Depending on who you talk to, comics are dying, they’re already dead, or they died years ago and the industry just hasn’t gotten the message yet. But also, they’ve been dying pretty much since their inception, something creator Louis Southard is playing off of with Comics Are Dying: The Comic, a new Zoop crowdfunding campaign that lays out how comic books have been dying for over a century.
“Honestly, I think only a very specific type of loud individual is chomping at the bit for this industry to collapse into the ocean like some sort of four-color, pop art Atlantis,” Southard told Comic Book Club over email. “You see, this whole project started because I am sick of pessimists, naysayers, whiners, bullies, and opportunists screaming from the heavens about how comics aren’t like they were when they were a kid. I see so many bigots and ignorant folk online complaining about diversity or inclusion and how they want comics to go back to the old days. I think that’s so stupid.”
To find out more about the project, including how Southard got 100 artists — and Mark Waid — on board, read on.
Comic Book Club: Louis, I love this idea, but it seems like comics aren’t actually dying yet. Will this be the comic that kills comics for good?
Louis Southard: Thank you for the kind words! And, if all goes according to plan, this will be the last comic ever made. After that, all of the publishers are closing up shop and calling it quits. I hate to see it, but best to end on a high note! Haha, I’m only joking around of course. I don’t think comics could be killed even if someone tried.
There’s a ton of comic book history here in between the jokes… When you were researching, was there any fact that surprised you?
Well, I love researching comic book history. One of my most favorite things is to listen to comics history on YouTube. So, going into this, I knew quite a bit but obviously not everything. However, the era that got me by surprise and caught me learning the most was everything concerning the Platinum Age. Starting in 1842 and working up to the early 20th century, learning about the earliest comic strips was very interesting. I now know a helluva lot more about stuff like Little Nemo in Slumberland, William Randolph Hearst, and King Features than I did before.
You’ve got pretty much a different artist for each page… How did casting work for this? How did you make sure you had the right artist for each story you wanted to tell?
Obviously, I called 100 of my closest friends and called it a day haha. Seriously though, it started with me reaching out to most if not all of my previous collaborators from my previously published books and/or old pitches that never went anywhere. After that, everyone kind of spread the word to their artist peers and colleagues whether it be online or word of mouth. I also put out an open call in an early press release and that helped a ton. I must also thank the students and staff at both the Joe Kubert School and the Savannah College of Art and Design for hopping in on this as well. They were tremendous help.
In terms of assigning artists to pages, I didn’t hire anyone unless I felt they had a style that could be applied to a time period, artist, or overall theme to a story. A great example is artist and my friend Alex Moore. They are a wonderful artist who has a very dynamic and unique style all to their own, but I couldn’t help but see a little Ditko in it. So, with that in mind, I put them on the Mr. A inspired piece and that was a perfect call. When it boils down to it, it’s all about vibes and trusting your artist as well as your own gut instinct.
Given the scope of this project… Why do you think the comic book industry is so eager to declare itself dead all the time?
Honestly, I think only a very specific type of loud individual is chomping at the bit for this industry to collapse into the ocean like some sort of four-color, pop art Atlantis. You see, this whole project started because I am sick of pessimists, naysayers, whiners, bullies, and opportunists screaming from the heavens about how comics aren’t like they were when they were a kid. I see so many bigots and ignorant folk online complaining about diversity or inclusion and how they want comics to go back to the old days. I think that’s so stupid.
Comics are changing and they’ve always been changing. They’re art and no medium of art stays the same forever. Some of the stuff people complain about has been in comics for decades anyway, so it’s really just a “complaint of the week” for some people. Truly just a miserable lot of fandom. On a more positive note, I see and know the wonderful creatives working today and the heart and soul they put out into this work. But, the joy of it is that I’ve met so many people from all over the world living vastly different lifestyles, but they are unified in their love of this business we call home. It’s a great unifier and a source of creative community.
So, the only way to fight against those clambering for death is to live your passion and express your love on the page. That’s what this book is about. It’s a celebration of not only comics but the people who make them too.
You’ve got an intro from Mark Waid, a walking encyclopedia of comic book knowledge if there ever was one. What went into locking down his participation? And was he able to give any input on the book?
First off, Mark Waid is a great guy and he was very kind to contribute to this project. Fortunately for me, this book was right up his alley and he didn’t need much persuading. Him and I started talking last year after I asked him for a pull quote for my comic The Blackout Bombshell. I also bugged him to answer some of my Shazam! and Batman / Superman: World’s Finest questions haha.
In terms of input, I did not ask Mark any questions or for help as I did most of my research ahead of time. However, I do have to thank Dark Horse editor Konner Knudsen for filling in some of the gaps I missed. They were definitely a huge asset.
This Zoop campaign is coming pretty much hot on the heels of you very publicly speaking out against certain comic book publishers… Do you think crowdfunding platforms like Zoop are the future for indie comic creators? Or just one outlet?
Honestly, I think crowdfunding is the new normal these days in the world of comics. On one hand, you can see that anyone can self-publish their book and get it to their readers which is absolutely wonderful. On the other hand, you see well-established publishers turning to crowdfunding to do the same exact thing. It’s just a valuable tool and takes a lot of the risk out of the game. You’ll know how many readers you’re going to get. You’ll know if everything is going to work out. Just seems like a win-win.
Zoop, though, is excellent. You see, I’m not like a lot of other fantastic creators crowdfunding on their own on other platforms because I’m a very sleepy man and I like to nap all day haha. So, even with my own shortcomings, Zoop fulfills printing and distribution which is a blessing. Jordan Plosky and Eric Moss run a smooth ship and they both know what they’re doing. With those guys at Zoop, I can continue sleeping peacefully. Which is a beautiful thing, might I add.
And what can indie creators do to help protect themselves against predatory publishing practices? Or, given the book we’re talking about right now, will that always be a thing?
Honestly, I think now more than ever has been the greatest time for creator’s rights. If someone is ripping you or many people off, it usually comes to light now and people have a call to action. I got into this industry when I was 19 in 2019. Since then, I’ve worked with two publishers that are dead, one that is now very controversial, and I have had early talks with companies that then went bankrupt and subsequently disappeared. I’m now 24 and I’ve already been around the block many times, for better or worse.
But, creators don’t lose their rights or books anymore. Everyone still has a shot to get their comic out there. On an artistic level, there are so many wonderful avenues to get your stories to people. Self-publishing. Open submissions. Crowdfunding. It’s easier than ever.
On a business level, it’s not your fault if a publisher goes belly-up. But, it is your fault if you don’t notice the signs of predatory behavior. If you’re young or even a newbie just getting into the business, like I was, you’re not really aware of what to look out for. So, when people ask me for advice on what to do, I make sure to give an honest account. I don’t want anyone else to experience what I went through. But, no matter what I say or do, these kinds of practices and people are still out there.
No matter what, the only universal things any of us can do in these types of situations are to stand up for ourselves and to learn more about who we’re dealing with. Simple as that.
Prediction time: What will kill comics this year?
Me, by the sounds of it haha. That’s my joke answer, but I do have a real answer: lack of innovation is what kills comics every year. I want to see more evergreen books I can hand to non-comics fans like my best friend or my partner and say “This is where to start.” I want to see genres being mucked around with more. I want great storytelling with even better art. I want long running series again, I’m sick of six-issue minis. We need to usher in a new era of passion and fun and optimism into these books. Let’s breathe some new life into these books, or else I’m going to make another comic but with 200 artists this time!
Comics Are Dying: The Comic is crowdfunding on Zoop starting today.
