Broken Frontier

The theme of the 2009 Chicago Humanities Festival is one of laughter. From November 2-15, the role of humor in film, t.v., literature, and art is being discussed at a variety of panels throughout the city. Among the topics is the crisis facing alternative comics creators in our current economy. As many of the independent publishers and newsweeklies that carry their work face financial difficulties, the forum for these writers and artists is drying up. This was the subject of a panel at the Francis W. Parker School on November 7 dubbed "The Not-So-Funny Situation of Alternative Comix."

Presided over by the Chicago Reader’s Michael Miner, the panel consisted of Chris Ware (Jimmy Corrigan, the Smartest Kid on Earth; Acme Novelty Library), Jules Feiffer (Sick Sick Sick; The Great Comic Book Heroes), Matt Groening (The Simpsons; Life in Hell), and Lynda Barry (What It Is; Ernie Pook’s Comeek). Groening and Barry were last minute additions, scheduled to appear at another panel but anxious to hang out with their fellow cartoonists. With many publications saying no to unknown artists or dropping comics entirely, Miner asked the group how artists should respond and what the future for alternative comics might be.

Feiffer stressed that if you’re committed to your art, the last thing you should be worried about is being realistic (a dreaded "grown-up word," the 80-year-old veteran of the Village Voice insisted). Do what you have to in order to pay the bills but don’t listen to naysayers who tell you comics are dying or not worth creating.

Barry agreed. She argued that comics and art are similar to the relief of phantom limb pain. They express experiences and emotions through only imagination and there will always be a place for that. "Good art and images," she said, "will keep you from killing yourself and others." Groening also believed that cartooning and art would always have an important role. Cartoons in the newspaper are hand-drawn, un-edited images. They are "exactly what the artist meant." The form is thus very personal and at times, even draws suspicion due to being above an editor’s influence.

Groening (left) also reminded that audience that, despite being busy with his television animation work, he still draws a daily comic strip. In fact, he is the only one of the four still doing so.

Despite the financial realities, Ware took comfort in the fact that to a great extent, the world has embraced comics. Graphic novels are starting to get respect from the literary elite and comic book movies fill the box offices. Ware also praised the internet as an amazing resource for comics artists, pointing out that many artists now work solely online and have a larger readership than he could ever hope for. If and when the print outlets die, the internet is the future for alternative comics.

The panel paused at this time to show a slideshow of the artists’ work. Barry went rapid fire through a variety of images and comic strips, including one comparing her mother to the mythical Gorgon, a genie offering to free a person from a "dull, canned life," and a photo of one of her teachers who had never gotten the chance to travel while she was alive ("Miss Mitchell," the artist said, "you’re now in Chicago!").

Feiffer showed slides from a series of drawings focusing on dancers (below). He said he wanted to do something not connected to text, something airy and light that would "dance on paper." Ware showed samples of Jimmy Corrigan as well as scenes from his new graphic novel (a term, incidentally, that Ware loathes). Among the images were a guilt-ridden, insecure bee and the character Rusty Brown, who was convinced he had super-hearing due to being able to hear his parents arguing while outside.

When the artistic showcase ended, the panelists spoke about some of their influences. Feiffer mentioned that he had never had religious faith but had a deep and moving faith in film and art. Musicals and movies spoke to him like a form of "explosive therapy." He also spoke of the comics artist Irwin Hasen, who often remarked "I can’t believe it! I got away with it!" when speaking of his career. It was this effortless love of what you do that Feiffer had always strived for. Barry (below)  had a similar experience. Her friend ("actually my therapist," the artist quipped) said that Barry had made a career out of being herself. Barry responded, "I tried everything else!"

As to how cartoonists can achieve this artistic freedom in tough times, Groening remarked that the challenge is not new. Although things seem bleak for alternative comics, Groening believes that newspaper comic strips have been drying up for decades. They have been devalued and have constantly struggled. The important thing is to keep at it if you love it, whether that means publishing with struggling print newspapers, taking your work online, or doing it all yourself.

Ware felt the same way. He commented that he has often been approached by artists asking how they can become famous. To Ware and his colleagues, this is the wrong approach. Artists should always create their art for themselves first and foremost and expect nothing. If others like it, that’s great but except in rare instances, it’s not a path to fame and glory. It’s a labor of love.

All the artists felt that despite the challenges, alternative comics will not die. There will be no sudden comic apocalypse with "cartoonists wandering the streets like zombies," as Ware put it. Alternative comics will survive and find their way as long as there are people with the passion to create them.