Monday
27Oct
A Reluctant Participant... So far
Brad Guigar
I work in both print and Web cartoons, and I have issues with both. I will admit my loyalties lie first in print, as that’s where I enjoy seeing my work most and where I find a lot of inspiration -- through my editors and friends in the industry. I do get angry, however, with many of my colleague’s shortsightedness and constant pining for the old days.
On the other side of the coin, I’m not yet 100% sold on the whole webcomics-as-the-next-step-thing, either. I do see the successes and I acknowledge the solid business plans. My own comics on the web do pretty well, and I do make some decent gravy from them. But I’m not thrilled to say I’m on the web. And if I didn’t have the print comics, I think I would abandon the web all together, because just as in print, I’m less than proud of the attitude of many of my fellow webcartoonists.
I have no desire to be my own accountant/salesman/merchandiser, which, I’m slowly learning, is becoming a necessity to thrive further in the industry. This is one of the big reasons I stay close to print and the syndicates -- the idea of someone else handling the business side of things appeals to me. Someday, perhaps, the web will have such an avenue for us lazy, mathematically challenged artists.
One can hope.
I’d like to see someone step up and make me proud to say I’m a cartoonist. I think some of us need to take a step back and see the good that both sides of the fence have to offer -- and do it without engaging in some sort of week-long petty argument. I’m hearing theses voices that say no comic in the newspaper is funny, and others state webcomics are amateurish, niche and pop-culture laden. Arguments for the “future” of the comics industry use these generalizations in backing up their claims of right and wrong.
I think it's a mistake.
We all know the endless work that goes into producing a daily comic strip, for web or print, so to publicly criticize the work of someone in your own industry seems in poor taste and counter-productive. Although I don’t approve of the way many of the webcomics “leaders” or print “veterans” have carried themselves so far, I would never criticize their individual work by calling it unfunny. No one person is an expert on the merits of humor.
I believe that if webcomics are to grow and be the next evolutionary step in the business of cartooning, then the petty snark inevitably produced in these flame wars over print vs. web, web vs. web, toast vs. bacon… has to stop. In the same token, if print comics are to continue to survive, the artists need to wake up and see that there is an avenue for success online, with many already reaping the benefits… And they are, in many cases, talented, profession individuals.
That would be cool, and I would be happy to participate as a cartoonist… Preferably a cartoonist making wads of cash with someone else running his business, but a participant, nonetheless.
Editor's Note: Corey Pandolph writes and draws three comics strips: The Elderberries, nationally syndicated through Universal Press Syndicate; Barkeater Lake, available on the Web at barkeaterlake.com and Gocomics.com; and Toby, Robot Satan, also available on GoComics as well as the NYC and Boston Metro print editions.
Reader Comments (18)
Some of us are too busy being proud to be webcartoonists to spend time trying to convince the rest of you!
I had no idea there was so much discontent among the ranks. I must be reading the wrong forums!
I am responding to the musings if WebComics.com is appropriate to be posted / listed from Unshelved. I would say, "WHY NOT? " If is appropriate for library professionals since it discusses an important medium that is not just a flash-in-the-pan but a real direction of the world. As library professionals we need to have forums to keep us informed and educated about what is going on around us.
Ya sort of a weird rant. I think there's room enough for both print and web cartonist's
Oh, ya, by the way, Unshelved is a niche comic but it is a large niche since there are many library users and many more library workers that will related to the stories. You do great work, keep it up!
Just my take on things as I've seen them over the last few months, is all. Thanks to the HalfPixel guys for running it.
I am in great agreement about the syndicate thing. I'm frankly surprised syndicates haven't already worked their business models greatly towards the internet. I mean, I've seen some small steps, but nothing that makes me think they're focusing enough on it in regards to comics. Perhaps I'm just missing something though.
I say their both great. It's a one kind of nice having something in your hands and another browsing the web. Didn't know that there was too much tension though.
Also comparing it to bacon and toast is ridiculous. Bacon, hands down.
