Comics review: Marc Ellerby's Ellerbisms

A comic strip that began life with few pretensions.

Ellerbisms began life with few pretensions. It was to be a diary comic like so many others: a page of a Moleskine a day, illustrated with something which happened to Marc Ellerby in the last twenty-four hours. These are the bread-and-butter of the indie cartoonist's world, and, along with gag strips, make up the majority of webcomics (once you exclude the furries, at least). But, as Ellerby says:

Then I met a Swedish girl called Anna and it stopped being so sporadic (and boring).

What you end up reading is a chronicle of a relationship, messy bits included, written as it happened. To this end, Ellerby has also added a new prologue and epilogue, as well as adding a few pages in near the beginning to elaborate on the context of some of the strips. This is a good idea; those early strips, already the weakest part of the book, occasionally make reference to events which Ellerby simply didn't get round to illustrating in real time, and the extra content helps the story hold together as one coherent piece.

New artwork next to old does serve to emphasise how much better a cartoonist Ellerby is now than he was when he started. But thanks to his decision to excise the first few months of Ellerbisms strips, and turn the book from "the complete collection" to "the complete Marc and Anna", there's little of the genuinely amateurish stuff left in. His very first strip remains as a nostalgic title page, and it's a nice scene in its own right; but if the first twenty pages were like it, readers might never hit the good stuff.

Which would be a shame. Like Joff Winterhart's Costa-nominated Days of the Bagnold Summer, Ellerbisms' short episodes, frequently just a page each, build up a detailed, touching portrait of the young couple (whereas Bagnold Summer's episodic nature was an affectation, this is the real deal). We see them fighting over nothing, singing and preparing, and their holidays, working days, and days out in the park. The end, when it comes, isn't surprising, because we have come to know the pair so well that the writing was on the wall. But it is saddening nonetheless.

Not that Ellerbisms is a mopey book. It wears its page-a-day heritage on its sleeve, and the pages of silliness and gags are frequently laugh-out-loud funny. But without that emotional core, it would feel like so many other good but ephemeral webcomics.

Ellerby has also worked hard to make Ellerbisms worth reading as a book, rather than just mooching off the still-available free archives. As well as the aforementioned extra content – and removed content, because what's not collected is as important as what is – it's also packaged together with production values (including delicious rounded corners, a hat-tip to the Moleskine heritage) that well exceed what was necessary to get it out the door. It's all part of Ellerby's – and diary-comics co-conspirator Adam Cadwell's – audacious self-publishing venture, Great Beast.

The two are publishing high quality editions of their complete diary comics – Cadwell's The Everyday is available in hardback, nigh-on unheard of for a self-published webcomic – as well as their other works, like Cadwell's six-part Blood Blokes, about hipster vampires, and Ellerby's Chloe Noonan: Monster Hunter, a sort of Buffy-without-powers. If it works, it will let them cut out the middleman, and may just make publishing these sort of comics, if not quite profitable, then at least break-even. If it doesn't, it will have been an expensive experiment.

No matter what the quality of the physical objects produced, Great Beast will live or die on the skill of its artists. While Chloe Noonan has failed to find the commercial success it deserves, leading to a reboot being planned, it shows that Ellerby has the chops to make something fun and accessible. Hopefully it will find the audience it deserves, and give Ellerby a ticket to riches. But Ellerbisms is proof that he can do much more than just that.

What you end up reading is a chronicle of a relationship. Photograph: Getty Images.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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No, J J Abrams – Star Wars was never “a boy’s thing”

Women love things that are “for boys” because these things are actually “for humans”.

In 1977, millions of people went to cinemas to see Star Wars: A New Hope, and afterwards, a good portion of them were suddenly rendered invisible. It didn’t matter that they rushed to line up for the sequels; it didn’t matter that they were eager to buy and play with the toys; it didn’t matter that they grew up to read the novels and explore the expanded universe and sit through the prequels and introduce their children to something they had loved as a child. They’re a group that overlaps with the invisible force that haunts comic book shops, or plays a lot of video games, or makes up nearly half the audience for superhero films, or, to one New Statesman staffer’s persistent, possibly-only-half joking incredulity, liked Doctor Who long before Russell T Davies got his hands on it. 

With less than three weeks before J J Abrams’s rebooted Star Wars hits screens, the director went on Good Morning America yesterday to talk in vague, broad strokes about his turn with the franchise. But the otherwise-unremarkable interview made headlines because of one segment, when Abrams was asked who he most excited to hear from about the film. He said:

“Star Wars was always about, you was always a boy’s thing, and a movie that dads take their sons to. And though that’s still very much the case, I was really hoping that this could be a movie that mothers can take their daughters to as well. So I’m looking forward to kids seeing this movie and to seeing themselves in it, and seeing that they’re capable of doing what they could never imagine was possible.”

That invisible group of Star Wars fans, who love that well-known “boy’s thing”? Women, who have spent the past four decades loving the franchise just as much as all those fanboys, even if no one else – the fanboys themselves in particular – seemed to take much notice. Abrams’s offhand remark coincided with recent headlines like Bloomberg’s “‘Star Wars’ Toys Aren’t Just For Boys Anymore as Rey Takes Over”, a reference to the female lead of The Force Awakens, portrayed by Daisy Ridley. Across the web, aside from stirrings by the now-mandatory Internet Outrage Machine, the overwhelming response seemed to be one of sad and somewhat resigned frustration, with women sharing memories of falling in love with the series, essentially saying, “We’ve been here this whole time.” My friend Lori Morimoto, in “An Open Letter to J J Abrams”, wrote, “I’d like to tell you the story of a girl who became a Star Wars fan. I hope you can suspend disbelief over my existence long enough to make it to the end.”

