Webcomics have recently thrived off of the birth of the internet. More people have been able to access the internet to read webcomics. However, economically it has been hard to keep up for artists and writers to fund their work. In Misemers, “Webcomics,” she explains the economic value for webcomics versus print comics because in our society, due to digital culture, there have been more competitors between authors because most webcomics are free. Addtionally, I think that most of the profits for webcomic authors come from merchandise created from their webcomic such as print editions,t-shirts, stickers, bags. Also, the idea of “who owns credit” becomes a big problem. So, the relatively low cost to create comics with free development hosting and the ability to attract the audience through merchandise is a claim that webcomics in digital culture is possible and beneficial.

Another negative affordance is the limited attention of span of people on the internet, however, webcomics have the freedom to flow between all different types of genres. Thus, the affordances of digital media have shaped the view on narrative continuity. With the diverse genres, it pulls in all different types of readers. Through the “share” feature on the internet, webcomic artists are able to share their webcomics without directly sharing it first.

Although, Misemer’s piece “Webcomics,” explains the affordances of webcomic in out digital age, the comic that I am studying “She-Span” has no merchandise and is actually mostly published on the streets of Washington D.C. Thus, not all types of webcomics follow certain affordances.

Collaboration between the artists and other artists have also been prevalent in our digital world. Thus, this adds a more diverse humor and genre into the webcomic world.