Black Comic Book Creators and Social Media Pt. 1

Black Web 2.0 has covered black-owned web comics, and we wanted to advance the conversation by turning to the mainstream comic book industry. However, there are black artists and writers who work for mainstream publishers and also and create their own series. The following is part one of a two part series where we catch up with some of these talents and discuss how social media is helping to disseminate their work

Afua Richardson

Left to Right:  Richardson at a convention table, the cover of Top Cow’s Genius #1, a panel clip from Genius

Role: Artist
Comic Book Titles: Top Cow:  Genius Pilot Season, Cyblade; Marvel Comics: Half Dead
Original Titles:
Social Media Profiles: Myspace, Blogger, Twitter, Facebook, Facebook Group, Tumblr, Flickr, Pbase, YouTube, Flavors.me, Google Buzz, HeroTalk
Other Links: AfuaRichardson.com

How do you use social media to market your work?

Goodness, ALL my marketing and business exchanges are done via the Internet. So a Web presence is so important. Social media networks is really the way I not only promote my portfolio through galleries, but to speak to people and get to know them. Network, and keep in touch on our own time. Personal relationships with people are important. It becomes less of an ” I’m selling you something” and more of a ” we’re sharing something” together. I find I will support things I have personal investment in. As an artist working her way through the trenches, support is important. Plus it’s nice to socialize! I like people ^__^! I’ll soon have an online store and use those networks to let people know where they can support my personal works as well.

Do you think the comic book industry understands the value of social media?

Without a doubt the comic industry knows that if you don’t have fans on a grassroots level, even with majors as large as Marvel, it’s a wash. Social Media networks are the fastest and smartest ways to get in touch with people and let them know what they should even care about their product or story.

Where do you see the comic book industry in ten years?

I think there will be a rise , fall and resurgence. Comic books have currently become Hollywood’s substitute “I want to direct” so after the wave of terrible comics overloading the industry (which luckily comic fans are smart enough not to even get into). The independents will grow in numbers and the majors will have to reinvent and invest in the little guy as the kids who grew up with their comics are now passing those things along to their kids they will have to reintroduce and reinvent characters. It’s like Sherlock Holmes. He was someone’s Batman once upon a time. New iconic characters will be vintage and the cycle will start again. It’s nice to see comics grow up and evolve.

What are the challenges of working in an industry with co-workers and comic book characters who are overwhelmingly male Caucasians?

Hmm… well A big challenge I seem to face, is the stereotypes in storylines. I notice there are characters evolving but we still have a long way to go. It very much reflects that socioeconomic bias, classism, and racism that’s still an issue  when you see certain characters depicted a certain way and one way only. The “pretty, witty girl” can never be black. The black girl always has to be the mannish, overly prideful, and strong one. The scientist is never Indian, the main character being anything other than white makes it a (enter nationality here) comic – I’m generalizing of course, there are exceptions (thankfull).

When I was coming up as an artist ( I’m still coming up but you know what I mean) I was often patronized when I asked for critique. Often met with “ooh. you’re pretty good for a girl” which also translated into I won’t critique you because I think you’re cute and you’re black so it’s rare black girls even know what comics are (false) so I won’t ruin my chances of possibly dating you in my mind even though you’re a head taller than me …

I digress.

When I introduce myself to people as an illustrator or a singer they make a composite of what they assume my work looks and sounds like. I’ll admit its nice to be underestimated. It’s better to wow someone than to disappoint.

Sometime in 2004 I want to say,  I developed the persona ,”Lakota Sioux”; a seemingly androgynous alias, and posted online. My 1st comic being a creator of erotica almost sealed my being “a guy probably from the midwest” in the eyes of my social media peers. Granted, this was almost 10 years ago so I understood the use of social media even then. Once they either ripped my work apart unbiasedly with all the e-courage they could muster, or gave me props for taking it in stride and actually improving and listening to constructive criticism it kinda leaked later that I was a woman ( That and frequenting conventions and meeting e-friends face to face ) Its not as much of a challenge as you might think. If you’re good then you’ll stand out, because its a boys club you’re invading. Just let your work speak for you instead of your gender or sex , and editors won’t care. They just want work that looks good and is on time.

