'Gorky and Izzy's Trip to Mexico' is the project I completed for my Master's of Illustration thesis at the University of Hertfordshire. The thesis recieved a distiction. I am showing the below preview while I revise the art for future publishing.
Process
For my thesis I created ‘Gorky and Izzy’s Trip to Mexico’, a digital comic in line with current technology and attributes that go beyond current technological limits. The comic was made as a submission for online sale on ComiXology in two parts:
-A PDF document of each still, in line with the ComiXology Submission Guidelines and current technology, annotated with notes for incorporation into Guided View™
-An online preview showing how the comic will function in Guided View™ along with animated attributes not yet possible in Guided View™
- In the comic I challenged the limits of what is a comic by including atmospheric, looping animations.
Apps and Readers
I began my project by researching the different methods of distribution for digital comics. Comic reader applications for mobile technology interested me due to their functioning business models.
I decided to base my project on submission to ComiXology because they are the most successful comic app and their Guided View™ software is so far the most developed.
The reproduction of print comics for digital has been clunky mainly due to the fact that large portrait pages do not fit small landscape screens. Guided View™ was an attempt to solve this issue by using small animations to guide the reader through the comic. This inadvertently created an opportunity for artists to create comics solely for the application with new forms of panel transitions.
Market and Audience
My target audience was readers of digital comics who use ComiXology. ComiXology has done several surveys of its readership, but released only limited information. The only information useful to this project they have released is that 80% of their users use tablets, 44% computer and 36% mobile for accessing the application. Aside from that the research points to a user that is very average and not the classic stereotype of the comic book nerd (Kraft 2013).
An article by GeekMom.com reported that the ComiXology core customer is male, between 27-36 and has previously read print comics. (Kraft 2013) Research by other companies has revealed more information. Tech Hive has reported that female readership of ComiXology has quadrupled from 5-20% since its establishment. 'A new customer is emerging: She’s 17-26 years old, college-educated, lives in the suburbs, and is new to comics. She prefers Tumblr to Reddit. She may have never even picked up a print comic.' (McGarry 2013) A survey of ComiXology's Facebook likes by The Beat revealed similar results. Globally 18.75% of likes were female and 1.7% were gender unknown. However the age range is considerably different. Female likes peak at 58-61 and are highest between 54 and 64 years old. The male likes are consistently high from 18-50. (Hauman 2011) |
Script
I worked from a script that was made for or at least adapted by someone else for a comic book. Adapting a narrative myself would create too many variables that I would need to consider and research in my studies.
I posted adverts on a number of websites seeking a writer with a finished or close to finished script that was willing to collaborate. I received a wide range of replies - not all as professional as others.
My requirements were quite limited to begin with. Mainly I was looking for a clear, professionally written narrative that was close to complete. As I developed my research I started considering the uniqueness of characters, settings and how I would be able to visually depict them. When I understood what I wanted to accomplish in my final product I was able to consider if I could present the story in Guided View™ and animate small parts of it.
I decided on the script 'Gorky and Izzy's Trip to Mexico' by F. E. Rahman because of the emphasis on inter relations between characters which I believe is more suitable for my target audience.
Rahman and I met to discuss how we could work together on the project. Rahman saw and accepted my proposal. We agreed that I would do all of the illustration, lettering and layout for this script while presenting my work to Rahman and seeking feedback. We were both comfortable with collaboration and making suggestions, but respected other's disciplines and contribution to the comic.
I posted adverts on a number of websites seeking a writer with a finished or close to finished script that was willing to collaborate. I received a wide range of replies - not all as professional as others.
My requirements were quite limited to begin with. Mainly I was looking for a clear, professionally written narrative that was close to complete. As I developed my research I started considering the uniqueness of characters, settings and how I would be able to visually depict them. When I understood what I wanted to accomplish in my final product I was able to consider if I could present the story in Guided View™ and animate small parts of it.
I decided on the script 'Gorky and Izzy's Trip to Mexico' by F. E. Rahman because of the emphasis on inter relations between characters which I believe is more suitable for my target audience.
Rahman and I met to discuss how we could work together on the project. Rahman saw and accepted my proposal. We agreed that I would do all of the illustration, lettering and layout for this script while presenting my work to Rahman and seeking feedback. We were both comfortable with collaboration and making suggestions, but respected other's disciplines and contribution to the comic.
