It’s true that the ignorant consumption of QR Codes, hastily scanned without any accompanying information and without ensuring the source is safe, could lead to malware or undesired material. However, I think the mystery of these codes – strange, enigmatic symbols, able to instantly transport the user to a digital realm which bears no relation to its signage – is their appeal. The word ‘Talisman’ can be interpreted to mean “to initiate into the mysteries”, and in this way QR Codes might be deemed their modern-day versions.

After the test run for Storycube Cairn, where we used QR Coded Storycubes and mobile phones as wayfinding devices, I was inspired by ideas on how these codes might be embedded into the urban fabric of a city. The notion of encountering one of these cubes by accident in an odd location, which, when scanned leads the discover on a winding quest to discover more, or reveals a short story or video piece relevant to its found location, excited me. Perhaps even, a cube or code is partially glimpsed in a seemingly unreachable place, rewarding the explorer when they have found a means to get there – parkour and geolocation intertwined. I’ll try not to gush over the possibilities for sculpting codes into walls and pillars. Digital cuneiform for the modern city.

Of course, they have more traditional, functional benefits. For those with sight or motor skills issues, they could be a great help; placed alongside small print, summoning an enlarged text version on whatever device is being used, or the ability to access links without entering complex URLs. Our recent changes to bookleteer enable readers to access a digital version of a book, by scanning a QR Code on the back cover – instant, free distribution.

I would hazard a guess that developing their capability, whilst finding innovative ways in which they might be used, will be essential for QR Codes to stick around throughout the coming years, becoming a technology that can evolve beyond novelty uses or simple shortcuts.

Beyond quickly being scanned over.

The ability for visitors at these kinds of shows to take a small souvenir away with them that serves as a contacts resource and reminder of the experience is key, particularly if the exhibitor is engaged in conversation or demonstrating their work to someone else, leaving no opportunity to directly talk to them and forge a link. I gathered quite a few cards at TENT – mostly as a trigger for later research – storing them in the back of my notebook so they wouldn’t get lost.

Often, there is a disparity between the design and information on these cards, and the intrigue I had when looking at the product or concept on display. It struck me that creating StoryCubes that act as keepsakes from the experiences might bridge this gap; shouldn’t high-end design work have a suitable counterpart for promotion? Obviously a cube is a lot more unwieldy than a card, even when folded flat, but perhaps in the process of taking the care to protect it, having to physically carry it rather than stuffing it into a wallet or pocket, it becomes more than just a scrap of details – a three-dimensional memento, almost a trophy, that can sit on a desk or shelf, hopefully stirring up the same interest its new owner had when looking at its source.

• A free bookleteer account

If you haven’t signed up for a free bookleteer account yet, do so here.

• A4 single label paper, suitable for Inkjet or Laserjet printers

Full sheet label paper, available from any decent stationers (Avery code: DSP01).

• Blank StoryCubes

Read about StoryCubes, and order blank packs here.

Firstly, design your StoryCube.

Sign into bookleteer. If you’re a new user, read the help page.

Design your cube using the bookleteer templates, export the file as a PDF, then upload to the Create A StoryCube page, or upload each image individually.

Select Generate StoryCube and download the file, from the top right corner of the screen.

Next, print and make.

Print using the label paper, and cut around around only the faces of the cube, not the tabs – it should look a crucifix (You can also protect your cube by using adhesive cellophane, by affixing a layer on top of the label sheet, then cutting out).

Peel off the backing paper, and stick onto a blank cube.

Fold your StoryCube, and voila!

You can even use this method to make your own A3 size StoryCubes, without even owning an A3 printer.

Simply crop the A3 cube PDF into two documents, so that it can be printed across two sheets of  A4 paper.

Then, cut out the two segments as shown, to form a two-part crucifix shape.

Stick onto to a blank A3 cube and fold…

… and you now have an A3 cube, using a standard home printer.

If any bookleteers discover more clever ways to make StoryCubes, do share!

On Wednesday, Simon Pope, Gordon Joly, and Stefan Szczelkun joined us in the Proboscis studio, to talk about the StoryCube Cairn project, and embark on a group walk using a QR coded cube and a mobile phone as wayfinding devices.

