Timeframing: The Art of Comics on Screens

Timeframing: The Art of Comics on Screens

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Space Into Game, Time Into Book: What Comics and Screens Do Together

A comic on a screen is a curious and confounding thing, but after years of experimentation, tropes and techniques are beginning to emerge that go beyond imitative aspirations to embrace the medium for what it is.

Synchronization in “Our Toyota Was Fantastic”

A GIF-animated webcomic by French cartoonist Boulet is a wonderful example of how time in digital comics can be both serial and parallel.

Why motion comics matter, even if you hate them

Originally written in 2009 and posted here for the first time, thoughts on what we want our digital comics to do for us and why hybridization can be good even if we don't like its immediate results.


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About this site

The author

My name’s Erik Loyer. I’m a media artist and creative director who’s been thinking about comics on screens for nearly 20 years now, and actively making work in the field since 2007, often in collaboration with writer/illustrator Ezra Claytan Daniels. In 2008 I founded Opertoon, an interactive entertainment label that combines elements of comics, games, music, and gesture-driven interaction in projects like Upgrade Soul and Ruben & Lullaby.

The format

This site is a new kind of online publication created with a beta version of a publishing tool called Scalar. Part e-book, part wiki, and part blog, it’s a living work that will continue to grow and evolve over time.

Feedback & suggestions

Please feel free to post your comments on specific pages throughout this work (moderated), or you can send feedback directly to erik (at) opertoon (dot) com.

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