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{{Use Indian English}} | {{Use Indian English|date=August 2018}} | ||
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[[Webcomics]] have grown in popularity in [[India]] since the early 2000s. Early webcomics created by [[Indian people]] were written and illustrated by people abroad and focused primarily on the differences in culture the creators experienced. Later webcomics put a strong emphasis on [[social issues in India|social and political issues present in the country]], usually from a [[liberal politics|liberal]] perspective. Webcomics can reach large audiences in India when shared through [[social media]]. | [[Webcomics]] have grown in popularity in [[India]] since the early 2000s. Early webcomics created by [[Indian people]] were written and illustrated by people abroad and focused primarily on the differences in culture the creators experienced. Later webcomics put a strong emphasis on [[social issues in India|social and political issues present in the country]], usually from a [[liberal politics|liberal]] perspective. Webcomics can reach large audiences in India when shared through [[social media]]. | ||
==History== | ==History== | ||
Though webcomics have been a popular medium since the establishment of the [[World Wide Web]] in the early 1990s, the first Indian-centric webcomics started being published at the start of the 21st century. Early Indian webcomics, such as [[Sandeep Sood]]'s 2003 webcomics ''[[Badmash]]'' and ''Doubtsourcing'', were primarily written by Indian people living outside of India. These webcomics expressed the stark differences in culture between India and the country of inhabitation.<ref name=s2010>{{cite news|url=http://timesofindia.indiatimes.com/home/sunday-times/deep-focus/Strip-tease-Indian-webcomics-make-a-mark/articleshow/6494318.cms|newspaper=[[The Times of India]]|title=Strip tease: Indian webcomics make a mark|last=Arora|first=Kim}}</ref> | Though webcomics have been a popular medium since the establishment of the [[World Wide Web]] in the early 1990s, the first Indian-centric webcomics started being published at the start of the 21st century. Early Indian webcomics, such as [[Sandeep Sood]]'s 2003 webcomics ''[[Badmash]]'' and ''Doubtsourcing'', were primarily written by Indian people living outside of India. These webcomics expressed the stark differences in culture between India and the country of inhabitation.<ref name=s2010>{{cite news|url=http://timesofindia.indiatimes.com/home/sunday-times/deep-focus/Strip-tease-Indian-webcomics-make-a-mark/articleshow/6494318.cms|newspaper=[[The Times of India]]|title=Strip tease: Indian webcomics make a mark|last=Arora|first=Kim|date=5 September 2010}}</ref> | ||
According to Sreejita Biswas of ''[[Scroll.in]]'', Indian webcomics were defined by "stick figures, unimpressive humour and banal writing" in 2010, but that webcomics of a few years later are of much higher visual quality and use the medium for more meaningful content. Among other things, Biswas noticed a change in focus from [[political discourse]] to an effort to spread [[social awareness]].<ref name=Scroll.in>{{cite web|url=http://scroll.in/article/802384/urls-of-mass-distraction-five-indian-webcomics-to-be-read-regularly|website=[[Scroll.in]]|title=URLs of mass distraction: Five Indian webcomics to be read regularly|last=Biswas|first=Sreejita}} | According to Sreejita Biswas of ''[[Scroll.in]]'', Indian webcomics were defined by "stick figures, unimpressive humour and banal writing" in 2010, but that webcomics of a few years later are of much higher visual quality and use the medium for more meaningful content. Among other things, Biswas noticed a change in focus from [[political discourse]] to an effort to spread [[social awareness]].<ref name=Scroll.in>{{cite web|url=http://scroll.in/article/802384/urls-of-mass-distraction-five-indian-webcomics-to-be-read-regularly|website=[[Scroll.in]]|title=URLs of mass distraction: Five Indian webcomics to be read regularly|last=Biswas|first=Sreejita|date=24 January 2016}} | ||
