Nawlz has been around for a while, but in case you haven’t seen it yet, it’s pretty much the quintessential experimental webcomic. Weird, dissonant, and relentlessly inventive.

I sometimes joke that my early experiments in webcomics put me in comics’ “lunatic fringe” but it’s nice to know that there are artists like Sutu out there that make my scribblings look tame by comparison. He tells me he may release a graphic novel follow-up including the first chapters on DVD, so I guess all the walls between print and web are tumbling down if a strange beast like Nawlz can cross the line.

Meanwhile, Mr. Rowland points us to MS Paint Adventures and an entirely different sort of experiment with cartoons and interactivity. Simple on its face, but not so much when it sucks you in.

Experiments in any medium are like a blind man tapping about with a cane, finding the shape of his surroundings. His peers, comfortably sitting still on the couch, can dismiss the dead-ends and stubbed toes that result, but every once in a while a vast new room of possibilities opens up.

I’m sitting still myself while working on the graphic novel, but I’m grateful for the sound of tapping all around me.

Courtesy of the New York Times this week, Maira Kalman’s And the Pursuit of Happiness is an enjoyable meditation on laws and those who preside over them.

And since Kalman’s comic is presented in one big scroll, it gives me a hook to also link to Dash Shaw’s gargantuan scrolling Bodyworld webcomic (completed earlier this year) which I’ve been meaning to blog about for awhile.

In principle, I always liked the idea of putting comics all together on one page; the idea being that readers could just hit a button or touch their scroll wheel and just use that one method to move all the way from beginning to end. I used the format myself a lot in my early webcomics.

It saddens me, though, to note that the big drawback of scrolling in the early days still hasn’t gone away after all these years. Most browsers still update images every few pixels while scrolling so that the entire page flickers and jitters all the way down until it stops. Dude, it’s 2009! Why does scrolling still hurt my eyes?

Ah, well. Still holding out for multi-touch laptops that scroll like iPhones. We’ll see…

The online presentation tool Prezi goes into public beta this week. It’s a zooming interface designed for presentations which caught the eye of a few of us in the lunatic fringe as having potential applications for you know what.

Neal Von Flue posted an in-depth look at the comics implications of this new tool on his Facebook page when a few of us got advanced notice of the private beta in February. Unpack the comments thread for input from Krisztián Kristóf, a cartoonist and developer on the Prezi team who is also considering these issues.

Together with developments like Microsoft’s embryonic Infinite Canvas Alpha and the likelihood of multi-touch netbooks in the near future, Prezi may be part of a general trend toward continuous-space navigation in communication and the arts. If that’s the case, I hope comics will be a part of that trend.

In the comments to an earlier entry about formats and Lightbox 2, Chris Bolton links to a full screen version of the same approach that’s worth checking out as well.

Of course, this has precedents. Whatever you think of Zuda and their business model, I think they at least had their eyes on the ball when it came to design priorities. “Fit the screen/fill the screen” isn’t a bad way to go for page-to-page formats. Unlike strips, which can thrive in a terrarium of distractions, long form comics work best if all other distractions go away until the story is over. Sadly, both full screen modes seem to short-circuit keyboard commands, but we can’t have everything. (No wait. Screw that! Why can’t we?)

My dream “next page” button?: The spacebar.

Or better yet: Just tap and slide.

We’ll see.

In reference to our earlier thread on formats, I think for those who choose a screen-fitting page-to-page approach, the format SMASH uses is one of the better ways to go.

Designed for photo slideshows, I assume (at least that’s where I usually see it) but a nice fit for long-form comics.

[Update: They’re using Lightbox 2. See comments.]

It’s almost funny watching a well-meaning journalist trying to cover all the different kinds of webcomics out there. Not an easy task these days.

And with luck, it will only get harder.

I first saw Microsoft’s Seadragon and Photosynth projects via Blaise Aguera y Arcas’s stunning demo at TED 2007, and of course, I immediately thought of the implications for my “infinite canvas” ideas. Apparently, I wasn’t alone. Last spring, I got an email from Ian Gilman who worked with the team, to let me know about his efforts to apply some of these ideas to comics and pointing out Seadragon’s baby steps on the Web. Though those efforts are only peripherally related to Seadragon so far, the proximity is interesting.

Art by Paul Sizer from his intro to B.P.M.

Microsoft’s Infinite Canvas, listed as “a funky side project” from Microsoft’s Live Labs, is still just in Alpha testing. It’s not as smooth as Merlin’s Tarquin Engine by any means, but it does introduce a community element and the instant gratification of being able to hit that “create” button and try it out right away, which could lead in some very interesting directions. I even threw a vintage improv up there to try it out.

The results are scattered, of course, and not every comic uses the same navigational model, but it’s definitely worth looking at and playing with.

It took about 3 minutes in the mid-’90s for comic strips to take to the Web; like those newborn babies dropped in water that instantly know how to swim. If an online comic strip looked like its printed cousins, it was just as readable. If surfers had short attention spans, no problem. The Web was one big refrigerator, covered with magnets, waiting for something short, funny and recognizable to snap on to its audience.

Long form comics (the online equivalent of comic books and graphic novels) have had a harder road to follow. Fewer readers have the time or stamina for a web-based Maus or Watchmen during precious coffee breaks at work. And long, serious comics don’t always lend themselves to the kinds of conspicuous ads and light-hearted merchandise that have kept many daily strips afloat. Still, if a young artist is passionate enough to create a long form masterpiece they won’t let these limitations stop them and sooner or later they’ll find an audience.

But there’s one more obstacle, which is far more infuriating because it’s so pointless and unnecessary: The page designs of most long form webcomics suck donkey dick. Good artists and writers—including some of my favorite cartoonists in the world—force readers to sroll, then click, then read, then scroll, then read, then click, then scroll again for no other reason than a stubborn belief that all comics pages have to be taller than wide, and that all web pages need a metric ton of blinking crap at the top to work.

Long form comics are different from strips. If a cartoonist wants their readers to stick with a 60-page story about their Moroccan grandmother’s struggle with Diabetes, they need that reader to lose themselves in the story. That means keeping readers’ eyes on the page. Every time a reader looks away to navigate, they’re leaving the world of the story, and returning to the world of scrollbars and links.

The simplest solution—choosing screen-fitting pages and putting them near the top of the screen—is not rocket science. Charlie Parker’s Argon Zark did it over a decade ago (screens were smaller then), Justine Shaw, the first webcomics artist ever nominated for an Eisner, created a near-perfect format with Nowhere Girl in 2002 (making the entire page a next button), and Larson and O’Malley’s wonderful Bear Creek Apartments from 2008 had no trouble getting thousands of readers to click to the end. 

But still the madness continues, and every day another dozen artists put their comics online using a format every bit as a annoying as a TV show that automatically changes channels every 3 minutes, while a four year-old stands directly in front of the screen, screaming the theme from Barney.

Which brings us to Yves Bigerel.

A lot of people have been pointing me to Yves’ two webcomics about webcomics over the last couple of weeks. If your own attention spans aren’t too taxed already, I hope you’ll consider reading both now from beginning to end (should only take about 6 minutes, they’re not too long):

About Digital Comics

About About Digital Comics

Now, there are about a dozen issues raised in these comics that I’m not going to touch on. He’s actually heading in some directions that I’d be reluctant to go. But there’s no question that these comics struck a chord with artists and readers in the last few weeks, including me. And I think that one of the most refreshing aspects (“refreshing” as in a cool drink of water after five days in the desert) is the fact that navigating using Yves’ system is as simple and intuitive as breathing.

If that’s the message more cartoonists take to heart in the coming months, we may see some progress yet.