#webcomic resources

[screentonescast]

🚐🎶🎶🎶

The Screen Tones Ice Cream Truck is in the neighborhood and we have some fantastic flavors on the menu!

Check out these webcomic themed ice creams to help you stay cool this summer🍦

Big thanks to everyone who participated!!

[akapenx]

Webcomic websites

I've seen people wondering where they can post their webcomics and all, here's a small list of websites for different types of comics, feel free to reblog/dm me with the ones you know too and I will update the list!

For Webtoon style/ infinite scrolling comics (the ones that are one long page that you scroll through):

Webtoons

Tapas

Lezhin

Clip Studio Share*

For traditional webcomics (Page by page reading):

Global Comix

ComicFury

Arkhaven

Comicgenesis

The Duck Webcomics

Hiveworks

Clip Studio Share*

For uploading your comics as a downloadable PDF people pay for:

Itch.io (comic section)

Global Comix

*Clip studio share is cool because it's also a host for your comic and you can embed it into your own website if you have one!

[reimenaashelyee]

The Creator's Guide to Comics Devices is OPEN!!! comicsdevices.com

An online library of visual-narrative devices that are used in the medium of comics and other sequential art.

Happy Halloween! I'm really excited to be finally launching* what is maybe one of my most ambitious, largest work yet. This online library is the next phase of a research project that began in May 2020, when I first mused on how comics as a field doesn't have a resource that catalogues devices used in the medium. Like, theatre has devices, so does literature, and film! So why shouldn't comics? I always had an interest in comics studies and analysis. I love reading, making and thinking comics. However most of my knowledge was intuitive - I learned comics from osmosis and experience. This is true for many of my peers. Speaking about comics as a creator is hard, because we don't have a robust system of language. When we had to speak, many of us tend to reach for the language developed for film by film practitioners. If there is language specific to comics, it's either scattered in multiple blogs or hidden away in academic journals. The Comics Devices library is meant to aggregate everything and everybody into a single hub! After exploring some multiple resources, alongside some original, independent research, here is the first edition! * The Comics Devices project is still a work-in-progress! It's not final, nor will it ever be. This is why I am seeking contributors to help build this library. Translations, comics examples, etc. There is a lot of work to do! If you are interested, reply to this post or submit an expression of interest on this page.  Have fun everyone!! (Now time for me to melt x_x)

[ask-p2-germany]

(this question is for mun) I've been wondering for a long time, how do you make your backgrounds? they look so realistic?? do you use some kind of 3d/rendering program? or photos? I too use clip studio paint, but I would have no idea how to make the backgrounds look as perfect and realistic as yours😳

Snaptoon: https://www.acon3d.com/en/toon/product/1000007186 https://snaptoonwarehouse.com/snaptoon/snaptoon_en.php Acon3D: https://www.acon3d.com/en/toon Clip Studio Assets: https://assets.clip-studio.com/en-us/

Mentioned auto actions: https://assets.clip-studio.com/en-us/detail?id=1901436 https://assets.clip-studio.com/en-us/detail?id=1989728 https://assets.clip-studio.com/en-us/detail?id=1990089 https://assets.clip-studio.com/en-us/detail?id=1936799 https://assets.clip-studio.com/en-us/detail?id=1989165

[b-shful]

Ponymoe stamps pt2

No art is mine !! All credits 2 Ponymoe

DO NOT repost without credit to me

f2u and resize please like or reblog if doing so!

[plentyeyes]

portfiend's webcomic template

i made another Eleventy template, this time for webcomics. if you haven't seen my other one, the character directory, go check it out!

preview the template on Neocities get the source code on GitHub

list of features

pages are markdown and can contain images, text, and any other hypertext content

"first". "previous", "next", "last" navigation, using the mouse or arrow keys

divide your pages into chapters and subdirectories, list them by section on the archive, automatically sort them numerically

"save" and "load" buttons (optional), for readers to save their place and return to it later

includes the javascript library swup for faster page transitions

those author's notes you'd find on websites like comicfury

RSS feed automatically generated from comic pages

mobile-responsive layout

like this template? feel free to throw me a tip at my ko-fi or a recurring donation via liberapay. i do this stuff for free and i don't have a job, so any contributions are greatly appreciated!

