Cheryl Lynn

05•07•13

Let off some steam, Bennett.

DC is rightfully lambasted for what the company gets wrong in regards to representation. However, diversity initiatives launched by the company to correct existing problems (such as the one that led to the recent acquisition of Marguerite Bennett) are often ignored by fandom.

“New writer, Marguerite Bennett – @EvilMarguerite here – is penning a badass Batman annual for you all. Proud of her.”
Scott Snyder

The above is a perfect example of DC getting it right. Outside of the realm of self-publishing, the comics industry’s writing pool is overwhelmingly homogenous—white, American, and male. I’ve often stated that the best way to diversify the talent pool is to hire writers from outside the field of comics and allow said writers to hone their skills by (1) pairing them up with established professional comics writers on ongoing titles or (2) allowing novice writers to create short back-up stories in existing popular works. And though disgruntled reactionary fans would like to accuse Marguerite Bennett of simply being a quota hire, she is an individual with the talent and determination necessary to improve DC’s status quo. In addition, many white male writers launched their careers in comics in the exact same manner as she (sans the added stress of bigots combing through their credentials with a fine-toothed comb). Luckily, for Bennett—and for DC, for that matter—gender was of no importance to Snyder in picking his protégés. And, equally as important, Snyder’s profession as a teacher allows him access to a diverse (and novel) selection of writers in regards to race, religion, and gender—something his peers cannot take advantage of given the industry’s overwhelmingly white and male pool of writers and apprentices. In Snyder, DC has a tutor, recruitment center, and diversity outreach program in one—and is clearly taking advantage of that fact.

David Brothers, who beat me to the punch, discussed Marguerite Bennett’s recent hire, networking, and the dearth of writers of color in the comics industry. David suggested, and I agree, that the lack of writers of color in the comics industry may be linked to the lack of creators of color in the social circles of those in a position to hire new creators. Networking in any creative industry is key. Without the ability to network, aspiring writers are relegated to talent contests, cold pitches at conventions, and unsolicited submissions. As indicated in Nancy DiTomaso’s piece for the New York Times, opportunities for success are frighteningly slim.

“Help is not given to just anyone, nor is it available from everyone. Inequality reproduces itself because help is typically reserved for people who are ‘like me’ … Because we still live largely segregated lives, such networking fosters categorical inequality.”
Nancy DiTomaso

I am lucky in that my social network is absurdly diverse. There are many I adore who are “like me,” yet there are clear differences in race, gender, nationality, and age. There are cultural bonds upon which friendships have been formed that bridge all differences. Still, diverse social and professional networks sans the power to employ individuals are useless in changing an industry’s landscape. The industry will change only when those in a position of power to generate change feel the need to expand their existing networks, or younger individuals with diverse networks assume positions of power. Waiting for the industry to “age out” of its racial and gender inequality is frustrating, but given the mainstream’s disdain for other outreach methods and its current industry monopoly, I don’t see change occurring any other way.

Finally, I apologize for the title of this blog post. Actually, no. No, I don’t. It is glorious.

04•29•13

Quick edits.

Gail Simone asked a fabulous question on Twitter in regards to editing.

“Okay, asking all creators…what is your definition of a great editor?”
Gail Simone

My thoughts? I think an editor has a greater responsibility than just making sure the “trains run on time.” An editor must make sure the work is correct grammatically and visually. But, as importantly, an editor must make sure the story makes sense. And not just that the single issue makes sense, but that it fits the ongoing continuity. And if you are working at Marvel or DC, there is the added responsibility of protecting the brand and your Rolodex—a narrow tightrope to walk. You are an ambassador to three worlds—the creator’s, the retailer’s, and the consumer’s—and must satisfy the needs of all. As an aside, just as Jeff Parker stated that a good writer must stop being a “fan,” it is necessary for the editor to stop being one as well. You cannot be personally invested as a fan would be. You must be able to pull back and view the material objectively. To be able to pull back is key in order to identify flaws in the tapestry and suggest revisions. To pull back allows for more creative freedom, free rein to try new things. Fewer instances of “Batman wouldn’t do that.”

