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Self Publishing: in the 80s and Early 90s

By: Emily, Iris, & Patrick Introduction Self-Publishing is not a new phenomena. In comic publication, however, the Self-Publishing Movement officially started in the 1980s, and ran into the early 1990s, covering a swath of fantastic writing and illustrating, while creating a lasting impact on the medium.

Picture Source: https://sites.google.com/site/applebasketarlibrary/ Changes in the Publishing Industry and the Rise of Self-Publishing

● 1980s: Department stores were known as booksellers in addition to clothing and housewares. However, by the mid-80s, national book retailer chains, such as Walden, Dalton, and Crown rose in popularity. During this time news media drew attention to authors’ advance payments. Publishing agents from rival companies would bid against each other to acquire promising new titles (Osnos, 2011). ● 1990s: Barnes & Nobles grew to dominate the retail market and absorbed Dalton and Walden. Crown went out of business. Smaller independent book sellers struggle to compete with superstores (Osnos, 2011). Changes in the Publishing Industry and the Rise of Self-Publishing ● 1990s continued: Consolidation also occurred in the publishing market as companies were absorbed into the entertainment divisions of larger profit-driven companies. Publishers were pressured to acquire titles that would create profit for the parent company. This made it especially difficult for authors, new and seasoned, to get their books published (Dilevko & Dali, 2006). ● Since publishers did not want to take risks, authors began to explore self-publishing in earnest. Print-on-demand (POD) became an option to authors as internet-based services, such as AuthorHouse, iUniverse, and Xlibris, began to appear in the mid-90s. (Strauss, 2017 and Dilevko & Dali, 2006). Changes in the Publishing Industry and the Rise of Self-Publishing

● Self-publishing enabled authors to exercise creative freedom. Jerry Craft turned to self-publishing in 1997 after facing rejections from mainstream publishers. Craft stated, “Publishers have so many arbitrary rules… If publishers want to portray kids of color effectively, they need to go outside their conventional pool of writers and artists” (Reid, 2014, February 3). ● Unfortunately, self-publishing faced negative stigma from the general public and mainstream booksellers. The print copies from POD tended to look flimsy and less polished. Bookstores could not purchase them at wholesale discounts. There were also concerns that self-published works were of lower quality (Strauss, 2017). ● There was some upset within the comics industry as distribution was consolidated in the 1990s. Diamond Comics Distributor is the world’s largest distributor. Their platform makes it difficult for small indie comic creators to get their work in physical stores. However, new platforms give creators more options and will be explored later. Highlights of Comics During the 80s and 90s: Some Self-Published Titles

- One of the most well-known self-published comics of the 80s and early 90s is Maus by . Maus tells the story of the author’s family’s experience during the Holocaust, artfully rendered through anthropomorphic characters.

- According to the South Central Review, “Art Spiegelman first began publishing Maus in a doggedly independent format” in his own magazine (Hutton, 2015). Although Maus eventually sought mainstream publication, it’s beginnings as a self-published work made it one of the self-publishing movement’s most Picture Credit: Art Spiegelman famous, and lauded, titles, winning a “Pulitzer Prize Special Citation in 1992” (Hutton, 2015). Highlights of Comics During the 80s and 90s: Some Self-Published Titles

Elfquest by is a serial comic that was first published in 1978, and continues to this day (Lavin and Hahn, 1999). is a series about humans and elves coexisting in an alternate universe.

Elfquest was self-published for a long time because the authors were “unhappy with the story’s treatment by publisher IPS, so they boldly decided to form their own publishing firm...WARP Graphics” (Lavin and Hahn, 1999). Elfquest was one of the most popular comics of the era, selling “100,000 copies per issue” by 1984 (Lavin and Hahn, 1999).

Picture Credit: Wendy and Richard Pini Highlights of Comics During the 80s and 90s: Other Popular Titles

Watchmen by and was a huge hit in the 1980s. Watchmen is a “political deconstruction of the superhero genre” (CBLDF, 2018). It gained critical acclaim, and best seller status in 1986 (CBLDF, 2018).

Picture Credit: Alan Moore and Dave Gibbons Highlights of Comics During the 80s and 90s: Other Popular Titles

The Dark Knight Returns by was also a huge hit in the 1980s. The Dark Knight Returns is a “social commentary on media and politics in the Reagan era (with Batman and Superman as allegorical touchstones)” (CBLDF, 2018). Like Watchmen, It gained critical acclaim, and best seller status in 1986 (CBLDF, 2018).

