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• W4285369367 abstract "Reviewed by: Webcomics by Sean Kleefeld Fi Stewart-Taylor (bio) Sean Kleefeld. Webcomics. Bloomsbury Academic, 2020. With Webcomics, Sean Kleefeld provides a thoroughgoing history of the first three decades of webcomics, complemented by framing questions about the technical, social, and formal peculiarities of comics online. Like other texts in Bloomsbury's Comics Studies series, Webcomics is split into four main sections: Historical Overview, Social and Cultural Impact, Key Texts, and Critical Uses. Kleefeld also includes a glossary, offering readers unfamiliar with internet infrastructure digestible background and handy reference in one. The book's structure, moving from history and context, through examples, [End Page 374] into contemporary and field based questions, makes this a beginner-friendly text that also offers detailed history beneficial to comics scholars. The key texts—Penny Arcade, Girl Genius, Stand Still. Stay Silent., Questionable Content, The Adventures of Gyno-Star, Dumbing of Age, and Empathize This—demonstrate a range of stylistic and technical possibilities, which makes them useful teaching texts. With Girl Genius, for example, Kleefeld historicizes the relationship between webcomics and print by tracking how creators Phil and Kaja Foglio transitioned from print to webcomics and how digital distribution changed the Foglios' storytelling strategies (116, 121). Penny Arcade supports Kleefeld's analysis that economic independence from traditional publishing enables creators living comfortably on their own terms, free of editorial interference (138). For scholars of children's literature, Kleefeld's choice of key texts might not be as illuminating as for those interested in webcomics generally. For work specifically for and about young people, the texts in Social and Cultural Impact might be more useful, including the Education/Social Causes section. Several comics discussed in this chapter, like Assigned Male, are about children, and Kleefeld's framing questions about access, representation, and inclusion parallel own voices discussions in YA publishing. For those interested in educational webcomics or classroom uses, Kleefeld's attention to Solution Squad, a math tutorial comic aimed at elementary-aged students, and the creator-provided lesson plan included as an appendix, may be especially rewarding (87-88). Comics like Penny Arcade, Questionable Content, and Dumbing of Age are well known to webcomics readers but comparatively obscure otherwise, so Kleefeld uses this book to document the webcomics canon as well as expand it. His historical overview starts early, with the invention of the internet, and allows Kleefeld to dig into the seldom discussed computer hobbyist strips that preceded widespread home computer use (21). The accompanying technical and commercial history is concise but thorough, moving quickly through explanations of how internet hosting and website design changed reader experiences and the rise of crowdfunding over advertising support (32, 35). There are a few omissions, including a focus on North American comics. Webtoons, a platform optimized for mobile phone instead of desktop reading, is mentioned only for its embedded animation tools (98). Korea-based Naver Webtoon is a global phenomenon with an innovative micropayment option and an ecosystem of international imitators, including Tapas, Comico, and Lezhin. Webtoons have been less accessible to English speakers until recently, with the official English language Naver application launching only in 2014 (Shim). Still, since Kleefeld emphasizes webcomics' global ubiquity, more attention to work from outside of North America could have supplemented Kleefeld's thorough work on American and English language comics (37). [End Page 375] One key strength of this book is Kleefeld's work to compile and contextualize a comprehensive array of sources from webcomics creators, providing fascinating details about comics production and webcartoonist networks. Readers who find these insider accounts compelling would do well to seek out T Campbell's The History of Webcomics, published in 2006, and Brad Guigar's How To Make Webcomics and The Webcomics Handbook. This strength is at times a blind spot, as Kleefeld uses how-to guides produced by comics creators to offer prescriptive instructions on webcomic success that do not always offer scholarly or pedagogical insights. For example, writing about how online audiences expect access and connection to creators, Kleefeld suggests that all creators need to make their email address or some other relatively easy means of communication readily available to potential fans (69). He goes on to suggest that cartoons in print..." @default.
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• W4285369367 date "2021-09-01" @default.
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• W4285369367 title "Webcomics by Sean Kleefeld" @default.
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