In comics, an editor assumes multiple roles—talent scout, copy editor, salesman, researcher, critic, and creative consultant. If you’ve been lucky enough to discover a good one? Hold on tight.

04•28•13

There’s no place like home.

New York City has often been referred to as its own major character in the series Sex and the City. While I don’t agree, the importance of New York to the series cannot be denied. New York—any city—has an impact on its denizens, shaping them to fit the existing culture within its borders. To move to a new area, not as a tourist or transient figure, but as a settler, is to assume the customs and lifestyle of one’s neighbors that are necessary to survive and maneuver efficiently. If not, problems quickly occur. For example, Brooklyn-born, the excessive socialization required amongst strangers while in Atlanta is still disconcerting. Privacy and solitude are at a premium in New York and are not to be relinquished without great reluctance.

Good fiction requires cities to have their own cultures as well. The character of a region is shown by how the landscape and structures are depicted. It is also reflected in the temperament and appearance of its citizens. For these reasons, team-ups and crossovers must be created with care. Unless the “hook” of a tale is to show a “fish out of water,” a mish-mash of incompatible worlds and characters is confusing and distasteful to the reader. One cannot build the foundation of a good story on earth that is not firm.

Seemingly rebroadcast at least once yearly, the crossover between Homicide: Life on the Street and Law and Order is fantastic. Both worlds are clearly defined, and characters from both series find themselves as strangers in a strange land. Another tactic that works is to simply create a new world for all the characters in question. This has been successfully executed repeatedly in comics, the Amalgam universe (depicting blended versions of Marvel and DC characters) likely being the most lucrative example.

With DC Entertainment’s New 52 initiative, the DC, Wildstorm, and Milestone universes have been folded into one world. As a fan of Wildstorm and Milestone characters, the development is frustrating. It is frustrating because I do not feel that a new world was developed that was hospitable to all characters; Milestone and Wildstorm characters were simply plugged into the DC universe. The number of Milestone characters appearing has been minimal, so a fish-out-of-water approach could have been successfully taken with Static and Xombi. However, given the sheer volume of Wildstorm characters inserted and the incompatibility of the former DC and Wildstorm universes—one an idealistic place with nearly black and white depictions of good and evil, the other a more sinister place with various shades of gray—results have been dreadful. DC fans have largely ignored Wildstorm characters. Wildstorm fans, given a strange world that in no way exploited already weakened nostalgic ties, had no reason to stay. I am apprehensive about what will occur should more Milestone characters make an appearance.

DC’s recreation of Earth 2, a world that could have easily been shaped to fit Wildstorm and Milestone characters, is essentially the existing DC universe with different characters plugged in. The culture remains the same—charmingly idealistic. In contrast, Marvel’s Ultimate universe began as a world that was much darker and cynical in nature compared to the existing Marvel universe. As of now, the two Marvel worlds are largely similar, and a large event featuring a rebooted world containing the most popular characters and concepts from both would work fabulously—though given fan resistance to change, it would probably be best to test the waters with a temporary revision akin to Age of Apocalypse.

But, uh, back to the lecture at hand: how does DC solve the problem of compatibility? There are three options: remove the Wildstorm characters from the DC universe; alter the Wildstorm characters to fit the DC universe; present the Wildstorm characters as part of DC’s underground, an off-the-grid assemblage of cynical characters largely not in contact with DC’s icons.

I’m curious to see which path DC decides to choose.

04•26•13

Stay pressed.

I’ve often discussed how comic companies can make things easier for journalists and improve the state of comics journalism by increasing the flow of accurate information to fans. Many journalists bring laptops with them to cover conventions. A great idea for comic companies such Marvel and DC would be to provide journalists with flash drives containing key panel notes. The flash drives, smartly emblazoned with a Daily Bugle or Daily Planet logo, could be handed out to members of the press as they entered a panel. A company rep or convention organizer would simply seek out individuals with press passes in queue. To add to the kitsch factor, panel notes could be packed with a friendly memo from a colleague named Lois or Betty.

The price of flash drives has dropped so dramatically that this method of dispensing information is now feasible. And with key information and a panel rundown already typed and formatted, journalists could devote more time to accurately transcribing a creator’s pithy comments. More importantly, it would provide more time for analysis of the information distributed instead of just releasing a dry rundown of events.