Picture Credit: Frank Miller Highlights of Comics During the 80s and 90s:

A study of comics in the 80s and 90s would not be complete without mentioning manga. As the Legal Defense Foundation states, “The late nineties brought the influx of manga, which had been slowly coming over to the since the late seventies....Publishers like and Viz have translated a vast array of titles that speak directly to the concerns of young adult readers, who have developed a voracious appetite for the growing genre” (CBLDF, 2018). Thus Manga made a huge impact on these decades.

Pictures Credit: Google Images Main Creators of Self-Published Works: The Hernandez Brothers

- In 1981, Gilbert, Jamie, and Mario Hernandez self published one of the first independent comics, Love & Rockets. Books took over publishing rights starting in 1982 (Sabin, 2014). - The series did not have one set narrative but instead several ongoing independent stories. The most prominent of them being Palomar and Hoppers 13. - Each of the brothers wrote these stories with some centered on realism and others on multiculturalism. - Love & Rockets original run lasted until 1996. Currently it is on its fourth run that started in 2016 with the Hernandez brothers still credited as artists and writers. Main Creators of Self-Published Works: Jeff Smith

- Bone was published by Jeff Smith from 1991 to 2004. The series contains 55 issues where it was published through Smith’s company, Cartoon Books, then through , and right back to Cartoon Books (Boneville, n.d.). - The story centers on the three Bone cousins, Fone Bone, Phoney Bone and Smiley Bone who are kicked out of their home of Boneville going on a fantasy journey encountering wonderful and terrifying creatures. - Smith solidified the 1990′s Self-Publishing Movement when he joined other self-publishers and launched a new era of independent comics publishing (Boneville, n.d.). - In 2008, the first issue of RASL was published by Smith, a sci-fi story about a thief who jumps to parallel universes. - In 2009, Smith wrote a aimed for very young readers called Little Mouse Gets Ready. - In 2013, Smith published a called Tüki: Save the Humans which is currently on hiatus. Main Creators of Self-Published Works: and

- In 1984, Kevin Eastman and Peter Laird formed to produce one of the most successful self published comics of all time, Teenage Mutant Ninja Turtles (Farago, 2014). - The comic focuses around four anthropomorphic teenage turtles who live in the sewers of New York City trained in the art of ninjutsu by their sensei who is a rat. - This comic was influenced by several popular comics at the time like ’ Daredevil where it was initially planned as one issue (Farago, 2014). - Eastman and Laird parted ways as partners in 2000 due to creative differences. - Eastman continues to be a writer and artist for the current TMNT comic book series which began publication in 2011. - Laird pursued other comic book projects with such works like Planet Racers. History of : 80s and 90s

- In 1985, published what is claimed to be the first webcomic called Witches in Stitches, a parody of The Wizard of Oz that he distributed through Compuserve, the first major commercial online service provider in the United States (Garrity, 2011).

- In 1991, Hans Bjordahl published what he claimed was “The Internet’s First ” called Where the Buffalo Roam, a gag strip published through FTP and Usenet. This online comic was updated regularly and the first one to do so (Garrity, 2011).

- The first webcomic to have its own website was a gag panel written by David Farley in 1993 called . - By the mid 80s-early 90s, the majority of comic creators at this time were college students studying computers because they were some of the only people who had internet access. Readers of these comics had to subscribe to mailing lists for the comics to be emailed to them (Garrity, 2011).

- Once internet access was available to everyone dozens of webcomics were being published by cartoonists with similar themes of technology, video games, and other geek interest topics. Other cartoonists played with the themes to incorporate new story and visual ideas. - Popular webcomics during this time period include:

● Argon Zark! - published by Charley Parker in 1995. Follows the story of a hacker, a robot, and delivery girl as they travel the .

● Nukees - published by Darren Bleuel in 1997. Started out as a college newspaper strip posted on a student’s website (Garrity, 2011).

● PvP - published by Scott Kurtz in 1998. This comic takes place in the offices of a fictional gaming magazine.

● Slow Wave - published by Jesse Reklaw in 1995. Readers emailed descriptions of their dreams and Reklaw drew a 4 panel comic strip out of each one (Garrity, 2011). - In 1994, Dutch cartoonist Reinder Djikhuis published the first foreign webcomic called Rogues of Clwyd-Rhan, a fantasy story based on Medieval Wales (Garrity, 2011).

