women in comics Archives - Page 2 of 8 - Robot 6 @ Comic Book Resources
Conventions | Clem Bastow notes a disconnect at Oz Comic-Con in Melbourne, Australia, where women were a slight majority in the audience but were severely underrepresented as guests; DC artist Nicola Scott was the only woman in the comics contingent. Organizer Rand Ratinac said it was purely a matter of availability: “We offered for literally dozens if not hundreds of different guests, we always do, because you’re dealing with people whose schedules they sometimes can’t lock in until a month before the event. This time, of the people that we wanted, there were just a lot of guys that were available. Next year, it could be a whole bunch of girls; it all just depends who can come.” But Scott points out that there are simply fewer women in superhero comics than in the other sectors of the industry and superhero creators are what brings the audience in the door. [The Guardian]
On the opening night of the Toronto Comic Arts Festival, organizer Christopher Butcher articulated a simple and very important vision for the event:
I looked at the people we were already approaching for 2014 last year, and we had an incredibly strong lineup already of people who wanted to participate who were women who were working in the industry with a history or who were fresh faces doing exciting, wonderful material, and we decided that was going to be an unspoken theme, we were going to really try to spotlight, highlight, the work of women in the industry … This isn’t a one-year thing for us. This isn’t just a theme this year, we aren’t going to be going back to anything, I think we have done a good job of showing the diverse faces of the comics industry but we can always be better… I want us to continue to be as inclusive as possible and to include all different kinds of work. I want comics to be the theme of TCAF and that means including everyone who makes comics, and particularly people who are doing a good job.
Then Butcher did something truly amazing: He introduced a panel of three women that was not titled “Women in Comics.” At TCAF, women were simply treated as equals and judged on their merits. And trust me, I walked the halls at the Toronto Reference Library and came back with two bags of comics and graphic novels, so I know: There were no charity cases at TCAF. Every exhibitor, male and female, was top-notch. This is a show that a huge number of people want to be a part of, so organizers can pick and choose. What they did this year was simply choose more women, which makes sense in a field where women have been well represented for many years. (There were plenty of men as well, they just weren’t in the majority as they are at every other show.)
Although North America comic conventions are typically thought of as male-dominated events, that doesn’t appear to have been the case with this year’s Emerald City Comicon.
According to a survey of attendees, 52 percent identified as female, compared to 46 percent as male; 2 percent of respondents “referred to themselves in non-binary terms,” including agender, genderfluid, genderqueer and “a nebulous glow cloud.”
Of course the survey isn’t completely accurate, because not everyone filled one out, and of those who did, probably not everyone did so honestly (I’m willing to wager the person doesn’t really gender-identify as “Cthulhu”). However, as The Mary Sue notes, “at the very least, you cannot say that women were rare or a minority in the community.”
While many fans may be looking forward this weekend to Free Comic Book Day or The Amazing Spider-Man 2, some of those with more scholarly leanings may be busy getting ready for the Buffy to Batgirl conference being held Friday and Saturday at Rutgers University-Camden.
Organized by reference librarians Julie Still and Zara Wilkinson of the Paul Robeson Library, Buffy to Batgirl: Women and Gender in Science Fiction, Fantasy and Comics is an academic conference focusing on female representation across those genres (and mediums). I imagine a few eyes glazed over with the term “academic conference,” but the panels and papers sound fascinating.
“If you choose to make your gender public knowledge, some readers will be cruel to you. They’ll seem to single your art out more loudly and consistently than any equivalently accomplished male counterpart’s for pillorying. They’ll call your lines ugly, and in the comments section they will call you ugly. Or, they’ll be too kind to you. It won’t matter how unattractive you may think you are, they’ll speak to you too long at conventions, they’ll stare and say you’re even prettier than your art, and that will be worse, because if you can be the target of such bombastic, lecherous praise, then maybe your art is actually just as bad as you’ve been made to feel.
If you choose to make your gender public knowledge, some readers will support you. They’ll support you unfailingly, they’ll class you as a ‘woman creator’ and they’ll ask you to provide sound bites that speak for all women, though of course that’s impossible. They’ll put you on a ‘Women in Comics’ panel at every show, and often that will be the only panel you’re ever on. They’ll buy your work because you’re a woman, just because you’re a woman.”
— artist Ming Doyle, whose work includes Mara, Adventures of Superman and Young Avengers, responding to concerns from an aspiring creator “that women only get jobs from editors because they’re attractive or cute.” While Doyle encourages her to “be fearless” and notes that “editors care more about your quality of work, your timeliness and your professionalism, than any selfie,” she acknowledges that women inevitably face judgments based on their gender and on their looks.
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)
Retailing | Hastings Entertainment, which operates a chain of 149 stores that sells books, comics, video games and more, has announced a $21.4 million agreement to merge with two companies owned by Joel Weinshanker, president and sole shareholder of Wizkids parent National Entertainment Collectibles Association; Weinshanker already holds 12 percent of Hastings’ outstanding shares.