04•26•13

A Rozay by any other name…

I like William Leonard Roberts, the real man behind the public persona of the rapper Rick Ross. I like him for what I imagine him to be—an individual of working-class roots, thrust into a realm of wealth and excess, desperately attempting to remain competitive with men of poverty in regards to bravado, and men of wealth in regards to indications of abundance. I project a great deal of myself onto Roberts I suppose. I too feel caught between worlds of greater than and less than, and feel as if I am a fraud in both. There is a double consciousness at work, not of race but of class. And unlike the eventual smooth transition that occurs with race (as Dave Chappelle joked, every black person possesses the ability to speak “street vernacular” and “job interview”), transitioning between various socioeconomic groups is uncomfortable. Awkward. It does not help that to be working class is to be in transition. One is either slipping into poverty or climbing one’s way into the middle class. One’s children will most likely not share one’s economic status as adults.

It is interesting that Roberts was able to propel himself into the realm of the wealthy by assuming the invented persona of a once poverty-stricken man now loaded with ill-gotten gains. Ross is nothing more than a mask for Roberts to don. Roberts is not a criminal who escaped from an impoverished ghetto, but a former blue-collar correctional officer. He is not an elegant mafia mastermind who delights in high-end luxuries, but an average man still elated by a trip to the strip club and a well-seasoned bucket of wings.

I would say that William Leonard Roberts is a fraud, but you cannot fool one already aware of the game. Like a submissive that has paid for abuse, America both fears and adores the stereotype of black men that Ross presents. It abhors it, and yet demands it for titillation, luring men outside the lines within the narrow box it has provided.

Ross is the monster in the fun house—an empty threat, a thrill. So, when I heard his lyrics in “U.O.E.N.O.,” I simply shook my head. Was I supposed to feel threatened? Disrespected? How could I be disrespected by a joke? I should clarify that Ross’ lyrics are not the joke, but the Ross persona itself.

In hindsight, I realize the issue. There are those for whom Ross is not a mask, but a reality—women for whom Ross is not an empty threat, but a real one; young men for whom Ross is not a punch line, but a compatriot. For the sake of those women and men, Ross’ lyrics must be publicly denounced and Ross himself must be punished.

Yet, I cannot help but think of Roberts. How bewildered and heartsick he must be that his mask was rejected! At first tested by “the streets,” his persona successfully weathered the firestorm of the public announcement of his former employment. It is now being tested by “the suburbs”—middle and upper-class white women with socioeconomic clout. I do believe Ross will weather this storm as well, but not without a reduction of the perimeter of his permitted area—something I honestly feel should occur. Point blank, Roberts, once again attempting to shoehorn drug use and criminal activity into his lyrics for “street cred,” clearly crossed the line.

I wish we could do away with the stereotypes Roberts embraces entirely, but America seems intent on maintaining their existence. Perhaps the best we can do for the moment is to emphasize that these are merely roles; we have the choice to exploit them for profit—or not.

04•25•13

A word from our sponsors.

I’ve discussed the topic of sponsors so often with friends that I had to do a search to be certain I hadn’t addressed the topic on this site. I hadn’t—until today.

The word sponsor is having a renaissance. Sadly, the current connotations are far from positive. In certain circles the word is used to define an individual who provides financially for a woman or man in return for companionship and sexual favors. Moving from the bedroom to the boardroom, the word also conjures up images of corporate meddling, a profitable company usurping the core of an organization that is under financial duress in order to broaden its brand and increase public awareness.

I would like to see a resurgence of true sponsorship. In America, we often romanticize the starving artist; a creative individual must suffer—endure poverty—for his craft. That view is, quite frankly, ridiculous. The musician must feed her children. The painter requires a bed to sleep in at night. The writer needs a roof above his head. Should one’s creations appeal to the public, one should be compensated for them.

The work and research of Harlem Renaissance writer Zora Neale Hurston was subsidized by the philanthropist Charlotte Osgood Mason. Mason’s wealth allowed Hurston to produce folklore classics such as Mules and Men. However, in today’s competitive climate there are too few philanthropists with an interest in the arts, and far too many artists who cannot make ends meet. The patronage of the past is not sustainable. There is also the danger of an artist compromising his vision to appeal to his patron.