</ref> Tarishi Verma of the ''[[Hindustan Times]]'' stated in 2016 that Indian webcomics are "coming into their own" due to the efforts of the young "social media-friendly" generation.<ref name=HindustanTimes>{{cite news|url=http://www.hindustantimes.com/books/laughing-through-our-worries-the-indian-web-comics/story-e6RDl58hD3NGVTKiK5IF0K.html|newspaper=[[Hindustan Times]]|title=Laughing through our worries: The Indian web comics|last=Verma|first=Tarishi}}</ref> Similarly, Jaideep Unudurti of ''[[The Hindu Business Line]]'' described India as going through digital comics "renaissance" in 2016.<ref>{{cite news|url=http://www.thehindubusinessline.com/blink/read/india-today-in-doodles/article8050656.ece|newspaper=[[The Hindu Business Line]]|title=India today, in doodles|last=Unudurti|first=Jaideep}}</ref> | </ref> Tarishi Verma of the ''[[Hindustan Times]]'' stated in 2016 that Indian webcomics are "coming into their own" due to the efforts of the young "social media-friendly" generation.<ref name=HindustanTimes>{{cite news|url=http://www.hindustantimes.com/books/laughing-through-our-worries-the-indian-web-comics/story-e6RDl58hD3NGVTKiK5IF0K.html|newspaper=[[Hindustan Times]]|title=Laughing through our worries: The Indian web comics|last=Verma|first=Tarishi|date=26 April 2015}}</ref> Similarly, Jaideep Unudurti of ''[[The Hindu Business Line]]'' described India as going through digital comics "renaissance" in 2016.<ref>{{cite news|url=http://www.thehindubusinessline.com/blink/read/india-today-in-doodles/article8050656.ece|newspaper=[[The Hindu Business Line]]|title=India today, in doodles|last=Unudurti|first=Jaideep|date=1 January 2016}}</ref> | ||
==Economics== | ==Economics== | ||
Traditional [[comic books]] were a lucrative business in India until [[cable television]] became prominent in the early 1990s. [[Rahul Vikram]], creator of ''India 2047'', described in an interview that he attempted to reach out to publishing companies to distribute his comic, but eventually realised he could save money and reach more people by releasing ''India 2047'' on the Web. Vikram also described interaction with readers as a "bonus". Webcomics in India are greatly affected by [[Viral phenomenon|online virality]]: according to [[Arbit Choudhury|Hemantkumar Jain]], "the viral effect on websites like [[Twitter]] is strong [as] things get retweeted pretty fast and reach more people."<ref name=s2010 /> | Traditional [[comic books]] were a lucrative business in India until [[cable television]] became prominent in the early 1990s. [[Rahul Vikram]], creator of ''India 2047'', described in an interview that he attempted to reach out to publishing companies to distribute his comic, but eventually realised he could save money and reach more people by releasing ''India 2047'' on the Web. Vikram also described interaction with readers as a "bonus". Webcomics in India are greatly affected by [[Viral phenomenon|online virality]]: according to [[Arbit Choudhury|Hemantkumar Jain]], "the viral effect on websites like [[Twitter]] is strong [as] things get retweeted pretty fast and reach more people."<ref name=s2010 /> | ||
