Starting next week, Playdom said it will begin publishing Triple Town, which has already been on Facebook for some time.

Spry Fox said it will retain all creative authority over the game, and added that, going forward, it won’t have to worry about acquiring new users or figuring out how to run advertising campaigns.

In a statement, Spry Fox said: “Our games have reached millions of users, but never concurrently. We have constantly worried about our ability to scale without major service interruptions or other related problems … We are grateful for the opportunity to learn from [Playdom] and lean on them.”

The idea of publishing third-party content is not new in the world of gaming, but it is for Disney’s Playdom. It said while it sees an opportunity to leverage the creativity of independent developers, it will not be at the sacrifice of developing games internally.

Over the past year, Playdom has struggled to keep up its development after being acquired by Disney, but now it claims to be back on track and has more than a dozen titles under development, including a game based on Marvel superheroes.

“Playdom’s in-house development studios are still hard at work … but we also recognize that there are a lot of independent social game developers creating amazing new experiences, too,” the company said in a statement.

Spry Fox’s Triple Town, a puzzle game that challenges players to build cities by matching three or more of the same game pieces, has received some acclaim of its own. The trade magazine Gamezebo recently named it the best game of 2011.

In an interview in Silicon Valley, Brad Serwin, the COO of Playdom’s social games unit, said the company has finally started to come out of hiding after being acquired for $563.2 million, plus a $200 million earn-out, more than a year ago.

One reason it took so long, according to Serwin: The general pains of integrating a small company into a larger organization.

Since the acquisition, Playdom has moved to new offices in Palo Alto, Calif., which it shares with Disney Mobile (which was formed through the acquisition of another Silicon Valley start-up, Tapulous).

Both have been learning to work with a parent company that is headquartered 350 miles away.

“A year after the acquisition, we are successfully transitioning into an operating division within Disney,” Serwin said. “We are 100 percent back to work.”

It took long enough, especially given the radical change the industry has undergone since Facebook launched its third-party application platform in May 2007. [More on how the industry has changed  in an interview today with Rick Thompson, a founder of Playdom.]

Since then, games have become the most popular applications on the platform, and have evolved from simple and inexpensive time killers to graphically rich applications.

Facebook has changed the rules, too.

This has impacted everyone in the space, not just three-year-old Playdom. Two of the biggest challenges emerged when the social network shut down its viral channels: When it became difficult to acquire new users by posting messages on users’ pages, and when Facebook implemented Credits, a virtual currency that requires developers to cut Facebook 30 percent of all revenues.

Playdom execs believe the company has finally reorganized, and are planning on making a big splash in what many worried was a dead pool.

Of the dozen titles slated for the next year, two games will come as soon as this month, and up to three games — coming in January, March and August — will leverage Disney brands.

Playdom’s next game is called Secret Agent X. For now, it is only available in beta in some international markets, but it is coming to the U.S. in the fall. In the game, a player leads a dual life as an average citizen who at night becomes a secret agent, exploring new locations and completing missions with the help of high-tech gadgets.

In the trailer for the game, seen below, a suburban housewife manages to save the world, all the while keeping her cover by making sure dinner is on the table on time.

As the seventh-largest app maker, according to AppData, Playdom falls below Zynga, Electronic Arts and even such new entrants as Germany’s Wooga.

That said, Playdom’s recent launch of Gardens of Time was considered a breakthrough hit that used game mechanics rarely seen on Facebook. The social game falls into the category of “hidden objects,” where players try to find a list of items in a room, similar to “Where’s Waldo?”

The concept behind hidden objects is not new to gaming, but it is new to Facebook, and was recently identified as a niche worth pursuing. Today, Playdom’s game is garnering nearly three million daily active users, which registers slightly below Zynga’s new Adventure World.

Playdom hopes it will prosper by bringing new concepts to social gaming and also by leveraging Disney’s big brands to catch players’ attention.

As a recent test, Playdom renamed its game GnomeTown as Disney’s GnomeTown. Serwin said the game performed much better with the new name.

Playdom’s close competitor Playfish is also relying on the intellectual property of its parent company, Electronic Arts. It has seen its Sims Social title climb the charts to become the second-most-popular game.

On the other hand, Zynga, which is the largest social games maker, has made up all of its own properties, ranging from FarmVille to its newest property, Adventure World. More recently, it has used name-brand promotions within its games to garner attention, such as Lady Gaga in FarmVille, and more recently, Enrique Iglesias in CityVille.