Sponsorship would allow for one organization to financially cover the project of another while receiving benefits that are not monetary in nature. It is imperative that both organizations have brands and mission statements that are similar in nature to avoid either organization altering one’s core values for another. It is also important that the companies do not produce the same product to diminish the possibility of one company placing a financial stranglehold on another to eliminate competition.

Perhaps a sneaker company such as Adidas could sponsor a creative troop featuring creators such as Ronald Wimberly, LeSean Thomas, and Khary Randolph. Adidas would sponsor printing costs for graphic novels, and provide funding for launch parties and signings. In return, artists could design limited-edition sneakers, or create a short strip advertising Adidas sneakers that could appear in magazines such as Vibe or Esquire. Honestly, the marketing possibilities are endless as long as there is at least a small overlap in clientele—the lack of which destroyed the partnership between femme-friendly Reebok and the notoriously sexist public persona of Rick Ross.

So, here’s to true sponsorship! And hey, if you’re a company seeking a creator for collaboration? I’m certainly available.

04•24•13

Vertigo a go-go! Redux!

The birthing process for the new Vertigo has been long and laborious. It is clear given the new projects announced and those resulting in cancellation that the company will soon be reborn as the offspring of Wildstorm and the Vertigo of years past. Hopefully, it will be stronger and more lucrative than its predecessors, while maintaining the qualities that made them great.

I believe a mission statement is beginning to develop under the watchful eye of Hank Kanalz. Vertigo will publish quality work from popular creators featuring established comic properties that do not fall within the realm of the DC universe—Astro City, Fairest, Tom Strong, Sandman. In addition, it will also provide adaptations of popular, envelope-pushing works from other mediums such as film and television—Django Unchained, The Girl with the Dragon Tattoo. With properties chosen carefully, Vertigo can maintain its unusual “edgy” brand while reaping the benefits of crass commercialism.

For the moment, however, Vertigo has been hit with a wave of bad press. Dismal sales and the loss of Berger and books such as Hellblazer make it appear as if the imprint has lost its way. The imprint desperately requires some positive attention and good will prior to its upcoming releases hitting the stands.

Two words: digital initiative. Take a collection of Vertigo works no longer in print (and likely never to be reprinted) and release the first issue of each series for free for a limited amount of time. Remaining issues could then be sold for a very low price. For example, fans could download the first issue of Millennium Fever for free and purchase the remaining issues at a later date for merely a few bucks. It would allow fans to once again acquaint themselves with Vertigo and reestablish the brand as well.

Minimal effort for what could be a lucrative and popular project? Why not?

04•24•13

No cheesecake ’til Brooklyn.

I have never provided free labor, though I’ve not always worked for money. I’ve been lucky to have been granted immensely beneficial internships where I was provided valuable instruction regarding the publishing industry. An internship is a trade. The mentor provides training and key industry contacts; the intern provides assistance—and often content or a product to be sold. There is a bartering system in place. More importantly, a relationship between the apprentice and his or her mentor should be established and maintained, even as roles change. The apprentice eventually leaves to become a supportive colleague and consumer. Later, when the mentor withdraws from the field, he can take pride in knowing that his methods and values remain via the individuals once taken under his wing.

There is a cycle—one with positives and negatives. It allows for efficiency; correct instruction is necessary to produce quality work at a faster pace. It also results in homogeneity. Mentors often choose those who remind them of themselves and think as they do, inhibiting the introduction of new ideas and new voices. However, I feel that the negatives can be easily eradicated with blind applications or mentors who choose to cast a wider net when initiating a search.

If you can afford to pay your interns, do so. If you cannot afford to do so, list clearly what you are prepared to offer in exchange for their unpaid labor. Nate Cosby, who would actually make for a wonderful mentor for a young individual interested in the comics industry, recently posted an awful ad seeking an intern. The ad does him a great disservice given his knowledge and experience. It clearly lists what he needs, but does not list how he can (or even if he will!) fulfill the needs of his interns. What will he teach? How? These are important questions to one attempting to build a career or gain industry knowledge. And one has a right to be wary or even dismissive should those questions go unanswered.

