Tagged: art

Emily S. Whitten: A Chat with Cartoonist Nick Galifianakis

Whitten Art 130514As you may know if you’ve read my column recently (and if you haven’t, what’s wrong with you?? Well, don’t worry – you can always catch up here), I’ve declared it Interview Central, following on my time at Awesome Con DC. There, I interviewed the amazing voice actors Phil LaMarr and Billy West. Both were delightful, so if you haven’t gotten a chance to check out those columns (and/or audio recordings) yet, scoot on over to those links and do so!

While at Awesome Con, I was also happy to be able to catch up with the very talented cartoonist Nick Galifianakis (and to obtain this cartoon for my wall. Hah! I love it!). If you’re not already familiar with Nick’s work, you really should check it out, pronto, because it is wonderful stuff. Both insightful and hilarious, and sometimes hitting uncomfortably close to home, Nick’s relationship-oriented cartoons regularly accompany the nationally syndicated advice column Carolyn Hax, and have been a regular staple of The Washington Post since 1997. Nick has also previously published his work as an editorial cartoonist and illustrator for USA Today, US News & World Report, and various other nationally distributed periodicals.

In 2001, Nick illustrated Carolyn Hax’s book, Tell Me About It: Lying, Sulking, Getting Fat … and 56 Other Things NOT to Do While Looking for Love, and in 2010 he published a collection of his cartoons entitled If You Loved Me, You’d Think This Was Cute: Uncomfortably True Cartoons About You. (FYI, his book is available for purchase on Amazon or you can get a signed copy via Nick’s website. I highly recommend picking it up). In 2006, Nick was nominated for the Reuben Award for Outstanding Cartoonist of the Year in the Newspaper Illustration category, and in 2012, won the Reuben Award for Advertising Illustration.

To me, one thing that makes Nick’s cartoons so wonderful is the way they manage to come across as both very personal and fairly universal at the same time. He also has a unique talent for distilling an entire relationship issue or situation down into one illustrated panel, which hits the reader with all of the impact that most people couldn’t convey in several pages. I find that talent fascinating, and am happy to have had the chance to talk with him about his work and his process, and to be able to share that chat with you here. So read on for more details!

Nick, thank you for doing this interview. Let’s start at the beginning – when did you first get interested in art and/or start drawing?

I started drawing like many other artists – my whole life, I don’t remember not drawing. Any flat surface would do.

And how did you end up doing the style that you do for the relationship cartoons, and do you do other styles as well?

I don’t really think of them as styles. You draw well enough to get your point across – whatever it is you’re trying to say at that time is how you draw. Sometimes that may require something leaner; or something with more volume; and you have to strike that balance. But you draw well enough to say what you’re trying to say. If you start showing off with your draftsmanship prowess, you get in the way of what you’re trying to say. Unless that’s what you’re trying to say. So when people say, “I can only draw stick figures” – well that actually might be all you need to be able to draw to make your point.

True! You focus a lot on the relationships between people in your cartoons in The Washington Post, which accompany the advice column written by Carolyn Hax. How did that come about?

I was a political cartoonist before that. I started in small papers and then worked my way up to USA Today. And then I actually sort of became bored with political cartoons, for a couple of reasons. One was that when there’s an issue of the day, you know that tomorrow four hundred different cartoonists are all going to gun for that same exact issue. There’s going to be overlap, and there’s something about the lack of uniqueness in the target that bothered me. And also, if you were to look at a political cartoon from the late 1800s, and it’s on, for example, the budget or the economy, it’s going to be quite similar to one of the ones you see today.

So I got bored with that and wanted to try something else. I had always noticed people and their interactions. Always. That dynamic has just always held my attention for some reason. And so when Carolyn created her advice column, the editor, Peggy Hackman, suggested that I do a little icon to go with it – but I wasn’t interested in doing an icon, so I did a whole sort of conceptual cartoon connected to the column, but also one that stood alone. And it satisfied something in me. It seemed to work out as a great partnership – still does, thank goodness. Carolyn is absolutely brilliant; hands-down the best advice columnist – not only out there, but probably ever. She’s been a partner long-term, outside of our marriage and then outside of our divorce. It’s like the institution between us stands alone.

And how does that work, when you’re doing each individual cartoon that goes with a column? Does she send you the column first, or do you sometimes have an idea and she writes about that?