Success of Indian webcomics is frequently measured by a [[Subscription business model|subscriber-count]], though the most prosperous webcomics display their status by selling merchandise such as prints, [[post cards]], and [[T-shirts]].<ref name=s2010 /> However, very few webcomic creators in India are able to do so professionally: most Indian webcomic creators work on comics in addition to working their day job.<ref>{{cite news|url=http://www.thehindu.com/features/magazine/aneesha-bangera-on-the-on-the-new-and-radical-online-avatar-of-todays-comics/article8374575.ece|newspaper=[[The Hindu]]|title=The new online avatar of today's comics|last=Bangeera|first=Aneesha}}</ref> | Success of Indian webcomics is frequently measured by a [[Subscription business model|subscriber-count]], though the most prosperous webcomics display their status by selling merchandise such as prints, [[post cards]], and [[T-shirts]].<ref name=s2010 /> However, very few webcomic creators in India are able to do so professionally: most Indian webcomic creators work on comics in addition to working their day job.<ref>{{cite news|url=http://www.thehindu.com/features/magazine/aneesha-bangera-on-the-on-the-new-and-radical-online-avatar-of-todays-comics/article8374575.ece|newspaper=[[The Hindu]]|title=The new online avatar of today's comics|last=Bangeera|first=Aneesha|date=20 March 2016}}</ref> | ||
==Themes== | ==Themes== | ||
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For example, ''[[Crocodile in Water, Tiger on Land]]'' (2010) satirises [[Political sociology|socio-political-economic issues]] such as the [[2015 Bihar cheating scandal]]. Digital politics-researcher Sriram Mohan described the webcomic as progressive, liberal and pro-poor, saying that "it wasn't always so political. I really like it more now. It's certainly top of the pile." Other webcomics, such as Rachita Taneja's ''[[Sanitary Panels]]'', specifically focus on [[Gender and webcomics|gender issues]] in the country. Many webcomic creators, including Taneja, follow the news closely so they can follow up on [[current events]].<ref name=HindustanTimes /> | For example, ''[[Crocodile in Water, Tiger on Land]]'' (2010) satirises [[Political sociology|socio-political-economic issues]] such as the [[2015 Bihar cheating scandal]]. Digital politics-researcher Sriram Mohan described the webcomic as progressive, liberal and pro-poor, saying that "it wasn't always so political. I really like it more now. It's certainly top of the pile." Other webcomics, such as Rachita Taneja's ''[[Sanitary Panels]]'', specifically focus on [[Gender and webcomics|gender issues]] in the country. Many webcomic creators, including Taneja, follow the news closely so they can follow up on [[current events]].<ref name=HindustanTimes /> | ||
Some Indian webcomics present traditional aspects of the country's culture. Meenakshi Krishnamoorthy's ''[[Kinnari]]'' is highly influenced by Indian mythology, creating unusual spins on ancient literature. To involve foreign readers more, Krishnamoorthy incorporates footnotes explaining the source material of her comics.<ref name=Scroll.in /> [[Aarthi Parthasarathy]] and Kaveri Gopalakrishnan's ''Urbanlore'', meanwhile, highlights the culture and history of urban Indian cities.<ref>{{cite news|url=http://indianexpress.com/article/lifestyle/faces-of-the-city/|newspaper=[[The Indian Express]]|title=Urbanlore, a new webcomic series traces a changing urban India|last=Kumar|first=Shikha}}</ref> | Some Indian webcomics present traditional aspects of the country's culture. Meenakshi Krishnamoorthy's ''[[Kinnari]]'' is highly influenced by Indian mythology, creating unusual spins on ancient literature. To involve foreign readers more, Krishnamoorthy incorporates footnotes explaining the source material of her comics.<ref name=Scroll.in /> [[Aarthi Parthasarathy]] and Kaveri Gopalakrishnan's ''Urbanlore'', meanwhile, highlights the culture and history of urban Indian cities.<ref>{{cite news|url=http://indianexpress.com/article/lifestyle/faces-of-the-city/|newspaper=[[The Indian Express]]|title=Urbanlore, a new webcomic series traces a changing urban India|last=Kumar|first=Shikha|date=19 October 2015}}</ref> | ||
==American influences== | ==American influences== | ||