Before the event, we were asked to devise walking routes to create individual cubes, each side featuring a QR code, linking to a particular geographic spot on an online mapping service (Google Maps, OpenStreetMap, etc) – a start point, four waypoints, and a destination. Using an API Gordon coded, and the bookleteer API, entering the six location URL’s automatically generated a StoryCube. My route, based around memorials and tributes in different forms is available here.

Meeting just after 2.00pm, Simon and Gordon gave a summary of the project, and a recap of the development process so far. We talked about the current limitations of Google Maps when creating the cubes, particularly the inability to share manually added, user designated routes with other people (they require two waypoints to locate the route), and had some interesting ideas regarding the next stage of the project. What about a mix of map links, audio files and videos – an interactive tour, scanning QR codes near points of interest to access audio descriptions and related videos? Or, a quasi treasure hunt, requiring players to obtain QR code stickers for the cubes (discouraging them from scanning all the codes at once – cheating!)  from certain spots to get the next destination?

We decided to use Simon’s cube for our first trial, his route focusing on locations acted on by “centrifugal and centripetal” forces – each point “acting as an attractor of sorts, which in some instances cannot be reached, yet which pulls the walker towards it”.

After departing from the studio, Giles scanned the first code to get our start point – the ramp under West Smithfield. Once there, we scanned the next spot, the middle of Charterhouse Square. All was going smoothly. However, after reaching the third spot, the omnimous brick circle in Golden Lane estate (the “Unplace” we featured in the City As Material: Streetscapes event), we were unable to load the next, despite trying with numerous phones – bad signal, or bad omen? Despite this, we were afforded time to ponder its unusual acoustic properties once again, and plot a cunning plan to subvert this synchronised failing of technologies… cheat!

Simon told us his next waypoint, the Curve Gallery in the Barbican Centre, which we arrived at via its winding walkways (after ceremonially scanning the code we missed). Another hurdle faced us here, as to gain entry to the exhibition, we were expected to don quarantine-esque shoe covers, and couldn’t enter as a group. Bah. The penultimate spot, another circle, on Monkwell Street, beckoned.

From there we were awarded our destination, the Museum of London, or more specifically, outside its entrance. Here, we asked if we were able to get into the recently renovated green space below, and were told “perhaps, but you might not be able to get back up!”. Rather than risk it, we retired to the pub right next door, content in a mostly successful first run of a StoryCube Cairn route.

We’re brimming with ideas for what might be possible next. Until then, view all our routes, and download the cubes yourself here.

“When folded into cubes, these warnings – secretly embedded into the pills we take – are reconstituted into three-dimensional forms, creating a new type of placebo.”

Download and make them for yourself on Diffusion.

(You can also read a more in-depth post about these cubes, penned by our former blogger, Karen Martin, here.)

"Prozac" and "Effexor"

It is now a year since we launched the short run printing service so now seemed like a good time to reflect on what people in different areas have been using the printing service for. In this post we reflect on its use in two projects connected to the British Museum.

Julie Anderson, the Assistant Keeper of Egyptian and Sudanese Antiquities at the British Museum used Bookleteer to create 1000 books in Arabic and English about the 10 year Sudan excavation to share the findings with the local community in Sudan.

Following the distribution of the book, teenagers began coming to our door in the village to ask questions about the site / archaeology / their own Sudanese history… connecting with their history as made possible through the booklet. It was astonishing. More surprising was the reaction people had upon receiving a copy. In virtually every single case, they engaged with the Book immediately and began to read it or look through it….The Book has served not only as an educational tool, but has empowered the local community and created a sense of pride and proprietary ownership of the ruins and their history.

Bookleteer was used in the Melanesia Project to record, Porer and Pinbin, indigenous people from Papua New Guinea discussing objects in the British Museum collection. Bookleteer was used first to create simple notebooks that were printed out on an office printer and handmade. Anthropologist James Leach used them to note the discussion in both English and Tok Pisin, next to glued in polaroid images, to produce a record that involved;

capturing the moment of what we were doing and what we were seeing.

Once filled in, the notebooks were scanned and professionally printed to share with the local community in Papua New Guinea (who have a subsistence lifestyle without electricity).

“[...] As something to give people, they’re an extremely nice thing. People are very keen. I also took some to an anthropology conference before I went [to Papua New Guinea] and would show them to people and they’d immediately say “Oh, is that for me?” People kind of like them. They’re nice little objects.”

