In conclusion, it is evident that the digital medium offers numerous advantages to the production of comics: from facilitating their distribution and expanding their market, to more technical advantages unique to medium.

Animation in digital comics is a contentious point as it can often be misconstrued as a cartoon. Although contentious, the advantages are very clear; in print comics conveying movement is difficult and reliant on the reader’s attention to detail, with the introduction of animation, panels can be animated, furthering the possibilities of the single pane but often ending the need for gutters. This is highly argued against as it constitutes one of the main traits of comics. In fact, Guy Delisle’s work is highly regarded for its pacing, which so clearly gives away the author’s background as an animator. Delisle’s work indicates that the integration of animation into comics can be beneficial as it grants the reader a better understanding of movement and pacing.

The use of sound creates an immersive environment by introducing additional layers to the story and creating a more enveloping experience. It is however important to recognize that sound can often seem out of place in certain comics and that there is a fine line between immersive and ‘gimmicky’.

User interface furthers the immersive experience by dictating how the reader interacts with the material, ascribing agency where it was unable to before. Interaction within traditional print media is limited, whereas in digital comics the author can create an interactive world that grants the reader a greater understanding of the events. By mimicking the actions of the slot machine in “Murat” for example, the reader feels a sense of anticipation regarding the possible outcomes. This was impossible in traditional comics and can be seen to enhance the overall experience.

Layout allows the artist to compose the story in whatever way they deem fit to enhance the narrative experience. The confines of the printed page meant that the pacing was dictated by a series of carefully selected panels that could, when most effective, be fit onto the single face of a page. The potential for layout is endless, allowing the reader to zoom in or out, scroll in any direction or even open new pages. This is a key aspect of how the digital medium contributes towards the experience of comics.

It is therefore evident that comics are benefitted in their transition into a digital medium, as seen in the above-mentioned examples. However, the criticisms reserved to digital comics, particularly in the integration of animation are not without basis, as many aspects can come across as being inserted without enough reason, making them feel gimmicky. For this reason, artists who attempt to integrate new mediums into comics should do so with a clear narrative enhancing purpose, to not dilute the comics original nature. However, the need for restraint is not unique to digital comics and should be considered also by artists who pursue traditional print media. The clear benefits that the digital medium provides, as outlined in this essay, prompts the question as to why innovation is often disregarded by followers of traditional mediums. An innate defensiveness permeates comic culture and I hope that, by outlining their technical and narrative advantages, digital comics and the artists behind them will be given the chance they deserve.