Visual Style
I choose a visual style that mainly referenced neo noir comic art. I used large areas of pure black shadows with bold, heavy lines. Many areas of the comic were left completely in shadow. I often skewed the compositional lines to make the scenes appear less stable. I researched a number of neo noir comic books in order to develop my visual style.
In my research I also came across a theory explained in Scott McCloud’s ‘Understanding Comics: The Invisible Art’. Art can be made symbolically, abstractly or realistically. Realistic drawings relate to how a reader sees the world, whereas symbolic drawings relate to how a reader perceives them self (McCloud 1993). I used Disney films as a reference for this method. In ‘Gorky and Izzy’s Trip to Mexico’ I drew the main characters in a symbolic style so that the reader could empathise with them more. I painted the environments and supporting characters with a more realistic style to emphasise their otherness and the alienation of the main characters. |
Visual Style – Camera Angles
I used a number of extreme camera angles in my story telling. I referred to the comics I had researched, film noir and ‘Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know’ – a guide by Jeremy Vineyard.
In order to make the characters appear small, vulnerable and lonesome I used a number of high camera angles looking down on them. I also skewed my compositions using ‘Dutch tilts’ to create diagonal and uneasy lines. Diagonal and non horizontal lines were preferred by the German expressionists that informed the classical noir films (Schrader 1972).
During moments of extreme emotions I used much tighter angles, sometimes completely isolating my figures from their settings.
Traditional American comic book styles of composition during dialogue still informed my work, but I tried to break away from them in, using the style that best expressed the moment.
In order to make the characters appear small, vulnerable and lonesome I used a number of high camera angles looking down on them. I also skewed my compositions using ‘Dutch tilts’ to create diagonal and uneasy lines. Diagonal and non horizontal lines were preferred by the German expressionists that informed the classical noir films (Schrader 1972).
During moments of extreme emotions I used much tighter angles, sometimes completely isolating my figures from their settings.
Traditional American comic book styles of composition during dialogue still informed my work, but I tried to break away from them in, using the style that best expressed the moment.
Comic Research
I researched a number of neo noir comic books in order to develop my visual style. A full list can be found in my bibliography. My research also caused me to examine the crime comics of the 1930’s and 1940’s that are referenced by today’s artists.
In order to understand what could be achieved with Guided View™, I spent a considerable amount of time researching the digital comics that had been produced for it. I was able to have a brief exchange with comic writer Alex de Campi to help understand how she submits work to ComiXology. |
Movement
A considerable amount of my research was spent on understanding the boundary of movement in comics. Through the arguments of Groensteen, Goodbrey, McCloud and Cohn I concluded that atmospheric, looping animation was acceptable.
Akira Kurosawa, often referred to as ‘the master of movement’, informed how I applied movement within comic panels. He frequently uses weather to accentuate the emotions of the characters he portrays. I extended this idea to use the movement of the city to contrast the stillness of the characters and further alienate them.
I researched film for similar atmospheric movements to the ones I wanted to portray. This helped influence my presentation and for me to understand the timing of the movement. I found the film 'Koyaanisqatsi' very helpful.
Akira Kurosawa, often referred to as ‘the master of movement’, informed how I applied movement within comic panels. He frequently uses weather to accentuate the emotions of the characters he portrays. I extended this idea to use the movement of the city to contrast the stillness of the characters and further alienate them.
I researched film for similar atmospheric movements to the ones I wanted to portray. This helped influence my presentation and for me to understand the timing of the movement. I found the film 'Koyaanisqatsi' very helpful.
Character Design
My first step in creating the comic was designing the main characters. I did a number of iterations while collaborating with Rahman to develop the final characters. I focused on:
- overall forms that were quickly recognisable - body shapes that communicated the character’s purpose and personality - use of symbolism over realism Once my designs were finished, I created 3D models of the characters to assist with reference. |
Dissecting the Script
I started composing my panels by sketching as many options as I could think in sketchbooks and in the margins of the script. From there I started composing screens of panels. My main concern was creating a hierarchy of the different moments in the narrative and displaying that through the size and orientation of the panels.
I considered compositional methods such as beginning with establishing shots and using a series of aspect to aspect panels.
