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By BILL ROUNDY
Friday, July 18, 2003
Imagine an alternate history of comics — one without censors or skittish
distributors, where gay issues are expressed without resorting to metaphors,
and creators can tell stories without interference.
That alternate reality already exists — on the Internet, where gay cartoonists
reach a worldwide audience.
One sign of the growing maturity of webcomics is the success of “Nowhere
Girl,” an online drama about a young lesbian whose life is slowly falling
apart. Lushly colored and emotionally powerful, the stunning debut by Justine
Shaw is the first webcomic ever nominated for an Eisner Award (the comic’s
equivalent of an Oscar).
Other Web creators have also taken notice: on July 6, “Nowhere Girl” won
four Web Cartoonists’ Choice Awards, including Outstanding Comic.
Shaw, a computer worker in who works with computers in San Francisco, initially
felt guilty because she’s “not even a real comics person!” But
she first sketched her lead character way back in 1992, and appreciates having
years of work recognized.
“Heck,” she says, “it’s great.”
While traditional comics are still dominated by superheroes, on the Web, you
can find comics devoted to horror, romance, historical fiction, and autobiography — with
gay stories in each. “Webcomics offer delicious freedom,” says
K. Sandra Fuhr, creator of online romance comic “Boy Meets Boy.” “I
have no editor telling me what to do, no criticisms that my characters are
too gay or not gay enough.”
“Boy Meets Boy” beat out a host of hetero comics to win the WCC
Award for “Outstanding Romantic Comic” — and it’s far
from alone. “Young Bottoms in Love” is a gay romance anthology
updated every weekday, telling a self-contained five-part story with a new
cast weekly.
“While the genre is certainly limited in its target audience, it has
perhaps the most defined target audience available,” says Tim Fish, creator
of the series. “I am able to identify, know, and write to a specific
audience …”
Erin Lindsey, 23, a transsexual college student, began posting her webcomic “Venus
Envy” in late 2001, and it soon evolved from a simple gag strip to a
compelling, sometimes moving teen soap opera about a transgender girl, 16,
trying to “pass” at a new high school.
Lindsey attributes the change to “gnomes whispering in my ears at night,” but
adds, “The first couple were just doodling and finding my feet. Then
I centered on a main character and ideas about her started coming.”
MANY GAY COMIC STRIPS, SUCH AS “Dykes to Watch Out For” and “The
Mostly Unfabulous Social Life of Ethan Green” have an Internet presence.
But webcomics have developed their own forms and traditions. There are no size
restrictions: pages can scroll for infinitely, or take as many panels as they
need.
Gay cartoonist Howard Cruse, creator of the acclaimed graphic novel “Stuck
Rubber Baby” and the strip “Wendel,” has adapted many of
his old cartoons on his Web site. “We’re like in the early stages
of television, when most TV shows were radio shows with pictures,” Cruse
says. “People haven’t yet figured out the special characteristics
to the medium.”
Most cartoonists still borrow a form either adapted from the newspaper comic
strip (three or four panels, often with a punchline) or from the comic book,
creating ‘pages’ of images.
But there are differences: Unlike self-contained daily newspaper strips, webcomics
often have plots that stretch on for months. Because archives are freely available,
new readers can simply click back to catch up.
The interactive nature of the Web also allows readers to communicate with
the artists easily. Many webcomics offer message boards, where fans can discuss
the storyline, argue about characters and post encouragement to the artist.
This interaction encourages informality and a sense of community with readers.
Artists may draw themselves into the strip, apologize to readers when it is
late, or even hand over control of the strip, creating a “guest week,” posting
fan-created art, or handing it over to another cartoonist.
“Having a comic available only online automatically puts you closer
to your audience, and you definitely get input on what they like and what they
don’t,” notes Fuhr of “Boy Meets Boy.”
Surprisingly, gay creators haven’t found themselves flamed by homophobic
viewers. “All that stuff about everyone online being a jerk who’s
just there to flame everyone else anonymously? Not true, at least not in this
corner of the Web,” says Shaw.
Response to “Nowhere Girl” has come from all ages, though most
of her readers are in their teens and ‘20s. “They’re great
people,” she says. “A number of them are really unhappy with their
lives, really sad, and I wish I knew better what to tell them. I’ve been
that person, and I got lucky.”
DESPITE THE WEB’S ADVANTAGES, most creators have their eye on an eventual
print publication — either as a collection of strips, or as a full-fledged
comic book. “Just about every fan I meet says, ‘I love the comic.
When is it going to print?’” says Fish. “Or I meet people
at conventions who flip through my printouts and say, ‘This great, but
I only read printed comics.’ The feedback is that print is still preferable.”
The other advantage of print is getting paid. It is difficult, if not impossible,
to make money from Web comics. And despite some intriguing experiments with “micropayments,” a
workable system for getting paid seems a long way off.
Most Web cartoonists post their work to express themselves, to reach out to
people, or just to get practice drawing and telling stories. “I like
having my stuff available online for free: it goes with the ‘spirit of
the Web,” says Shaw. Keeping it free also keep her comics accessible
to queer youth.
The Web’s biggest advantage is the ability to self-publish cheaply and
widely. Anyone with a pencil, a scanner and a vision can reach a worldwide
audience.
www.prismcomics.com
www.gayleague.com
www.howardcruse.com
www.keenspace.com
boymeetsboy.keenspace.com
triggercut.diary-x.com
www.nowheregirl.com
venusenvy.keenspace.com
www.popimage.com
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