American webcomics such as ''[[Cyanide and Happiness]]'' have also found a large amount of popularity in India. ''Cyanide and Happiness'' co-writer Rob Denbleyker has noted that the webcomic's readership in India came as a surprise to him. DenBleyker has gone to multiple India-based [[comic book conventions]] since.<ref>{{cite news|url=http://timesofindia.indiatimes.com/city/delhi/City-in-pursuit-of-dark-humour-with-Cyanide-and-Happiness/articleshow/50082225.cms|newspaper=[[The Times of India]]|title=City in pursuit of dark humour with Cyanide and Happiness|last=Arora|first=Kim}}</ref><ref>{{cite web|url=http://www.ibnlive.com/blogs/tech/deepali-moray/delhi-comic-con-2015-webcomics-make-it-easier-for-artists-to-get-their-work-noticed-14326-1172752.html|publisher=[[IBN Live]]|title=Delhi Comic Con 2015: Webcomics make it easier for artists to get their work noticed|last=Moray|first=Deepali}}</ref> American works have influenced various Indian webcomics: Dalbir Singh created ''[[SikhPark]]'' based on the crude political humour of American television series ''[[South Park]]'',<ref>{{cite web|url=http://mashable.com/2015/12/07/sikh-park-south-park/#U2vP7kAdv8qG|publisher=[[Mashable]]|title=India gets its own 'South Park' with 'SikhPark'|last=Joshi|first=Sonam}}</ref> and Aarthi Parthasarthy based the concept of ''[[The Royal Existentials]]'' on David Malki's ''[[Wondermark]]'', using [[Mughal painting|Mughal miniature paintings]] instead of [[Victorian art]].<ref name=HindustanTimes /> | American webcomics such as ''[[Cyanide and Happiness]]'' have also found a large amount of popularity in India. ''Cyanide and Happiness'' co-writer Rob Denbleyker has noted that the webcomic's readership in India came as a surprise to him. DenBleyker has gone to multiple India-based [[comic book conventions]] since.<ref>{{cite news|url=http://timesofindia.indiatimes.com/city/delhi/City-in-pursuit-of-dark-humour-with-Cyanide-and-Happiness/articleshow/50082225.cms|newspaper=[[The Times of India]]|title=City in pursuit of dark humour with Cyanide and Happiness|last=Arora|first=Kim|date=7 December 2015}}</ref><ref>{{cite web|url=http://www.ibnlive.com/blogs/tech/deepali-moray/delhi-comic-con-2015-webcomics-make-it-easier-for-artists-to-get-their-work-noticed-14326-1172752.html|publisher=[[IBN Live]]|title=Delhi Comic Con 2015: Webcomics make it easier for artists to get their work noticed|last=Moray|first=Deepali|date=5 December 2015}}</ref> American works have influenced various Indian webcomics: Dalbir Singh created ''[[SikhPark]]'' based on the crude political humour of American television series ''[[South Park]]'',<ref>{{cite web|url=http://mashable.com/2015/12/07/sikh-park-south-park/#U2vP7kAdv8qG|publisher=[[Mashable]]|title=India gets its own 'South Park' with 'SikhPark'|last=Joshi|first=Sonam|date=7 December 2015}}</ref> and Aarthi Parthasarthy based the concept of ''[[The Royal Existentials]]'' on David Malki's ''[[Wondermark]]'', using [[Mughal painting|Mughal miniature paintings]] instead of [[Victorian art]].<ref name=HindustanTimes /> | ||
==References== | ==References== | ||
{{reflist}} | {{reflist}} | ||
*{{cite news|url=http://www.thehindu.com/features/metroplus/webcomics-do-the-talking/article7569359.ece|newspaper=[[The Hindu]]|title=Webcomics do the talking|last=Dundoo|first=Sangeetha Devi}} | *{{cite news|url=http://www.thehindu.com/features/metroplus/webcomics-do-the-talking/article7569359.ece|newspaper=[[The Hindu]]|title=Webcomics do the talking|last=Dundoo|first=Sangeetha Devi|date=24 August 2015}} | ||
{{Webcomics}} | {{Webcomics}} | ||
Latest revision as of 06:42, 25 November 2022
Webcomics have grown in popularity in India since the early 2000s. Early webcomics created by Indian people were written and illustrated by people abroad and focused primarily on the differences in culture the creators experienced. Later webcomics put a strong emphasis on social and political issues present in the country, usually from a liberal perspective. Webcomics can reach large audiences in India when shared through social media.