I considered compositional methods such as beginning with establishing shots and using a series of aspect to aspect panels.
Block-Ins
My next step was to block-in the frames of my comic with loose pencil drawings. This gave me the opportunity to review my compositions and change them before committing.
Following that I took my first panel to a finished stage to examine the success of my art style. I decided to become more painterly and use more saturated colours. |
Texture and Lettering
I found many of the digital comics I examined in my research to not have the same resonance of a physical object. Their super clean lines and perfectly flat colours made them feel less valuable than printed comics.
To solve this problem in my own work I used a texture overlay to reference the pulp paper of early crime fiction. I also used an uncommon type of speech bubble I came across during my research. I found it had a more hand-made feel than the perfect vectors of most digital comics. |
Final Product
My final work was finished according to the submission guidelines of ComiXology. My lettering was done with professional fonts from www.blambot.com.
The screen ratio, size and font size I used were based off of my research of industry examples of digital comics. I choose cover artwork that would create more questions than it would answer. I also used artwork from the comic because I am always disappointed when comic art does not live up to its cover. I attempted to frame the narrative by using the same shot for beginning and end. |
Bibliography
Books
• Benton, M. 1993. The Illustrated History: Crime Comics. Texas: Taylor Publishing Company
• Cohn, N. 2013. The Visual Language of Comics. London: Bloomsbury Academic.
• Goulart, R. 1988. The Dime Detectives. New York: The Mysterious Press
• Groensteen, T. 2007. The System of Comics. University Press of Mississippi
• Groensteen, T. 2013. Comics and Narration. University Press of Mississippi
• Mayer, G. and McDonnall, B. eds. 2007. Encyclopaedia of Film Noir. Westport: Greenwood Press
• McCloud, S. 1993. Understanding Comics: The Invisible Art. New York: Harper Collins
• McCloud, S. 2000. Reinventing Comics: How Imagination and Technology are Revolutionising an Art Form. Canada: Harper Collins
• McCloud, S. 2006. Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. New York: Harper Collins
• Vineyard, J. 2008. Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know. California: Michael Wiese Productions.Books
Articles
• Banjeree, S. 2014. Alan Moore leading digital comics to open-source future. [Online]. [Accessed 19 August 2015]. Available from: http://www.theguardian.com/books/2014/jun/06/alan-moore-digital-comics-open-source-electricomics-app
• Borde, R. and Chaumeton, E. 1955. Towards a Definition of Film Noir. [Online]. [Accessed 19 August 2015]. Available from: http://intelligentagent.com/noir/Borde_Chaumeton.pdf
• Cohn. N. 2010. The limits of time and transitions: Challenges to theories of sequential image comprehension. [Online]. [Accessed 19 August 2015]. Available from: http://www.visuallanguagelab.com/P/NC_Time&Transitions.pdf
• Comic Book Resources. 2012. Get "The Walking Dead" Vol. 1 Free at the ComiXology Booth During WonderCon 2012. [Online].[31/12/2014]. Available from: http://www.comicbookresources.com/?page=article&id=37489
•comiXology. 2014. What is comiXology's Guided View™ technology?. [Online].[31/12/2014] Available from: http://support.comixology.com/customer/portal/articles/768035-what-is-comixology-s-guided-view%E2%84%A2-technology-
• Flamm, M. 2013. 'iTunes of comics' passes 200M downloads. [Online].[31/12/2014]. Available from: http://www.crainsnewyork.com/article/20130925/NEWS/130929937
• Flanagan, J. 2012. MARVEL COMIXOLOGY IPAD APP REVEALED. [Online].[31/12/2014]. Available from: http://ifanboy.com/articles/marvel-comixology-ipad-app-revealed/
• MComix. 2014. MComic. [Online].[31/12/2014]. Available from: http://sourceforge.net/p/mcomix/wiki/Home/
• Hatfield, D. 2012. ComiXology Reveals New Hi-Res CMX-HD Format. [Online].[31/12/2014]. Available from: http://geek-news.mtv.com/2012/03/20/comixology-reveals-cmx-hd-format/
• Gazzard, A. and French M. 2013. Maps of Time : exploring the rhythms of a mediated world. [Online]. [Accessed 19 August 2015]. Available from: http://ses.library.usyd.edu.au//bitstream/2123/9680/1/mapstimeexploring.pdf
• Gazzard, A. and Goodbrey, D. 2014. Electricomics: Digital pages and rhythms of reading. [Online]. [Accessed 19 August 2015]. Available from: http://electricomics.net/2014/07/digital-pages/
• Goodbrey, D. 2013. Images In Space The Challenges Of Architectural Spatiality In Comics. [Online]. [Accessed 19 August 2015]. Available from: http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2013/07/dmGoodbrey-wpaper-gn2.pdf
• Goodbrey, D. 2013. From Comic To Hypercomic. [Online]. [Accessed 19 August 2015]. Available from: http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2012/09/danielgoodbrey_finalpaper.pdf
• Groensteen, Thierry (2012) [Originally published in French in 1999]. "The Impossible Definition". In Heer, Jeet; Worcester, Kent. A Comics Studies Reader. translated by Bart Beaty. Jackson: University Press of Mississippi. pp. 124–131.