[joshua-wright]

www.joshuawright.net

[star-dragon-art]

Made this for myself for planning my comic, but feel free to use it if it suits your needs!

[mushki-art]

dyslexia friendly comic fonts!

I made some dyslexia-friendly fonts for comics specifically~ They're free to use for whatever you want, but if anyone wants to give me a tip, that would be much appreciated <3 (i'm disabled and cant work, but can't stomach the thought keeping them behind a paywall, just cause they're so desperately needed)

(im not a pro at font making, so there might be kerning issues, but they work well for me~)

You can get them on my ko-fi!

[eastgaysian]

actually i think a lot of indie longform gay webcomics are bad because they're often one-person passion projects that are wildly overambitious in scope and have nobody else to edit from an impersonal perspective/talk the artist into killing their darlings. you may argue this should apply to straight webcomics as well, which i think is partially true, but straight webcomics have a much more immediately noticeable problem which is that 90% of them are made by some guy who really really wants to fuck the women he draws. webtoons is a whole other thing

[gofancyninjaworld]

Just what did he *do* to them?

So, as The Organization's dastardly plan has been enacted, we've learned that there's a kill list that they're checking off, exceptional individuals who have been targeted for death -- and reconstruction as will-free fighters.

The S-Class heroes, Garou, and a few others, have each had a Machine God sent to kill them and take their corpses back to HQ for treatment.

One Machine God. No back up plan, apparently.

So far the exception has been Dr. Kuseno. Kuseno may only have been No. 23 on their list, but he's gotten special treatment. THREE Machine Gods got sent to kill him, each at threat level dragon, and they were backed up by seven further powerful robots.

Just as remarkable was what they did. For everyone else, the Machine God will announce itself, explain why it's there, talk shit, and only then attack. The Machine Gods sent for Kuseno stealthily approached late at night, stayed well outside the building perimeter in the forest, and sniped the scientist clean through his centre of mass through the building walls. If the other Machine Gods used that modus operandi, they'd have a lot more success but they're acting as if the others are nice-to-haves.

I can almost imagine the conversation that must have happened behind the scenes:

Machine God 'Body': I alone will be enough for one shitty old man and his ex-human pet. Head of Organization: NO! We absolutely cannot afford slip-ups. Take two more guys, and make sure you play together nicely. Also, take this backup squadron in case that old weasel tries to make a run for it.

Why? Thinking of three possibilities.

They really, really, really hate Kuseno.

They think that Genos and Kuseno are an extraordinary threat.

They think that Kuseno is a special resource that they must acquire at all cost.

Let's take them in turn. None of them are mutually exclusive.

Number 1 is very possible! Let's call it The 100 Cyborgs Who Really, Really, Really, Really, Really Hate You theory. I would not be surprised to see some very unwelcome revelations when/if Genos finally gets to The Organization.

Number 2 seems the least likely. Given how much store the Machine Gods -- and indeed the rest of the guys associated with The Organization -- place on ranking as evidence of strength, they're not likely to make much of Genos's strength. Unless they know that his type of strength is a special problem for them. But then, why are they not chasing Drive Knight with the same ardour?

Number 3 is very interesting indeed. If Kuseno knows something or has skills they cannot do without, then given that they can revive people as semi-automatons with no willpower, this is the best way to get their hands on it.

But wouldn't this risk damaging Drive Knight's anti-Bofoi plan?* That is if Drive Knight is in cahoots with them.

I thought about it some more. Not really. If the squad was able to kill Genos, then it'd mean that he was never strong enough to take on Bofoi's forces, and they'd be rid of a troublesome S-Class hero. And if they weren't, Genos would blame Bofoi for the attack, and then they're rid of two troublesome S-Class heroes. It's a win-win however they look at it.

Set an elephant to get rid of an elephant, as Zombieman would say.

So far, it's all going according to keikaku, which means plan.

The only questions now are, do they dig up Kuseno's body, and how do they get away with this?