No; she sends me a column, then I read through and I edit the column. And I write a bunch of stuff down, and she incorporates it. And then I do a cartoon to accompany it.

I have to know – as someone who writes relationship cartoons, do your friends always come and ask you for relationship advice?

No.

They don’t do that? Really??

Close friends rarely do; unless things are completely out of whack; then they do. But the people who do ask are friends who are sort of the second circle of friends; or people who you’ve just met who you’ve become friendly with. People that I’ve known since I was seven – they don’t ask me about that stuff. Not unless everything is completely falling apart.

That’s interesting. What is the process when you’re having an idea? Is it ever because you’ve seen something particular?

Well, I am trying to peg it to a column; but I do have feelings about that kind of thing. Feelings about jealousy…or you know, “How do I feel about this particular situation?” – controlling people; really insecure people; people who talk a lot. So I have a response to that kind of thing, and then it’s a matter of, one, noticing it. People say, “Where do you get your ideas?” Well – I get my ideas the same place you get your ideas. It’s just a matter of noticing that it is indeed an idea. And then there’s how you feel about that idea, and you tap into sort of the “honest portal;” and then once you identify how you feel about that thing, how you’re working out feeling about that thing, then the trick becomes how to express that.

At that stage, I choose to do it for an audience of one person. I choose me; because I figured out that by doing it that way, it guarantees that it’s honest, which, in turn, I believe that the authenticity is recognized by many, many people. As opposed to sitting down and saying, “Okay, here’s the idea, how can I make this appeal to a lot of people?” That’s how you create sitcom television.

So the ideas come from what you’re feeling, and you think about how you react to it?

Totally. It’s literally an audience of one.

Do you ever see other people doing something and start from there, or is it always with you? Like, when you’re observing other people, do you sometimes start from there?

Sure; all the time. Sure – you know, how people interact; how they hold hands; how they cut each other off; the unrealistic expectations they have of each other. But always it’s how I feel, how I can relate to it. Where am I in the thing – and then that helps me get it across to everybody else.

That’s fascinating. Well obviously, we know where to find your steady work, which is with the advice column in the Post; but tell me, are you working on other projects as well? Are you working on another book, or other projects?

Yes, I have a few things that are going to be coming out in the next year or year-and-a-half. One is an “art of” book that’s not my own. One is an art book that is my own. One is a World War II book.

Ooh – what’s your angle on that one?

I’ve interviewed hundreds of people who are now over the age of ninety, who either witnessed, were around, or actually took part in this particular battle in Greece. So that’s the focus.

Wow, that’s really neat. Are you going to illustrate that too, or will it be just prose?

No, just prose.

Well I look forward to that. What’s the “art of” book, can you tell us?

I can’t say yet; but it’s going to be a huge book, with a lot of impact.

Cool! And so people can find out about that from your website?

Yes. Everybody will find out about that there.

Great! Well, thanks, Nick; this has been awesome.

•     •     •     •     •

And thanks to everyone who’s been reading these great interviews! Check out Nick’s work on his site or The Washington Post’s site, or in his book, and as always, until next week, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

Daredevil and The Filth get the Sequart Treatment

Devil is in the DetailsSequart Research & Literacy Organization has their two newest books listed in the current PREVIEWS catalog adding to their impressive collection of literary essays examining the key comics and creators over the last 30 years.

THE DEVIL IS IN THE DETAILS: EXAMINING MATT MURDOCK AND DAREDEVIL
This anthology of analytical essays covers an array of topics that span the character’s 50-year career. The book explores Daredevil’s troubled love life, dissects his relationship with the likes of Foggy Nelson and Spider-Man, and highlights classic runs from some of comics’ top creators. This is a book no Daredevil fan should be without! (Also, the book sports a foreword by longtime Daredevil editor Ralph Macchio.)

CURING THE POSTMODERN BLUES: READING GRANT MORRISON AND CHRIS WESTON’S THE FILTH IN THE 21ST CENTURY
This book explores The Filth’s many themes as well as its relationship to Morrison’s The Invisibles and the 1999 film The Matrix. The book also includes exclusive interviews with Morrison, Weston, and inker Gary Erskine, plus exclusive art from Weston (including one panel that DC Comics censored – here uncensored and in print for the first time!).