“Competitors have chunks of IP, but we have a lot to choose from,” said Serwin, adding that it’s not as if Playdom alone needs intellectual property: “Everyone needs IP.”

Serwin said the Playdom division’s plan is to work closely with Disney; it has hired a liaison who works in Burbank every day to make sure Playdom’s plans are on course with what Disney has in mind.

Still, Serwin can’t deny that the lull in game making has dragged down the results of Disney’s Interactive Group. Disney reported $21 million in accounting adjustment in the third quarter and $34 million in the second quarter tied to Playdom alone, and the losses are expected to continue.

In the second-quarter earnings call, President and CEO Bob Iger tried to explain its multimillion dollar charges to analysts:

“We thought it would be wise to improve the quality of the games that we’re going to release. So, we took a five-month hiatus, which had not been planned, from releasing games, to build a higher-quality game, and then also to re-stack our technical capabilities to deal with volume or to deal with scale, which we are hoping to achieve.”

Iger declined to say when the group would hit break-even, but that it was expected to get into the black by 2013.

Iger gave Gardens of Time as an example of a game that is monetizing well. “We feel good about the direction of Playdom, particularly with this new hit game in the marketplace,” he said, adding that new games in the pipeline will be based on Disney, ESPN and Marvel brands.

It has taken more than a year, but Serwin believes Playdom is ready.

“We’ve made a connection with people at Disney to get it done,” he said. “Whether it should have happened faster or slower, I don’t know, but it’s happening and it’s great.”

Maisel, who was an executive producer of “Iron Man,” “Iron Man 2,” “The Incredible Hulk” and “Thor,” will serve the same role for Angry Birds’ film effort and will also serve as a special advisor to Rovio.

“David was instrumental in rebooting Marvel Studios and turning it into a blockbuster-producing powerhouse,” Rovio CEO Mikael Hed said in a statement. “We welcome his experience and vision as we continue broadening our entertainment production scope at Rovio.”

Rovio also noted that it has hit the 250 million download mark for its various Angry Birds games.

Transitioning from a game maker into a full-fledged media company is key to Rovio reaching the ambitions it — and its backers — have set out for the company. The company raised $42 million earlier this year in a funding round from Accel Partners and Atomico Ventures.

AllThingsD boss Kara Swisher notes that the company’s film effort would seem to have decent prospects, if her recent European trip is any indication. Swisher said her kids watched about 300 Angry Birds-related short films on YouTube.

After Disney named two longtime Internet execs–Playdom’s John Pleasants and Jimmy Pitaro of Yahoo–as co-presidents of its Internet unit, BoomTown did a longer interview with CEO Bob Iger about the entertainment giant’s next Web moves.

I always enjoy talking digital with Iger–who is pictured above in an interview I did with him in 2006 at the fourth D: All Things Digital conference–since he has been one of the old media moguls who seems unafraid of the challenges of new media.

While appropriately wary, Iger acted early and often in exploring digital initiatives at Disney (DIS) that others in Hollywood’s and New York’s media worlds were loath to consider.

“I have tried to keep two obvious philosophies,” Iger said in a phone interview yesterday. “First, that our current business not get in the way of adopting new technologies, and, second, that our business belongs on these new platforms.”

Easy to say, of course, but it’s still nice to hear, given the longtime, incessant and ultimately wearying push-and-pull between those who make bucks making content and those who make bucks making technology.

“My premise is that technology is about an opportunity for us,” said Iger. “And we cannot will it away and should not…because you can’t stop these things from happening.”

That’s presumably the impetus behind the hiring of Pleasants and Pitaro (picture here, left to right).

With an assist by recent Disney board member and Facebook COO Sheryl Sandberg, Pitaro came to his attention earlier this year, Iger said.

Pitaro left his job as SVP of Media at Yahoo (YHOO) last week.

And Pleasants was CEO of Playdom, the online social gaming company that Disney acquired for $763 million in late July.

The pair, who will report directly to Iger as co-chiefs of the Disney Interactive Media Group, replace outgoing head Steve Wadsworth.

The shift is a big move by the entertainment giant and yet another attempt to clarify and bolster its Web strategy, which has had a long and often rocky history.

Under the previous regime of former CEO Michael Eisner, for example, Disney bought search engine Infoseek and tried to create a portal called Go.com.

That failed, and was one of many efforts to define the media company’s Web goals.

More recently, in 2008, Disney gathered most of its Internet properties within DIMG under Wadsworth.

