Posted tagged ‘webcomics’

Again with the EPA

August 24, 2011

But it’s because EPA #2 is available in PDF form here. Easier to read, with new contrast corrections and superior cropping!


EPA #2 – The Double-Sized Conclusion

August 1, 2011

Last time, crimefighter/degenerate Bonefucker engaged anachronistic j-offs Euphemystic and Hyperbolok in a battle that threatened to exceed both the typical length of a serial superhero comic and the boundaries of good taste. Before that, bar tabs were rung up, lumps were doled out, greenery was destroyed, and group tours were ruined. Cowritten with Nathan Sacks.


EPA #2 – Part Three

June 21, 2011

Last time, the Earth Protectors of America landed on the edge of Colonial Williamsburg, destroying much of the nearby greenery in the process. Before that, a group of tourists fell victim to an assault by anachronistic dickweeds the Euphemystic and Hyperbolok. Cowritten with Nathan Sacks.


Linkage with Qualifications, Comics on the Internet Edition

March 21, 2011

Last week, Matt Seneca posted a survey of recent, forward-thinking webcomics, highlighting among other works Blaise Larmee’s online serial 2001. Seneca’s post is a dense, not-for-the-uninitiated sorta thing, but it’s also the best piece of criticism so far about 2001. The comic itself is a weird, formally confounding thing that combines an understated, almost glacial cool with a Little Prince-style sense of wonder and possibility.

Probably the most exciting webcomic currently running is Blaise Larmee’s 2001, a monochromatic experiment in bracing literalism that feels a bit like Jaime Hernandez’s “Maggie and Hopey” stories reconstructed for a post-millennial audience of ADHD computer lifestylists. 2001 is a full-screen scroller webcomic: a single one of Larmee’s wide, deep-focus panels takes up the full width and twice the height of the average laptop’s browser window. Scrolling through it is disorienting, a demand for constantly realigned perceptions as the characters’ motions are tracked around inside the box of the computer screen. The between-panel motion in 2001 is almost animation, the perspective constant, the figures’ movements captured in painstaking, diagrammatic detail. They move across the screen and gesture dramatically. They recede into the black background and come so close to the viewer that their white forms fill up the window almost completely.