History[edit | edit source]
Though webcomics have been a popular medium since the establishment of the World Wide Web in the early 1990s, the first Indian-centric webcomics started being published at the start of the 21st century. Early Indian webcomics, such as Sandeep Sood's 2003 webcomics Badmash and Doubtsourcing, were primarily written by Indian people living outside of India. These webcomics expressed the stark differences in culture between India and the country of inhabitation.[1]
According to Sreejita Biswas of Scroll.in, Indian webcomics were defined by "stick figures, unimpressive humour and banal writing" in 2010, but that webcomics of a few years later are of much higher visual quality and use the medium for more meaningful content. Among other things, Biswas noticed a change in focus from political discourse to an effort to spread social awareness.[2] Tarishi Verma of the Hindustan Times stated in 2016 that Indian webcomics are "coming into their own" due to the efforts of the young "social media-friendly" generation.[3] Similarly, Jaideep Unudurti of The Hindu Business Line described India as going through digital comics "renaissance" in 2016.[4]
Economics[edit | edit source]
Traditional comic books were a lucrative business in India until cable television became prominent in the early 1990s. Rahul Vikram, creator of India 2047, described in an interview that he attempted to reach out to publishing companies to distribute his comic, but eventually realised he could save money and reach more people by releasing India 2047 on the Web. Vikram also described interaction with readers as a "bonus". Webcomics in India are greatly affected by online virality: according to Hemantkumar Jain, "the viral effect on websites like Twitter is strong [as] things get retweeted pretty fast and reach more people."[1]
Success of Indian webcomics is frequently measured by a subscriber-count, though the most prosperous webcomics display their status by selling merchandise such as prints, post cards, and T-shirts.[1] However, very few webcomic creators in India are able to do so professionally: most Indian webcomic creators work on comics in addition to working their day job.[5]
Themes[edit | edit source]
Tarishi Verma of the Hindustan Times stated that the young generation of Indians use webcomics as a tool for "underlining their absurdity [of] current ills of Indian society." Usually of a satirical nature and intended for adult audiences, Indian webcomics explore a variety of themes, such as "Indians and Indian-ness, Bollywood, existential angst, politics and feminism." Many webcomics in the country are opposed to the status quo and existing unjust social norms.[3]
For example, Crocodile in Water, Tiger on Land (2010) satirises socio-political-economic issues such as the 2015 Bihar cheating scandal. Digital politics-researcher Sriram Mohan described the webcomic as progressive, liberal and pro-poor, saying that "it wasn't always so political. I really like it more now. It's certainly top of the pile." Other webcomics, such as Rachita Taneja's Sanitary Panels, specifically focus on gender issues in the country. Many webcomic creators, including Taneja, follow the news closely so they can follow up on current events.[3]
Some Indian webcomics present traditional aspects of the country's culture. Meenakshi Krishnamoorthy's Kinnari is highly influenced by Indian mythology, creating unusual spins on ancient literature. To involve foreign readers more, Krishnamoorthy incorporates footnotes explaining the source material of her comics.[2] Aarthi Parthasarathy and Kaveri Gopalakrishnan's Urbanlore, meanwhile, highlights the culture and history of urban Indian cities.[6]
American influences[edit | edit source]
American webcomics such as Cyanide and Happiness have also found a large amount of popularity in India. Cyanide and Happiness co-writer Rob Denbleyker has noted that the webcomic's readership in India came as a surprise to him. DenBleyker has gone to multiple India-based comic book conventions since.[7][8] American works have influenced various Indian webcomics: Dalbir Singh created SikhPark based on the crude political humour of American television series South Park,[9] and Aarthi Parthasarthy based the concept of The Royal Existentials on David Malki's Wondermark, using Mughal miniature paintings instead of Victorian art.[3]
References[edit | edit source]
- ↑ 1.0 1.1 1.2 1.3 Arora, Kim (5 September 2010). "Strip tease: Indian webcomics make a mark". The Times of India.
- ↑ 2.0 2.1 Biswas, Sreejita (24 January 2016). "URLs of mass distraction: Five Indian webcomics to be read regularly". Scroll.in.
- ↑ 3.0 3.1 3.2 3.3 Verma, Tarishi (26 April 2015). "Laughing through our worries: The Indian web comics". Hindustan Times.
- ↑ Unudurti, Jaideep (1 January 2016). "India today, in doodles". The Hindu Business Line.
- ↑ Bangeera, Aneesha (20 March 2016). "The new online avatar of today's comics". The Hindu.
- ↑ Kumar, Shikha (19 October 2015). "Urbanlore, a new webcomic series traces a changing urban India". The Indian Express.
- ↑ Arora, Kim (7 December 2015). "City in pursuit of dark humour with Cyanide and Happiness". The Times of India.
- ↑ Moray, Deepali (5 December 2015). "Delhi Comic Con 2015: Webcomics make it easier for artists to get their work noticed". IBN Live.
- ↑ Joshi, Sonam (7 December 2015). "India gets its own 'South Park' with 'SikhPark'". Mashable.
- Dundoo, Sangeetha Devi (24 August 2015). "Webcomics do the talking". The Hindu.
