur) webcomic artists to try to support their hobby. Some use tip jars (through PayPal) or sell merchandise featuring their artwork. If a webcomic has enough traffic, advertisement revenue can be generated. Banner ads are the preferred form of advertisement as pop-up ads easily detract the viewer from the webcomic experience and are easily blocked thanks to the innate functions of [[Internet]] browsers such as Opera, and Mozilla Firefox as well as third party pop-up ad blockers. Some successful webcomics have subsequently been [[reprint]]ed in book-length collections, just as a successful print comic might be.


==Awards==
Through these various methods of generating revenue, a select group of webcomic 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 established giants like [[Pete Abrams]] of [[Sluggy Freelance]], [[Scott Kurtz]] of [[PvP]], [[Fred Gallagher]] of [[Megatokyo]], [[Mike Krahulik]] and [[Jerry Holkins]] of [[Penny Arcade]] and others. There are also some moderately popular webcomic artists who are starting to or attempting to make the transition from being amateur to professional.
{{Main|List of webcomic awards}}


Many webcomics artists have received honors for their work. In 2006, [[Gene Luen Yang]]'s graphic novel ''[[American Born Chinese (graphic novel)|American Born Chinese]]'', originally published as a webcomic on [[Modern Tales]], was the first graphic novel to be nominated for a [[National Book Award]].<ref name="newyorktimes">Bosman, Julie. (October 12, 2006). "National Book Award Finalists Chosen". ''[[The New York Times]]'', Pg. E2</ref> [[Don Hertzfeldt]]'s animated film based on his webcomics, ''Everything Will Be OK'', won the 2007 [[Sundance Film Festival]] Jury Award in Short Filmmaking, a prize rarely bestowed on an animated film.<ref name="Sundance">{{cite news|title=Bay Area films keep it real at Sundance festival|url=http://findarticles.com/p/articles/mi_qn4176/is_20070116/ai_n17130219/pg_2/|access-date=2007-01-16|author=De Benedetti, Chris |newspaper=Oakland Tribune}} {{Dead link|date=September 2010|bot=RjwilmsiBot}}</ref>
Notably, the most recent example is [[R.K. Milholland]] of [[Something Positive]]. After receiving constant complaints of irregular updates, he dared fans to donate the equivalent of his then yearly salary of $22,000 to allow him to work on his webcomic full time. As of this writing, he is now working on [[Something Positive]] full-time. In addition to individual artists' efforts to earn enough of a profit from webcomics to make it a livelihood, there are various [[Internet]] entrepeneurs striving to develop business models that will guarantee a profit. These efforts have also received the endorsement of different webcomic artists such as [[Scott Kurtz]] of [[PvP]].


Many traditionally print-comics focused organizations have added award 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 traditional 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. In 2012 the [[National Cartoonists Society]] gave their first Reuben Award for "On-line comic strips."<ref>{{cite web|url=http://www.reuben.org/?p=1019|title=National Cartoonists Society|access-date=June 27, 2012|archive-date=June 4, 2012|archive-url=https://web.archive.org/web/20120604074859/http://www.reuben.org/?p=1019|url-status=live}}</ref>
Recently, [[Scott Kurtz]] has declared that he will offer a year's worth of [[PvP]] strips to newspapers for [[syndication]]. It is assumed to be a demonstration of the quality of webcomics and its commerical viability.