Researcher and community education worker Gillian Cowell has used the books as part of a community project with Greenhill Historical Scoiety:

“I think, for community work, it’s really important that you engage in much more unique and creative and interesting ways as a way of trying to spur some kind of interest and excitement in community work [...] The books are such a lovely way for that to actually fit with that kind of notion.”

Bookleteer is an online service to help you create and publish booklets and StoryCubes. It’s simple, quick and free – print and make them in minutes using only a pair of scissors, or share them online, anywhere there is an internet connection, computer and standard inkjet or laser printer.

If you are interested in finding out about how you could use Bookleteer, come along to one of our Pitch Up & Publish Workshops or Get Bookleteering sessions this summer.

Pitch up & Publish
One day workshops to create and publish booklets and StoryCubes using bookleteer: guiding you from concept to publication and beyond, bring a particular project you want to undertake, or come for an introduction and to experiment. The day will be tailored to your needs so you can bring a particular project you want to undertake, specific questions you want to address, or come for an introduction and to experiment. For new to experienced users, all are welcome. Book tickets on Eventbrite for these dates - 12 July, 13 Sept, £50 / £40 (early bird). Max 10 places per workshop.

Get Bookleteering!
Come along to one of our ‘Get Bookleteering’ 2 hour surgery sessions ranging from beginners to advanced, to answer your questions about specific projects as well as introduce new users to Bookleteer. Book places on Eventbrite for these dates - 28 June , 26 July,  £20 / £10 (Concessions). Max 6 places per session.

Both event prices include (complimentary Alpha Club membership, 5% discount off your first Short Run Printing order, free pack StoryCubes).

Bookleteer is an online service to help you create and publish booklets and StoryCubes. It’s simple, quick and free – print and make them in minutes using only a pair of scissors, or share them online, anywhere there is an internet connection, computer and standard inkjet or laser printer. Make field notebooks, workbooks, gifts, private journals and folios, or just test your design idea’s before using our short run printing service to print your book professionally in small or large quantities. Unlike other publishing platforms, Bookleteer enables quick and easy modification, as findings may change, mistakes made. It allows you use only the handmade versions or experiment with them before professionally printing. The opportunity to create is endless.

People who have been using bookleteer:
Bookleer has been used by organisations including The British Museum, University of Aberdeen, Cambridge Curiosity and Imagination, Axis Architects, The Empty Shops Network, Arts group Dodolab, and many others. These organisations have used Bookleteer in projects including outreach, architecture, community, consultation, literature, archeology, visual art, interpretation and exhibitions.

We look forward to seeing you!

The train from London seemed distinctly commuter-free compared to our journey to Bristol, with only a handful of people in our carriage. We bagged table seats, and sat down to some much needed coffee, battling against the dreary weather outside. Mucky, sepia-tinted windows gave the landscape outside a grainy, nostalgic vibe, the perfect accompaniment to tales of Tim’s childhood in Norwich.

Arriving there, after setting up the GPS tracker and sound recorder Tim had brought, we walked down the main stretch of tacky nightclubs and kebab joints, possibly not the best introduction to the city. However, we soon spied Norwich castle, a curious structure, almost too uniform and perfect considering it dates from the 11th century. Tim said it looked like a fairy-tale castle, a manifestation of the first thing you’d see when you heard the word “castle”. Next to it, a space-age cylindrical lift ferried visitors to and from the lower levels – a bizarre combination.

We descended to the city centre, passing the market, towards Elm Hill, a historic cobbled lane with houses and shops dating from the Tudor period. This amazing street is home to the Strangers Club, set up to entertain those from outside Norwich, and where Tim’s father regularly took him to lunch. I couldn’t resist a peek through a lofty window, and was greeted with the sight of a woman carrying flagons from the kitchen, hastily ducking before she noticed. Further up, the window of an antique and curiosity shop in a side court displayed Crowley-esque goat horns and all manner of surreal exhibits.

After passing through the beautiful cathedral and it’s ornate cloisters (and a hilarious sign outside which read “We apologise for the untidy appearance of these ruins”), we popped into the Writer’s Centre, recruiting Chris Gribble briefly as our tour guide. He mentioned that Norwich was barely affected by the industrial revolution, apparent in the structures pre-dating it which are so common. We cut through the shopping centre, past the cinema where Tim first saw Star Wars, and arrived by a huge derelict building adorned with a giant graffiti mural; originally zoned for development, but now a victim of the property crash. A dystopian counterpart to the medieval niches of the city.