Star Wars is a universe populated by complicated gender politics, on and off screen. The three original films fail most facets of the Bechdel test (I laughed out loud here seeing the suggestion that A New Hope deserves a pass because the only two named female characters could have talked offscreen). Princess Leia’s enslavement and escape (and the bikini she wears while doing it) is a cultural touchstone that’s launched a complicated feminist dialogue over the decades. And it is perhaps because of the mostly-male cast in the films – and the long-held assumption that science fiction is a primarily masculine property – that the franchise has long been marketed exclusively to boys, despite the massive and loyal female audience.

But the modern Star Wars empire is helmed a woman, Lucasfilm president Kathleen Kennedy, and when she revealed that two-thirds the story team behind the newest film was female, she also pledged that there would be a woman in the director’s chair before too long. And since one of the leads in The Force Awakens is a woman, her character, along with a black male lead – portrayed by John Boyega – sparked anger from the reactionary white guy corner of the internet in recent months (sorry that the SJWs ruined your movies, guys!). For films that once portrayed a place so alien that only white men were allowed to speak to each other, the widening of representation in this reboot apparently looks to some like a political – or, to them, a politically correct – act.

The welcome diversity of the leading cast highlights all the good intentions in Abrams’s statement: that this new film promises more than a panoply of white guys, that girls and people of colour can see themselves reflected back in these new heroes. All the girls who thought the movies weren’t for them because they only saw men onscreen, or the endless line of male action figures on the shelf, have a point of entry now – that’s what representation means. And that’s certainly worth cheering for, even if it only took us 40 years to get there. But it’s hard for all the people who aren’t white men who’ve found other points of entry over the years, who managed to love it without seeing themselves there. I can speak from personal experience when I say that a lifetime of media about white guys hasn’t stopped me from finding characters and stories to fall in love with.

Here’s a theory: you might not have noticed that you were surrounded by female Star Wars fans all these years because you were the one who rendered them invisible. Women who like things such as Star Wars, or comics, or anything else that leads journalists to write those painful “not just for boys anymore” trend stories, have had to take it from all sides. Enthusiasm for something seen as the province of men clashes with mainstream perceptions of femininity. Even women liking this stuff in the context of traditionally feminised fan spaces, like fanfiction, find themselves fending off assumptions from men and women alike, perhaps the accusation that they are sexualising something too much, or they are placing too much weight on the emotional elements of a storyline. Basically, that they’re liking the thing the wrong way.

But women’s enthusiasm for perceived “male” spaces is always liking the thing the wrong way. The plainest illustration of this is the Fake Geek Girl, in meme and in practice: the barriers to entry are raised immeasurably high when women try to join in many male-dominated fannish conversations. The wonderful Noelle Stevenson illustrates this beautifully – and then literally, when a guy challenges her on her work. I’m sure that just by writing about Star Wars, I’m opening myself up to the angry gatekeeping-style pissing contests that men like to toss at women who claim to like the things they like. (Let’s get it all out in the open here: Star Wars isn’t my fandom. I saw the three original films on dates with my first boyfriend – our first date: Star Trek: First Contact, because we were clearly the coolest kids in town – and upon rewatches as an adult nothing grabbed me. But I am also a fandom journalist, so that’s kind of how this works.)

There’s a persistent myth – and I say persistent because I keep seeing these deluded boys get mad in new viral posts – that women who claim to like geeky things are just pretending, the somewhat confusing notion that they are doing it for attention. (And then there’s the inevitable anger that in this supposedly desperate plea for attention – why else would a woman claim to like their beloved characters?! – these women still don’t want to sleep with them.) And what never seems to occur to any of these gatekeepers is that these women were there all along, liking these things just as much – and are finally being given the cultural space to be open about their interests and passions. But that space is given haltingly; plenty of women, tired of waiting, are going out and taking it. The result is the tension (and, at times, outright hostility) that has marked certain corners of the fannish world in the past few years.

Women love things that are “for boys” because these things are actually “for humans”. There are many reasons that people love Star Wars, and most of them are universal things: the themes, the characters, the archetypal struggle of good versus evil. Most of the time we default to the white guy; he struggles with things we all struggle with, but somehow, he is deemed most relatable. Abrams, Kennedy, and everyone behind the new films should be applauded for their efforts to give non-white guys a turn at the universal story – I think these are incredibly valuable choices, and certainly will make the films vastly more accessible, particularly to children.

But we don’t just need Rey on screen and Rey dolls on the shelves for mothers and daughters – those same mothers and daughters have found plenty to love without many women to look to on their screens. We need boys to love the female heroes as much as we’ve loved the men over the years: we need universal to be truly universal. And when we express that love, the default reaction shouldn’t be a challenge: not, “You don’t like this thing as much as I do,” or, “You don’t love this the right way.” Isn’t it easier to say, “Oh, I’m so glad that you love this, too!”

Elizabeth Minkel is a staff writer for The Millions, and writes a regular column on fan culture for the New Statesman. She is on Twitter @ElizabethMinkel.