• Groensteen, T. 2012. [Originally published in French in 2000]. "Why Are Comics Still in Seach of Cultural Legitimization". In Heer, Jeet; Worcester, Kent. A Comics Studies Reader. translated by Shirley Smolderen. Museum Tusculanum Press. pp. 29-41.
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Print Comics
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• Azzarello, B. and Risso, E. 2012. Batman Noir. New York: DC Comics
• Brubaker, E. and Phillips, S. 2007. Coward: A Criminal. Lithuania: Titan Books
• Brubaker, E., Rucka, G. and Lark, M. 2008. Gotham Central Book One: In The Line of Duty. USA: DC Comics
• Church, K. and Kirsch, T.J. 2014. She Died In Terrebonne: A Sam Kimimura Mystery. New York: Agreeable Comics
• Diggle, A. and Ibanez, V. 2010. Rat Catcher. New York: DC Comics
• Layman, J. Guillory, R. 2013. Chew Volume 1: Taster's Choice. California: Image Comics
• Miller, F. 2005. Sin City Volume 1: The Hard Goodbye. Oregon: Dark Horse Books
• Madden, M. 2007. 99 Ways to Tell a Story: Exercises in Style. London: Random House
• Stark, R. and Cooke, D. 2012. Parker 1: The Hunter. California: IDW Publishing
• Starr, J. and Bertilorenzi, M. 2009. The Chill. New York: DC Comics
Digital Comics
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• De Campi, A. Larsen, C. 2013. Valentine the Comic, Volume 1, Chapter1. [Online]. [Accessed on 10 January 2015]. Available from: http://thrillbent.com/comics/valentine/valentine-season-1-chapter-1/#1
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Film
• Akira. 1988. [Film]. Katsuhiro Otomo. dir. Japan: Tokyo Movie Shinsha
• The Asphalt Jungle. 1950. [Film]. John Huston. dir. USA: Metro-Goldwyn-Mayer
• The Black Dahlia. 2006. [Film]. Brian De Palma. dir. USA: Universal Pictures
• Dr. Mabuse the Gamble. 1922. [Film]. Fritz Lang. dir. Weimar Republic: (company unknown)
• Kagemusha. 1980. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
• Koyaanisqatsi. 1982. [Film]. Godfrey Reggio. dir. USA: Institute for Regional Education
• L.A. Confidential. 1997. [Film]. Curtis Hanson. dir. USA: Warner Bros
• The Maltese Falcon. 1941. [Film]. John Huston. dir. USA: Warner Bros
• Princess Mononoke. 1997. [Film]. Hayao Miyazaki. dir. Japan: Studio Ghibli
• Rashomon. 1950. [Film]. Akira Kurosawa. dir. Japan: Daiei Film Co., Ltd.
