Example of comics/graphic journalism by Gianluca Costantini
Comics journalism is a form of journalism that covers news or nonfiction events using the framework of comics, a combination of words and drawn images. Typically, sources are actual people featured in each story, and word balloons are actual quotes. The term "comics journalism" was coined by one of its most notable practitioners, Joe Sacco.[1] Other terms for the practice include "graphic journalism,"[2] "comic strip journalism", "cartoon journalism", "cartoon reporting", "comics reportage",[3] "journalistic comics", and "sketchbook reports".[4]
Visual narrative storytelling has existed for thousands of years, but comics journalism brings reportage to the field in more direct ways. The Association of American Editorial Cartoonists distinguished comics journalism from political cartoons this way:
"Editorial cartoons are quick, in-the-moment commentary, whose artists have to educate themselves on complex issues and craft well-informed opinions in a single take that emphasizes clarity under daily deadlines. Illustrated reporting, or comics journalism, takes days, weeks, or months to craft a story, which can run for pages, and which may or may not be presenting an opinion."[5]
The use of the comics medium to cover real-life events for news organizations, publications or publishers (in graphic novel format) is currently at an all-time peak.[citation needed] Comics journalism publications are active in the United States, the United Kingdom, France, the Netherlands, Italy, and India, and comics journalists also hail from such countries as Russia, Lebanon, Belgium, Peru, and Germany.[6] Many of the works are featured online and in collaboration with established publications, as well as the small press. In recent decades, works of comics journalism have appeared in such publications as Harper's Magazine, The Atlantic, The New Yorker, The New York Times, The Boston Globe, The Guardian, Slate, Columbia Journalism Review, and LA Weekly.
History
"The Menace of the Hour" by George Luks, published in The Verdict magazine, 30 Jan. 1899.
In the 1920s, the political magazine New Masses sent cartoonists to cover strikes and labor battles, but they were restricted to single-panel cartoons.[7]
In the 1950s and the 1960s, Harvey Kurtzman did a number of true comics journalism pieces for magazines like Esquire and TV Guide.[7] In 1965, Robert Crumb, later a key founder of the underground comix movement, produced "Bulgaria: A Sketchbook Report" for Kurtzman's Help!, a tongue-in-cheek journalistic overview of the socialist country of Bulgaria, based on his own travels there.[8] Crumb had done an earlier, similar "sketchbook report" on Harlem, which was also published in Help![9] Kurtzman also hired Jack Davis and Arnold Roth to do light-hearted journalistic comics for Help![7]
Joe Sacco is widely considered to be one of the pioneers of the form,[10][11] starting with his 1991 series Palestine.[7] In the late 1990s and early 2000s, Sacco produced a number of works of comics journalism for such established publications as Details, Time, The New York Times Magazine, The Guardian, and Harper's Magazine. Since then, he has published a number of book-length works of comics journalism.
In October 1994 cartoonist Bill Griffith toured Cuba for two weeks, during a period of mass exodus, as thousands of Cubans took advantage of President Fidel Castro's decision to permit emigration for a limited time. In early 1995, Griffith published a six-week series of stories about Cuban culture and politics in his strip Zippy. The Cuba series included transcripts of conversations Griffith had conducted with various Cubans, including artists, government officials, and a Yoruba priestess.[12]
Cartoonist Art Spiegelman was comics editor of Details in the mid-1990s; in 1997 — modeling himself after Harvey Kurtzman — Spiegelman began assigning comics journalism pieces to a number of his cartoonist associates,[13] including Sacco, Peter Kuper, Ben Katchor, Peter Bagge, Charles Burns, Kaz, Kim Deitch, and Jay Lynch. The magazine published these works of journalism in comics form throughout 1998 and 1999, helping to legitimize the form in popular perception.[7]
Starting in 1998, and really intensely in the years 2000 to 2002, Peter Bagge did a number of comics journalism stories — on such topics as politics, the Miss America Pageant, bar culture, Christian rock, and the Oscars — mostly for Suck.com.
Some of the first known magazines focused specifically on comics journalism include Mamma!, a magazine of comics journalism printed in Italy since 2009 and produced by a group of authors; and Symbolia, a digital magazine of comics journalism for tablet computers, which operated from 2013 to 2015.[14] Other digital magazines which focused on comics journalism during this period included Darryl Holliday & Erik Rodriguez' The Illustrated Press[15] and Josh Kramer's The Cartoon Picayune.
