Random Rant #1

I’m taking a short break from the instructional stuff to voice some of my cheers and jeers about the state of the comics industry. I don’t know how many people, if any, are reading this blog at the moment. (If you’re out there, please comment on a post, or e-mail me, by all means!) But, for those who love comics, and especially for those who hope to break into this crazy business, things are very bleak.

We currently enjoy some of the most sophisticated art and writing ever to grace the pages of the comics. However, at the same time we suffer some of the most anemic and cynicalcomics content ever assembled. There have always been good comics and bad comics, but right now some of the stuff sullying the stands is exceptionally heinous. This is true of the poor quality of its content, and also of its ethically empty underlying philosophy and its Draconian business models. For my part I lay this wave of darkness at the altar of Money! SpecificallyHollywood Money, but that’s another rant!

Today I just want to talk about how hard it is to break in to the business of comics right now, and why I think that’s so, even for someone like me, who’s managed to ooze into the lower echelons. 

First of all, there is supply and demand at work here. In comparison to some of the comics ages of the past, there are fewer titles being printed today, at least by the major companies and their second tier rivals. Of course computer pre-press, and on-demand printing, have created a virtual gold rush of both crappy and wonderful independent publishing, but again, that’s another rant.

Into this relatively small market, which faces staggering competition from movies, video games and cell phones that can practically sit up, beg and roll over, comes a virtual army of wanna-be comics professionals. In the 1970’s there were probably less than a thousand people in all of North America who aspired to work professionally in the comics biz. Today you can find nearly that many hopefuls at any large sized convention. In my youth, in the late 70’s early 80’s I recall only running into about 10 or 12 guys at any convention who were there schmoozing the editors. The last time I lined up to talk to an editor at a convention here in Toronto, I was number 27 of over 50 guys booking a portfolio review. 

The numbers definitely aren’t on our side! Also, right now, no company has any kind of strategy for developing talent. They don’t have to develop talent because of the vast numbers of hopefuls and the small number of jobs. Editors can afford to wait until some guy whips out some art samples that blow their minds. Why take time and develop talent when there are even a few desperate geniuses out there begging to get into the biz?(Given this, how some of the really questionable talent out there still manages to break in is quite beyond my reckoning!) 

Things are even worse for budding writers. Right now, the medium seems to be only interested in hiring has-been writers from TV and movies, or more generously, popular writers slumming in comics-land for a quick buck. (Now certainly some of these guys really love the medium and a few are even good at writing comics, but many aren’t!) Not that this matters to the companies in question, because it is really a cynical attempt to boost sales with the so-called “Marquee Value” of these recognizable names. Hollywood’s influence again, but I’ll hit them at another time

The problem with this approach is that so much potentially great comics talent is being ignored because it isn’t yet “brilliant”. This approach leaves a lot of talent out in the cold. Talent that 20 or 30 years ago would have been given some small pro jobs and “brought along” until they had developed the chops to take on a regular book. These are guys (and a few gals) who became great talents after a reasonable period of professional development. 

Guys like Berni Wrightson, Mike Kaluta, P. Craig Russell and Arthur Suydam. Then later, guys like John Byrne, Michael Golden, Paul Gulacy and even Frank Miller. Whatever you may think of Frank’s current drawing ability, his first professional jobs were far too weak to get a foot in the door today. One of the medium’s brightest lights would have had to distinguish himself in some other medium, or worse yet, spend his lifedelivering mail! The same is true of all the names mentioned above!

You are no doubt asking yourself right now: “How do I break in under these circumstances?” Unfortunately I don’t know. I’m still struggling on the fringes myself. I can only offer my advice on improving your work, and hope you are more successful than I have been. (Although, I haven’t given up yet! I’ll crack this nut one way or another!)

The most depressing thing I ever heard from an editor reviewing my work went something like this:

“This is really pretty good. The storytelling is good, the anatomy and perspective are good and mood is pretty good. But, you know… good isn’t good enough any more.”

Good isn’t good enough? Well damn, what do I do now? Become freakin’ brilliant, I guess. Or maybe I have to self publish to get noticed, like Eric Powell… Inside, I feel like: “I’m ready, already! Hire me!” But, the editors still spurn me, and I keep coming back for more.

Why not check out my web site samagro.com and let me know what you think of my stuff. Of course, if you happen to be aneditor, and you want to offer me paying work, more’s the better!

Later,

Sam