women in comics Archives - Page 2 of 7 - Robot 6 @ Comic Book Resources
“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.
Conventions | Brian Howe looks at the rivalry between Comic Book City Con, which debuted two weekends ago in Greensboro, North Carolina, and NC Comicon, which returns Saturday in Durham. The latter, which is now co-owned by artist Tommy Lee Edwards, drew 4,000 attendees last year (its first at the Durham Convention Center), and this year doubled its exhibit space and ramped up its programming. The conflict, which manifested in a flier for Comic Book City Con that one party considers playful but the other calls “bullying,” seems to be rooted in the proximity of the dates and a perceived lack of communication. However, it’s not simply a rivalry between nearby conventions; it’s one between retailers: Durham’s Ultimate Comics organizes NC Comicon, while Greensboro’s Acme Comics operates Comic Book City Con. [Indy Week]
Comics | Tierney Sneed went to the Women in Comics panel at New York Comic Con and then hit the floor to talk to creators (and also yours truly) about the mismatch between the number of women comics readers and the industries that cater to them, including the publishers and cons like NYCC (where women made up 35% of attendees but only 6% of guests). [U.S. News & World Report]
Digital Comics | I interviewed Darya Trushkina, vice president for business development of NARR8, a digital comics app that features motion comics with some gamelike features. Here’s what caught my attention: When I asked her why they went with motion comics, she said “It boosts our retention rate and boosts usage significantly.” Their retention rate—readers who return to the app—is 50%, and the average session is 15 minutes. [Good E-Reader]
It’s been more than 14 years since a then-unknown Gail Simone and friends launched Women in Refrigerators, a website that attempted to catalog the female characters in superhero comics who have been “killed, raped, depowered, crippled, turned evil, maimed, tortured, contracted a disease” or otherwise suffered “life-derailing tragedies.” The list sparked reflection and debate, and ingrained the phrase “women in refrigerators” into the comic-book lexicon, and even beyond (it’s a reference to the grisly fate of Kyle Rayner’s girlfriend Alex DeWitt).
The website was, without a doubt, critical to fostering important discussion about the treatment of female characters, but just how influential, how powerful, is Women in Refrigerators? More powerful that Yelp, Slashdot or 4chan, it turns out, and (at No. 3) only slightly less powerful than Amazon.
That’s according to the November issue of the trivia/entertainment magazine Mental Floss, which has released its list of the “25 Most Powerful Websites” (see the entry below). Any list of that kind is, naturally, subjective, and Mental Floss‘ definition of “powerful” is especially nebulous. “[T]o us, powerful isn’t just about computations,” the magazine states, explaining the exclusion of Google, “it’s about changing what we eat, how we vote, and the ways we kill time at the office.”
Awards | All the presenters for last weekend’s Ignatz Awards ceremony were women, and that was no accident: This year’s host, New Yorker cartoonist Liza Donnelly, explains, “More and more of us are now in the business, unlike previous years, and I wanted to celebrate that fact by bringing attention to it.” [Comic Riffs]
Creators | Tom Spurgeon has an in-depth interview with experimental cartoonist Warren Craghead. [The Comics Reporter]
Creators | Stan Lee, in town for Wizard World Ohio Comic Con, chats with reporter Michael Grossberg about superheroes as modern fairy tales. [The Columbus Dispatch]
Jeremy Whitley’s Princeless is the story readers they want: a kid-friendly tale of a strong girl who defies authority and has swashbuckling adventures. Centering on Adrienne, a princess who breaks out of her tower, befriends the dragon who is supposed to be guarding her, and heads off to rescue her sister princesses, it’s funny and well written, and it was nominated for two Eisner Awards, best publication for kids (8-12) and best single issue (for Issue 3, which sends up superheroine costumes). Yet its small-press origins and limited distribution meant that it took a while to reach its audience.
