Eisner 2019 Webcomics Nominations!

Hitting you hot off the presses of the cultural Zeitgeist, it’s the Digital Strips Blog here with the nominees for the 2019 Eisner awards!…

…two weeks after they were announced!

But tardiness aside, there’s some interesting titles on the block this year. We can’t help but notice, too, that 60% (or, three out of the five) of the offerings in the Webcomics category are hosted on Line Webtoon — but then, the pervasiveness of that ever-expanding hub of Webcomics content is no surprise to erstwhile listeners of the Digital Strips podcast now, is it?

Here, then, are your Eisner Awards 2019 Webcomics Category finalists.

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Why 4-Panel Comics Aren’t Always Dominating Your Screens

Last week, a great article by Peter Rubin popped up on Wired.com: Why 4-Panel Comics Now Dominate Our Screens. In this examination of ‘What makes a webcomic go viral’, Rubin posits that:

Four-panel strips have been a fixture since early 20th-century newspaper comics like Mutt and Jeff and the concomitant appearance of yonkoma (“four-cell”) manga in Japan. It’s the perfect three-act-structure: You start at one end, develop conflict in the middle two panels, and resolve with a punch line at the end. But thanks to a number of factors—not least of which is the rise of Instagram and Reddit—a gridded, two-by-two variant has come to dominate the internet.

Peter Rubin, wired.com

Whilst Rubin’s article is clearly well-researched and definitely bags the incredible and recent cultural phenomenon which has been the Aliens from Nathan W. Pyle’s Strange Planet (the erstwhile E.T’s were originally planned to feature in this week’s blog post themselves!), I keenly felt Rubin’s omission of the greatest rival to this ‘dominant’ form: The Infinite Canvas.

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[Edit: OMG! This is my first top comment! Ty, Ty (UwU)] The Psychology Behind a Webtoons Phenomenon

If you’ve been following the podcast’s recommendations over the past few years, then odds are you’ve ended up somewhere on Line Webtoon once or twice.

Webtoons offer a great reading experience for webcomics: posting multiple pages for each chapter means you can blitz through really meaty chunks of a comic each update, and the way the posts flow into one another (particularly on mobile devices) leads to a real sense of ‘just-one-more’ishness equalled only by a packet of crisps or free booze at a work Christmas party.

Many regrets were had. Photo credit: istolethetv

But as you’re scrolling to the bottom, waiting for that little arrow to bump and tick you over into the next strip, you go past the comments. And inevitably, you see some variant of the following:

Witty comment pertaining to the latest update. (Edit: OMG! This is my first top comment you guys! Thank you, thank you, please remember that [cartoonist] is the real hero here, please like and support their work. Who thought this little thing I dashed off with barely any thought would be so popular haha I love you alllllllllllllll)”

The psychology behind commenting on the internet has been subject to a number of investigations, articles and academic papers over the years – but it seemed to me that this phenomenon was a little different to the standard trolling or ‘First!’ comments that plague other creative platforms like YouTube. So why do people feel the need to edit their comments once the original achieves some popularity? Continue reading

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The End of Something Wonderful

Clicking through the world of webcomics any time since 2006 there has been one small bit of text, so omnipresent that you might not even have noticed it, that has been with you as surely as the pixels on the screen translating colour and shape into humour and drama:

These nine words (plus a price tag) have been the staple of every self-respecting cartoonist or comic artist who’ve placed their work on the web (and even some of the not-so-self-respecting ones). However, an announcement by Project Wonderful creator Ryan North on June 11 2018 that the service was shutting down for good has brought this experiment in independent advertising and democratisation of ad revenue to a close.

So if you only know of the service as someone seeing the ads, what even was Project Wonderful – and what made it so different to the other advertising options out there? Today, we’re looking back on the service, what it promised, and what it means for webcomic creators to see the service go extinct.

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