*I'm still open to giving Drive Knight the benefit of the doubt, but at this point, it's really not looking good at all.

[screentonescast]

📚 Starting a new comic? Looking for new ones to pick up? Share and introduce your webcomic by using the hashtag #NewYearNewComic and help us kick off 2023 with more webcomics! In collaboration with the @webcomiclibrary, who has catalogued thousands of comics with tags, genres, and more, Screen Tones would like to celebrate the new year with finding more comics, launching new ones, and sharing each others love for webcomics! (https://tagpacker.com/user/webcomic.library)

[starrspice]

Did you decide to change any characters or story beats in the cherub au when you made it into an oc story? And how much of the au was transferred over? Like, is it just about the main three characters (and presumably Eclipse) or are the wider cast like DJ and Chica included? Same with all the story stuff that happens after Y/n (now Clover) becomes a cherub (Vanny and hollows and Michael and all that).

Honestly the stories are gonna be pretty similar and it will include the whole cast but I'll probably change a few lore things here and there and a couple of the character's backstories will probably change too

But by and large the way the cherubs function will remain the same and the major story beats will probably largely stay the same too

But I will say it will have a bit darker of a story later on that i kind of touched on with the original au

[webcomic-character-tournament]

Genuine question. Why are comics from online only publishers discouraged? What is the goal behind discouraging paid webcomics?

sorry for taking so long to answer this!

i got really excited about answering this but also am not very good at communicating things clearly, i often get lost in the details in my passion about stuff like this, so i hope this is still interesting to read and intelligible lol!

i dont think there is any one thing that inherently defines what is and isn't a webcomic, it's an amorphous category that i enjoy the ambiguity of. but for me, what first led to my wonder for them as an 11 year old, and what has been a major factor in my passion for them even as an adult, was their low barrier to entry in both making them and accessing them. if you have internet access and time, almost anyone can make a webcomic if they want to! of course, without editors (or often even full story plans) or sensitivity readers or more people on a team to collaborate and contribute to the comic's vision, and the huge effort that it takes to do all the tasks of writing, inks, coloring, lettering, etc. all on ones own often without professional resources to facilitate that, that means that a lot of webcomics are really rough in some way or another. but a lot of people have interesting ideas they want to work with, but don't have the technical skill, desire or ability to market themselves or be beholden to external work deadlines, or connections in some way or another to be able to share those ideas through traditional publishing. regardless of skill or ability, a lot of marginalized people are barred from having their stories accepted by publishers due to bigotry and expectations about what kind of story is profitable.

as a disabled lgbt kid, i definitely read a lot of really bad webcomics i wish i hadn't, but also some of the media i was exposed to that most represented me back then was in the form of webcomics from people a lot like me. and i could read so much of it easily and for free without having to risk much to access it behind my parents' backs!

obviously that isn't the case for every webcomic, but for me and my history with them, them being easily accessible to both publish and read has been really important.

there are absolutely a lot of good points to be made about how publishing free to read webcomics isn't always the most accessible thing for a lot of people, especially for poor and disabled people. making webcomics takes a huge amount of time and effort, and sometimes even if people are passionate about making a comic, they just can't afford to find the time for that around all the other responsibilities of their day to day lives unless it can be a consistent income source. thats why even if paid online comics arent my platonic ideal of webcomics, i absolutely would never exclude them. i want small creators making stories i want to read to get the money they need to survive and keep telling stories without burning out!

it could be argued that online publishers who specifically focus on webcomics don't always present the same barriers to entry as traditional publishers, and many don't restrict the scope of marginalized creators' stories at all or to the same extent as people have struggled in other more mainstream avenues. and from my outside understanding of publishers like hiveworks, i'd absolutely agree with that! i love a lot of hiveworks comics and think its an awesome thing! (of course literally my icon is from a hiveworks comic, tiger tiger!) nonetheless however, part of my goals with this tournament is to highlight lesser known comics, and as publishers like hiveworks help advertise and promote their comics, even if i still want everyone to read all my favorite comics published by them, and certainly there are limits to those advertising resources, they still don't need as much help as other comics without that support. so its not as much 'try not to submit these' and more 'as you submit stuff like this, try to submit stuff with less advertising resources and popularity too!'

