House of Night #1 (cover art by Jenny Frison)
The issue of gender in comics has been getting a lot of attention over the last few months. One of the recurring criticisms is the lack of female creators. The grassroots anthology Womanthology proves that there is an abundance of very talented comic book creators ready and willing to work, and that there is a very enthusiastic audience ready and willing to pay for such material. And yet most comics publishers still have a significant minority of female creators. Or in some cases, none whatsoever.
To get a better understanding, I’ve taken a look at nearly 25 comic book publishers and the products they are planning to release this November.
The only publishers that have an even split or majority of female credits are manga publishers Viz Media, Yen Press, Go Manga/Seven Seas, and Digital Manga Publishing. Publishers with a more literary or alternative focus, such as Fantagraphics and Drawn & Quarterly, have 1/3 female creators. Of the major comic book publishers, proportionally Dark Horse probably has the best female representation, but still a minority. Despite criticism leveled against DC Comics for the lack of women creators in their New 52 marketing blitz, they are not the worst of the larger publishers. Archie Comics surprisingly has only one female writer.
Jenny Frison appears to be the busiest with 7 credits, mostly for cover art, such as the image here.
What does all of this prove? Manga captured a greater female readership for a reason. It’s a lesson that the rest of comics could stand to learn, just as it was learned by the producers of the sitcom Community. Despite all of the numbers, it’s not a quota. Hitting an exact 50% or more really isn’t the goal or the point. The idea is that if you want to speak to a demographic, you hire that demographic. And it works.
This doesn’t mean that men can’t produce work that appeals to women or that they shouldn’t be hired. There are plenty of examples and reasons why that doesn’t hold water. There are enough comics (and jobs) for everyone, especially if more people are reading comics because of the increased diversity.
And of course the other lesson is that real diversity and experimentation often happens first outside of structured publishers. That’s why there are so many fantastic female creators making web-comics with varying levels of financial success. The establishment will eventually catch up.
For a great look at how the industry got to this disparity, see this excellent Comics Alliance article. And for some great solutions, read Shaenon K. Garrity’s column at Comixology.
Click through if you want all of the nitty-gritty numbers. Corrections welcome. (more…)