Next Saturday at the Long Beach Comic Expo the first ever winner of the Dwayne McDuffie Award for Diversity will be named, and today the organizers revealed an impressive roster of nominees that includes a tribute to the first Chinese-American superhero, a blaxploitation revival, and the most prominent Muslim superhero in North American comics.
In the wake of Leelah Alcorn’s suicide in December 2014, people have been formulating ideas for how to fulfill her final wishes to “fix society”; to have her death “mean something” and to have it “counted in the number of transgender people who commit suicide”. In her suicide note, Alcorn, age 17, explained that her reasons for committing suicide centered on her parent’s inability to accept her gender, and beyond that, imposing upon her religiously sanctioned conversion therapy designed to make her conform to cisnormativity.
In this essay I want to discuss some of the steps necessary to achieving acceptance, and most especially the ways in which the media can address misconceptions and provide transgender and gender non-conforming kids with a diverse range of stories. Please note that this essay contains language that may be triggering to people with depression and suicidal tendencies.
Boom Studios has a reputation in the comics industry for publishing an increasingly diverse group of books and creators. This commitment to diversity in genre and people is reflected in an all-new initiative the publisher announced today in Previews with a letter from founder Ross Richie. While 2015 is the 10th anniversary of Boom, the publisher wants to talk about what's next rather than what's come before. They call this discussion of the future Push Comics Forward and they don't want it to be only about Boom.
Push Comics Forward is Boom's way of focusing on the ongoing conversation about diversity and the future of the industry. To learn more about this initiative and what to expect from Boom for the next ten years and beyond, we spoke with Editor-in-Chief Matt Gagnon.
Potentially huge news today, as Denys Cowan, Reginald Hudlin and Derek Dingle have announced that they'll be relaunching the legendary Milestone Media this year as 'Milestone Media 2.0'.
Marvel publisher Dan Buckley gave a three-part interview with comic industry blog ICv2 this week in which he discussed the company's performance in 2014 and its strategies for the year ahead. The interview ranged across digital sales, graphic novel sales, and the impact of the Marvel movies on the comics -- but of particular interest to ComicsAlliance were Buckley's comments on reaching a more diverse audience of new comics customers.
While acknowledging that Marvel and the industry at large has never done much consumer research, Buckley said the company has been "aggressive in trying a lot of diverse product over the last two years," as part of an initiative spearheaded by Editor-in-Chief Axel Alonso. According to Buckley, the results of that outreach have been very positive.
I don’t really do escapism. It’s not that the media I consume isn’t described as such, nor even that I have something against the concept. I just rarely feel as though I….escape. I mean, I enjoy the books I read and the games I play. And I suppose they keep me from considering the quotidian details of my life as I engage with them. Like, no, in the most banal sense, I am not thinking about groceries as I play Portal. But there’s a power people invest in the concept of escapism—whether they celebrate or deride it—and I just never seem to get it. It’s not a big deal, really. It’s never a metric by which I measure anything. I shrug and move on.
I escaped into The Legend of Korra.
In this second and final part of our in-depth interview, Simone talks about her initial concerns about working on Red Sonja at Dynamite, her relaunch of Secret Six, her passionate fan base and her "secret" comics agenda.
I'm not excited for Sam Wilson as Captain America, and I'm not excited for a female Thor.
Now, I don't think these are totally wrongheaded things to do. I admire the impulse behind these changes, and I believe they come from a good place. In the abstract sense, I love the idea of Marvel featuring, in big, bold style, the adventures of a black man and a woman against the hordes of iniquity. I believe at least part of the motivation behind these changes is genuine in its altruism, and that it is not entirely invalidated by profit-seeking impulses. I want to believe in this initiative. I want to be excited. I do not want to be the curmudgeon in the corner, needlessly nitpicking everyone else's good time to pieces.
But it feels like a gimmick, and functions like a gimmick, and that’s because it is a gimmick. I give it perhaps two years — two years that only the most hard-core aficionados will end up able to recall, alongside their recollections of the foil covers era and that one time Doc Ock was Spider-Man.
In late August, writer Gene Luen Yang posed a challenge to his peers in the world of comics: Write characters who are different from you, racially and culturally, even if it's scary. That can be tough to do without being insulting, or tone-deaf, or resorting to stereotypes. What can really help for writers is input from people of the races and cultures that they hope to depict; people who can gauge whether a work has the right level of sensitivity and understanding.
Luckily, a whole bunch of cartoonists have come together to offer up advice in a post on Midnight Breakfast titled "Writing People of Color (if you happen to be a person of another color)." It's chock full of insight.
In an interview with The Telegraph's Radhika Sanghani, Marvel editor-in-chief Axel Alonso offered some insights into how he regards the superhero comic industry's treatment of female characters -- and his own intentions towards diversity.
The interview is chiefly noteworthy for confirming what already seems apparent from recent changes in Marvel's line-up, namely that Marvel understands and is responding to demographic changes in the marketplace. "We believe there's an audience of women out there who are hungry for this [product] and we want to make sure they get it," said Alonso. "This is affirmative action. This is capitalism.”