“NECA is a significant supplier of movie, book and video game merchandise and collectibles to the Hastings superstores, and we’ve had a close and growing business relationship with Mr. Weinshanker over the last decade,” John H. Marmaduke, Hastings’ chairman and CEO, said in a statement. “Mr. Weinshanker, through his affiliation with the estates of Marilyn Monroe, Elvis Presley and Muhammad Ali, and his company’s management of Graceland, is one of the leading drivers of the lifestyle industry, and we believe Hastings’ business will continue to benefit from our relationship with him and NECA.” Marmaduke will retire with a $1.5 million cash payout once the merger is approved. The announcement was followed by press releases from two New York City law firms that say they’re investigating the plan on behalf of Hastings shareholders. [press release]
Legal | Hirofumi Watanabe admitted Thursday in Tokyo District Court to sending hundreds of threatening letters to bookstores, convenience stores and convention centers associated with Tadatoshi Fujimaki’s manga Kuroko’s Basketball. The motive, the 35-year-old man said, was jealousy of Fujimaki’s success; Watanabe reasoned that, “If I somehow managed to harass and depress him, I could drag him into my suicide journey.” Watanabe added that he had been abused by his parents and bullied as a child, and had “homosexual tendencies.” He attempted suicide before he sent the threat letters and would do so again after he was freed, he told the court: “That way, society can rest assured that I won’t do anything stupid again.” [Anime News Network]
Legal | Attorney Marc H. Greenberg revisits the lawsuit brought by musicians Johnny and Edgar Winter against DC Comics over a 1995 storyline in Jonah Hex that portrayed two evil brothers, Johnny and Edgar Autumn. [Print]
Graphic novels | Marvel and DC Comics may dominate the direct market but the bookstore channel is another story: As ICv2 points out, neither publisher landed a title on Nielsen BookScan’s list of the 20 top-selling graphic novels in February. Instead, here’s what it looked like: six volumes of The Walking Dead, six volumes of Attack on Titan, two volumes of Saga, and single volumes of some well-established titles Locke & Key, Bleach, Naruto, Adventure Time and Avatar: The Last Airbender, and the adaptation of the novel Miss Peregrine’s Home for Peculiar Children. That makes Image Comics the winner of the month, followed by Kodansha Comics, and the list is heavy on books with tween and teen appeal. [ICv2]
“There’s always room for more; there’s always room for further diversity. Whether it’s more Latino characters, or more Black characters, or more LGBT characters — you pretty much can pick any group of people, and as long as you’re not talking about middle-aged white men like myself, they’re probably underrepresented in the world of superhero comics. It’s tough from a sales perspective, because all of the characters that are still the bedrock, firmament characters tend to be guys that were created in the 1960s if not earlier, at a time when comic books were predominantly, if not exclusively, white. While it’s nice that we’ve made some steps — we have more female-led books than ever before — that doesn’t mean we should stop coming up with them. Just because we have a few books that have Hispanic characters, that doesn’t mean that we shouldn’t look for more opportunities to do more there. The same thing is true with every demographic that you can speak to. No matter where you happen to sit within the cultural zeitgeist, it’s never mission accomplished. It’s always, ‘What’s next?’ There’s always going to be somebody who is underrepresented, or that you could represent more truthfully or more affectingly.”
– Tom Brevoort, Marvel’s senior vice president of publishing, discussing the titles introduced as part of the “All-New Marvel NOW!” initiative
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]
Sequart, the folks behind Grant Morrison: Talking with Gods and Warren Ellis: Captured Ghosts, has launched a Kickstarter campaign to fund a film celebrating female comics creators and fans.
Directed by Marisa Stotter, She Makes Comics “intends to emphasize the valuable contributions women have made since the Golden Age of comics,” combining an oral history told by many of the key figures with commentary from industry observers. Production began late last year — interviews have already been shot with the likes of Karen Berger, Joan Hilty, Chris Claremont and Joyce Farmer — but funding is still needed to cover additional travel and interviews, as well as more than 800 hours of editing.
To help reach its $41,500, the campaign is offering some unique incentives, ranging from original art from Jill Thompson and Colleen Doran (they’ll draw you into a page illustrating the history of women in comics) to a script review to a certificate for a custom corset. The campaign ends March 7.
“While we don’t have any market research, the eyes don’t lie. If you go to conventions and comic book stores, more and more female readers are emerging. They are starved for content and looking for content they can relate to.”
– Marvel Editor-in-Chief Axel Alonso, discussing comics’ shifting demographics
Where is the line? When is an image empowering, and when is it too risque? While the case of the contested variant cover of The Powerpuff Girls #6 has a lot of silly aspects, its core speaks to larger issues the comic book industry has been wrestling with of late, and may find itself wrestling with even more. The questions it raises aren’t always easy to answer — as is so often the case, the devil is in the details.
All-ages comics have a larger presence now than they have in decades. Every month, tie-ins to popular kids’ shows and original books suitable for readers are released in high enough numbers that you could open a comic book store that’s just for kids. Many stores have increased their kids sections, and with events like Free Comic Book Day, it’s easier for those shops to prove themselves to parents as a safe place. Meanwhile, awareness of the industry’s female readership has never been higher; in October, digital comics platform comiXology released some startlingly specific data: Its average female reader is “17-26 years old, college-educated, lives in the suburbs, and is new to comics. She prefers Tumblr to Reddit. She may have never even picked up a print comic.” In six years, female readership on comiXology increased from less than 5 percent to 20 percent.