Michael Davis: Be Our Guest…

susan_lucci_2009_02_14I’ve never wanted anything more than I wanted to get into the High School Of Art and Design. I was obsessed from the time I found out there existed in the world an art high school and I found that out in the seventh grade.

Yes, I’ve wanted other things in my life but A&D (which I’m sure you are sick of me writing about) was so important to me for so long when it happened it was literally a dream come true. I know, I know, I keep reminiscing about my high school so much so I feel like mentioning A&D again would be like mentioning Lord Voldemort at Harry Potter’s wedding.

OK. I get it, it won’t happen again.

Around 20 years ago (when I was five) I began to want something else pretty badly. That “other thing” was my childhood dream but as an adult I began another obsession that became a dream and now that dream has come true.

I’ve been invited to attend the San Diego Comic Con as a special guest.

For over 25 years I’ve been known as the Susan Lucci of SDCC. If you don’t know who Susan Lucci is or why that is funny, your pop culture knowledge sucks.

On that note, SDCC is the biggest and most important pop culture event in the world. Being invited to be a guest is a huge honor. That invitation means that you have accomplished something of note in your field and are being recognized for such. I’ve imagined being invited as a special guest at SDCC a zillion times and what I would do when/if it happened.

First thing I’d do is tell everyone!

You may think after reading my rants here on ComicMix telling everyone is what I would do whenever I have something to crow about.

Nope.

Regardless of my seemingly brash and ostentatious writings, media interviews and pick up lines I rarely tell anyone when I’ve been fortunate enough to have a honor bestowed on me. Not sure if I mentioned it here or in my weekly rants on my website, but among quite a few honors, awards, proclamations and arrest warrants I’ve received is an auditorium in a East Orange New Jersey grade school named after me. There was a huge naming ceremony with a marching band (I’m not kidding), the Mayor, other East Orange movers and shakers and media.

I only invited to my naming ceremony my wife. She was my only guest and that was fine with me. My mother to this day won’t let me forget that she was not invited. She’s still pissed and not because she missed being present as a wonderful honor was conferred on her child; nope, she’s pissed because she missed the opportunity to invite her friends to see a wonderful honor being conferred on her child thus scoring major points in the “my child is so much better than your child so suck it” game mother’s play.

I’ve wanted to be a guest at SDCC since the first time I attended 26 years ago (when I was one year old, Jean) subsequently it has been on my mind, my hopes and dreams.

Only once have I wanted something this bad and that was that thing that must not be named.

As faith would have it, the honor I’ve sort in life more (almost) than any other I must turn down. Yes, you read that right. With regards to my San Diego Comic Con International invitation I must turn it down.

I did turn it down.

I refused.

I cannot in good conscious accept their invitation knowing that to do so would doom my lover and first-born child to a horrible death from falling off a cliff.  Yes, some sick bastard knowing of my decades long desire to attend SDCC as a guest has given me a choice, save my lover and first-born child or be a guest at SDCC.

Oh wait! I’ve just learned the name of the woman hanging with her child from the cliff.  Her name is Billie Jean. Billie Jean is not my lover, she’s just a girl who claims that I am the one but the kid is not my son.

Now I’m faced with an entirely new dilemma!

I’m in Los Angeles. Should I fly to San Diego or take the train?

WEDNESDAY: Mike Gold

THURSDAY: Dennis O’Neil

 

Marc Alan Fishman: Oh My God, I Like Drawing Again!

Drawing HandsA funny thing about Unshaven Comics: at the conventions I have always felt out of place. Kyle over the years has become a one man sales force. Matt? A commission-churning machine. Me? I used to laugh as say “I’m in marketing.” Mainly because like everyone in marketing… it meant “doing everything that isn’t actually selling.” I networked with other professionals. I people-watched. I tallied our money, made change, and added polite conversation when the paying customers wanted to chat (and Kyle, in complete shock to them, only wanted their money…The cur!). And then, as is his way… Matt threw down a gauntlet.

“Dude. Just draw something.”

On paper? Without my computer? And Wacom? And the internet to guide me? And no digital references? What kind of hell was he inviting me to!? And, as a joke, I drew Domo-Kun. Domo, a Japanese TV mascot and popular-with-the-hipsters-and-kawaii-crowd character. Everyone at the table giggled and laughed. They egged me on to do more. I however looked at the scribbling and felt ashamed. I would not do another Domo for at least a year.