The problem isn't print v/s web. it's syndicate v/s independent. Newspaper comics, owned by syndicates, are designed to be as bland and unoffensive as possible so the comic will reach a wider audience. Also, they syndicate will own the creation outright and the cartoonist simply works for the company. An independent creator owned comic, on the other hand, can put her comic about fishmongering or knitting or whatever and not worry about offending/alienating anyone because the audience that likes the subject will be able to find it. The independent cartoonist has to do more work, I'm not going to argue that. But I'd rather own and control my characters and copyright then sit back, get a paycheck and worry about what happens if I'm dropped or worse forced to endorse something I don't approve of.
"Also, they syndicate will own the creation outright and the cartoonist simply works for the company."
In 99% of cases, this is untrue. Most syndicate contracts allow the creator to retain all rights to the characters and strip. The split in royalties is for newspaper sales and then any ancillary money from merch and/or TV/movie deals. Syndicates are more an agent for the cartoonist, sell the feature to publications.
Also, to expand on jeanettic's comment:
It is fair to say comics sold to through syndicates are written for a wider audience, and for good reason: If the sales work out, your feature will be seen by a enormous readership.
As far as the destruction or editing of a strip for mainstream sales, my experience has been mild. I've worked with United Media and now with Universal Press Syndicate. While the editors do, from time to time, suggest changes to a strip or joke, I am never "forced" to go with their changes and all changes are mine for final approval.
I do not believe, form my ten years dealing with syndicates that they are the enemy here. They truly do work hard to sell a product they believe in, while attenpting to make it of the highest quality possible.
The collapse occurs at the publication level, where over-taxed Newspaper editors, dealing with shrinking staff and pages, listen too much to their readership and refuse to chances on new meat.
These are my experiences. I'm sure those of other syndicated cartoons vary. However, the contracts offered by syndicates are usually pretty similar in nature, allowing the creator all ownership of their material.
I don't think syndicates are the "enemy". But I do think they're more concerned with the bottom line then with creativity. (I'll admit this is mostly what I've read, I've never dealt with one directly.) Also, what happens if you don't want your creation on tee shirts or coffee mugs? Would your company respect that? Or would they fight you tooth and nail? (Perhaps this should be brought up on the message boards?)
Jeanettic: I'm neither a cartoonist nor an employee of a syndicate, so take this for what's it worth, but it seems to me that a syndicate SHOULD be more concerned with the bottom line than with creativity. That's their job. Creativity is the cartoonist's job. These tasks are not inherently opposed, either.
The bottom line here is if you're npt 100% sold on webcomics-as-the-next-step, then webcomics are probably not your next step.
It's not a business model that works for most people.
Maybe comic books are your next step. Maybe it's working in advertising, animation, greeting cards, or childrens book illustration. There are plenty of ways to make money off of cartoon art that don't involve syndicates OR the web.
To a certain point, yes. However, it strikes me that they are so concerned with the bottom line that they rarely take a chance on new talent. New cartoonists compete for a the few spots avaible when an old strip actually retires. Meanwhile I open my comics page and see Family Circus (now being drawn by the son of the original author and artist) Cathy (still making the same bathing suit jokes for the past 20 years) For Better or For Worse which is in "new runs". Why not take a chance on a new strip?
This is the advantage of the web. Yes, I realise that anyone can put up a strip no matter how good it really is. But it also lets people who otherwise wouldn't get a chance a chance and let the people decide what they want to read.
Coming into this discussion a tad late, but I have to say Corey hits on just about everything that I've been working through in my own mind as I try to navigate some kind of viable career in comics. And I definitely see the future of the industry taking on some kind of print/web hybrid model.
Corey,..you were SPOT on!!!! I've been very hesitant about the whole webcomic business model as well. Question or challenge some of the web comics folks on the business model idea and you get reamed as anti-webcomic. It's a joke. There are many webcomic folks that can't stand up to criticsm in anyshape form or fashion and therefore hide in the confines of the web so that they can feel "free". Please. Too bad that is not the "real world!" Not sure how many of those folks could last in a true professional environment.
I've just gotten so burned out with newspapers, and the shrinking comics size, and the general negativity of news in general, that I much prefer getting the comics, the whole comics, and nothing but the comics on-line, or in my e-mail. I do so enough so, that I pay for it. I'd much rather support the on-line comics industry, where I can see, resize, and relish the artistry, and the humor of many, many comics than continue to throw my money at the newspapers, where they frankly don't even give a rats behind about their own people (my experience working at a newspaper), and make the comics even difficult to read without a magnifying glass, and psychic powers.