The Dearth of Our Imagination

I returned from my first pilgrimage to Comic-Con inspired, but broken-hearted.

Comic-con was every inch the spectacle of legend. The central exhibition hall of the San Diego Convention Center, a two-block long cage of white-washed steel and glass, was crowded from wall to pillar to post to wall with an ocean of ‘geeks,’ children, tourists, stars, creators and drag-a-longs. The crowds clamored, pushed and tugged beneath towering displays of supersized mechas and movie posters, grabbing and snatching at every free trinket or toy tossed in their general direction. The hallways above the exhibition hall were congested with snaking lines that wrapped around, inside and outside the convention center. Hall H alone was a staggering, humbling sight. The cavernous hall, housing more seats than a small theater, barely contained crowds of thousands who waited hours with baited breath, and sharpened pencils, to squint at the movie stars of the month and gaze at sizzle reels. Among those crowds, the brown and, especially, the black faces were easily outnumbered by what seemed to be a 100 to 1 ratio.

For two days, my girlfriend and I squeezed through the stifling crowds, sliding between bodies to grab swag and wearing out the soles of our feet for a chance to see our favorite TV stars from 300 yards away. As we shimmied through the crowds and stood in ridiculously long lines, I noticed how rare a sight we were. In a moment like this, my girlfriend’s brother would pose the terribly clichéd inquiry, “How does it feel to be the pepper in the salt shaker?” My typical response would be to let the question hang until the silence becomes too awkward to continue any conversation. But this time, I would’ve answered, “lonely and discouraging.” Sure, attendees of myriad ethnicities attended Comic-Con. The diversity of California’s population practically demands it. But, among the rainbow of attendees, people of African descent were notoriously underrepresented. As bad as it seemed, the dearth of black creators and talent was even more distressing.

The minimal presence of black artists at Comic-Con was enough to make one ask, “Do we have any imagination?” Personally, I wondered: Where were the representatives of Aaron McGruder’s Boondocks—a series steeped in as equal doses of pop culture lexicon to rival Scott Pilgrim—? Who was present to discuss DC Comics Milestone Line—one of the most influential collection of African-American superhero creations—? I know we are capable of contemplating and conjuring the same feats imagination as creators of any other culture—despite having less money in many cases—but looking across the exhibit hall would prove that assertion wrong. I passed maybe four or five booths, out of hundreds, with black artists and, even more depressing, maybe one or two booths with black-owned properties. Of the two booths displaying black-owned properties I saw, one was a cheaply-made comic with poorly rendered superhero archetypes and the other was a clear Boondocks knock off, complete with brown-skinned anime characters. Generally, this type of creativity is inoffensive and tolerable, but, in a room where creativity is bursting at the seems, a couple of derivative projects with brown and black characters weren’t going to draw much attention. Perhaps the best example of dismal black attendance on either side of the Comic-Con fence came in the last minutes of our last day at the convention. My girlfriend and I were making our final rounds on the exhibit floor, minutes before the doors were to close, when a stocky black man with a immaculate ‘fro and a wide collared shirt over a canary yellow suit caught sight of us. I saw him approaching out the corner of my eye, hoping he wasn’t some suit trying to drag us to a preview of some hackneyed project like No Ordinary Family or The Cape. Instead, he politely blocked our path and asked “Do you guys know Jim Kelly?” Of course, I knew the legendary Jim Kelly from Enter the Dragon and Three the Hard Way. Since the question was obviously directed at me more than my girlfriend, I replied with a guarded enthusiasm, “Yeah.” He responded, “He’ll be here tomorrow…Come and check him out.” We nodded, feigning enthusiasm and knowing that, even if we were coming the next day, we probably wouldn’t stop to see Mr. Kelly because we’d rather catch the Marvel movie preview in Hall H.