- In order to build an online fanbase some print cartoonists like Jim Davis, the creator of Garfield, and Scott Adams, the creator of , started to post their work online.

- There were other print cartoonists like Bill Holbrook, the creator of On the Fastrack and Safe Havens, who began a daily webcomic in addition to the print work he was doing at the time (Garrity, 2011).

- By 1996, webcomics exploded in popularity where ongoing serial adventure strips with comedy seemed to be the most popular instead of sci fi or fantasy based ones. Self-Publishing Currently "Self-published comics are as popular as they've ever been--at an all-time high" -Anthony Composto, assistant editor and writer at Monkeys Fighting Robots, as quoted in Spector (2016).

● Readers are more receptive to independent

publishing. ● Creators have the freedom to explore themes that are unconventional and exercise creative ownership. ● Social media has made it easier than ever for authors and readers to connect. ● Continued popularity of comic conventions give creators another avenue for direct distribution. ● Crowd-funding platforms help to support creators financially and promote self-publishing. ● allows creators to sell their work to readers around the world. Picture credit: Google Images Digital Distribution & Crowdfunding There are many platforms available to independent comics creators. Here are just some of the current options. Comixology - Founded in 2007, later acquired by in 2014. Comixology allows readers to purchase digital comics from a wide variety of publishers and read them on their app, available for both iOS and Android. Comixology offers a service, Submit, which allows independent creators to upload their work directly to the platform and receive 50% of net sales. Submissions must follow formatting guidelines. Creators can reach a wide user base using Comixology’s platform. (Joe, 2014). Picture credit: https://www.comixology.com/ Digital Distribution & Crowdfunding

Gumroad - Unlike Comixology, which has features to help readers discover new content, Gumroad is primarily targeted towards creators. This platform makes it quick and easy for creators to set up a storefront. Gumroad does not vet submissions and only takes a 5% cut from sales. Creators also get access to analytics to help with marketing decisions. However, while Gumroad takes care of sales transactions, creators must establish a fanbase using social media platforms. (Joe, 2014). Picture credit: https://gumroad.com/ Digital Distribution & Crowdfunding Webtoon - Naver is a Korean corporation that boasts the world’s fifth most popular search engine. During the 90s and early 2000s, when Koren comics publishing was in decline, Naver launched Webtoon to give comics creators an alternative publishing platform. In 2014 the name changed to LINE Webtoon when the platform went global. One aspect of Webtoon that sets it apart from other platforms is that highly popular creators may have opportunities for their work to be featured in games, merchandise, or turned into a video series. (Tan, 2014). Picture credit: http://www.webtoons.com/en/ Digital Distribution & Crowdfunding

Kickstarter - This crowdfunding platform allows the general public to support a wide variety of projects. Independent artists and webcomic creators, particularly those with an established fanbase, can utilize Kickstarter to help fund self-publishing one-off or multi-volume projects. Different tiers of rewards allow readers to pledge for digital and print copies of comics. The comics category has the fourth highest success rate of meeting funding goals. In 2013, Kickstarter helped launch 1,401 projects and raise $12.5 million in pledges. (Reid, 2014). Picture credit: https://www.kickstarter.com/ Digital Distribution & Crowdfunding Patreon - Patreon has a different approach to crowdfunding. Rather than pledges going towards singular publishing projects, readers can pledge to support the creator with recurring payments. In return backers are given access to additional digital content, such as , process drawing and sketches, and more. This model provides creators with a more stable income from their webcomics. (Allen, 2014). However, Patreon recently faced some controvery due to a fee change, which negatively impacted creators. More info can be found in this Washington Post article. Picture credit: https://www.patreon.com/ Current Webcomics

● The internet has made self-publishing more accessible than ever for webcomic creators. There are many free and paid options that allow creators to quickly and easily set up and maintain websites.

● Readers have the benefit of reading webcomics anywhere and anytime, as long as there is internet access. Updates are smaller, one page versus traditional print issues, but occur more frequently.

● Webcomics can come in a variety of formats due to the open canvas and flexibility of web design. Creators can use traditional panels and structuring or try more experimental layouts. They can also create a more interactive experience for readers, which could be something as simple as incorporating a comment box for each page, adding alt text, or using coding to create more complex layouts. However, as briefly noted in class discussion, creators must take into account whether they want to eventually publish print compilations of their webcomic.

