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A minicomic is a creator-published comic book, often photocopied and stapled or with a handmade binding. In the United Kingdom and Europe the term small press comic is equivalent with minicomic, reserved for those publications measuring A6 (105 mm × 148 mm) or less.
Minicomics are a common inexpensive way for those who want to make their own comics on a very small budget, with mostly informal means of distribution. A number of cartoonists — such as Jessica Abel, Julie Doucet, and Adrian Tomine — have started their careers this way and later gone on to more traditional types of publishing, while other established artists — such as Matt Feazell and John Porcellino — continue to publish minicomics as their main means of production.
The term "minicomic" was originally used in the United States and has a somewhat confusing history. Originally, it referred only to size: a digest comic measured 5.5 inches wide by 8.5 inches tall, while a minicomic was 5.5 inches by 4.25 inches.
Currently, there is no standard format for a minicomic. Anything between something the size of a postage stamp to regular comic book size can be considered a minicomic. The term "minicomic" is used in a more general sense, emphasizing the publication's handmade, informal aspect rather than the format. By this loose definition, a single photocopied page folded in quarters would still be a minicomic, but so would a thicker digest-sized comic, or even a large, elaborate, and relatively expensive photocopied booklet with a silkscreened cover. Even some professionally printed and bound booklets are referred to as minicomics, as long as they are published by the artist and marketed in minicomic venues, but this usage is controversial.
Many minicomics are non-standard comic book sizes for aesthetic reasons, or are often connected to graphic design and book print "tricks" to look good. Many of these typical sizes are convenient for artists using standard office supplies: a US letter page can be folded in half to make a digest, or in quarters for a minicomic. These comics are generally photocopied, although some are produced in larger quantities using offset printing.
In North America, the United Kingdom, and Malaysia, minicomics are rarely found in traditional "direct market" comic-book stores; they are often sold directly by the artist at book fairs or through the mail, ordered from websites, or handled by small bookstores and distributors that carry zines. In terms of production and distribution issues and their audience, minicomics—of all of the sizes and types mentioned above—have much more in common with each other, and with zines, than with any traditionally published comics; this may be the reason why the meaning of the term has shifted. In Europe many specialized comic books stores have a special little corner dedicated to the odd off-size little self-printed books. At comic book conventions, such as the one in Angoulême, there are large markets where the little books are available. Because most of the books are rather cheap and were printed in limited quantities, they have become a target of collecters.
Minicomics typically have no editorial oversight, and both their content and quality vary widely. Many of the creators of minicomics do not expect to make a significant amount of money, or even cover their costs, with the price they charge for their comics. These creators may see minicomics as a way to hone their skills or as a way to get their work seen by a larger audience, or may be drawn to the format for aesthetic reasons. Some observers[who?] anticipated that the rise of webcomics would be the end of minicomics, but this does not appear to be the case.
The earliest and most popular comics in mini- and digest sizes—predating not only the term minicomic, but even the standard comic-book format—were the anonymous and pornographic Tijuana bibles of the 1920s.
Many minicomics in the 1980s were produced by artists influenced by the underground comix scene who were unable to get work published in underground and alternative publications. Michael Dowers' Starhead Comix published many minicomics throughout the latter half of the 1980s, before the company moved to traditional comic book printing and distribution.
In the 1990s, before the widespread adoption of the World Wide Web, minicomics became a popular form of self-distribution for alternative cartoonists, aided by such publications as Factsheet Five. Comic book series like Jessica Abel's Artbabe, Julie Doucet's Dirty Plotte, and Adrian Tomine's Optic Nerve all started out as self-published minicomics before being picked up by legitimate publishers.
In 1993, Rick Bradford (who had been involved in the minicomics scene since 1985) began publishing Poopsheet, a zine that reviewed other small publications, including minicomics. Poopsheet eventually became a website and is now known as The Poopsheet Foundation, which is dedicated to archiving the history of minicomics.
The term minicomic also refers to the small comics booklets that come in the packages of some toys:
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