• Seven Samurai. 1954. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
• Sin City. 2005. [Film]. Frank Miller, Robert Rodriguez and Quentin Tarantino. dir. USA: Troublemaker Studios
• Sleeping Beauty. 1959. Clyde Geronimi , Les Clark, Eric Larson and Wolfgang Reitherma. dir. USA: Walt Disney Productions
• Throne of Blood. 1957. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
• Yojimbo. 1961. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
Video
• The Comic Archive. 2010. Joe Kubert Talks Digital Comics. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=N2Jurc5HwrA
• Every Frame A Painting. 2015. Akira Kurosawa - Composing Movement. [Online]. [Accessed 19 August 2015] Available from: https://www.youtube.com/watch?v=doaQC-S8de8
• Fantom Headquarters. 2014. Neil Cohn. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=8YpYseoQRok Neil Cohn
• GeekExchange. 2012. Mark Waid Q&A on Thrillbent and Creating Comics. [Online]. [Accessed on 19 April 2015]. Available from: https://www.youtube.com/watch?v=tAIATk9IU5U 2012
• KUT Austin. 2012. Comic Books and the Digital Divide. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=D8kELrpDDNU
• Neil Cohn. 2014. The grammar of comics in the brain. [Online]. [Accessed on 19 April 2015]. Available from: https://www.youtube.com/watch?v=dU7c9euTso4
• O'Reilly. 2013. Mark Waid on Reinventing Comics and Graphic Novels for Digital - TOC 2013. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=vPikusZm2As
• Tihai. 2011. Robert Altman on RASHOMON by Kurosawa. [Online]. [Accessed 19 August 2015] Available from: https://www.youtube.com/watch?v=oYWQa0GExt8
• VideoFromNewsarama. 2011. Cheaper Comics?! - Joe Quesada Explains Marvel's POV. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=iCJjF4YKqf8
• VideoFromNewsarama. 2011. 99¢ DIGITAL COMICS?! - MARK WAID's Controversy Explained. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=Ep-PVAUKHy8
Other
• Blambot. 2015. Blambot [Online]. [Accessed 20 August 2015]. Available from: http://www.blambot.com/
• comiXology. 2013. comiXology Submit. [Online].[31/12/2014]. Available from: http://support.comixology.com/customer/portal/topics/350423-comixology-submit/articles?page=1
• de Campi, A. 2015. Interview with Alex de Campi. 1-6 January 2015, Online.
• Electricomics. 2015. Electricomics. [Online]. [Accessed 20 August 2015]. Available from: http://electricomics.net/
• Imaginism Studios, StudioNX. 2013. NIKO and the Sword of Light - Fully Animated Comicbook. [Online].[31/12/2014]. Available from:
•https://www.kickstarter.com/projects/1105575464/niko-and-the-sword-of-light
• Smith, J. 1991. Bone Comic Covers. [Online]. [Accessed 20 August 2015]. Available from: http://www.doobybrain.com/2008/03/02/bone-comics-cover-gallery/
• Thrillbent. 2015. Thrillbent. [Online]. [Accessed 20 August 2015]. Available from: http://thrillbent.com/
• Wood, W. 1981. Wally Wood's 22 Panels That Always Work. [Online]. [Accessed 20 August 2015]. Available from: https://articulate-heroes.s3.amazonaws.com/1563.wallywood22panel1600nv6im1.jpg
• Benton, M. 1993. The Illustrated History: Crime Comics. Texas: Taylor Publishing Company
• Cohn, N. 2013. The Visual Language of Comics. London: Bloomsbury Academic.