● Webcomics are also designed for viewing online in a web browser. The reading experience can feel more natural than reading digital editions of print comics. Here are some examples of the wide variety of Current Webcomics self-published webcomics available today. . . xkcd by Randall Munroe PASSWORD STRENGTH Updates on Mondays, Wednesdays, and Fridays Self-described by Munroe as a “webcomic of romance, sarcasm, math, and language,” xkcd began as doodles in Munroe’s old math notebooks. Munroe uploaded some of his doodles to the internet and as they gained attention, he started creating more comics and hosting them on his website. Eventually Munroe was able to support himself by working on xkcd full-time (Munroe, n.d.). The webcomic has won multiple awards, including the 2014 Hugo Award for Best Graphic Story (Standlee, 2014). Munroe has published two print books through Houghton Mifflin Harcourt. Picture credit: https://xkcd.com/936/ Current Webcomics Gunnerkrigg Court by Tom Siddell Updates on Mondays, Wednesdays, and Fridays Gunnerkrigg Court is a long running webcomic that has been updated regularly since 2005. Initially Siddell could only work on Gunnerkrigg Court as a personal creative side project. As his readership base increased, Siddell was able to publish hardcover volumes for fans to purchase. Eventually Siddell decided to quit his job and work on the comic full time. In order to support himself, he sold print editions of his webcomic, art prints, merchandise, accepted commissions for custom art, and asked for donations from readers. Since then Siddell has also created a Patreon page to share extra behind-the-scenes content with backers. (Siddell, n.d.)

Picture credit: http://gunnerkrigg.com/ Current Webcomics Extra Ordinary Comics by Li Chen Updates on Wednesdays This humorous slice-of-life webcomic is an example of how an independent creator can use a crowdfunding platform to get their work published in physical format. By building up her fanbase with regular updates and the use of social media, Chen was able to secure funding for three separate projects. The Kickstarter platform enabled readers from around the world to purchase Chen’s work. Chen usually post 4-panel standalone comics. However, she has a few interactive comics that are well worth checking out. #500 is a choose-your-own-adventure comic Picture credit: http://www.exocomics.com/ There are so many webcomics available, chances are that MORE Webcomics readers will find something that appeals to them! Here are just a small sample to start with. There are many “best of lists” available online. However, also consider checking out the webcomics that your favorite creators follow for recommendations. ● Camp Weedonwantcha ● Cucumber Quest ● Cyanide & Happiness ● Hark! A Vagrant ● Lackadaisy ● Nedroid ● Nimona Only the first three chapters are available online after it was published in print by Harper Collins ● Saturday Morning Breakfast Cereal ● The Sound of Your Heart Published on Webtoon, the comic has been adapted into a Netflix series ● List compiled by Iris Lin, webcomics enthusiast Picture credit: Google Images The Importance of the Inclusion of Comics in Libraries Comics should be an integral part of libraries. According to the Comic Book Legal Defense Foundation, comics and “graphic novels contain some of the most creative work in publishing today. They promote visual and verbal literacy, as well as love of reading. A good collection of graphic novels appeals to young people who might otherwise be reluctant to explore the library” (CBLDF, 2018).

Thus comic books make libraries more interesting to younger patrons, creating a new generation library users. Similarly, older users may be thrilled to see some of their favorite comics being included into the Picture Credit: Will Eisner collection, validating these works’ existences. The Importance of the Self-Publishing Movement for Libraries: Community Involvement

This movement allows libraries to feed into their communities’ interests and creative sides. Libraries can “Offe[r] an outlet for self-published books created within a community [which] connects to the mission emerging at many libraries of supporting all phases of the creative process” (Landgraf, 2015). It also helps libraries to become more relevant to their local community since many self-published works cover “topics with strong local interest that haven’t been addressed by major publishers” (Landgraf, 2015). Finally, it leads patrons to frequent their library more often, both local authors, because “The prospect of having their books added to the collection has drawn plenty of interest from local writers,” and patrons who are simply interested in the new comics (Landgraf, 2015).

Picture source: http://www.lulu.com/blog/2017/08/28/libraries-and-self-publishing/#sthash.lBke2ETO.dpbs The Importance of Including Self-Published Comics in Libraries: Diversity

When it comes to self-published materials in particular, it is doubly important to provide these stories through the library because, as one self-publishing author explains, self-published works balance out “the frequent lack of diversity and representation in mainstream comics” (Stotts, quoted in Spector, 2016). Because libraries are places where all are meant to feel welcome and represented, they must include self-published comics along with mainstream ones because this inclusion will help patrons to feel like they belong.

