An animator is similar to a performer in front of the camera in that he must act out his emotions and interpret the scene with his pencil; he must also understand character spacing because it affects the tempo of the animation; he must understand expression; he must understand feeling; and he must understand the character in order to make him walk in a comical manner.

The animated film Fantasmagorie, which was first shown in 1908, is considered the beginning (or of the examples of the beginnings) of cartoons. It is directed, written, and illustrated by Emile Cohl, the father of animated cartoons.

Many various attempts were tried in the early years of silent animation as in live action. It was particularly challenging for animators to look for ways to go beyond the process’s newness and produce something funny and flexible to produce cartoons when all the technology was done by hand.

The end of the 1920s saw “more and more artists and cartoonists get the hang of animation and begin to explore more and more with each passing year how you could accomplish things in animation that you couldn’t do in a live action film,” according to animation historian Leonard Maltin. For the animated animation, they invented an entirely new language, giving the characters powers that were significantly greater than those of Charlie Chaplin and Buster Keaton.

What became known as underground comics saw a creative explosion in the late 1960s and early 1970s. The majority of these comics were distributed and published outside of the mainstream comics industry and mirrored the teenage counterculture and drug culture of the time. “Reflected and commented on” the social tensions and differences in American culture, according to underground comics.

In the 1990s, a number of small publishers altered the structure and delivery of their comics to more closely mimic publishing for non-comics. In spite of having an even smaller audience than the small press, the “minicomics” type of self-publishing, which emerged in the 1980s, grew in popularity among artists in the 1990s.

Comic books depend on how they are laid out and presented. The frame of the page, size, orientation, and panel locations are the main concerns of authors. These distinctive features of comic books are essential for expressing the author’s ideas and messages.