For those unfamiliar with my life story (because I ain’t good enough fer’ a Wikipedia entry like everyone else on this site…yet.), I do actually know how to draw undigitally. I majored in print making. I took years of life drawing. But the allure of the bells and whistles of Adobe’s Creative Suite was a siren’s song I could not fight. Shortly after receiving my BFA, I’d all but forgotten by pencils and pens. And by the time Unshaven Comics had formed… my tool box was built not of plastic, but of pixels. And with years of rust forming over my natural line—smoothed over by implausibly perfect vector lines and filters—my return to ‘original art’ was much like my foray into sequential art: done with my kicking and screaming all the way.

Until a few weeks ago.

While attending our first Gem City Comic Con in Columbus, I got an itch to produce Domos again. Perhaps it was because the show offered me little to do “marketing wise.” Perhaps it was a way to pass the time a bit. Perhaps it was kismet. I doubt it, but hey, it could be. This time, I really took my time. I slowed down, and paid attention to the details. I forced myself to remember those skills I’d long ditched for an Intuos. And then something really odd happened. Someone walked up and wanted to purchase one. And then another. And another. Call it a boost of confidence on the smallest scale, but it did wonders for me. With C2E2 going on as you read this… I figured I’d “come out of the closet” as a full blown commission-taking Domo-Maker. I’d offer to draw more… but the fans on our Facebook told me no.

To that point: I started posting up my Domos on our Facebook. Since doing it? We’ve gained 117 fans at the moment of me writing this. Far be it from me to doubt when the Internet tells me to do something. Of course by that account my next 4 articles will be about Star Trek, Pro Wrestling, and 2 slamming DC Comics. But I digress.

This week, I put down my digital pen, and vowed to fill up my “example book” of trading cards, as well as work on actual commissions asked of me prior to the show. In doing so, I’ve been prescient of a change within me. During time at the ole’ day-job, I’ve found myself scribbling in the margins. A fad I’d long dropped in Junior High School. As I drove about town on errands, I found myself yearning to get back to the board to draw, ink, and color. An e-mail declaring a “half price sale” at the local art supply shop was not immediately spammed and trashed. Yes indeed my friends. A latent love of mine has bubbled to the forefront of my life again.

My name is Marc Alan Fishman, and I can draw again.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

The Point Radio: DEEP SOUTH PARANORMAL Digs Up Spooks In Dixie

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Hauntings aren’t contained to just spooky castles or forests. SyFy has added a new member to their ghost-hunting line up of shows with DEEP SOUTH PARANORMAL, looking at the scary part of Dixie. Jonathan Hodges and Keith Ramsey explain their unique method to the art of ghost-busting, plus more with David Goyer and Tom Riley on what we can expect from DAVINCI’S DEMONS in the weeks to come, and here comes CUJO again.

Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Emily S. Whitten: Awesome Con DC!

Whitten Art 140416This Saturday and Sunday, April 20 and 21, a new comics and pop culture convention will debut in Washington, DC: Awesome Con! I’m super-excited about this, given that there hasn’t been a comic con in DC proper in lo, these many years since I have lived here. Okay, okay, maybe I exaggerate a bit. As it happens, there was a comic con here as recently as 2005. But it’s still been quite awhile. There are comic cons in the general area, yes, like the excellent Baltimore Comic Con, as well as cons in Richmond, and Annapolis; but for those of us who are Metro-dependent, those cons are not so easy to get to.

Now, finally, we’re getting a con right in the city, at the Washington Convention Center, a three minute walk from the Mt. Vernon Square metro station (or 11 minutes from McPherson Square or Metro Center stations, for orange/blue line folks). Yay! The con will run from 10 AM to 7 PM Saturday, and 10 AM to 5 PM Sunday, and tickets are very reasonably priced at $15 for one day, or $25 for both (unless you opt for the $75 VIP package, which includes exclusive items).

