10 Questions with Nolan Jones – from Colonial Souls
1. Who are you and what are you working on right now? (2 questions in 1, I know!)
Right now I’m slowly working on refining a project with Anissa Espinosa called “I’ll Make You Remember.” It’s an operatic science comic that we’re about halfway done creating.
BOTH! Go read my webcomic “House of ORR,” illustrated by Victoria Grace Elliott. And as industry, we ought to break down that barrier a little more– comics are comics, no matter the distribution method.
Nearly everything but the double-page spread. I do think digital comics should start moving towards a landscape format overall (which you’ll notice “House of ORR” is designed towards).
Replace? Probably not, nor should they. Particularly in the case of a good, thick graphic novel, or a perfectly sized volume of manga. But I do think the lower overhead and ease of serialization is something that should be considered by everyone in the comics field.
Allowing for digital back-up’s / add-on’s to physical products is an interesting way for the two formats to work in tandem. Also, I think things like webcomic exclusives are interesting– check out what Josh Tierney does with “Spera” for example… particularly a little side-story called “Be Brave” that I wrote!
There’s harder to read from different angles– I saw something in a comic that was written upside-down the other day and I couldn’t get myself oriented properly with my iPad without looking the fool. I also think it’s a bummer that some of the biggest comic evangelists around– store owners– get cut out of the process.
In addition to the “Spera” webcomics mentioned above, the US version of Shonen Jump is a pretty constant read for me. I try and stay up on Victoria’s “balderdash!“, Toril Orlesky’s “Hotblood!“, Jen Lee’s “Thunderpaw“, Giannis Milonogiannis’ “Old City Blues“, Matthew Rosenberg & Patrick Kindlon’s multi-artist jam “Menu“, and a bunch of stuff I’m no doubt forgetting.
It’s hard to predict a format that’s so free from restraint. I do think we’re going to see more and better methods of curation that what’s currently available, and I’m looking forward to that.
Look out for good or bad? Good: the creators telling stories so unique that the traditional methods are afraid to publish them. Bad: the people doing digital curation at too high a cost to the creators.