Still, money-making has not been part of the mix. In its most recent quarter, DIMG lost $65 million on revenue of $197 million.

In the interview about the new structure, Iger said: “I think we’ve built a framework of assets, and now is the time to create a structure in a more focused way. In splitting the divisions, we can focus more on them better and in a way they deserve.”

He outlined the new set-up, which will have Pleasants focus on the online gaming and mobile landscape and Pitaro on the Web arena.

Iger said he felt Pleasants and Pitaro brought different backgrounds to the task, as well as longtime experience in the Internet arena.

He said that upon considering a fresh approach, he felt that Wadsworth was “spread too thin,” given all the various online arenas for Disney.

In fact, today, Disney owns a number of big Internet properties, including Disney.com, Family.com and Club Penguin, although there does not seem to be a particularly cohesive strategy among them.

Of course, that’s no surprise, given it is all part of a multifaceted media company with a variety of businesses.

Due to its powerful content assets, said Iger, it might be a perfect time for a more cogent plan. With the explosion of devices, such as the Apple (AAPL) iPad and others, the importance of cooperation between content and technology is more critical than ever.

“I think a lot of technology companies are really finally ready to handle more premium content in a way that is beneficial to all of us,” said Iger.

And, he added, it was time for Disney to get more involved in technology, which was the reason for the purchase of Playdom. The move has made it more a publisher than a licensor.

“If we wanted to get significant in size, we need the investment to be greater,” Iger said about the big payout to get into the fast-growing social gaming arena.

And that has meant less emphasis on console games, on which he said Disney had focused too much in the past.

No longer–now Iger said he has planted Playdom, as well as its purchase of the Tapulous music app start-up, in a spanking new facility in Palo Alto, Calif., right in the heart of Silicon Valley.

“We need to be part of the culture and world there in a significant way,” said Iger. “And I believe I have convinced the senior team within Disney that Playdom is a huge opportunity for them.”

That includes online gaming related to units such as sports at ESPN, as well as other Disney brands, such as the theme parks or Marvel, into Playdom games.

While Pleasants will run his part of the show from Silicon Valley, Iger said, Pitaro will work out of Los Angeles on Web initiatives and in upgrading the Disney online experience.

“We want to make Disney sites more of a community and entertainment center than a marketing hub,” said Iger. “Where is gets complicated is the levels of exclusivity and the other places we want to distribute our content.”

That includes being part of the premium Hulu online video site, as well as perhaps even creating a Disney-branded pay service, but also being open to working more with Netflix (NFLX).

And that means a multifaceted approach to all kinds of payment models for Disney online, from subscription to advertising-supported to pay-per-view.

“In certain areas, we will be very aggressive with our content and in others less aggressive, to the extent that each offers us revenues,” said Iger. “Obviously, where there is potential cannibalization, we will be a little more careful…but we are going to push forward.”

When asked about the most obvious management issue–the possibility of clashing with two heads of one division (MySpace, anyone?), Iger said that while there was overlap, he thought the jobs Pitaro and Pleasants had to do were also wide-ranging and different enough.

Plus, added Iger, “They both report directly to me and I am there to see to it that it works.”

In other words, as Disney continues to move forward into the digital future, the content and technology buck stops, as it should, at Iger.

Yesterday, after Disney named two longtime Internet execs–Playdom’s John Pleasants and Jimmy Pitaro of Yahoo–as co-presidents of its Internet unit, BoomTown did a longer interview with CEO Robert Iger about the entertainment giant’s next Web moves.

I always enjoy talking digital with Iger–who is pictured above in an interview I did with him in 2006 at the fourth D: All Things Digital conference–since he has been one of the old media moguls who seems unafraid of the challenges of new media.

While appropriately wary, Iger acted early and often in exploring digital initiatives at Disney (DIS) that others in Hollywood’s and New York’s media worlds were loathe to consider.

“I have tried to keep two obvious philosophies,” Iger said in a phone interview yesterday. “First, that our current business not get in the way of adopting new technologies, and, second, that our business belongs on these new platforms.”

Easy to say, of course, but it’s still nice to hear, given the longtime, incessant and ultimately wearying push-and-pull between those who make bucks making content and those who make bucks making technology.

“My premise is that technology is about an opportunity for us,” said Iger. “And we cannot will it away and should not…because you can’t stop these things from happening.”

That’s presumably the impetus behind the hiring of Pleasants and Pitaro (picture here, left to right).

