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Earlier this year, the small publisher Oily Comics suspended its subscription service. But it’s back, with Publisher Charles Forsman (creator of TEOTFW) tweeting Sunday that Oily is offering a new spring bundle that will be out in March. It’s available for pre-order now, and the full bundle is limited to 200 copies.
I checked in with Forsman to see what the story is with Oily and get some details on the new bundle.
Brigid Alverson: What’s going on with Oily Comics? Are you changing your business plan? How is this different from the way you were doing things before?
Charles Forsman: I stopped the subscriptions at the end of last year. I was feeling a bit burnt out at the time. It was a combination of my mental state and I was beginning to feel like I was just going through the motions with the monthly comics. So I put it on hold so I could crawl into my hole and get through my winter depression and decide what Oily would look like in the future. So, I am trying this bundle idea. I think I was inspired a bit by the humble bundle service. They do a pay-what-you-want bundle of video games. I thought it could work for Oily so I’m giving it a shot. Plus it satisfies a goal that the subscriptions had which is the simple idea of getting someone for Oily because they like a certain artist. But they will also be exposed to cartoonists they have not read before. I would love to do a pay-what-you-want but that just doesn’t work for physical comics so well.
Well, all conspiracy theories, corporate DNA and the WB’s own woman problems aside, the simple fact is that on a meta level, DC Entertainment produces entertainment for boys. That’s its place within Warners, its demographic slot and I’m sure at some point Diane Nelson has overtly been tasked with keeping the boy audience engaged for films starring Batman, Superman, and Green Lantern.
We may think this kind of pigeonholing is stupid, but in a world run by branding, the message matters. By addressing female readers (and also younger readers), DC risks alienating its core audience of teenaged boys and men 25-35.
Heidi MacDonald hits the nail on the head: Publishers are in the business to make money, not make the world a better place, and of course they are going to cater to their core demographic. This is just one of a number of solid points that Heidi makes in this essay, which links to the other women-in-comics articles that have appeared in the past two weeks, ties them together, and frankly, makes a lot more sense than the two news pieces that were linked. It’s well worth reading the whole thing, including (especially!) the excerpt from former Drawn and Quarterly staffer Jessica Campbell’s essay on why the whole question of “female artists” is bogus at its core. And there’s a great discussion in the comments section as well (I thought Jesse Post made a particularly good point), so keep on scrollin’!
Comics | A Los Angeles Times article about women in comics concludes that “women in comics” really isn’t a topic for discussion any more; the number of women creators and editorial staff in the Marvel/DC world is slowly increasing, but outside the superhero realm the question is entirely irrelevant. It’s a good read anyway, because of the many quotes from interesting indie creators. “Teenage boys aren’t the only people with money, and unfortunately I think the mainstream comics juggernaut has just been focusing on this little section of readership for a long time,” Sarah Oleksyk says. “There’s this gigantic range of stories being told in indie comics — biographies, nonfiction, every sort of thing. So if you don’t want to read something about crime-fighting superheroes, you have 10,000 other subjects to choose, and most of those are independently published.”[Hero Complex]
Publishing| Drawn and Quarterly will publish Art Spiegelman’s CO-MIX: A Retrospective of Comics, Graphics, and Scraps in spring 2013. [ICv2]