Before departing, Chris recommended The Window, the “world’s smallest coffee shop” (appropriately next to the “UK’s best pizza and kebab” shop – a dubious claim). After lunch in the refreshingly different Cinema City dining rooms (housed in a building where parts date back the the 14th century, yet the courtyard is sheltered by a modern glass roof), we stopped by. It resembles a tiny kitchen, with only a small bench and a chair or two to perch on, but has a great atmosphere. We chatted with the owner and several locals, and left with the after-glow of a dynamic and friendly venture trailing behind. Tim’s previous statement that nothing much had changed since he left, and that the pulse of the city was definitely on the slow side, had a small, yet charming, contender.

All day we had noticed plaques underneath various street signs, some with slightly vague origins; the phrases “may have been named because” and “could be” were used an awful lot. Paired with peculiar names, such as “Rampant Horse Street” and “Tombland”, these gave us the idea of perhaps creating some Storycubes with street-sign images, and fictional explanations on the other side, which could be fun. We were also interested in using GPS data and sound recordings from the day for an eBook output, particularly Tim’s childhood memories, and the peaks and lulls in conversations when passing through certain areas, so that we could contrast the physical experiences with raw data, examining the correlations and disparities. We’ll be starting work on those soon, so keep an eye out on Diffusion.

View our photos from the day on the City As Material Flickr page.

Tuesday 22nd March 2011, 12.00 pm – 2.00 pm

Tuesday 12th April 2011, 12.00 pm – 2.00 pm

Tuesday 26th April 2011, 12.00 pm – 2.00 pm

at:

Proboscis Studio
4th Floor 101 Turnmill Street
EC1M 5QP London
United Kingdom

Event Details

A series of workshops to help you make the most of bookleteer : guiding you from concept to publication and beyond. The 2 hour workshops will be held at our studio every 2-3 weeks and will have a maximum of 6 places. We will help beginners get started and offer more advanced users a collaborative space in which to explore new uses and ideas, sharing our knowledge and experiences.

The sessions will cover everything from basic level introduction to specific topics – such as designing project notebooks, embedding multimedia links via QR codes and preparing books for printing via our Short Run Printing Service. We also plan to run specific themed workshops to share our experiences and methods of using bookleteer to work with kids in schools, with community groups and in other more specialist settings.

Participants will become Alpha Club members, getting early access to new and exclusive features (such as the bookleteer API) as well as benefitting from discounts on Short Run Printing service and a free pack of medium size StoryCubes.

Book A Ticket

Tickets will cost £20 plus booking fee and are available from http://pitchupandpublish.eventbrite.com/.

View photos from previous Pitch Up & Publish sessions below, read about them here.

Download and make “A Sort Of Autobiography” for yourself here.

Download, make and decipher them for yourselves here.

A set of  27 Storycubes to inspire children’s play, indoors or out, alone or with others, this cube of cubes has 3 layers of games which can be used in endless variations. We’re currently thinking about different ways to play, and producing an eBook of game suggestions, so we’ll soon be having fun testing them on ourselves and with kids. See more photos here.

Bird Song was created to accompany a sound installation at the Chiswell Walled Garden in Dorset, for this years b-side festival in September. Each side of the Storycube portrays a silhouette of a different bird in its natural setting, with its particular call represented in onomatopoeic text. It must have been a great visual piece when paired with the sound, especially with the three dimensional form of the Storycube, as the silhouettes start to resemble the shadows of actual birds.

I’ll be looking at the other song themed items soon, and starting to pick up on other collective trends when delving through the archive.

Picking a path, the player follows the line around the cube, until they reach one of six destinations, each with a different icon representing a personality type. The player then checks the eBook to read the corresponding description.

“What Type Are You?” really takes advantage of the cube form – the shape is integral to the game (as Mandy says: “When holding a cube you find yourself tempted to see whats on the other faces”). It’s also the first game in the archive – hopefully it will inspire fellow game-makers to create more. Download it here, and play it for yourself.

I love Matt Huynh’s style; wonderfully quirky and charming, they work so well on the small panels, almost resembling an abstract comic, or an illustrated Rubik’s cube. Whilst twisting the cubes into different forms, its hard to resist becoming mesmerised, as the different colours and shapes unfold inwards and outwards, kaleidoscopically.

