The idea of a comic book would most likely bring to mind the image of dog eared magazine, decorated in the garb of colourful superhero action, such as Superman or Spider-man, or comical animal strips, including the likes of Garfield, found in your everyday newspaper, due to the image that the mainstream media has perpetuated. With this image in mind, the general public can view the comic book medium as a playground tailored for children and the immature, a notion once shared by the creators themselves [Howe. 2012], this can put off some creators, as they “have a very limited audience and little chance of seeing any returns for their efforts” [Shedd. 2005:05]. The advent and ease of access of the World Wide Web, allows for creators to share their own comics with a wide audience without the fear of distribution costs, the freedom of genre, and complete creative control over their work. With that freedom in mind and the implementation of web only features, such as HTML and Flash, the medium itself could be played with and experimented upon, creating interactive experiences and motion sequences.
However, the creation of motion and interactive comics, according to Scott McCloud, could fall into the same trap as the traditional printed medium, using the screen in the same manner as a standard page. Unlike a sheet of paper, which has defined dimensions and can be ripped and ruined, a screen can be viewed as a window, an infinite space. “The goal is to use the infinite nature of the web to the advantage of the medium, rather than be constrained by panels and pages” [Booker, 2014:1825]. The expansion of a comic beyond its original dimensions, allows for a creator to experiment with what we traditionally see as a comic, and take “advantage of the medium to a much higher degree” [Shedd, 2005:09], using the added space and flexibility to complement the story being told.
The implementation of an infinite X and Y axis can add a sense of time to the work, as information is being revelled to the audience in a controlled setting. A practice McCloud refers to as “gradualism – slowly gaining information by slowly scrolling through an image or sequence of images” [McCloud, 2007]. This practice can, theoretically, expand on an idea of Marshall McLuhan, and the notion of time between panels. That the space in between comic book panels is infinite and can only be determined by what comes before and after. “The viewer, or reader, is compelled to participate in completing and interpreting the few hints provided by the bounding lines” [McLuhan, 1964:174]. An idea also expounded upon by McCloud, with the example of an off panel death, “To kill a man between Panels is to condemn him to a thousand deaths” [McCloud, 1993:68].
- Blake, C. (2013) The digital evolution: from infinite canvas to infinite comics. [Online] Comic Book Resources. Available from: http://www.cbr.com/the-digital-evolution-from-infinite-canvas-to-infinite-comics/ [Last accessed: 28/09/2016]
- Booker, M. (2014) Comics through Time. A History of Icons, Idols and Ideas. Greenwood
- Howe, S. (2012) Marvel Comics. The Untold Story. Harper Collins, New York.
- McCloud, S. (1993) Understanding Comics. Harper Collins, New York.
- McCloud, S. (2007) Reinventing Comics. Harper Collins, New York.
- McLuhan, M. (1964) Understanding Media. Routledge, Oxon.
- Shedd, A. (2005) No Borders, No Limits: The Infinite Canvas as a Storytelling Tool in Online Comics. Doctoral Dissertation, University of Idaho.