Now publisher Action Lab comics is reissuing Princeless, first in single-issue format (starting with Issue 1), and then with a new Vol. 1. After that, the publisher will focus on new content. I spoke with Whitley, who also handles publicity for Action Labs, about why he wrote Princeless and why he is reissuing the series. (Jeremy’s essay on women and comics is also well worth a read.)
“In the past, comics companies have tended to suggest diversity should ‘happen naturally,’ as if when you leave a comic book open overnight gay men might grow in the pages like mustard and cress, so it’s great that Marvel are now championing it, doing it deliberately. Because that’s the only way it can be done. Jeanine’s [Schaefer, his editor on Wolverine] a force for change. And there are a number of prominent female editors now who are altering the face of pro comics culture pretty swiftly.
Online comics fandom, meanwhile, if you judge solely by the comics message boards, remains conservative and behind the times. The action is to be found on Tumblr, where the Carol Corps lives.”
– writer Paul Cornell, who adheres to a strict “panel parity” rule at conventions (he won’t appear on all-male panels), talking to the New Statesman about embracing political issues in mainstream comic books
(Carol Corps ID card from PsychoAndy)
After the last week or so of “We don’t publish comics for kids” and “[Depicting rape] is the same as, like, a decapitation” and “comics follow society, they don’t lead society,” among other chestnuts, I’ve been thinking about the mentality and philosophy that produces those positions, and how it reflects on the state of comics.
Reading those quotes in a vacuum, you would think the last 10 to 20 years of progress in comics never happened. They did, of course; it’s just not easy to tell sometimes.
All of the creators involved in the unfortunate remarks come from the so-called “mainstream” of comic books. While Todd McFarlane and Mark Miller are more well-known for their creator-owned comics, they still play within the superhero genre primarily defined by DC and Marvel comics to the majority of the populace. They may not be actively steering mainstream comics these days, but many of the actions of those that do reinforce the same disappointing opinions. There are plenty of beacons of hope in nearly every other sector of the industry, and even a scattered few pinpricks of light within the superhero mainstream, but the makers of our highest-profile genre are still holding back the slowly improving public perception of comic books.
Retailing | Publishers Weekly’s annual comics retailer survey yields some interesting commentary, although the sample size is small (just 10 stores): Sales are up, retailers are optimistic, and Saga is the hot book right now. Also, booksellers who underestimated the demand for Chris Ware’s Building Stories lost out to direct-market retailers who didn’t, making for some nice extra sales during the holiday season. And while readers seem to be getting tired of the Big Two and their event comics, they are more enthusiastic than ever before about creator-owned comics, and Image is doing quite well. [Publishers Weekly]
Awards | Ladies Making Comics presents the complete list of women Eisner nominees for this year, noting that women have been nominated in almost every category. [Ladies Making Comics]
While many of us were enjoying our holiday, Comic-Con International organizers were busy releasing the programming schedule for Thursday, July 18, the first full day of the San Diego convention. The rundown for Friday, July 19 should come along early this afternoon.
As we’ve come to expect, Thursday’s lineup is a healthy mix of comics, television, toys, fantasy and film (although light on the latter, which take center stage on Friday and Saturday). The comics programming includes panels from Avatar Press, Bongo Comics (it’s the publisher’s 20th anniversary), BOOM! Studios, Dark Horse, DC Entertainment, Kodansha Comics, Marvel, Monkeybrain Comics (it’s that publisher’s first anniversary), TwoMorrows, Vertigo, Viz Media and Warp Comics.
However, that’s only for starters, as there are spotlights on Chris Samnee, Jeff Smith, J.H. Williams III, Dan Parent and Gary Frank, The Walking Dead‘s 10th-anniversary panel, and discussions about digital comics, gender in comics, LGBT webcomics and much, much more.
