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PanelPick the page, pick how many panels, and pick the arrangement out of ninety. Then drag your photographs in from Explorer, crop them inside the frames, and letter the noise from a library of 688 drawn sound effects. Written in Rust, drawn by the graphics card — no browser hidden inside it.
US Comic · 6 panels · Mosaic Flow
The page is composed first and filled afterwards, which is the order comics are actually drawn in. Every count below is a count of things that exist on disk and are checked by a test, not a rounded-up brochure figure.
Phone 9:16, phone 16:9, US comic, A4, square and WEBTOON. Choose exactly how many panels the page carries, anywhere from one to nine.
Three paper colours sit on a shelf beside the colour picker: click one to put it on the page, right-click to save the current colour in its place. They are still there for the next comic.
Number, pattern, composition, shape, apply. There are ten patterns for every panel count — Balanced Grid, Hero Focus, Dynamic Split, Cinema Strips, Vertical Columns, Mosaic Flow, Editorial Stair, Focus Rail, Offset Rhythm and Diagonal Story — which is ninety combinations in all. Each pattern crosses with five overlap modes, so a single panel count offers fifty overlapping variants on top of that.
Choose the shape they share before generating: straight, rounded, ellipse, trapezoid, oblique, triangle, hexagon or jagged. Apply a pattern to the page you are on and keep the pictures already in it, or start a fresh page at the chosen count. Save the whole combination into ★ My Layouts — by button or by right-clicking the thumbnail — and it is waiting at the next launch.
Change any one panel's shape afterwards, slide it by the MOVE handle at its top-left corner, resize it from any of eight handles, and push it through the stack one level at a time or straight to the front or the back.
Irregular panels are selected from the part you can actually see, even where their bounding rectangles overlap each other. Right-click gives shape, order and delete; the Delete key removes the selected panel without disturbing a text field you happen to be editing. Add loose panels, or duplicate one, for a layout that matches nothing in the list.
The picture under the cursor drops into the panel under the cursor, and the rest go on to fill the empty ones. Inside a frame, drag the photograph to move the crop and roll the wheel to zoom it up to eight times, holding the point under the cursor still — the panel does not change size, and the picture is never stretched, waved or fish-eyed, not even in a very narrow panel. Alt and drag moves the panel instead, and the Inspector puts zoom and position back to 100%.
The Images tab lists only your own photographs, with thumbnails, in alphabetical order, marking the ones already used and the ones that have gone missing from disk. Under the page list there is a tray: drag a picture straight onto the panel that should have it, or drop it over another picture to change the order they fill the empty panels in.
Eight visual styles — Artist Ink, Clean Graphic, Studio Select, Classic Halftone, Manga Mono, Editorial Duotone, Ligne Claire Pop and Bold Flat Color — in ten categories covering impact, explosions, movement, weapons, energy, liquids, fire, voice and nature. Every one of the 688 variants is its own HD picture with real transparency, not a mask laid over a drawing at display time, and each is checked automatically for its transparent and opaque areas.
Beside them: 165 textless graphic shapes in eleven families, from impact bursts and ink splatters to shockwave rings, caption plates and smoke; and twelve complete stamps with the lettering drawn into the illustration itself. Your own PNG, WEBP or JPG effects drop straight onto the tab and then move, rotate, resize, duplicate and export exactly like the built-in ones — the project remembers where they came from and reloads them when you open it again.
PNG at the final resolution — the page you are on, or every page numbered into a folder in one go. Projects are saved as a single .comic-native.json file, and saving remembers which file it was, so Ctrl+S writes over it without asking where.
There is also a standalone HTML viewer: the exported page keeps all its panels, crops, effects and outlines, and clicking a panel opens the full source photograph, uncropped, in the outline style you chose for it.
A slider that cannot land on the number you want, a window that closes over an hour's work, a library that scrolls off the bottom of the screen. None of them are features anybody advertises, and all of them are why an editor is pleasant or exhausting to sit at.
Border thickness, the gutter between panels, image zoom, crop position, effect size and rotation, PNG opacity and the four exact-geometry boxes all carry − and + beside them.
The reason is arithmetic: across a range of five hundred, one pixel of dragging is worth several units, and the last value cannot be reached by dragging at all. A cursor alone could never land on a particular number. A button can.
The title bar carries a yellow dot and the filename for as long as the page on screen differs from the one written to disk. Closing the window, Alt+F4, Open and New all ask first, with three answers: save, carry on without saving, or cancel. Choose save and then cancel the file dialog and nothing closes — the question simply comes back.
A project file damaged on disk — written half-way, or edited by hand — no longer brings the editor down with it. Impossible values are put back at load, and the program tells you how many it had to correct.
The interface is written in Rust with eframe and egui and rendered through the GPU. There is no HTML, no React, no Tauri and no WebView anywhere in the project. It runs out of a folder you can copy where you like, with its assets sitting beside the executable — and the Sentiora mark is the icon of the window, of the taskbar button, and of the file itself in Explorer.
Card size is yours to set — S, M, L or XL — and the cards span exactly the width of the row while keeping the illustration's proportions, so no empty bands are left around the drawing. The panel widens by dragging its edge, nearly to the edge of the sheet, and it tells you how many effects fit on a row at the width you have chosen.
Categories are a row of small buttons, each carrying its own count, with just that category underneath — not ten collapsible sections where opening one throws the rest below the bottom of the window. Panel widths, card sizes, tray thumbnail size, saved layouts and favourites are all kept in your Windows profile and come back at the next launch.
Drag the background, or hold the middle mouse button, to slide the whole page around. Ctrl with the wheel, or Ctrl and drag, scales the workspace between 25% and 600% while holding the point under the cursor still. Ctrl+0, Center the page, or a double-click on the background puts it back to 100%.
The window is written in English and there is no language button in it yet. The translations are being collected — one table, fourteen columns, thirteen languages beside the English, with a test that fails the moment a single cell in a row is left empty — but none of it is wired into the program until it is finished. A half-translated window is worse than an honest English one, and saying so is cheaper than pretending. Everything else runs from a folder you can copy anywhere, with no installer and no account.
Under construction
Sentiora is being built. Nothing here is finished, prices are not set, and no product can be downloaded yet.
Come back soon — or write to contact@sentiora.dev.
