BEST BETS: "Jessica Jones," "Big Trouble/Escape from New York" & More October 2016 Highlights
Most businesses caught up in a social-media firestorm over a product might’ve issued an apology or hunkered down and quietly waited for the controversy to pass, but not Tankhead Custom Tees.
The Murrieta, California-based company was thrust into the spotlight this week after a photo taken at WonderCon Anaheim of one of its T-shirt designs — “I Like Fangirls How I Like My Coffee […] I Hate Coffee” — was posted on Twitter, drawing intense criticism from fans and creators alike. Allison Baker, MonkeyBrain Comics co-founder and a CBR columnist, pointed to the image as an example of “what chauvinism looks like,” while writer Greg Rucka unleashed his fury on both the person selling the shirt and those who support its sentiment: “What in the name of everlovingfuck is the matter with you?”
In a Facebook post responding to “some bad word on our fan girl shirt,” Tankhead insists “a certain few bloggers” who have accused the company of sexism “completely ignored our other variant shirt on display or didn’t even bother to ask our take on it.” The statement is accompanied by a photo of a similar T-shirt that replaces “Fangirls” with “Fanboys.”
“What in the name of everlovingfuck is the matter with you? Are you simply stupid? Are you just ignorant? Are you broken? Newsflash: you are owed NOTHING. Not a thing. Not a goddamn thing. This fandom, that fandom, guess what? It doesn’t belong to you.
You don’t own it. You partake in it. It’s called community.
You want something to be your thing, make a club, build a tree-fort, and do us a favor. Don’t come down.”
— writer Greg Rucka, addressing the anti-“fangirls” T-shirt specifically, and the territorial, anti-woman elements of comics fandom generally, in a blog post that should be read in its entirety
(Photo taken by Landry Walker at WonderCon Anaheim)
Creators | Frannie Jackson talks with a handful of prominent creator couples — Mike Allred and Laura Allred, Kelly Sue DeConnick and Matt Fraction, Colleen Coover and Paul Tobin — about sexism within the comics industry. “I’m occasionally invited to participate in panel discussions about ‘women in comics,’” Coover says. “I’m usually emotionally torn by those invitations, because, yeah, I want women in comics to thrive and be seen as thriving, but I’d much rather be part of a discussion about ‘awesome creators in comics’ that’s stacked with awesome women and men.” [Paste]
Retailing | Andrew Wyrich visits several comics shops in the North Jersey area and finds they rely on a friendly atmosphere and incentive programs to keep customers coming back. “People who buy comics tend to have a $40 weekly budget,” said Len Katz, co-owner of The Joker’s Child in Fair Lawn, New Jersey. “We hear of people who love comics, but eventually just hit a wall with expenses. The key for us is to get customers coming back. The reality is we are not a necessary item; we aren’t milk, bread or cheese.” [The Record]
“There was a very fine line to walk, though. To create a book that Comic Book Guy could enjoy because wa-hey, boobies and gore … but that also as a female writer (and a feminist) I could be OK with. Most people won’t notice that the gaze in the book towards the female characters is not predatory — the women are complicit, and in fact usually in charge. It’s a gossamer thing, this manipulation of gaze, this slight change, this look awry — but it makes a huge difference to how the book feels when you read it. The book makes people really happy. And, you know, for the horror crowd, the little changes in having a woman write it so some of the invasive, penetrative horror happens to men — well, it makes for more effective and unexpected horror.”
— writer Alex de Campi, talking with ThinkProgress about her new series Grindhouse: Doors Open at Midnight, a gleefully trashy exploitation comic the describes “straight-up tits and gore, the way nature (and Russ Meyer) intended.”
Nonetheless, De Campi, whose work ranges from the action thriller Ashes to the all-ages Kat and Mouse and My Little Pony, approaches her work in a thoughtful way. In the same interview, she discusses how changing the point of view of a rape scene radically alters it. De Campi’s work illustrates the point that bringing diversity into comics can greatly improve the stories, by introducing fresh and original perspectives — and even surprising the reader.
Manga | Eiichiro Oda’s hit pirate adventure One Piece has sold 130.15 million copies in Japan since 2009, the year that market research firm Oricon began reporting book sales. The series, which debuted in 1997, has 72 volumes — a total of 300 million copies — in print. [Anime News Network]
Tributes | The statue of Family Circus creator Bil Keane was finally unveiled in Scottsdale, Arizona. [KPHO]
Events | We relay a lot of stories in this space about cartoonists being suppressed abroad, so it’s heartening to see a country where conditions have improved: Next week, there will be an exhibit of cartoons in Myanmar, as part of the Tazaungdaing festival. The Tazaungdaing comics show is a longtime tradition that was shut down in 1997 under pressure from the government but was resurrected in 2011 when censorship laws loosened. The exhibit takes place on a street named for U Ba Gyan, who was a prominent cartoonist in the 1930s; he used to exhibit his cartoons by putting them on lanterns around his house, to escape official censors. [Myanmar Times]