Other awards focus exclusively on webcomics. The [[Web Cartoonists' Choice Awards]]<ref name="WCCA1">{{cite news|last=Boxer|first=Sarah|date=2005-08-17|url=https://www.nytimes.com/2005/08/17/books/17comi.html?ex=1281931200&en=08e3777cc4943486&ei=5090&partner=geartest&emc=rss|title=Comics Escape a Paper Box, and Electronic Questions Pop Out|newspaper=[[New York Times]]|access-date=February 20, 2017|archive-date=July 20, 2014|archive-url=https://web.archive.org/web/20140720203141/http://www.nytimes.com/2005/08/17/books/17comi.html?ex=1281931200&en=08e3777cc4943486&ei=5090&partner=geartest&emc=rss|url-status=live}}</ref><ref name="WCCA2">[http://www.g4tv.com/attackoftheshow/episodes/4335/Web_Toon_Awards_Picture_Podcasts_The_High_Speed_Scene.html "Attack of the Show"] {{webarchive |url=https://web.archive.org/web/20160404203521/http://www.g4tv.com/attackoftheshow/episodes/4335/Web_Toon_Awards_Picture_Podcasts_The_High_Speed_Scene.html |date=April 4, 2016 }}. G4TechTV. Aired August 12, 2005.</ref> consist of a number of awards that were handed out annually from 2001 to 2008. The Dutch [[Clickburg Webcomic Awards]] (also known as the Clickies) has been handed out four times between 2005 and 2010. The awards require the recipient to be active in the [[Benelux]] countries, with the exception of one international award.<ref name="Clickie">{{cite web|title=comicbase.nl's blog|url=http://www.comixpedia.com/blog/comicbase_nl|access-date=2007-01-31|author=Mirk, Jeroen|publisher=Comixpedia |archive-url = https://web.archive.org/web/20060615175457/http://comixpedia.com/blog/comicbase_nl |archive-date = June 15, 2006}}</ref>
==Notable artists==

*[[Pete Abrams]] - Creator of ''[[Sluggy Freelance]]''
==Webcomics in print==
*[[John Allison]] - Creator of ''[[Scary Go Round]]'' and ''[[Bobbins]]'
{{main|List of webcomics in print}}
*[[Clay (nee Hard)]] - Creator of ''[[Sexy Losers]]''

*[[Mitch Clem]] - Creator of ''[[Nothing Nice to Say]]''
Though webcomics are typically published primarily on the World Wide Web, often webcomic creators decide to also print [[self-publishing|self-published]] books of their work. In some cases, web cartoonists may get [[publishing]] deals in which [[comic books]] are created of their work. Sometimes, these books are published by mainstream comics publishers who are traditionally aimed at the [[direct market]] of comic books stores.<ref name=Publishers>{{cite magazine|url=http://www.publishersweekly.com/pw/print/20041101/36779-web-comics-send-readers-looking-for-books.html|magazine=[[Publishers Weekly]]|title=Web Comics Send Readers Looking for Books|last=Wolk|first=Douglas|date=2004-11-01|access-date=November 17, 2017|archive-date=November 16, 2017|archive-url=https://web.archive.org/web/20171116083158/https://www.publishersweekly.com/pw/print/20041101/36779-web-comics-send-readers-looking-for-books.html|url-status=live}}</ref> Some web cartoonists may pursue [[print syndication]] in established [[newspapers]] or [[magazines]].
*[[Brian Clevinger]] - Creator of ''[[8-Bit Theater]]''

*[[Greg Dean]] - Creator of ''[[Real Life (Comic)|Real Life]]''
The traditional audience base for webcomics and print comics are vastly different, and webcomic readers do not necessarily go to bookstores. For some web cartoonists, a print release may be considered the "goal" of a webcomic series, while for others, comic books are "just another way to get the content out."<ref>{{cite web|url=https://www.publishersweekly.com/pw/print/20051219/35322-web-comics-page-clickers-to-page-turners.html|work=Publishers Weekly|title=Web Comics: Page Clickers to Page Turners|last=McDonald|first=Heidi|author-link=Heidi McDonald|date=2005-12-19|access-date=November 17, 2017|archive-date=November 6, 2018|archive-url=https://web.archive.org/web/20181106142058/https://www.publishersweekly.com/pw/print/20051219/35322-web-comics-page-clickers-to-page-turners.html|url-status=live}}</ref> Webcomics have been seen by some artists as a potential new path towards syndication in [[newspapers]]. According to [[Jeph Jacques]] (''[[Questionable Content]]''), "there's no real money" in syndication for webcomic artists. Some artists are not able to syndicate their work in newspapers because their comics are targeted to a specific [[niche market|niche]] audience and would not be popular with a broader readership.<ref>{{cite web|url=http://archive.boston.com/lifestyle/articles/2011/08/02/the_new_webcomic_entrepreneurs/|work=[[The Boston Globe]]|title=See you in the funny pages|last=Chen|first=Jialu|date=2011-09-02|access-date=November 17, 2017|archive-date=November 17, 2017|archive-url=https://web.archive.org/web/20171117013020/http://archive.boston.com/lifestyle/articles/2011/08/02/the_new_webcomic_entrepreneurs/|url-status=live}}</ref>
*[[Patrick Farley]] - An early pioneer of webcomics