Not only is the con convenient and affordable, but it looks set to be every bit as good a draw as other, already established area cons might be. Created by the guys behind Annapolis Comic Con, the guest list to date includes celebrity guests like Buffy The Vampire Slayer’s Nicholas Brendon, Futurama’s Billy West and Phil LaMarr, Ghostbusters’ Ernie Hudson, and The Walking Dead’s Theodus Crane, along with over eighty artists and comic creators, including Larry Hama, Herb Trimpe, Justin Jordan, Ben Templesmith, Noelle Stevenson, Nick Galifianakis, and many more. The con is advertising “a wide assortment of comic books, collectibles, toys, games, original art, cosplay, and more,” and special events to include “discussion panels, costume contests, trivia contests, gaming tournaments, and a whole lot of activities for kids.” There’s even going to be a Mind of the Geek comedy show starring comedian Arnie Ellis. Sounds…awesome!

Given that this is a newly minted con, and that I’m a convention co-founder myself and am always interested in that aspect of things, I thought I’d check in with comics dealer Ben Penrod, co-founder of Awesome Con, and ask him a question or two. Here’s what he said:

What spurred the creation of this new Washington, DC comics convention?

As long as I’ve been doing cons, there hasn’t been one in DC. Awesome Con is something we (Steve Anderson, owner of Third Eye Comics, and I) had been kicking around for a while; we knew a lot of people wanted a con in the District.

What’s your previous involvement with comics and convention-running, and how did you get involved in organizing this con?

I’ve been selling comics on eBay since 1999. In 2008 I started selling comics full-time, and Steve and I ran the first Annapolis Comic-Con in 2011. The Annapolis Comic-Con was something we had discussed since 2009 or 2010, probably.

What’s the planning experience been like? Any roadblocks, or smooth sailing?

I don’t know that I’d call it smooth sailing, but things are good. It’s definitely a lot of work. I have met a lot of great people, and I’m so excited about Awesome Con; it’s a really fun job. But it’s a lot of work.

What are some highlights of the upcoming con, and what are you most looking forward to?

If I didn’t have responsibilities and could just attend the con as a fan, I’d probably try to get to as many of the guest Q&As as I could, and probably early Saturday before it gets too busy I’d find some artist I’d never seen before and commission some artwork.

What have you got on the schedule for kids?

We have a lot of stuff for kids. The Kids Are Awesome room will be fantastic. Any time during the show, kids can find art supplies in the room and get to work drawing or coloring. We’ll also have a kids’ costume contest and an art show both days. On Saturday there will be a children’s book reading and an art workshop. On Sunday we’ll have a game show with kids and pro artists paired up!

Is this planned to be a yearly event? What are your goals for the show?

This will be an annual event. The goal is for this show to be a fun event that the people of the DC area can look forward to every year. For too long, DC was the only major city without a con, and now we have one.

And I hope it’s here to stay!

As the website says, “Awesome Con DC is a comic-con that embraces all aspects of geekdom and pop culture.” Sounds good to me! So if you’re in the area April 20 and 21 and looking for something fun to do, come to Awesome Con! I’ll be there both days, so if you see me, feel free to say hi.

And until then, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

2013 Pulp Factory Awards Presented at Windy City

  • Uncategorized
  • April 13, 2013

For the fourth consecutive year, the Pulp Factory Awards were presented at this year’s Windy City Pulp & Paper Convention.

These awards are given to the best in new pulp fiction and art published during the previous year as voted on by the 111 members of the Pulp Factory; an internet group made up of pulp writers, artists, editors, publishers and dedicated fans.

Writer William Patrick Maynard and artist Rob Davis once again co-hosted the award presentations, handing out the sculptured trophies done in the shape of a quill pen set against factory-like gears.

The pen represents both writers and artists, the gears paying homage to the assembly-line production of the old pulps of the 1930s.

This year’s winners for the best in fiction and art for 2012 were:

For Best Pulp Novel –
THE LONE RANGER – VENDETTA by the late Howard Hopkins, published by Moonstone Books.

For Best Pulp Short Story –
“The Ghoul” by Ron Fortier from the anthology, “Monster Aces,” published by Pro Se Productions.

For Best Pulp Cover –
Joe Devito for THE INFERNAL BUDDHA published Altus Press.

For Best Interior Illustrations –
Rob Moran for THE RUBY FILES published by Airship 27 Productions.

This year’s preliminary nominations and final ballot represented a total of twelve New Pulp Fiction publishers.

