A Tale of Two Cities

It was the best of times; the worst of times…

Today two cities dominate the UK Comic scene: the City of ‘Mainstream Comics’ and the city of ‘Small Press’ of which I’ve been a resident for the last few years, during which I have been struck by the differences between these neighbouring cities and the nature of this relationship.

I am an occasional visitor to ‘Mainstream Comics’ and though humbled by many of the artistic talents, I like many, am dismayed at how American driven the UK industry  is and how diluted and generic their products are. The dazzling craftsmanship of both Superhero and Manga comics it is more than matched by the disappointment of the content in Superhero genre especially – EFX laden, violent, misogynist, shallow and formula driven; perhaps encouraged by its relationship with Hollywood studios  and the money spinning movies it aspires to endlessly manufacture.

I for one, lament the loss of ‘film’ as the art from it was for many years; home of the Auteur, the single creative mind at the reins of what are now small film crews by today’s standards. Replaced by manufacturers of entertainment; brilliantly designing escapisms that overwhelm the senses in a way that only American cultural products can sincerely do. A large source for many of these products is the city of ‘Mainstream Comics’, though largely American based, it has a small satellite industry in the UK to recruit the finest comic artists and writers, rationalise and intellectualise any creative ambitions away and mould them into craftsman to serve this entertainment.

The city of Mainstream Comics, for me is therefore not what it could be nor should be. There are still may fine artists and  writers who, as artists always do, try to produce creative works under trying circumstances but are under the domination of those who know the ‘deal’ and how this ‘system’ works best – and so hinder, direct and order the projects that sail an those who never get the chance. In old Hollywood this role was that of a semi-creative business mind, namely the ‘producer’; now perhaps, in UK comics more often it is the ‘publisher’, another semi creative business mind  who follows the popular notions of what sells, and like any businessman instinctively seeks to hire the talents that will repeat these formulas in a slightly different way each time.

The talk from Mainstream Comics is that for its film interests it is for the best of times but for its comic creators it is the worst of times.

Meanwhile, my own home is that city of ‘Small Press’. In terms of its money and business it is barely a city; more of a market town, however in terms of its creativity, its population and its art it is a large city indeed.

Creativity and self expression lie at the core of the Smallpress. Business and money, status and fame are not the main priorities here and perhaps here lies the reason for its

unhurried growth so far, yet there is an awareness that it must become more autonomous in assuring its future as whilst up to now it has developed harmoniously alongside the Mainstream, it is clear that the Mainstream has little interest in it having a future at all, especially a commercial one.

  Up until now, its neighbour has controlled and dominated the public image of comics. It has the minds and business of the distributors, the promoters, the retailers and most event organisers and its own future is assured by its relationship with the American film industry which needs a comic industry if only as a pool for future stories and their franchises. Comic books that can’t or won’t be good film material have no relevance for these business heads, and it is this way of being that must prompt the Smallpress to become more independent in its ways and to take responsibility to build its own business model that assures its future.

My own view is that the Small press should be working to distinguish itself from the mainstream, perhaps by some of the following ways:

1) Redefining public perception of comics. Defining Small Press as a social art rather than a generic entertainment; cultural products rather than consumer products. To do this strongly would mean saying what the small press are for as well as against. I for one would push for all Smallpress events to be ‘Non Superhero’ events as it would strongly symbolise what the events are and are not.

2) Making Smallpress events free to children of all ages. Mainstream comics have a long and large history of brands and characters to promote itself with, Smallpress needs to engage from scratch. Very media friendly this would aid the public perception of Smallpress and help distinguish itself from mainstream.

3) Making Smallpress events ones where people can only sell material they have contributed to as either creator, writer, publisher. This would mean no more retailers or dealers of merchandise attending events.

4) Aligning Smallpress events with UK Music and in particular singer songwriters; individuals who like Smallpress participants have deep involvement in their own work in terms of self expression, authorship and originality. Music and alcohol should be the added flavouring to Smallpress events rarther than TV and film.

5) Small Press creators have more in common with the large UK music industry than the tiny film industry.  There are hundreds of music events around the country where people are open to new arts and appreciative of creators.

6) Placing emphasis on guests who have operated along the lines of Smallpress in the past. Bryan Talbot being such an example of a writer-artist who embodies many small press values.

7) Employing panels that debate the issues of the comic world rather than discussing them and presenting structured talks. Passionate disagreement, audience participation, high tolerance; low authority with topics proposed by exhibitors.

Many of these suggestions merely relate to UK comic events which are geared up and designed to promote Mainstream comics and the so-called ‘fanboys’ or ‘comic collectors’ who already well catered for via comic shops and have little interest in art, self expression or authenticity, but are more officianados of the superhero genre and its movie and TV tie ins. Smallpress contributes the majority of what’s on offer but is underappreciated and underrepresented in terms of the promotion and the ‘way’ of these events.

The Smallpress might be the great, different and delightful future of the British comic industry if it asserts itself beginning with the UK comic events, even if that means ruffling the feathers of a few sensitive egos in Mainstream comics.