*[[J D Frazer]] - Writing ''[[Userfriendly]]'' since [[1997]]
==Non-anglophone webcomics==
*[[Fred Gallagher]] - Writes and draws ''[[Megatokyo]]''
[[File:Opráski sčeskí historje chřezt.jpg|thumb|''{{Interlanguage link|Opráski sčeskí historje|cs|3=Opráski sčeskí historje}}'' (lit. "''The Pictures of the Czech History''", though misspelled) is among the most popular [[Czech Republic|Czech]] webcomics.<ref>{{cite web|url=http://nazory.ihned.cz/c1-60812380-opraski-sceski-historje-na-ihned-cz-jak-cesi-volili-husakovu-ksc|publisher=[[Hospodářské noviny]]|title=Opráski sčeskí historje na IHNED.cz: Jak Češi volili Husákovu KSČ|last=Zlatkovský|first=Michal|date=2013-09-23|access-date=February 2, 2016|archive-date=February 2, 2016|archive-url=https://web.archive.org/web/20160202210944/http://nazory.ihned.cz/c1-60812380-opraski-sceski-historje-na-ihned-cz-jak-cesi-volili-husakovu-ksc|url-status=live}}</ref>]]
*[[Shaenon K. Garrity]] - A prominent cartoonist in the [[Modern Tales]] family of webcomics

*[[Cayetano Garza]] - Another early pioneer of webcomics
Many webcomics are published primarily in [[English (language)|English]], this being a major language in Australia, Canada, India, the United States, and the United Kingdom. Cultures surrounding non-anglophone webcomics have thrived in countries such as China, France, India, Japan, and South Korea.{{cn|date=March 2024}}
*[[Ghastly]] - Creator of ''[[Ghastly's Ghastly Comic]]''

*[[Bill Holbrook]] - Creator of ''[[Kevin and Kell]]'', the first web comic syndicated exclusively via the internet
Webcomics have been a popular medium in [[India]] since the early 2000s. [[Indian webcomics]] are successful as they reach a large audience for free<ref>{{cite news|url=http://timesofindia.indiatimes.com/home/sunday-times/deep-focus/Strip-tease-Indian-webcomics-make-a-mark/articleshow/6494318.cms|newspaper=[[The Times of India]]|title=Strip tease: Indian webcomics make a mark|last=Arora|first=Kim|date=2010-09-05|access-date=April 28, 2016|archive-date=September 12, 2016|archive-url=https://web.archive.org/web/20160912000438/http://timesofindia.indiatimes.com/home/sunday-times/deep-focus/Strip-tease-Indian-webcomics-make-a-mark/articleshow/6494318.cms|url-status=live}}</ref> and they are frequently used by the country's younger generation to spread [[social awareness]] on topics such as [[Indian politics|politics]] and [[feminism]]. These webcomics achieve a large amount of exposure by being spread through [[social media]].<ref>{{cite news|url=http://www.hindustantimes.com/books/laughing-through-our-worries-the-indian-web-comics/story-e6RDl58hD3NGVTKiK5IF0K.html|newspaper=[[Hindustan Times]]|title=Laughing through our worries: The Indian web comics|last=Verma|first=Tarishi|date=2015-04-26|access-date=April 28, 2016|archive-date=August 3, 2016|archive-url=https://web.archive.org/web/20160803140915/http://www.hindustantimes.com/books/laughing-through-our-worries-the-indian-web-comics/story-e6RDl58hD3NGVTKiK5IF0K.html|url-status=live}}</ref>
*[[Ian Jones-Quartey]] - Creator of ''[[RPG World]]''