• Goulart, R. 1988. The Dime Detectives. New York: The Mysterious Press
• Groensteen, T. 2007. The System of Comics. University Press of Mississippi
• Groensteen, T. 2013. Comics and Narration. University Press of Mississippi
• Mayer, G. and McDonnall, B. eds. 2007. Encyclopaedia of Film Noir. Westport: Greenwood Press
• McCloud, S. 1993. Understanding Comics: The Invisible Art. New York: Harper Collins
• McCloud, S. 2000. Reinventing Comics: How Imagination and Technology are Revolutionising an Art Form. Canada: Harper Collins
• McCloud, S. 2006. Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. New York: Harper Collins
• Vineyard, J. 2008. Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know. California: Michael Wiese Productions.Books
Articles
• Banjeree, S. 2014. Alan Moore leading digital comics to open-source future. [Online]. [Accessed 19 August 2015]. Available from: http://www.theguardian.com/books/2014/jun/06/alan-moore-digital-comics-open-source-electricomics-app
• Borde, R. and Chaumeton, E. 1955. Towards a Definition of Film Noir. [Online]. [Accessed 19 August 2015]. Available from: http://intelligentagent.com/noir/Borde_Chaumeton.pdf
• Cohn. N. 2010. The limits of time and transitions: Challenges to theories of sequential image comprehension. [Online]. [Accessed 19 August 2015]. Available from: http://www.visuallanguagelab.com/P/NC_Time&Transitions.pdf
• Comic Book Resources. 2012. Get "The Walking Dead" Vol. 1 Free at the ComiXology Booth During WonderCon 2012. [Online].[31/12/2014]. Available from: http://www.comicbookresources.com/?page=article&id=37489
•comiXology. 2014. What is comiXology's Guided View™ technology?. [Online].[31/12/2014] Available from: http://support.comixology.com/customer/portal/articles/768035-what-is-comixology-s-guided-view%E2%84%A2-technology-
• Flamm, M. 2013. 'iTunes of comics' passes 200M downloads. [Online].[31/12/2014]. Available from: http://www.crainsnewyork.com/article/20130925/NEWS/130929937
• Flanagan, J. 2012. MARVEL COMIXOLOGY IPAD APP REVEALED. [Online].[31/12/2014]. Available from: http://ifanboy.com/articles/marvel-comixology-ipad-app-revealed/
• MComix. 2014. MComic. [Online].[31/12/2014]. Available from: http://sourceforge.net/p/mcomix/wiki/Home/
• Hatfield, D. 2012. ComiXology Reveals New Hi-Res CMX-HD Format. [Online].[31/12/2014]. Available from: http://geek-news.mtv.com/2012/03/20/comixology-reveals-cmx-hd-format/
• Gazzard, A. and French M. 2013. Maps of Time : exploring the rhythms of a mediated world. [Online]. [Accessed 19 August 2015]. Available from: http://ses.library.usyd.edu.au//bitstream/2123/9680/1/mapstimeexploring.pdf
• Gazzard, A. and Goodbrey, D. 2014. Electricomics: Digital pages and rhythms of reading. [Online]. [Accessed 19 August 2015]. Available from: http://electricomics.net/2014/07/digital-pages/
• Goodbrey, D. 2013. Images In Space The Challenges Of Architectural Spatiality In Comics. [Online]. [Accessed 19 August 2015]. Available from: http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2013/07/dmGoodbrey-wpaper-gn2.pdf
• Goodbrey, D. 2013. From Comic To Hypercomic. [Online]. [Accessed 19 August 2015]. Available from: http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2012/09/danielgoodbrey_finalpaper.pdf
• Groensteen, Thierry (2012) [Originally published in French in 1999]. "The Impossible Definition". In Heer, Jeet; Worcester, Kent. A Comics Studies Reader. translated by Bart Beaty. Jackson: University Press of Mississippi. pp. 124–131.
• Groensteen, T. 2012. [Originally published in French in 2000]. "Why Are Comics Still in Seach of Cultural Legitimization". In Heer, Jeet; Worcester, Kent. A Comics Studies Reader. translated by Shirley Smolderen. Museum Tusculanum Press. pp. 29-41.
• Gustines, G, G. 2012. In New Digital Comics, Every Tap Holds A Surprise. [Online].[31/12/2014]. Available from: http://www.nytimes.com/2012/05/31/technology/personaltech/in-new-digital-comic-books-every-click-brings-a-surprise.html?smid=tw-share&_r=0
• Harbaugh, R. Khemka, R. 2001. Does copyright enforcement encourage piracy? [Online]. [Accessed on 10 January 2015]. Available from: http://www.bus.indiana.edu/Faculty/BEPP/riharbau/publications/piracy.pdf
• Hauman, G. 2011. Yet Another Reason For Comics To Go Digital: 40 Is The New 15. [Online]. [31/12/2014]. Available from: http://www.comicmix.com/2011/06/08/yet-another-reason-for-comics-to-go-digital-40-is-the-new-15/