going into this tournament i also had a similar sentiment for stuff like webtoons originals. there was an added element to me in how i feel like i know a lot of people nowadays who read webtoons but don't have much awareness of other forms of webcomic, but even if in my love for webcomics i want people to come to appreciate all the breadth of ways they can exist in, thats obviously not something to make a huge priority. it's incredible the amount of forms comics can take (sidenote but reading scott mccloud's "understanding comics" a couple years ago was really formative for me in cementing how much i appreciate that, i'd highly recommend it!!!), and the way infinite scroll comics like webtoon style comics more fully make use of their digital medium, using time scrolling to pace things in place of traditional gutters and panelling, is really really cool. of course they're becoming more popular in a world where more people have smartphones, where webtoon style comics are a lot easier to read than many other forms. i love a lot of webtoons, and id feel regressive to discourage stuff like line webtoon original comics any more than stuff like hiveworks comics, just to go against current trends in what comics people seem to prefer. they have a similar low barrier to entry (through contests) as other online publishers, and it's cool to see creators get the opportunity to get paid for their work and get help from professional editors and stuff

but in the past couple weeks of running this tournament, i ended up reading a lot more about the behind the scenes of what its like to be a line webtoon original creator. line webtoon's expectations for their creators are incredibly unrealistic and exploitative, with grueling deadlines leading to a lot of creators to get repetitive strain injuries, all while working for well below industry standards. obviously a lot of webcomic creators make an inconsistent poverty level income out of it as independent creators, and that shouldn't happen either, but it's absolutely inexcusable for a company to profit off this labor and then manufacture these same conditions. without any organized labor movement surrounding that issue, that of course isn't an argument against reading or promoting these comics on its own, creators are more likely to get more income if their comics get more popular, and despite the promise of popularity by becoming an official comic, they absolutely still aren't all promoted equally. what has made me want to slightly more discourage (but still absolutely not disallow!) stuff like line webtoon official comics has been the combination of that along with learning that much of the editing of webtoons originals carries less of the benefits of having experienced creatives collaborating with creators to elevate their stories to new levels, and very often instead ends up taking the form of 'simplify this plotline and make this character look more attractive and fit this archetype more fully so we can market this better and have readers easily consume each update while they're scrolling their phone without having to think about it too much'. while obviously there are a lot of amazing webtoon official comics in spite of what i've heard anectdotally, hearing that just really went against so much of what i've most valued about my experience with webcomics!

i want creators to be able to tell stories no matter how weird and unmarketable, where they'll never have to worry about pushback for making stories with characters and themes that resonate for them as a member of any oppressed group, and where there's as little pressure as possible pushing them to work harder or faster than they healthily can or want to! so for me, even if i still love a lot of online published comics and want them to be celebrated and want their creators to be able to make a comfortable living out of them, i still just want to highlight stories that had that level of freedom that has created some of my favorite experiences with webcomics just a little bit more.

[thescarletone]

Art made for the Shrine Comics Summer Wallpaper Event.

[thecrookedwriterspath]

If you're looking for more insights and awareness of D.I.D. (dissociative identity disorder) for writing or just your own awareness, I highly recommend both this article about and the autobiographical comics created by LB Lee, a system who's put their varied experiences to paper. The article is from an outside perspective and helps people unfamiliar with the disorder/systems to gain awareness of what this disorder is for them, and can be in general. The comics are at LB's itch.io, also linked, and are LB's works to share what they know amd experience, and process as well.

I discovered them by accident over 10 years ago at this point, I think, and while I haven't kept up regularly I did read a loooot of their comics which helped me understand D.I.D. more. I was working on an OC with D.I.D. and wanted to gain a better understanding (project is now vastly different and oc no longer relevant, but maybe in another project), but LB's comics were really eye-opening for me.

I just remembered last month about this experience and found this article about them as well. I just want to share this in case more people want a great resource for their research! Or just wat to expand their knowledge of the kinds of people we interact with in the world!