*[[Kazu Kibuishi]] - Operates http://boltcity.com
In China, [[Chinese webcomics]] have become a popular way to criticize the communist government and politicians in the country. Many webcomics by popular artists get shared around the country thanks to social networks such as [[Sina Weibo]] and [[WeChat]]. Many titles will often be [[Censorship in China|censored]] or taken down by the government.{{cn|date=March 2024}}
*[[Derek Kirk Kim]] - Won an [[Eisner Awards|Eisner Award]] for his online comic ''Same Difference & Other Stories''
*[[Mike Krahulik]] and [[Jerry Holkins]] - Creators of ''[[Penny Arcade]]''
*[[Scott Kurtz]] - Creator of ''[[PvP]]''
*[[Scott McCloud]] - Wrote ''[[Understanding Comics]]'', and is a popular defender of webcomics
*[[R.K. Milholland]] - Creator of ''[[Something Positive]]''
*[[Chris Onstad]] - Creator of ''[[Achewood]]''
*[[Jonathan Rosenberg]] - Creator of ''[[Goats]]''
*[[Dan Shive]] - Creator of ''[[El Goonish Shive]]''
*[[David Simpson]] - Creator of ''[[Ozy and Millie]]'' and ''[[I Drew This]]''
*[[Howard Tayler]] - Creator of ''[[Schlock Mercenary]]''
*[[Steve Troop]] - writing and drawing ''[[Melonpool]]'' on web since [[1996]]
*[[Christopher B. Wright]] - Creator of ''[[Help Desk]]''


==See also==
==See also==
{{Portal|Comics|Internet}}
*[[List of web comics]]
*[[Cartoonist]]
* [[Digital comic]]
*[[Comic strip]]
* [[Digital illustration]]
* [[List of webcomic creators]]
*[[Manga]]
*[[Sprite comic]]
* [[List of webcomics]]
* [[Web fiction]]
* [[Webtoon]]


==External links==
==References==
{{Reflist|30em}}


== Further reading ==
<!-- content aggregators -->
* {{Cite book|last=Kleefeld|first=Sean|title=Webcomics|publisher=[[Bloomsbury Academic]]|year=2020|isbn=9781350028180|series=Bloomsbury Comics Studies}}
*[http://www.comixpedia.com Comixpedia], an online magazine focused on coverage of webcomics
*[http://www.dayfreepress.com Dayfree Press], a free online webcomics network
*[http://www.drunkduck.com DrunkDuck], a webcomic hosting service combined with a top list.
*[http://www.keenspot.com Keenspot], a company that hosts webcomics on individual [[domain name]]s.
**[http://www.keenspace.com Keenspace], an arm of Keenspot that hosts many webcomics as subdomains of Keenspace.com
*[http://www.moderntales.com ModernTales], subscription-based site of professional webcomics
*[http://www.pvcomics.com PVComics], a subscription-based and free webcomics site
*[http://www.serializer.net Serializer], subscription-based online alternative comics anthology
<!-- lists and indices -->
*[http://cgi.belfry.com/comics/ The Belfry Comics Index], a list of webcomics
*[http://www.buzzcomix.net buzzComix Top 100], a top-100 list of webcomics determined by voting by readers.
<!-- critical analysis and reference -->
*[http://www.toonopedia.com/index.htm Don Markstein's Toonopedia], a good source for further information
*[http://www.websnark.com Websnark], a critical commentary site largely devoted to informal analysis of webcomics.
*[http://www.gnomz.com/ Create your own comics and view that of other people]


==External links==
{{commons category|Webcomics}}
{{wiktionary|webcomic}}
* [http://video.pbs.org/video/2345662967/ The Rise of Web Comics] Video produced by ''[[Off Book (web series)|Off Book]]''


{{Webcomics}}
[[fi:Web-sarjakuva]]
{{Comics}}
[[fr:BD en ligne]]
{{Web syndication}}
[[it:Fumetto online]]
{{Independent production}}
[[pt:Webcomic]]
{{Authority control}}


[[Category:Web comics|*]]
[[Category:Webcomics| ]]
[[Category:Comics formats]]
[[Category:New media]]
[[Category:New media art]]
[[Category:Multimedia]]
[[Category:Digital art]]
[[Category:Internet art]]
[[Category:Internet-based works]]
[[Category:Internet culture]]

Latest revision as of 19:11, 16 August 2024

Webcomics (also known as online comics or Internet comics) are comics published on the internet, such as on a website or a mobile app. While many webcomics are published exclusively online, others are also published in magazines, newspapers, or comic books.

Webcomics can be compared to self-published print comics in that anyone with an Internet connection can publish their own webcomic. Readership levels vary widely; many are read only by the creator's immediate friends and family, while some of the most widely read have audiences of well over one million readers.[1][2][3] Webcomics range from traditional comic strips and graphic novels to avant garde comics, and cover many genres, styles, and subjects.[4] They sometimes take on the role of a comic blog.[5] The term web cartoonist is sometimes used to refer to someone who creates webcomics.

