Although there is a whole world of variations within the realm of digital comics, there are certain general characteristics that these comics share. The first being the freedom it provides to the artist in matters of production and distribution. The fact that traditional comics are confined to a limited physical space in a book is inherently restrictive for the comic book artist. Whether it is one page or four thousand, the digital screen allows the comic to freely choose its own length, rather than be dictated by traditional production and distribution costs (McCloud 2000, 214). The digital medium is also a space that leaves room for infinite mistakes. Unlike ink blots, digital errors can be changed at the click of a mouse, giving the artist a sense of unrestricted experimentation free of consequences. The works of Michael Kühni are reflective of this. Kühni, also known as Abwaesser explores the sphere of digital comics and illustration by reconsidering traditional narrative methods. He has an extensive online portfolio of work that is exemplary of the possibilities for experimentation. Some of his works include “Heidi”, “Styx”, “Huff N’ Puff” and many others, which will be included in this essay.

Additionally, the costs related to the production of digital comics are considerably lower, given that printing, binding and shipping are no longer necessary, artists can use the medium to publish freely and autonomously (Johnston 2015, 4). This not only encourages artists to create and post online but also represents a low-risk investment for online publishers that might want to gauge the public’s interest in certain projects. Platforms like Webtoons.com promote both established and non-established comic makers by sharing their comics online to build a fan base. As happened with John Allison’s “Scary Go Round” webcomic series, which was later adapted by Onipress as a printed graphic novel (Allison, 2013).

In terms of distribution the digital platform has proven to be an effective one, as can be seen in the changes in the music industry, transitioning from a culture of Vinyl/CD collection, to digital music libraries like iTunes becoming the mainstream. Reducing or completely erasing transport costs, digital comic libraries are not tied to delivery deadlines and stock availability. This is especially useful for customers who may have had to travel long distances to the closest comic shop only to find that their comic was sold out. The distance factor is not often considered vital, but for those living in remote areas that are poorly connected, or that simply lack a physical comic shop, digital access makes a huge difference.

The aspect which digital comics have challenged the most, however, is the narrative one. Having started in print, comics have been shaped by their technical constraints leading to a strict definition of the medium (Bigerel 2009). Although the definition of what encompasses a comic has been widened by Scott McCloud who defined it as: “juxtaposed pictorial and other images in deliberate sequence” (McCloud 2011, 9), there are various limitations in how it relates to digital comics. Juxtaposition itself is already restrictive due to the disconnected nature of the digital medium as it does not necessarily encompass the entire sequence but rather, due to the unlimited available space, prompts the comic panels to be disconnected as well. This, understandably, leads to disagreement amongst comic fans regarding their stance towards digital comics, especially when concerned with its sequential nature, and how multimedia works for or against it.
Debates of this nature are indicative of the need to address issues that may arise when integrating new tools into comics. By undergoing a close analysis of these digital tools, we can analyse how they not only help comics adapt but also expand the consumer’s expectation of the medium.