It would be interesting to see comic authors working within this format, each set of panels representing short tales that can be switched around, letting the reader form the story by making different shapes. This relates to Hypercomics, which I’ve blogged about before, where different outcomes are possible with each read, shifting the reading experience from flat and passive, to three dimensional and interactive.

While Mandy was out at lunch Alice and I pounced on the StoryCube puzzle she’s working on because, well, because it looks gorgeous! Pencil sketches of farmyard animals, sea creatures, flowers, kittens, insects and snakes are scattered across a set of nine cubes and lie on a background of  shades of blue. The sketches cross over from one side of the cube to another but change as you rotate the cube so that viewing different sides give the sketches a fantastical feel where kittens have flowers for feet and cows have snakes instead of mouths.

The nine cubes are intended as a puzzle with the goal being to match up all of the sketches of one type across all nine cubes. Sounds simple doesn’t it.. well, Alice and I didn’t manage it in the time Mandy was out for lunch!

ps. I also have to say good-bye today. This will be my last regular post for the bookleteer blog because I begin a full-time research position on Monday. I’ve been working with Proboscis on and off for the past five years and it’s been an incredible journey. I can’t thank Giles and Alice enough for the opportunities I’ve had while I’ve been here – and especially for giving me the chance to meet and work with all the fabulous talented people who’ve been in the studio over that time. Good luck with everything, folks!

In our interview, Niharika told me that she first used the eBooks on part of the Perception Peterborough project. She and Alice used the eBooks to document a cab ride around Peterborough using illustrations as a way to explore the different kinds of communities and systems that were embedded in the city. For Niharika, this early way of using the eBooks functioned more as a support for personal reflection. Although she would show the results to others, the eBooks she created felt more personal:

“It is shareable, but that is not the intent in which I created it. It was more like a personal log.”

Although she continues to be interested in this kind of approach, she has also used the eBooks as part of a more extensive project which I want to examine in greater detail:

Sample project: Articulating Futures

Proboscis commissioned Niharika in 2009 to design and deliver Articulating Futures. The project was a series of workshops held in New Delhi, India between the 17th and 21st November 2009. The work took place at the Chinmaya Mission Vidyalaya. Both she and members of Proboscis had been interested in exploring the pedagogical applications for eBooks and these workshops represented just such an opportunity.

The workshops involved pproximately 20 sixteen year-old students. As part of the workshops, students were given a “pack” with various materials including a number of pre-designed eBooks and StoryCubes. Niharika emphasised that she was working from within in a traditional Indian schooling system, a system that I was completely unfamiliar with. She explained to me that notebooks were used in a very different manner in this Indian school than in the manner that I was familiar with. Each notebook was apparently designated for particular subjects and students were given a standard format in which to record information in the classroom.  They could not personalise their notebooks in any way. They could not write down what their thoughts were. They could only copy material from the board or what their teacher teaches:

“the whole project was located in a very structured school institution, in a very structured classroom space where notebooks are a very sort of different medium. When you write down [something it] has to be right or wrong versus more creative. So notebooks are associated with a very different way of exchanging or recording information or knowledge”

Niharika saw the eBooks as a way to transgress this kind of approach. For her, the level of tactility in making the eBooks and their flexibility meant that students could express themselves more freely in the classroom context. The workshops included four different designs of the eBooks given to the students at four different times in the workshops. These included:

An eBook of Ideas- to note one’s personal thoughts and moments of inspiration

An eBook of search and research- to write down responses to specific questions discussed through the day

An eBook of storytelling- to help students think more creatively using methods and techniques of narrative and story telling

An eBook of Future- to use as a personal log to create the final future scenarios

In other words, the eBooks were used as a tool to enable students to develop their ability to be reflexive. As she states in her final report:

“Students were encouraged to reflect upon their daily activities by writing in their eBooks of ideas and research. They were also asked to write down a ‘thought of the day’ based on what they liked or disliked during the daily course of the workshop. Each days activities were explained to the students so that they could understand and comprehend why they were participating in it. Through discussions they were also linked to the proceedings of the following days as well to their academic curriculum. This enabled them to make sense of the workshop, meaningfully participate in it as well as make it relevant to their context.”

In the end, Niharika felt that the eBooks offered three specific advantages as workshop tools for this particular project:

Multiple languages – Probosics had recently introduced the ability to use multiple languages which meant that she could design the eBooks in Hindi or other languages.

