Digital comics | Geoff Johns explains how digital presentation made him re-evaluate his approach to writing Aquaman #1, as digital readers focus on stories panel by panel rather than page by page. He notes that they also spend more time on individual panels, taking in all the details before moving on: “It’s weird to go back and look at some of the old comics now. If you read something in this fashion you will notice stuff that you skipped over so quickly because your eye takes in the whole page instead of the panel individually. I think that’s probably one of the biggest advantages of digital.” Johns also reveals digital considerations have also led him to scale back on internal dialogue to “let the art and characters expressions speak for themselves.” [Variety]
Digital comics | On a related note, Shaun Huston ponders the challenges of making “comics as we know them” work on digital devices: “While there’s some latitude to read full pages on the iPad, and the Fire at 4.7” x 7.5” (or the Nooks) affords that option more realistically than the iPhone or similarly-sized devices, in all of these cases there will be situations where most readers will shift to Guided View in order to effectively see some particular detail on a page. For many, Guided View will be the primary choice, which is a qualitatively different experience than reading page-by-page. In fact, while in that mode, ‘the page’ arguably becomes irrelevant as panels are strung together into one linear sequence, rather than into a series of page-specific sequences.” [PopMatters]
Comic strips | Only nine months after returning syndicated comics to its pages, Washington City Paper has again eliminated them amid budget cuts. The alternative newspaper initially dropped comics in February 2009 in a bid to save money following the bankruptcy of parent company Creating Loafing. [DCist]
Publishing | Todd Allen catalogs retailer complaints about Marvel’s apparent long-running inability to keep its collection backlist available. “They’re a publisher that publishes their trade books like they’re periodicals” says says Eric Kirsammer, owner of Chicago Comics. “They don’t really have a backstock. I’ve been told by Marvel they don’t.” [Publishers Weekly]
Creators | Alan Corbett discusses his new graphic novel The Ghost of Shandon, set in 18th-century Cork, Ireland. [Cork Independent]
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