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-- blog home | comics | creators | blog | store | contact whitewashing diversity in mediums like film and comics september 22nd, 2015 in a perfect world we would be exposed to multicultural diversity in the arts continuously and would revel in the vast brilliance of it all. variety is, after all, the spice of life. the sad truth, however, is that art, at least in our culture is dictated by those with the power of influence. they are the ones that decide what is culturally acceptable and what is not. they are the gatekeepers masquerading as publishers, filmmakers, editors, agents and distributors. they are the pinnacle of the “good-old-boy” network. they are the enforcers of the status quo. we like to think that great strides have been made regarding diversity but two recent accounts show us just how wanting we are as a society when it comes to welcoming true diversity. first was a remarkable gaffe by matt damon , widely recognized for his liberal positions on filmaking as he schools a black woman about how to implement diversity claiming, “when we’re talking about diversity, you do it in the casting of the film, not the casting of the show.” this after the woman suggested a more diverse directing team so as not to be caught stereotyping a black character. the other was a tumblr post by comics writer alex de campi who calls out dc, marvel and some independent publishers for being disingenuous toward women in comics because of the lack of retribution brought towards known perpetrators of sexual harassment that happen to be big names in the industry who even she is unwilling to publicly name in her post though she is already resigned to being blacklisted. the lesson learned is that the door to diversity can be held wide open but so long as the creative people have to pass a litmus test of what is acceptable to the gatekeepers there is still a lot of cream in the coffee. america may be the melting pot but we still hold tight to our eurocentric perspectives, which is a fancy way of saying it is only acceptable if it appeals to white sensibilities which are too readily regarded as universal . in the comic industry, there has been a clamor for diversity for decades. sometimes we get diverse characters that may be various races, colors and genders yet created by the same white men that have no real idea what it is like to live in the fictional skin of these characters. other times diverse creators are brought in but their contribution is still dictated by a publisher or editor responding to the demands of the market that still remains predominantly white and male. these are just some of the reasons that developing diversity in the arts cannot be dependent on the expectations of commercialization . diversity can never be about hiring the right person for the job as dictated by the market no mater how intent producers are to be diverse. true diversity only happens when the job is executed unfettered by a preestablished standard . this is not to say that true diversity is impossible. creative people have a way of growing art in the cracks of roads well traveled. jazz , for example would not exist if all music was left to the standards of white musicians in the late 1800’s. jazz grew on its own in the black communities and spilled into the streets with such energy that it appealed to a multicultural ear eventually establishing itself as one of america’s original art forms. this same freedom of expression led to rhythm and blues which led to rock and roll eventually coming full circle to the introduction of rap and hip hop . just as music can discover its diversity on the streets and in the multicultural communities of the country, art forms like film and comics can gain their hold on the streets of the information highway. the internet and the communities formed there are the future of diversity for these mediums. they are the fast lane around the gatekeepers that manage the restraint of the art forms. stop requesting diversity. stop expecting it only to be disappointed. create diversity as only we can as individuals. support diversity when you recognize it. celebrate diversity when it is achieved.try your best not to whitewash it, and maybe then we can enjoy a multicultural experience that will put the jazz in mediums like film and comics. gerry giovinco tags: alex de campi , comics , dc , dc comics , marvel , marvel comics , matt damon , webcomics , weekly update posted in , latest update | 189 comments » saturday weekly update | dog boy september 19th, 2015 new page of dog boy by steve lafler now available. click here to read this comic now! read the 3 part steve lafler interview posted on the comics journal now available, purchase a copy of the el vocho graphic novel, now on sale at lulu here. tags: comics , dog boy , doggie style , steve lafler , webcomics , weekly update posted in , latest update | 209 comments » thursday weekly update | bughouse september 17th, 2015 new page of bughouse by steve lafler now available. click here to read this comic now! read the 3 part steve lafler interview posted on the comics journal now available, purchase a copy of the el vocho graphic novel, now on sale at lulu here. tags: bughouse , bughouse graphic novel , bughouse trilogy , comics , ménage à bughouse , steve lafler , webcomics , weekly update posted in , latest update | 226 comments » outsourcing comics september 15th, 2015 last week’s blog post, power outage at marvel , suggested that marvel and dc, in an effort to cut costs, might consider suspending their publishing arms and focus on licensing their characters to other comics publishers to minimize their expenses and risks. this concept might be a little extreme considering the two industry giants have each been making comic books for over 75 years but there is no doubt that the depth of their intellectual property is now more valuable in other forms of entertainment media and as a license option. marvel and dc, however, could understandably balk at the idea of farming out their comic books to others but would still need to cut costs in production or do a radical shift in marketing of comic books if they intend to effect things like dc’s reported two million dollar fiscal loss or ike perlmutter’s legendary thriftiness at marvel. given that the current climate of american industry is a willingness to outsource production and manufacturing to foreign countries, it has to be considered that this be a logical possibility for comic books. recent polls have shown that comic book writers are more popular now with readers than comic book artists, and though the art is definitely more labor intensive, it is also seemingly more interchangeable by today’s standards. what are the chances that art production could be shipped overseas, especially to india where great strides are already being taken in comic art production? there is precedence for this in comics. carmine infantino in his insightful autbiography, “ amazing world of carmine infantino ,” describes how, in an effort to stave off a comic artist strike in 1971, he, joe orlando , and tony dezuniga , went to the philippines where artists were used to getting $2 – $3 a page. their plan was to have tony and his wife run a shop with artists where dc paid $45 – $50 per page plus 20% to the dezuniga’s for their management effort. later, a young filipino artist comes forward at a convention complaining about being paid only $5 per page and it became clear that those running the show in the philippines were robbing the artists and dc blind. carmine does a wonderful job of not making a direct accusation but gives us enough information to explain possibly why the dezunigas do not return to new york until 1977 . the influx of filipino artists did prevent a strike and it did give us the great talents of rudy nebres, alfredo alcala, alex niño, nestor redondo and gerry talaoc just to name a few, but we may never know how much it set back the value of american comic artists in th

URL analysis for co2comics.com

http://www.co2comics.com/blog/tag/dog-boy/
http://www.co2comics.com/blog/wp-content/uploads/2015/09/whitewashing.jpg
http://www.co2comics.com/blog/tag/mitch-oconnell/
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http://www.co2comics.com/blog/tag/ginger-fox/
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Whois Information

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Domain Name: CO2COMICS.COM
Registry Domain ID: 904564553_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.fastdomain.com
Registrar URL: http://www.fastdomain.com
Updated Date: 2018-04-02T01:27:53Z
Creation Date: 2007-04-02T01:27:49Z
Registry Expiry Date: 2019-04-02T01:27:49Z
Registrar: FastDomain, Inc.
Registrar IANA ID: 1154
Registrar Abuse Contact Email:
Registrar Abuse Contact Phone:
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: NS1.HOSTMONSTER.COM
Name Server: NS2.HOSTMONSTER.COM
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
>>> Last update of whois database: 2018-09-03T04:07:18Z <<<

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  REGISTRAR FastDomain, Inc.

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =co2comics.com

  PORT 43

  TYPE domain

DOMAIN

  NAME co2comics.com

  CHANGED 2018-04-02

  CREATED 2007-04-02

STATUS
clientTransferProhibited https://icann.org/epp#clientTransferProhibited

NSERVER

  NS1.HOSTMONSTER.COM 162.159.24.157

  NS2.HOSTMONSTER.COM 162.159.25.186

  REGISTERED yes

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