In the same vein, Heidi MacDonald recently did some sleuthing in regards to Wizard World’s bottom line, discovering that the organization made $6.7 million in conventions in 2012.

“The report attributes the increased profits to ‘running better advertised and marketed events’ as well as increasing ticket prices and ‘overall size and scope of each event.’ Others savings for the year were due to ‘reducing stock based compensation to consultants, reducing web development fees [emphasis added] and reducing professional service fees.'”

I did some sleuthing of my own to discover that the organization is also seeking unpaid editorial interns to provide content and editorial/marketing assistance for its site.

“Wizard World is looking for an Intern who can help keep a website updating with news and stories relating to popular fiction, which include updates on Movies, TV, Video Games, and Comic books. Articles must be compelling original and well thought out. Other task would include online marketing of ones articles and re-purposing material for articles. This would include wrapping articles around original content produced by Wizard World’s Video Production team. Articles must be posted through multiple CMS systems that you will be thought [sic].”

No information given as to what Wizard World will provide in return. Frustrating. Adding to the frustration is a comment indicating that the CEO earned a salary of $510,000 said year. Less than a tenth of his salary would allow the company to pay its web contributors.

As I said, frustrating.

02•19•13

I want this, comic artists. Really.

With RZA now at Black Mask, I’ve been thinking about my old idea for a graphic novel/anthology where artists draw comics utilizing lyrics as scripts. My idea? It’s fabulous. Just saying. And while I always knew which songs I wanted drawn, I had never attached them to specific artists. Let’s rectify that, shall we?

“Children’s Story” by Slick Rick and Adam Warren
“Shakey Dog” by Ghostface Killah and Chris Brunner
“The Sweetest Thing” by Lauryn Hill and Afua Richardson
“On the Run/Murder” by Royce da 5’9″ and Ron Wimberly
“Break You Off” by The Roots and Terry Dodson

Feel free to add your own to the wish list! Get on this, comics industry!

02•02•13

Samples.

“Honestly, when it comes to comics and nostalgia, I want more Public Enemy than Puffy. Meaning, you should take the old stuff and mix it into some weird ish that is only vaguely familiar.”
Cheryl Lynn Eaton

The comics industry is awash in nostalgia and has been for decades. And though the word nostalgia has become distasteful to many, it is not the existence of nostalgic work that is a problem. The ubiquitous nature of it is.

We need our rituals and our well-worn tales. They provide comfort, instruct children as to how to make their way in society, and honor those who have come before. In comics, many creators choose to pay homage to the elders they admire through mimicry and the utilization of classic characters. Wonderful stories in many genres have been created via this method. The stories are akin to “party joints,” songs where a rapper raps over an existing beat ripped from an older song. Puffy (Puff Daddy, P. Diddy, Diddy, Sean Combs) was notorious for this. The result is fun and fanciful, but it brings absolutely nothing new to the table. The creative effort involved in such a project is negligible. These works are needed to pay tribute—to enact a ritual—but if they are all that a society produces? Said society is no longer moving forward artistically. It has become stagnant.

The comics industry has become so bound by its nostalgia that it has nearly ground to a halt. Rigid adherence to what has come before is only useful and enjoyable in small doses. The majority of the artistic works produced must be innovative. What is created throughout the ages must change as our society changes. Like a closed commune, the comic industry primarily watches society change from afar and makes no changes within.

After I made the comments posted above on Twitter, Brandon Graham asked me what comics I would consider “Public Enemy comics.” I wanted to say Prophet, but I am completely ignorant of the Extreme universe prior to the recent relaunch. However, having read enough Conan, I can safely say that Prophet could be placed within that category.

At the time of the group’s debut, Public Enemy’s sound was completely novel. It was nothing like what had come before. What was fantastic about the music produced was that it lovingly paid tribute to the founders of modern black music and yet honored the new community it was creating for simultaneously. And one does not have to actually sample older works to achieve this. Frank Ocean inspires vague remembrances of the Dramatics and Prince, but his work is wholly his own.

I wish to see this method adopted by comics. I want to see love letters written to Kirby and the world that we live in now. To survive as an industry? Comics must embrace the past and the present at once.