With an assist by recent Disney board member and Facebook COO Sheryl Sandberg, Pitaro came to his attention earlier this year, Iger said.

Pitaro left his job as SVP of Media at Yahoo (YHOO) last week.

And Pleasants was CEO of Playdom, the online social gaming company that Disney acquired for $763 million in late July.

The pair, who will report directly to Iger as co-chiefs of the Disney Interactive Media Group, replace outgoing head Steve Wadsworth.

The shift is a big move by the entertainment giant and yet another attempt to clarify and bolster its Web strategy, which has had a long and often rocky history.

Under the previous regime of former CEO Michael Eisner, for example, Disney bought search engine Infoseek and tried to create a portal called Go.com.

That failed, and was one of many efforts to define the media company’s Web goals.

More recently, in 2008, Disney gathered most of its Internet properties within DIMG, under Wadsworth.

Still, money-making not been part of the mix. In its most recent quarter, DIMG lost $65 million on revenue of $197 million.

In the interview about the new structure, Iger said: “I think we’ve built a framework of assets, and now is the time to create a structure in a more focused way. In splitting the divisions, we can focus more on them better and in a way they deserve.”

He outlined the new set-up, which will have Pleasants focus on the online gaming and mobile landscape and Pitaro on the Web arena.

Iger said he felt Pleasants and Pitaro brought different backgrounds to the task, as well as longtime experience in the Internet arena.

He said that upon considering a fresh approach, he felt that Wadsworth was “spread too thin,” given all the various online arenas for Disney.

In fact, today, Disney owns a number of big Internet properties, including Disney.com, Family.com and Club Penguin, although there does not seem to be a particularly cohesive strategy among them.

Of course, that’s not surprise, given it is all part of a multifaceted media company with a variety of businesses.

Due to its powerful content assets, said Iger, it might be a perfect time for a more cogent plan. With the explosion of devices, such as the Apple (AAPL) iPad and others, the importance of cooperation between content and technology is more critical than ever.

“I think a lot of technology companies are really finally ready to handle more premium content in a way that is beneficial to all of us,” said Iger.

And, he added, it was time for Disney to get more involved in technology, which was the reason for the purchase of Playdom. The move has made it more a publisher than a licensor.

“If we wanted to get significant in size, we need the investment to be greater,” Iger said about the big payout to get into the fast-growing social gaming arena.

And that has meant less emphasis on console games, on which he said Disney had focused too much in the past.

No longer–now Iger said has planted Playdom, as well as its purchase of the Tapulous music app start-up, in a spanking new facility in Palo Alto, Calif., right in the heart of Silicon Valley.

“We need to be part of the culture and world there in a significant way,” said Iger. “And I believe I have convinced the senior team within Disney that Playdom is a huge opportunity for them.”

That includes online gaming related to units such as sports at ESPN, as well as other Disney brands, such as the theme parks or Marvel, into Playdom games.

While Pleasants will run his part of the show from Silicon Valley, Iger said, Pitaro will work out of Los Angeles on Web initiatives and in upgrading the Disney online experience.

“We want to make Disney sites more of a community and entertainment center than a marketing hub,” said Iger. “Where is gets complicated is the levels of exclusivity and the other places we want to distribute our content.”

That includes being part of the premium Hulu online video site, as well as perhaps even creating a Disney-branded pay service, but also being open to working more with Netflix (NFLX).

And that means a multifaceted approach to all kinds of payment models for Disney online, from subscription to advertising-supported to pay-per-view.

“In certain areas, we will be very aggressive with our content and in others less aggressive, to the extent that each offers us revenues,” said Iger. “Obviously, where there is potential cannibalization, we will be a little more careful…but we are going to push forward.”

When asked about the most obvious management issue–the possibility of clashing with two head of one division (MySpace, anyone?), Iger said that while there was overlap, he thought the jobs Pitaro and Pleasants had to do were also wide-ranging and different enough.

Plus, added Iger, “They both report directly to me and I am there to see to it that it works.”

In other words, as Disney continues to move forward into the digital future, the content and technology buck stops, as it should, at Iger.

Why are you reading about this on a site that pays attention to digital media? Because the Starz renewal includes the rights to redistribute Disney’s movies on all platforms, including digital.

Meaning that Netflix (NFLX), which has been able to stream Disney (DIS) movies via its own Starz deal, will continue to do so.