Medium

[edit]
Many webcomics like Diesel Sweeties use non-traditional art styles.
The themes of webcomics like Eric Millikin's have caused controversy.

There are several differences between webcomics and print comics. With webcomics the restrictions of traditional books, newspapers or magazines can be lifted, allowing artists and writers to take advantage of the web's unique capabilities.

Styles

[edit]

The creative freedom webcomics provide allows artists to work in nontraditional styles. Clip art or photo comics (also known as fumetti) are two types of webcomics that do not use traditional artwork. 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 themself.[8] However, it is also common for some artists to use traditional styles, similar to those typically published in newspapers or comic books.

Content

[edit]

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.[4] The content of webcomics can still cause problems, such as Leisure Town artist Tristan Farnon's legal trouble after creating a profane Dilbert parody,[9] or the Catholic League's protest of artist Eric Millikin's "blasphemous treatment of Jesus."[10]

Format

[edit]

Webcomic artists use many formats throughout the world. Comic strips, generally consisting of three or four panels, have been a common format for many artists. Other webcomic artists use the format of traditional printed comic books and graphic novels, sometimes with the plan of later publishing books.

Scott McCloud, an early advocate of webcomics since 1998,[11] 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.[12][13] Such a format proved highly successful in South-Korean webcomics when JunKoo Kim implemented an infinite scrolling mechanism in the platform Webtoon in 2004.[14] In 2009, French web cartoonist Balak described Turbomedia, a format for webcomics where a reader only views one panel at a time, in which the reader decides their own reading rhythm by going forward one panel at a time.[15] Some web cartoonists, such as political cartoonist Mark Fiore or Charley Parker with Argon Zark!, incorporate animations or interactive elements into their webcomics.[16]

History

[edit]

The first comics to be shared through the Internet were Eric Millikin's Witches and Stitches, which he started uploading on CompuServe in 1985.[17][18] Services such as CompuServe and Usenet were used before the World Wide Web started to rise in popularity in 1993. Early webcomics were often derivatives from strips in college newspapers,[citation needed] but when the Web became widely popular in the mid-1990s, more people started creating comics exclusively for this medium. By 2000, various webcomic creators were financially successful and webcomics became more artistically recognized. Unique genres and styles became popular during this period.

The 2010s also saw the rise of webtoons in South Korea, where the form has become very prominent. This decade had also seen an increasingly larger number of successful webcomics being adapted into animated series in China and Japan.

Webcomics collectives

[edit]

In March 1995, artist Bebe Williams launched one of the first webcomics collectives, Art Comics Daily.[19] Newspaper comic strip syndicates also launched websites in the mid-1990s.

Other webcomics collectives followed, with many launching in the next decade. In March 2000, Chris Crosby, Crosby's mother Teri, and other artists founded Keenspot.[20][21] In July 2000, Austin Osueke launched eigoMANGA, publishing original online manga, referred to as "webmanga".

In 2001, the subscription webcomics site Cool Beans World was launched. Contributors included 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 Steve Conley's Astounding Space Thrills, Jason Kruse's The World of Quest, and Bernie Wrightson's The Nightmare Expeditions.

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 Webcomics Nation.[24]

Traditional comic book publishers, such as Marvel Comics and Slave Labour Graphics, did not begin making serious digital efforts until 2006 and 2007.[25] DC Comics launched its web comic imprint, Zuda Comics in October 2007.[26] The site featured user submitted comics in a competition for a professional contract to produce web comics. In July 2010, it was announced that DC was closing down Zuda.[27]

Business

[edit]
xkcd (2005) is among the many financially successful webcomics.

