COMMENT: On 2006, and Some Greatest Hits
Personally, 2005 has been a pretty damn good year, from a comics perspective. CBC’s barely a year old, quickly evolving from being a total lark to something central to reformatting my writing chops post-poetry slam era. (Not surprisingly, the activist angle of my work has transitioned intact.) Plus, I went from contributing reviews and the occasional feature at Buzzscope, to taking over as their Senior Comics Editor and spearheading the upcoming relaunch. As a result, my pull list has expanded from primarily Marvel and DC offerings and the random indie-published license, to a pretty diverse range of material that’s introduced me not just to some great work, but as importantly, to a great community of ambitious creators.
The Buzzscope Drink-up on Wednesday was a lot of fun, finally putting some faces to names, but there were two moments in particular that summed up the year for me. The first came near the end of the night, standing outside talking to Jason Rodriguez, Rich Watson and Jim Salicrup. Each is, or is about to become, a Buzzsco–ah, I mean, PopCultureShock columnist, and the energy between us as we talked about the site and the industry and where we saw things potentially going in 2006 was absolutely electric. The second came a little while later, while talking with Jenny Gonzalez (another new columnist) about how she got into comics, and a specific story about her work with an Aspie, translating his Yu-Gi-Oh!-influenced stories into comic book form. It reinforced my sense that there’s way more to the big picture than the Diamond Top 300 and ill-conceived cutoff benchmarks.
I left Botanica at the end of the night with a similar buzz to what I’d felt nearly 8 years ago to the day, in that very same bar, when a bunch of poets from diverse backgrounds and styles bonded over drinks and debate and formed the foundation of what would later become a little bit louder, the poetry series I founded and ran from 1998-2001, before turning it over to the collective of artists who’d made it their home and have kept it running strong, on the verge of celebrating its 8th anniversary next Spring.
I have a pretty clear vision for where I want PopCultureShock: Comics to go and, similar to how I built a little bit louder (aka louderARTS) over the first two years, it hinges on bringing together a diverse mix of talent and giving them a personal stake in its success, instilling a sense of ownership over both their own contributions as well as the larger umbrella they share, while keeping a firm grip on the steering wheel myself and not losing sight of where I’m trying to go. The proverbial winds of change are blowing through the industry right now, and I think there’s two potential directions things can go: a variation on the boom-and-bust 90s, led by Marvel & DC’s increasing reliance on big events and sales-boosting gimmicks; or, a relative leveling of the playing field, as indies shift their focus from the direct market, developing new audiences and distribution models. The latter direction is as likely to be driven by Marvel & DC’s recruiting of mainstream writers like King, Huston, Dickey and Meltzer as it is by the defection of Craig Thompson and FLIGHT to higher-profile mainstream publishers. The opportunities are there; the question is, which ones will people take advantage of?