Jen Sorensen was editor of the "Graphic Culture" section of Splinter News (formerly Fusion) from 2014 to 2018, while Matt Bors edited the online comics collection The Nib from 2014[3] to 2023.[16] Both sites published comics journalism pieces.
In May 2016, The New York Times put comics journalism front-and-center for the first time with "Inside Death Row,"[17] by Patrick Chappatte (with Anne-Frédérique Widmann), a five-part series about the death penalty in the United States. In 2017, it published "Welcome to the New World,"[18] by Jake Halpern and Michael Sloan, chronicling a Syrian refugee family settling in the United States. The series ran in the print Sunday Review edition from January to September 2017 and won the Pulitzer Prize for Editorial Cartooning in 2018.[19]
As with traditional journalism, there are no rules per se about comics journalism, and there are a wide variety of practices. Some practitioners, like Joe Sacco and Susie Cagle, have a background in journalism, while others were trained first as cartoonists.[2] One feature that unites all forms of comics journalism is a reliance on witness interviews and other primary sources.[24] Many practitioners highlight the form's power to engender empathy in its subjects.[24]
Sacco is a trained journalist who extensively documents his subjects and spends years crafting his stories.[7] Among the techniques he uses to protect his subjects — who are often survivors of conflict zones in the Middle East and the former Yugoslavia — are to change their names and use his art to anonymize their faces.[7]
Wendy MacNaughton sketches extensively with her subjects and locations before retreating to her studio to craft the finished piece.[2]
Austrian graduate student Lukas Plank created a comic, "Drawn Truth: Transparency in Journalist Comics," based on his research into the field, that outlines some potential "best practices" for comics journalists.[25]
The ability to alternate between the realistic and the symbolic is a major strength of comics journalism. It is also one reason why editors are likely to shy away from it — or, as with the recent newspaper strips, to relegate comics journalism to cultural coverage and human-interest stories. When it comes to the front page, newspapers favor plain language, in part to protect the readers from the seductions of rhetoric, of art. And comics are irreducibly artistic.
But such reasoning also cuts the other way. The hard-nosed, facts-are-facts tone of "journalistic language" is also seductive. Plain-speaking is itself a kind of rhetoric, which wins trust precisely by seeming to leave rhetoric aside.
Art Spiegelman argues, "The phony objectivity that comes with a camera is a convention and a lie in the same way as writing in the third person rather than the first person. To write a comics journalism report you're already making an acknowledgment of biases and an urgency that communicates another level of information."[26]
The Cartoon Picayune, American anthology of comics journalism and nonfiction comics, published from 2011 to 2017. Founded and edited by Josh Kramer.[29]
The Illustrated Press, Chicago-based outlet founded by Darryl Holliday.[30] Active from 2011 to 2015.[31]
Mamma!, Italian printed magazine of comics journalism, editorial cartoons, data journalism, and photojournalism. Founded by Carlo Gubitosa and published by cultural association Altrinformazione from 2009 to 2013.[32]
Symbolia, American digital magazine of comics journalism. Published from 2013 to 2015.[14]
The Nib, American online non-fiction comics publication founded and operated by Matt Bors. Published under Medium from 2013 to 2015, under First Look Media from 2016[33] to 2019, and independently member-supported from 2019 to 2023. It is defunct as of September 2023.[34]
Robert Dennis Crumb is an American cartoonist who often signs his work R. Crumb. His work displays a nostalgia for American folk culture of the late 19th and early 20th centuries, and satire of contemporary American culture.
Underground comix are small press or self-published comic books that are often socially relevant or satirical in nature. They differ from mainstream comics in depicting content forbidden to mainstream publications by the Comics Code Authority, including explicit drug use, sexuality, and violence. They were most popular in the United States in the late 1960s and 1970s, and in the United Kingdom in the 1970s.
An editorial cartoonist, also known as a political cartoonist, is an artist who draws editorial cartoons that contain some level of political or social commentary. Their cartoons are used to convey and question an aspect of daily news or current affairs in a national or international context. Political cartoonists generally adopt a caricaturist style of drawing, to capture the likeness of a politician or subject. They may also employ humor or satire to ridicule an individual or group, emphasize their point of view or comment on a particular event.
Itzhak Avraham ben Zeev Spiegelman, professionally known as Art Spiegelman, is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. His work as co-editor on the comics magazines Arcade and Raw has been influential, and from 1992 he spent a decade as contributing artist for The New Yorker. He is married to designer and editor Françoise Mouly, and is the father of writer Nadja Spiegelman. In September 2022, the National Book Foundation announced that he would receive the Medal for Distinguished Contribution to American Letters.