Some creators of webcomics are able to do so professionally through various revenue channels. Webcomic artists may sell merchandise based on their work, such as T-shirts and toys, or they may sell print versions or compilations of their webcomic.[28] Webcomic creators can also sell online advertisements on their websites.[29] In the second half of the 2000s, webcomics became less financially sustainable due to the rise of social media and consumers' disinterest in certain kinds of merchandise. Crowdfunding through Kickstarter and Patreon have also become sources of income for web cartoonists.[30]

Webcomics have been used by some cartoonists as a path towards syndication in newspapers.[31] Since the mid-1990s, Scott McCloud advocated for micropayments systems as a source of income for web cartoonists, but micropayment systems have not been popular with artists or readers.[32]

Awards

[edit]

Many webcomics artists have received honors for their work. In 2006, Gene Luen Yang's graphic novel American Born Chinese, originally published as a webcomic on Modern Tales, was the first graphic novel to be nominated for a National Book Award.[33] Don Hertzfeldt's animated film based on his webcomics, Everything Will Be OK, won the 2007 Sundance Film Festival Jury Award in Short Filmmaking, a prize rarely bestowed on an animated film.[34]

Many traditionally print-comics focused organizations have added award 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 traditional 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. In 2012 the National Cartoonists Society gave their first Reuben Award for "On-line comic strips."[35]

Other awards focus exclusively on webcomics. The Web Cartoonists' Choice Awards[36][37] consist of a number of awards that were handed out annually from 2001 to 2008. The Dutch Clickburg Webcomic Awards (also known as the Clickies) has been handed out four times between 2005 and 2010. The awards require the recipient to be active in the Benelux countries, with the exception of one international award.[38]

Webcomics in print

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Though webcomics are typically published primarily on the World Wide Web, often webcomic creators decide to also print self-published books of their work. In some cases, web cartoonists may get publishing deals in which comic books are created of their work. Sometimes, these books are published by mainstream comics publishers who are traditionally aimed at the direct market of comic books stores.[39] Some web cartoonists may pursue print syndication in established newspapers or magazines.

The traditional audience base for webcomics and print comics are vastly different, and webcomic readers do not necessarily go to bookstores. For some web cartoonists, a print release may be considered the "goal" of a webcomic series, while for others, comic books are "just another way to get the content out."[40] Webcomics have been seen by some artists as a potential new path towards syndication in newspapers. According to Jeph Jacques (Questionable Content), "there's no real money" in syndication for webcomic artists. Some artists are not able to syndicate their work in newspapers because their comics are targeted to a specific niche audience and would not be popular with a broader readership.[41]

Non-anglophone webcomics

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Opráski sčeskí historje [cs] (lit. "The Pictures of the Czech History", though misspelled) is among the most popular Czech webcomics.[42]

Many webcomics are published primarily in English, this being a major language in Australia, Canada, India, the United States, and the United Kingdom. Cultures surrounding non-anglophone webcomics have thrived in countries such as China, France, India, Japan, and South Korea.[citation needed]

Webcomics have been a popular medium in India since the early 2000s. Indian webcomics are successful as they reach a large audience for free[43] and they are frequently used by the country's younger generation to spread social awareness on topics such as politics and feminism. These webcomics achieve a large amount of exposure by being spread through social media.[44]

In China, Chinese webcomics have become a popular way to criticize the communist government and politicians in the country. Many webcomics by popular artists get shared around the country thanks to social networks such as Sina Weibo and WeChat. Many titles will often be censored or taken down by the government.[citation needed]

See also

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References

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  2. ^ O'Malley, Bryan Lee (October 2, 2012). "'Scott Pilgrim' Guy Interviews 'Homestuck' Guy: Bryan Lee O'Malley On Andrew Hussie". Comics Alliance. AOL. Archived from the original on March 8, 2013. Retrieved May 24, 2013.
  3. ^ Geddes, John (April 2, 2010). "'Penny Arcade' a testament to the power of gaming culture". USA Today. Archived from the original on July 3, 2010. Retrieved October 12, 2011.
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  5. ^ McGillis, Ian (September 25, 2015). "From comic blog to bestseller: Kate Beaton's Step Aside, Pops is the second instalment in a comics publishing phenomenon". Montreal Gazette. Archived from the original on January 18, 2021. Retrieved January 27, 2019.
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  7. ^ Rall, Ted (2006). Attitude 3: The New Subversive Online Cartoonists. New York: Nantier Beall Minoustchine Publishing. pp. 115–121. ISBN 1-56163-465-4.
  8. ^ Hodges, Michael H. (January 8, 2007). "Diesel Sweeties tackles nuts, bolts of love". The Detroit News. Detroit: Jonathan Wolman. p. 1E.
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Further reading

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