• ICV2. 2014. Digital Comics Sales Grow to $90 Million In 2013. [Online].[31/12/2014]. Available from: http://www.icv2.com/articles/news/29068.html
• McGarry, C. 2013. Good news, dudes: Ladies read comics, too. [Online].[31/12/2014]. Available from: http://www.techhive.com/article/2053313/good-news-dudes-ladies-read-comics-too.html
• Kraft, A. 2013. ComiXology: The Changing Face of Comic Book Readers. [Online].[31/12/2014]. Available from: http://geekmom.com/2013/10/comixology-comic-book-readers/
• Schrader, P. 1972. Notes on Film Noir. [Online]. [Accessed 19 August 2015]. Available from: http://www.f.waseda.jp/norm/filmnoir/schroder.PDF
• Singleton, S. 2007. Copy protection and games: Lessons for DRM debates and development. [Online] Progress & Freedom Foundation Progress on Point Paper No 14. [Accessed on 10 January 2015]. Available from: http://www.convergencelaw.com/aboutus/images/Link_for_Solveig_Singleton%27s_Resume_1_%2800186776%29.PDF
• Stenros, J. Sotamaa, O. 2009. Commoditization of helping players play: Rise of the service paradigm. [Online] Proceedings of DiGRA. [Accessed on 10 January 2015]. Available from: http://www.digra.org/wp-content/uploads/digital-library/09287.24201.pdf
Print Comics
• Abuli, S. and Bernet, J. 2012. Torpedo Volume One. California: IDW Printing
• Allan Collins, M. and Locher, D. 1990. The Dick Tracy Casebook: Favourite Adventures 1931-1990. London: The Penguin Group
• Azzarello, B. and Risso, E. 1999. 100 Bullets Volume 1: First Shot, Last Call. USA: DC Comics
• Azzarello, B. and Risso, E. 2012. Batman Noir. New York: DC Comics
• Brubaker, E. and Phillips, S. 2007. Coward: A Criminal. Lithuania: Titan Books
• Brubaker, E., Rucka, G. and Lark, M. 2008. Gotham Central Book One: In The Line of Duty. USA: DC Comics
• Church, K. and Kirsch, T.J. 2014. She Died In Terrebonne: A Sam Kimimura Mystery. New York: Agreeable Comics
• Diggle, A. and Ibanez, V. 2010. Rat Catcher. New York: DC Comics
• Layman, J. Guillory, R. 2013. Chew Volume 1: Taster's Choice. California: Image Comics
• Miller, F. 2005. Sin City Volume 1: The Hard Goodbye. Oregon: Dark Horse Books
• Madden, M. 2007. 99 Ways to Tell a Story: Exercises in Style. London: Random House
• Stark, R. and Cooke, D. 2012. Parker 1: The Hunter. California: IDW Publishing
• Starr, J. and Bertilorenzi, M. 2009. The Chill. New York: DC Comics
Digital Comics
• Blanch, C. Carr, C. Chee. 2013. The Damnation of Charlie Wormwood, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/the-damnation-of-charlie-wormwood/the-damnation-of-charlie-wormwood-chapter-1/#1
• Bernstein, J. Dorman, M. 2014. Santa Claus: Private Eye, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/santa/santa-claus-private-eye-chapter-1/#1
• De Campi, A. Larsen, C. 2013. Valentine the Comic, Volume 1, Chapter1. [Online]. [Accessed on 10 January 2015]. Available from: http://thrillbent.com/comics/valentine/valentine-season-1-chapter-1/#1
• Garza, C. 2001. archive. [Online]. [Accessed 19 August 2015]. Available from: http://www.magicinkwell.com/archive.html
• Gibson, T. 2014. Moth City. [Online]. [Accessed on 10 January 2015]. Available from: http://www.mothcity.com/
• Kesel, K. Randall, R. 2013. City of the Dead, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/city-of-the-dead/city-of-the-dead-chapter-1/#1
• Mast. Geoffo. 2012. Pax Arena, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/pax-arena/pax-arena-chapter-1/#1
• Waid, M. Kitson, B. 2000. Empire, Volume 1, Chapter 0. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/empire/empire-volume-1-chapter-0/#1
• Waid, M. Krause, P. 2013. Insufferable, Volume 1, Chapter 1. [Online]. [Accessed on 20 April 2015]. Available from: http://thrillbent.com/comics/insufferable/insufferable-volume-1-chapter-1/#1
Film
• Akira. 1988. [Film]. Katsuhiro Otomo. dir. Japan: Tokyo Movie Shinsha
• The Asphalt Jungle. 1950. [Film]. John Huston. dir. USA: Metro-Goldwyn-Mayer
• The Black Dahlia. 2006. [Film]. Brian De Palma. dir. USA: Universal Pictures
• Dr. Mabuse the Gamble. 1922. [Film]. Fritz Lang. dir. Weimar Republic: (company unknown)
• Kagemusha. 1980. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
• Koyaanisqatsi. 1982. [Film]. Godfrey Reggio. dir. USA: Institute for Regional Education
• L.A. Confidential. 1997. [Film]. Curtis Hanson. dir. USA: Warner Bros
• The Maltese Falcon. 1941. [Film]. John Huston. dir. USA: Warner Bros
• Princess Mononoke. 1997. [Film]. Hayao Miyazaki. dir. Japan: Studio Ghibli
• Rashomon. 1950. [Film]. Akira Kurosawa. dir. Japan: Daiei Film Co., Ltd.