Picture Credit: Hafuboti Conclusion The self-publishing movement lead to a huge burst of creativity in the medium. With authors no longer required to please the publishers, the creators were able to have free reign over every step of their products’ creation. With the rise of the internet came webcomics, and another platform for writers to self-publish their works. The publishing industry had to reassess, and libraries had to learn to adapt. Overall, this movement was a positive force in the comic books world.

Picture Source: https://sites.google.com/site/applebasketarlibrary/ References - Allen, T. (2014, February 24). Patreon raises 2.1 million for subscription-based crowdfunding. Publishers Weekly Online. Retrieved from http://link.galegroup.com.queens.ezproxy.cuny.edu/apps/doc/A477512029/AONE?u=cuny_queens&sid=AONE&xid=7293c50a - Boneville. (n.d.). Retrieved February 17, 2018, from http://www.boneville.com/ - Dilevko, J., and Dali, K. (2006). The self-publishing phenomenon and libraries. Library and Information Science Research, 28(2), 208-234. - Farago, A., Eastman, K. B., Laird, P. A., & Eastman, K. B. (2014). Teenage Mutant Ninja Turtles: the ultimate visual history. San Rafael, CA: Insight Editions. - Garrity, S. (2011, July 15). The History of Webcomics. Retrieved February 11, 2018, from http://www.tcj.com/the-history-of-webcomics/ - Graphic novels: Suggestions for librarians. (2018). CBLDF. http://cbldf.org/graphic-novels-suggestions-for-librarians/ - Hutton, R. (2015). A Mouse in the bookstore: Maus and the publishing industry. South Central Review, 32(3), 30-44. - Joe, R. (2014, September 29). Digital comics, digital payments: a look at three services for distributing self-published comics online. Publishers Weekly, 261(39), 60-61 - Landgraf, G. (2015, October 30). Solving the self-published puzzle: As self-published books gain legitimacy, libraries develop ways to include local work in collections. American Libraries. https://americanlibrariesmagazine.org/2015/10/30/solving-the-self-published-puzzle/ - Lavin, M.R. and J. A. Hahn. (1999). A librarian's guide to independent comics: Part two: Comic book reviews. Serials Review, 25(1), 49-73. - Munroe, R. (n.d.). About xkcd. Retrieved from https://xkcd.com/about/ - Naver Corp. (n.d.). About line webtoon. Retrieved from http://www.webtoons.com/en/about References Continued - Osnos, P. (2011, April 12). How book publishing has changed since 1984. The Atlantic. Retrieved from https://www.theatlantic.com/entertainment/archive/2011/04/how-book-publishing-has-changed-since-1984/237184 - Reid, C. (2014). Publishing campaigns grow on Kickstarter. Publishers Weekly, 261(20), 8-10. - Reid, C. (2014, February 3). From comics to prose: Jerry Craft on self-publishing. Publishers Weekly Online. Retreived from https://www.publishersweekly.com/pw/by-topic/authors/pw-select/article/60907-from-comics-to-prose-jerry-craft-on-s elf-publishing.html - Sabin, R. (2014). Comics, comix & graphic novels. (pp. 203-204). London: Phaidon Press. - Siddell, T. (n.d.). A message from Tom. Retrieved from http://gunnerkrigg.com/message.html - Skokna, C. (1999, July 9). Comic-book retailer leads charge against distributor. Devner Business Journal, 50(46), 15A. - Spector, N. A. (2016, August 22). The subversive superheroes: Self-published comics are giving writers more freedom and gaining readers. Publishers Weekly, 68-70. - Standlee, K. (2014, August 20). 2014 Hugo Award Winners. The Hugo Awards. Retrieved from http://www.thehugoawards.org/2014/08/2014-hugo-award-winners/ - Strauss, V. (2017, June 29). Self-publishing. Science Fiction and Fantasy Writers of America. Retrieved from http://www.sfwa.org/other-resources/for-authors/writer-beware/pod/ - Tan, T. (2014, March 14). Here come the K-books: the Koreans are breaking into the digital solutions industry with innovative ideas based on advanced technology. Publishers Weekly, 261(12), 3-20.