The Pulp Factory membership congratulates all the winners for their exceptional work.

Congratulations to the winners!

Space Goat signs exclusive provider deal with Motionworks Entertainment

R KG-12.2color1(March 28, 2013- Bellingham, WA) – Motionworks, the new digital comics experience, is proud to announce an exclusive relationship with Space Goat Productions, the premier comic book talent management and production company. Space Goat is now Motionworks’ exclusive service provider of art and animation services.  Titles can be viewed at  www.Motionworksent.com.

With its worldwide network of top comic book talent and its veteran management team, Space Goat will be the sole art provider and packager for the Motionworks titles.

“We’re thrilled to be a part of this exciting evolution in storytelling,” said Shon Bury of Space Goat Productions.  “By matching top talent with these exciting concepts, we can supply strong storytelling that will keep readers surprised and thrilled.”

Motionworks Entertainment recently launched with James O’Barr’s Sundown, a Gothic Western.  Combining both motion and music, Motionworks offers an immersive, multilayered experience.   Other properties quickly followed, including Octane, The Interactive Ruppie Girls and Katie Greaven.  These stories are available via iOS and Android platforms.

It is exciting to get our artists involved with new storytelling technologies,” said Bury. “How people find, buy, read and enjoy comics is changing. Artists with experience in the new formats are going to be more valuable and better prepared for the future.”

“It’s all about telling stories and engagement,” said Alexis Alarcon CEO of Motionworks. “We have great ideas and we have a great platform.  And now, thanks to our relationship with Space Goat, we will have a steady stream of strong creators to bring it all to life”.

Martha Thomases: The Needles And The Damage Done

http://www.comicmix.com//wp-content/uploads/2013/03/newport_knitting_jun_051.jpg

Twice a week, I teach knitting to people with cancer and caregivers.  Most of you probably think of knitting as something serene, a hobby for little old ladies (current and future).  However, when I teach, my instructions are filled with images of guns and shooting, stabbing people with knitting needles, and  when I make a mistake, I threaten my materials with unspeakably filthy and unnatural acts.

I do this when I teach for a couple of reasons.  Most important, it makes the techniques easier to remember.  However, for this group in particular, it gives a sense of control.  These people have so little control in their lives that it’s great to have control over knitting needles and yarn.

It’s powerful.  When you’re staring the possibility of dying in the face, it’s good to have something that makes you feel powerful.

This is a long, roundabout way of getting to the intersection of a couple of trends I see in our beloved graphic story medium.  As I wrote last week, the industry has a sad tendency to throw away creative talent when it is deemed to be “old.”  There is also a pathetic paucity of work by women, racial minorities, and people whose identify as queer.

Things are slightly better outside of the Big Two (Marvel and DC). but not much.  Not really.

This is a problem.  It’s a problem in many media (especially broadcast news, but that’s another rant) but it seems to me that comics is one of the worst.  It seems like a paradox, but by appealing to a cultural ideal of straight, white young men, comics may be stuck in a closet of marginalization.

We all have impulses and emotions.  Many of these are not welcome by the larger society in which we not only live, but rely on for daily support.  I think it’s healthy and mature to work out inappropriate feelings with the vicarious experience of entertainment.

Specifically, when we feel angry at our lives and helpless within are mortal bodies, we need power fantasies.  Hence, in other mass media, we get not just superhero stories. but police procedurals, sword and sorcery, House and Buffy the Vampire Slayer.

There’s other emotions that are inappropriate to express in our daily, public lives.  We don’t show grief or sadness or lust.  Men don’t show nurturing.  These feelings are for private time, or for working out with art.

There are books and movies for these feelings.  Dreary foreign films about death, silly romantic comedies with Katherine Heigl or Kate Hudson.  This movie, which is one of the most bleak, self-loathing things I’ve ever seen.  Sometimes, I need Carey Mulligan to hate herself so I don’t have to hate myself.

There are some brilliant graphic novels that appeal to these audiences, but they are few and far between.

There is nothing wrong with having a target audience.  That’s effective marketing (note:  marketing is not the same as editing, or publishing).  However, if one plans to have an entertainment conglomerate and see some growth, one needs to occasionally try for other audience segments, or at least other audience moods.

In the meantime, if you see any bald-headed women making socks, watch your ass.

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