Thanks for havin me!

Shawn Martinbrough

Left to Right:  Martinbrough in the studio, a panel from EXPO, the cover of Luke Cage Noir

Role: Artist
Mainstream Comic Book Titles: DC Comics: Detective Comics; Milestone Comics: Static Shock; Marvel Comics: Luke Cage Noir, BULLSEYE: The Perfect Game; Vertigo: The Losers; Bodog Entertainment: Ayre Force
Original Comic Book Titles: EXPO Weekly
Social Media Profiles: Myspace, Facebook
Other Links: ShawnMartinbrough.com, BET Interview, Verge Entertainment, How to Draw Noir Comics

How do you use social media to market your work?

In addition to the commercial, I regularly post artwork from my upcoming projects. I began promoting the book and other projects on my Facebook and Twitter and the praise from fans around the world about my art book was amazing. For example, last week, I received messages on Facebook from fans in Cameroon, Germany, South Africa and New Zealand. I started promoting an entertainment blog website called www.expoweekly.com which my company co-created. EXPO features an ensemble cast of fictional cartoon characters who comment on real-world celebrities, politics, and pop culture. We’ve run exclusive interviews with Director, Producer & Former BET head Reginald Hudlin and acclaimed African-American author LA Banks.

Do you think the comic book industry understands the value of social media?

Some companies understand more than others. For example, I’m a big fan of the entertainment website Ain’t It Cool News. Back in 2000-2001 when I was the regular artist on the flagship Batman title, Detective Comics, I emailed the founder Harry Knowles a page of my artwork which featured a brand new version of the Batcave. To my surprise, the next morning he posted my artwork on the site and it got a lot of buzz. Shortly after, Marvel Comics began sending AICN artwork from their upcoming books. DC Comics, Dark Horse and other companies followed suit. Today it’s an established mode of promotion and AICN has a regular column devoted to new comics and comic professionals.

Where do you see the comic book industry in ten years?

I don’t think comic books as we currently know them in printed form will disappear in ten years. There will be more comics published online and I believe more comics will be published exclusively online with exclusive content that you can only access online or in a digital format.

What are some of the challenges of working in a comic book industry that is mostly Caucasian with mostly Caucasian heroes and villains?

As a black artist I get asked this question all of the time. I definitely think that it is easier working in the comic book industry as an African-American artist than it is as an African-American writer. I’ve never encountered any direct racism in all of my years working in comics although, I have heard plenty of stories from other artists of color. The comic industry is like any other industry so the folks who run it are not colorblind or immune to everyday prejudices.

I do believe that the playing field for a freelance artist is one of the most level playing fields out there because it’s such a faceless medium. Unless you meet an editor face to face or have a very ethnic sounding name, they have no clue what color or nationality you are. You are solely judged by your skill level as an artist and whether or not you meet your deadlines. Growing up as a fan, I had no idea that some of my favorite comic book artist and writers were people of color. As a working professional, it’s interesting to be on the other side of that equation. Now in terms of people of color being represented as heroes in comic books, that topic requires a MUCH longer conversation…

Check back tomorrow for Part Two of our discussion of African-American Comic Book Creators and their use of social media.

About the Author
Anjuan Simmons is an emerging technology consultant and freelance technology consultant currently working as a Director at Adverlyze, an online marketing strategy company. Anjuan has previously worked for Accenture and Deloitte. He has an undergraduate degree in electrical engineering from the University of Texas at Austin and an MBA from Texas A&M University. He can be found on Facebook at http://www.facebook.com/anjuan and on Twitter at http://www.twitter.com/anjuan.
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