This news will be a bit surprising to some observers, who expected that Disney would shut down that option sooner or later.

Here’s the release:

Disney and Starz Entertainment Extend Pay TV Output Agreement
 
Burbank, Calif. and Englewood, Colo. – March 11, 2010 – Starz Entertainment, LLC, and Disney-ABC Domestic Television, a division of The Walt Disney Company, announced today the signing of a new, exclusive long-term licensing agreement for theatrical releases from The Walt Disney Studios through 2015. The previous output agreement was set to run through 2012. Financial terms of the agreement were not disclosed.
 
The deal extension provides Starz with exclusive pay TV rights to exhibit theatrically released Walt Disney Studios ?live-action and animated feature films, including those from Marvel Entertainment, on its Starz, Encore and MoviePlex linear channels, and its related on-demand and IP-based services, both in standard and high definition. Walt Disney Studios theatrical releases in the agreement, in addition to Marvel, include pictures produced under the Walt Disney Pictures, Walt Disney Animation Studios, Disney-Pixar, Touchstone Pictures, and Hollywood Pictures labels. Theatrical releases from DreamWorks Studios and Miramax Films will not be licensed to Starz under the new agreement.
 
Janice Marinelli, president, Disney-ABC Domestic Television, and Bill Myers, Starz Entertainment president and chief operating officer, announced the agreement on behalf of the companies.?

“Disney and Starz have been partners since the launch of the flagship Starz premium channel back in 1994, and we are pleased to be able to extend our very successful relationship,” said Marinelli. “With this long-term extension, Starz’s subscribers will continue to experience the magic and excitement of our Walt Disney Studios motion pictures,” she continued.
 
Myers said, “Commercial-free movies from Disney have always been a cornerstone of our programming and will remain so for years to come even as we add original series to our movie mix.” Myers noted that Starz has been a leader in making use of new technology to allow subscribers to enjoy programming in more convenient ways. ”This agreement secures our ability to meet the needs of current and future subscribers in a fast-changing media landscape,” he said.
 
Walt Disney Studios animated movies and live-action feature films coming exclusively to Starz in 2010 include: Up, The Princess and the Frog, The Proposal (starring Sandra Bullock and Ryan Reynolds), G-Force, Old Dogs ?(starring Robin Williams and John Travolta), Hannah Montana: The Movie, Alice in Wonderland; and Race to Witch Mountain.

Google CEO Eric Schmidt gave what he just had to know would be a much quoted comment to the Nikkei today, explicitly saying that the company had “begun seriously looking into acquisitions again.”

Music to the beleaguered mergers and acquisitions market, to be sure, especially after a recent uptick from other big companies pulling out their wallets again as the impact of the econalypse subsides.

According to sources, Google (GOOG) is working on at least a half-dozen acquisition deals, most of which are small start-ups in the online advertising and cloud computing arenas.

That would be welcome news for many.

That’s because, as The Wall Street Journal noted in a piece today, “August was shaping up to be the worst month for deal making since 1995, according to data provider Dealogic” (see the chart).

That was, until Disney (DIS) bought Marvel for $4 billion, in a deal announced Monday.

Then yesterday, eBay (EBAY) traded 65 percent of its Skype Internet telephony unit to a group of free-spending private investors, led by Silver Lake Partners, for $1.9 billion.

While eye-popping numbers like that make dealmakers smile, most think it is in the spate of smaller venture-backed companies that more of the action will happen, with big companies like Google, Microsoft (MSFT), Apple (AAPL) and even Yahoo (YHOO) as predators.

Many of these were funded in the Web 2.0 boom and have done well enough, but are figuring out that a link with a larger fish will likely make for a better outcome, along with filling in tech and product gaps at the giants.

Think about Facebook’s $50 million acquisition of social networking site FriendFeed recently and you have the right idea.

According to more than a half-dozen Silicon Valley VCs I have spoken to this week, this is the likeliest kind of exit for a large group of their portfolio companies.

Thus, they are putting on their finest and placing themselves on display in the store window, offering talent and innovation.

“We all realize that a lot of these companies are not going to be independent, so we’re all trying to figure out where they best fit in,” said one VC. “We essentially did business development for a lot of the large companies.”

Thus, here are some companies whose names have been bandied about of late by M&A types who say they are more likely candidates for sale:

Veoh, the Web video portal that MediaMemo wrote about in July, has reportedly been searching for a home for a while now as it struggles in a costly space dominated by giants like YouTube and Hulu.