Our apathy for black projects or seeing an aging black actor was likely informed, in some part, to the apathy our people show towards aspects of pop culture that don’t include music or sports. Despite the fact that the world is falling at the feet of the comic and video game gods, we don’t seem to care to contribute. However, we’ll gladly consume. We’ll buy movie tickets, video games, toys and a select few will purchase comics, but we rarely have a presence at the creator’s table and, at times, it seems that we don’t care to. Now, I won’t decry the hard work of the black creators who are stretching their imagination and creating uniquely creative work that demonstrates we are on par with the best creators of any color. Unfortunately, these creators are buried beneath the rappers, athletes, actors and quasi-celebrities who most of America associates with black “creativity.” Making matters worse is the reluctance of some creators, even the best, to avoid creating material so ingrained in “our” struggle that it turns off the mainstream consumer. I believe everyone should tell their story their way, but if we persist in telling stories with decaying neighborhoods, discordant romances and preachy drag queens, and we only stretch our imagination to evaluate the same issues of racism, poverty, and urban despair that have been repeated ad-hoc for decades then we risk alienating mainstream audiences who are far more engaged in the fantastic than the tragicomic. We don’t have to sacrifice the spirit of our stories and the integrity of our voices, but a little variety wouldn’t hurt. There are infinite ways to address these issues with imagination and ingenuity, from metaphor to allusion. If we, as creators, don’t embrace creative approaches to our material and start dreaming a little bigger then we’ll be stuck selling the same stories to the same people. With African-Americans making up a small percentage of the country, how far will that strategy take us?

To be fair, I’m sure a number of black creators and talent would have willingly attended Comic-Con to sell their stories and promote their projects. I’m also sure that there’s a sizable community of African-Americans and individuals of African ancestry from other countries who would love to have attended the convention as witnesses to the glut of creativity, but couldn’t for a myriad of circumstances. The truth is not everyone’s going to make the pilgrimage every year, but that shouldn’t stop those of us who love this stuff—the comics, the movies, the video games, the genre shows, the anime, etc.—from trying, at least once. And, for those of us who dare to create pop culture art or tell a wildly inventive story—myself included—it is imperative that we make the pilgrimage at some point, so that we can share our creations with an audience that will devour them without hesitation. Let’s just be sure to bring something fresh and original that will blow the geeks out of the water and show them that creators of color can dream as big and as bright as the best in the business.

Tankobons and Trade-waiting

I am abandoning the monthly comic format.

Okay, maybe that’s too absolute. However, I am one of the faithful converted. I am a trade-waiter. My appreciation for monthly pamphlets is waning. After twenty years as faithful, though inconsistent, collector of monthly comics, I am beginning to collect more manga tankobons (graphic novel collections of weekly or monthly manga) and wait for trade collections of comic story arcs. Admittedly, I wanted the cliched “more bang for my buck,” but my decision is as much the result of personal choice as market phenomenon. Here’s my reasons for the switch:

1. Cost-The country’s in a recession and inevitably luxuries get cut first. I’ve always been a thrifty comic shopper, keeping my average monthly comic expense between $20-$25. It’s not bad, but the price of comics is climbing. Two weeks ago, I paid $3.99 for a 22 page comic, and I’m young enough to remember when 22 pages only cost you a buck-fifty. If all the comics I purchased on a monthly basis were $3.99, my monthly expense would creep closer to $50. Conversely, I can trade-wait or purchase manga for between $8-$15. For that amount of money I’ll get six months (six weeks in manga), on average, worth of story as opposed to five minutes of story from a $4 pamphlet. The major publishers could make monthly comics more attractive to us new media users by offering itunes-style downloads for about $.99 (Marvel has already started digital distribution, but most of the newest issues are only availble in print copies.)

2. Content- As an artist and writer who has written an unpublished graphic novel, I appreciate the work that goes into a monthly comic. If only was complete enough to hold my attention for my than five minutes. In the age of writing for trade (structuring comic story arcs for collection in a trade paperback), a monthly comic is only equal to about, on average, 1/6th of a story. Remember when you used to get a complete story every month, I do. I didn’t have a problem trade-wait style story arcs, also known as decompression, until Marvel’s House of M miniseries (awesome art, meh story.) The pacing was plodding and the delays were even worse. By the end of the series, there were roughly two month shipping gaps between issues. The shipping gaps highlighted the pacing problems. One thing I appreciate about manga tankobons is the amount of content in one volume. Most tankobons are about 200 pages, and easily collect a good chunk of the major story. Depending on the series, reading one tankobon is more of an accomplishment than reading a collected story arc from a monthly.