Harvey Kurtzman was an American cartoonist and editor. His best-known work includes writing and editing the parodic comic book Mad from 1952 until 1956, and writing the Little Annie Fanny strips in Playboy from 1962 until 1988. His work is noted for its satire and parody of popular culture, social critique, and attention to detail. Kurtzman's working method has been likened to that of an auteur, and he expected those who illustrated his stories to follow his layouts strictly.
Joe Sacco is a Maltese-American cartoonist and journalist. He is best known for his comics journalism, in particular in the books Palestine (1996) and Footnotes in Gaza (2009), on Israeli–Palestinian relations; and Safe Area Goražde (2000) and The Fixer (2003) on the Bosnian War. In 2020, Sacco released Paying the Land, published by Henry Holt and Company.
The Pulitzer Prize for Illustrated Reporting and Commentary is one of the fourteen Pulitzer Prizes that is annually awarded for journalism in the United States. It is the successor to the Pulitzer Prize for Editorial Cartooning awarded from 1922 to 2021.
Weirdo was a magazine-sized comics anthology created by Robert Crumb and published by Last Gasp from 1981 to 1993. Featuring cartoonists both new and old, Weirdo served as a "low art" counterpoint to its contemporary highbrow Raw, co-edited by Art Spiegelman.
William Henry Jackson Griffith is an American cartoonist who signs his work Bill Griffith and Griffy. He is best known for his surreal daily comic strip Zippy. The catchphrase "Are we having fun yet?" is credited to Griffith.
Gary Panter is an American cartoonist, illustrator, painter, designer and part-time musician. Panter's work is representative of the post-underground, new wave comics movement that began with the end of Arcade: The Comics Revue and the initiation of RAW, one of the second generation in American underground comix.
Jen Sorensen is an American cartoonist and illustrator who creates a weekly comic strip that often focuses on current events from a liberal perspective. Her work has appeared on the websites Daily Kos, Splinter, The Nib, Politico, AlterNet, and Truthout; and has appeared in Ms. Magazine, The Progressive, and The Nation. It also appears in over 20 alternative newsweeklies throughout America. In 2014 she became the first woman to win the Herblock Prize, and in 2017 she was named a Pulitzer Finalist in Editorial Cartooning.
Matt Bors is a nationally syndicated American editorial cartoonist and editor of online comics publication The Nib. Formerly the comics journalism editor for Cartoon Movement, he was a finalist for the Pulitzer Prize in 2012 and 2020, and became the first alt-weekly cartoonist to win the Herblock Prize for Excellence in Cartooning.
Notable events of 2006 in comics.
Denis Kitchen is an American underground cartoonist, publisher, author, agent, and the founder of the Comic Book Legal Defense Fund.
Josh Neufeld is an alternative cartoonist known for his comics journalism work on subjects like graphic medicine, equity, and technology; as well as his collaborations with writers like Harvey Pekar and Brooke Gladstone. He is the writer/artist of A.D.: New Orleans After the Deluge, and the illustrator of The Influencing Machine: Brooke Gladstone on the Media.
Arcade: The Comics Revue is a magazine-sized comics anthology created and edited by cartoonists Art Spiegelman and Bill Griffith to showcase underground comix. Published quarterly by the Print Mint, it ran for seven issues between 1975 and 1976. Arriving late in the underground era, Arcade "was conceived as a 'comics magazine for adults' that would showcase the 'best of the old and the best of the new comics'". Many observers credit it with paving the way for the Spiegelman-edited anthology Raw, the flagship publication of the 1980s alternative comics movement.
The Narrative Corpse is a chain story, or comic jam, created by 69 all-star cartoonists in the early-to-mid 1990s. A graphic novel compilation of the result was published in 1995.
Bijou Funnies was an American underground comix magazine which published eight issues between 1968 and 1973. Edited by Chicago-based cartoonist Jay Lynch, Bijou Funnies featured strong work by the core group of Lynch, Skip Williamson, Robert Crumb, and Jay Kinney, as well as Art Spiegelman, Gilbert Shelton, Justin Green, and Kim Deitch. Bijou Funnies was heavily influenced by Mad magazine, and, along with Zap Comix, is considered one of the titles to launch the underground comix movement.
Sarah Glidden is an American cartoonist known for her nonfiction comics and graphic novels.
The Nib was an American online daily comics publication focused on political cartoons, graphic journalism, essays and memoir about current affairs. Founded by cartoonist Matt Bors in September 2013, The Nib was an independent member-supported publisher that ceased operating in September 2023.
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