Check out some of the comics-related highlights below, and visit the Comic-Con website for the full schedule:
Comics | Could the competition to become the 2017 U.K. City of Culture hinge on … Desperate Dan, the pie-eating Wild West strongman from the long-running children’s comic The Dandy? Hull Daily Mail columnist Angus Young thinks the character could give Dundee the edge over fellow finalists Leicester, Swansea Bay and, yes, Hull. Dundee, Scotland, is home to The Dandy and The Beano publisher DC Thomson, and features statues of Desperate Dan and Beano character Minnie the Minx in its city center. “Having your picture taken next to the barrel-chested grizzly-chinned hero is apparently one of the top-ten things to do when visiting Dundee,” Young writes. “[...] This a bloke who thinks nothing of eating several cow pies in one sitting. A cowboy so tough he shaves his chin with a blowtorch and sleeps in a reinforced bed filled with building rubble.” The winner will be announced in November. [Hull Daily Mail, The Evening Telegraph]
Retailing | Diamond Comic Distributors runs the numbers on Free Comic Book Day: 1.2 million fans went to 2,000 participating comics shops and picked up 4.6 million free comics, generating $2.2 million worth of publicity along the way. And fans reported on their experience with more than 66,000 tweets with the FCBD hashtags. [ICv2]
Conventions | The Philadelphia Daily News previews this weekend’s Wizard World Philadelphia, which marks the return of Marvel after a several-year absence. [Philadelphia Daily News]
Last month on our sister blog Comics Should Be Good, columnist Kelly Thompson wrote a piece titled “6 Sublime Superheroine Redesigns” that profiled several recent costume makeovers she thought effective and true to the characters. In the post and the ensuing comments, talk abounded about the subject of superheroines often being saddled with revealing costumes that lean more toward fan service than suitable crime-fighting gear. Some posters argued there’s a current trend toward female characters having less-revealing costumes than in the past — Psylocke’s recent wardrobe redesign by Kris Anka was cited as an example — and that it’s an overreaction by publishers and designers that panders to feminists.
Anka took umbrage with some of the comments, and it opened the floor to an interesting debate about the look of superheroes. On the surface it questions the near-universal portrayal of female superheroes in more sexualized garb, but also attempts to draw a line between drawing a superhero as sexy without necessarily being sexist.
Manga | Call it the Manga Paradox: Manga sales are way down, but traffic on scanlation sites is robust and attendance at anime conventions is way up. What’s the story? I crunched some numbers and talked to some publishers to get a picture of the new normal for the manga market in North America. [Publishers Weekly]
Comics | A collection of 60,000 comics sold for $200,000 at auction over the weekend in East Vancouver. It seems impressive until you do the math and realize that’s a little more than three bucks a comic. The star of the collection was a restored Hulk comic that went for $6,500. [CBC]
Legal | A federal judge on Friday denied DC Comics’ bid for sanctions against the attorney for the heirs of Superman creators Jerry Siegel and Joe Shuster, finding that Marc Toberoff made “no deliberate attempt to mislead” during the discovery process and, perhaps more importantly, did not interfere with the publisher’s rights to the Man of Steel when he allegedly inserted himself into settlement talks in 2001. [The Hollywood Reporter]
Legal | Stan Lee will be deposed this week by lawyers representing Stan Lee Media in its multi-billion-dollar lawsuit against Disney involving the rights to the characters the legendary writer co-created for Marvel. Stan Lee Media, which no longer has ties to its namesake, claims Disney as infringed on the copyrights Iron Man, the Avengers, X-Men and other heroes since 2009, when it purchased Marvel. The long, tortured dispute dates back to a sequence of events that occurred between August 1998, when Marvel used its bankruptcy proceedings to terminate Lee’s lifetime contract, and November 1998, when Lee entered into a new agreement with the House of Ideas and signed over his likeness, and any claims to the characters. Stan Lee Media has long claimed that on Oct. 15, 1998, Lee transferred to that company the rights to his creations and his likeness. SLM asserts in the latest lawsuit that neither Marvel nor Disney, which bought the comic company in 2009, has ever registered Lee’s November 1998 agreement with the U.S. Copyright Office. [The Hollywood Reporter]