Pedagogical context – The eBooks flexibility allowed students to develop critical and reflexive skills.

Engagement – The uniqueness of the eBooks ensured that students would be interested get involved in the workshop activities.

Once the workshops were completed, Niharika scanned all of the eBooks as part of an archive of the event. She then keeps the originals in a Paperchase box. You can find versions of Niharika’s eBook design here.

Challenges, recommendations and suggestions

Having extensively worked with the eBooks in the past, Niharika felt that she had not fully grasped the importance and significance of making the eBooks – that is folding and cutting them into the final version – until she worked with the students in India. Sadly she only came to this realisation after she had pre-folded and cut the eBooks for the students. She felt that, had the students made the eBooks themselves, it would have added “ another layer of ownership and I think it’s also far more engaging and makes it more personal”.

Niharika still uses the eBooks to make personal logs. She is also looking forward to potentially designing an eBook as her own artist’s portfolio which she could handout to people interested in her work.

Sample project: Greenhill Digital Storytelling Guide

Her first project with the eBooks involved exploring how community residents talked about and engaged with the place they lived in from a historical and contemporary perspective. The eBooks were developed as a part of the process of collecting and disseminating information about what residents of the community of Greenhill – a historical village within Bonnybridge in Scotland. Gillian was able to recruit participants for the project either through the Greenhill Community Resource Centre or through her everyday encounters with local residents.

The eBooks served as a kind of “end point” to the project. They were used to summarise all of the information provided by the participants and subsequently presented to these same participants as a way for them to see their contributions to the research. You can find some examples of these eBooks here. Because of the limited resources available, she usually limits herself to printing batches of approximately 25 or 50 at a time.

“I think, for community work, it’s really important that you engage in much more unique and creative and interesting ways as a way of trying to spur some kind of interest and excitement in community work [...] The eBooks are such a lovely way for that to actually fit with that kind of notion.”

Gillian doesn’t see her use of the eBooks as something collaborative in the sense that she is the one doing most of the work of actually making the eBook with the Bookleteer platform. This is partly because she has found that information technologies can be a barrier to their engagement in these types of projects. She is, however, exploring ways to use the eBooks to collect information from participants as part of the research process. Nevertheless, she feels the eBooks are particularly well suited as a means of presenting research to people including stakeholders:

“As a community worker you obviously have to evaluate projects and you have to write long boring audit reports for management. For me the eBook is just my way of doing that. And I provide management – and always have done – with a printed-out eBook for them to put together themselves. They’re probably quite annoyed! [laughs]”

In fact, Gillian claims to have gotten some very positive responses from stakeholders on the eBooks, even though it seems they would prefer not to have to fold the eBooks themselves. Nevertheless, Gillian still finds it somewhat challenging to get more then anecdotal feedback from people who read the eBooks.

Challenges, recommendations and suggestions

One of the main strengths of the eBooks for Gillian are the Bookleteer and Diffusion websites. She finds that eBook’s simple and effective templates work well with images and she enjoys perusing the website for new and unique ways of  using the eBooks. Another key strength for Gillian is the fact that it allows her to produce printed material that isn’t too involved or complicated.

Besides the challenge of feedback and the learning curve for people who are not familiar with digital platforms like Bookleteer, Gillian suggested in our conversation that she still had trouble with some of the formatting. Although she found that the new Bookleteer system’s way of enabling her to produce a PDF was quite useful, she still found that she had to go through five or six versions of the PDF before she had generated a version she was happy with.

Warren Craghead’s  “A sort of Autobiography” is a comic spanning ten StoryCubes, each detailing a decade of his life, and possible future life. Its interesting that this was reviewed as a comic in its own right by Warren Peace, despite being hosted online by Diffusion, rather then distributed in print.

“Pandora’s Box” by Ken Wong, retells the Greek Myth on a cube which readers must open to continue the story.

Contending with the rise in popularity of web comics, and the theory of the “infinite canvas” (i.e the size of a digital comics page is theoretically infinite, allowing an artist to display a complete comics story of indefinite length on a single page),  these works make use of space, a concept that can be imitated, but not recreated, on a computer screen. Whilst web comics allow readers to digitally interact, readers can physically interact with and manipulate three-dimensional comics; an entirely different reading experience.