That goes for many other similar video efforts, such as Joost, Metacafe and Dailymotion, all of which have been trying to gain traction.

There is also likely to be a shakeout in the gaming and “guy” content space, which has also seen a lot of funding in the last several years and less monetary success.

Some possible names here include: Xfire, a gaming instant-messaging company Viacom (VIA) bought a couple years ago for $100 million; Giant Realm, a 20-something guy site funded by Comcast (CMCSA) and others; and UGO, Hearst’s version of a 20-something guy site.

Probably, given the need to focus on monetization, the most active M&A space will be in online advertising.

Sources said Google, for example, has been interested in companies such as Teracent, a dynamic ad-serving and optimization start-up in San Mateo.

There are lots of names in this general arena to pick from, from Tumri to Quantcast to AdMob to the Rubicon Project, not all of which are for sale, but might be for the right price.

Lastly, there is the smart phone and telecom space, where there might be some of the bigger deals.

While Palm (PALM) has been trying mightily to gain traction with its Pre offering, many think that if it does not go as well as hoped, the company will be an acquisition target eventually for giant companies like Nokia (NOK).

While many think Microsoft could also be a buyer of Palm, given the lackluster performance of its Windows Mobile devices, it might be more attuned to a much bigger catch: Research in Motion (RIMM) and its business-oriented BlackBerry empire.

Such a massive acquisition–most of those I bounced that idea off agreed–would be an uphill battle, but it would be perhaps the best fish story ever.

Please see this disclosure related to me and Google.

With [any] new medium comes a new storytelling language. It’s more than just taking the images and moving them around the screen. There’s a new storytelling language that’s emerging every time we work on it and we’re really excited for where that takes us.”

– Ultimate Spider-Man creator Brian Michael Bendis

There’s “a new form of interactive storytelling” emerging on iTunes: motion comics. Treading water somewhere between comic strips and animated cartoons, they add spoken dialogue and Ken-Burns-effect-style animation to comic book panels (see video below), and comics icon Marvel Entertainment (MRVL) is about to get into them in a big way.

Later this spring the company will begin peddling Spider-Woman and Astonishing X-Men motion comics on iTunes. “This has been an ongoing conversation I’ve had with our publisher Dan Buckley I’d say for the last two to three years,” Marvel Editor-in-Chief Joe Quesada said during a panel discussion at ComiCon last week. “It became very, very evident to me that as technology moves forward, there will come a day where we’ll be able to not just create animation based upon our comic books and our characters and stories that we’ve told, but there will come a time when eventually we’ll be able to take existing comic art, the flat, static art, and be able to animate it.”

Well, that day has apparently arrived. Says Quesada: “[Now] we can put out a product that is not quite a comic book and not quite animation, [but] a wonderful hybrid that incorporates all of our great talents.”

Whether there’s an audience for something that collides animated shorts with actual comics without offering an compelling advantages over either (cartoons that don’t move as much as they should! Comic books with crappy voiceovers!) remains to be seen.

With [any] new medium comes a new storytelling language. It’s more than just taking the images and moving them around the screen. There’s a new storytelling language that’s emerging every time we work on it and we’re really excited for where that takes us.”

– Ultimate Spider-Man creator Brian Michael Bendis

There’s “a new form of interactive storytelling” emerging on iTunes: motion comics. Treading water somewhere between comic strips and animated cartoons, they add spoken dialogue and Ken-Burns-effect-style animation to comic book panels (see video below), and comics icon Marvel Entertainment (MRVL) is about to get into them in a big way.

Later this spring the company will begin peddling Spider-Woman and Astonishing X-Men motion comics on iTunes. “This has been an ongoing conversation I’ve had with our publisher Dan Buckley I’d say for the last two to three years,” Marvel Editor-in-Chief Joe Quesada said during a panel discussion at ComiCon last week. “It became very, very evident to me that as technology moves forward, there will come a day where we’ll be able to not just create animation based upon our comic books and our characters and stories that we’ve told, but there will come a time when eventually we’ll be able to take existing comic art, the flat, static art, and be able to animate it.”

Well, that day has apparently arrived. Says Quesada: “[Now] we can put out a product that is not quite a comic book and not quite animation, [but] a wonderful hybrid that incorporates all of our great talents.”

Whether there’s an audience for something that collides animated shorts with actual comics without offering an compelling advantages over either (cartoons that don’t move as much as they should! Comic books with crappy voiceovers!) remains to be seen.