• Seven Samurai. 1954. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
• Sin City. 2005. [Film]. Frank Miller, Robert Rodriguez and Quentin Tarantino. dir. USA: Troublemaker Studios
• Sleeping Beauty. 1959. Clyde Geronimi , Les Clark, Eric Larson and Wolfgang Reitherma. dir. USA: Walt Disney Productions
• Throne of Blood. 1957. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
• Yojimbo. 1961. [Film]. Akira Kurosawa. dir. Japan: Toho Studios
Video
• The Comic Archive. 2010. Joe Kubert Talks Digital Comics. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=N2Jurc5HwrA
• Every Frame A Painting. 2015. Akira Kurosawa - Composing Movement. [Online]. [Accessed 19 August 2015] Available from: https://www.youtube.com/watch?v=doaQC-S8de8
• Fantom Headquarters. 2014. Neil Cohn. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=8YpYseoQRok Neil Cohn
• GeekExchange. 2012. Mark Waid Q&A on Thrillbent and Creating Comics. [Online]. [Accessed on 19 April 2015]. Available from: https://www.youtube.com/watch?v=tAIATk9IU5U 2012
• KUT Austin. 2012. Comic Books and the Digital Divide. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=D8kELrpDDNU
• Neil Cohn. 2014. The grammar of comics in the brain. [Online]. [Accessed on 19 April 2015]. Available from: https://www.youtube.com/watch?v=dU7c9euTso4
• O'Reilly. 2013. Mark Waid on Reinventing Comics and Graphic Novels for Digital - TOC 2013. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=vPikusZm2As
• Tihai. 2011. Robert Altman on RASHOMON by Kurosawa. [Online]. [Accessed 19 August 2015] Available from: https://www.youtube.com/watch?v=oYWQa0GExt8
• VideoFromNewsarama. 2011. Cheaper Comics?! - Joe Quesada Explains Marvel's POV. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=iCJjF4YKqf8
• VideoFromNewsarama. 2011. 99¢ DIGITAL COMICS?! - MARK WAID's Controversy Explained. [Online]. [Accessed on 10 January 2015]. Available from: https://www.youtube.com/watch?v=Ep-PVAUKHy8
Other
• Blambot. 2015. Blambot [Online]. [Accessed 20 August 2015]. Available from: http://www.blambot.com/
• comiXology. 2013. comiXology Submit. [Online].[31/12/2014]. Available from: http://support.comixology.com/customer/portal/topics/350423-comixology-submit/articles?page=1
• de Campi, A. 2015. Interview with Alex de Campi. 1-6 January 2015, Online.
• Electricomics. 2015. Electricomics. [Online]. [Accessed 20 August 2015]. Available from: http://electricomics.net/
• Imaginism Studios, StudioNX. 2013. NIKO and the Sword of Light - Fully Animated Comicbook. [Online].[31/12/2014]. Available from:
•https://www.kickstarter.com/projects/1105575464/niko-and-the-sword-of-light
• Smith, J. 1991. Bone Comic Covers. [Online]. [Accessed 20 August 2015]. Available from: http://www.doobybrain.com/2008/03/02/bone-comics-cover-gallery/
• Thrillbent. 2015. Thrillbent. [Online]. [Accessed 20 August 2015]. Available from: http://thrillbent.com/
• Wood, W. 1981. Wally Wood's 22 Panels That Always Work. [Online]. [Accessed 20 August 2015]. Available from: https://articulate-heroes.s3.amazonaws.com/1563.wallywood22panel1600nv6im1.jpg