Where were all the women at the British Comic Awards?

The first British Comics Awards were hugely successful – except for their less-than-perfect gender balance, writes Laura Sneddon.

Visiting Thought Bubble, a large comics convention held annually in Leeds, for the first time earlier this month, I was struck by the wonderful diversity of both the guests and audience. While larger conventions have struggled to move past male-dominated guest lists, Thought Bubble presents a much truer picture of the whole of the British comics community. 

It is perhaps all the more disappointing then that there was some surrounding wrought by the first British Comic Awards, held at Thought Bubble. The BCAs were designed to celebrate the vitality British comics (and fill a gap left by the Eagle awards, which, despite being UK-based, increasingly focus on American comics). The first ceremony was held at this year's Thought Bubble, and throughout the weekend grumbles were heard about the male dominated shortlist.

Across the nominations for four awards, the balance was thirteen men to three women, a stark contrast from the demographics of the crowd outside. While one award was won by a woman – the fantastic Josceline Fenton won Emerging Talent for her work on Hemlock – further concerns about gender disparity and committee bias have been raised since, leading to one committee member stepping down and an unfortunate Twitterstorm that brought the awards to the attention of the general public.

Speaking to the Forbidden Planet International Blog, Philippa Rice, creator of the popular webcomic My Cardboard Life, talked about her disappointment regarding the lack of diversity within the shortlist:

I noticed it when [the British Comic Awards] first released the nominations but it wasn’t until they tweeted a picture of the stack of books they were sending out to the judges it really hit properly: eleven books and literally just one by a woman. If you’re going to make a point out of having only four awards, have as many different people as possible – don’t duplicate. They’ve nominated three women in total and one across two different categories. I can’t believe they had that list and didn’t think it looks unfair – especially where some people had been nominated twice. It’s not like there aren’t woman who have had books out. Karrie Fransman, Mary Talbot, Simone Lia have all had very good, very popular, very acclaimed books this year.

Alongside the Costa-nominated Dotter of her Father's Eye by Mary and Bryan Talbot, both Fransman's The House That Groaned and Lia's Please God, Find Me A Husband! were lavished by praise from the broadsheet critics. And while US superhero comics are known for their lack of female creators, the UK has made great leaps in the last ten years: groups like Laydeez Do Comics, Women in Comics, Europe, and Team Girl Comic celebrate the work of women at all levels within the industry, and the smaller comic festivals frequently boast a 50/50 gender split.

One committee member, Adam Cadwell, assuming that Rice was requesting that men be excluded in favour of women hinted that the forthcoming discussion would not be fruitful – after all, considering more female creators doesn't mean men have to step aside.

Shortly after, another committee member, Matthew Sheret, accused Rice of using "manipulative" phrasing, and said that she should have talked with him privately rather than speaking out about her concerns in public.

The whole discussion ended in Rice apologising profusely for offering her opinion when asked in an interview, with many onlookers absolutely livid at how she had been effectively silenced.

In a year where the comics community has already been rocked by the recurring drama of “fake geek girls” – a small but vocal group of men panicking about women who attend comic conventions who may or may not be able to pass an exam on X-Men continuity – it is troubling to see anyone speaking out about sexism or perceived sexism being silenced. When it is a woman attempting to speak out, the context of the ongoing struggle against casual sexism within the comics industry gives the issue even greater weight, regardless of the original intentions.

When I spoke to Sheret, he expressed regret for his reaction on Twitter:

I took what Philippa said personally. In retrospect I shouldn't have, but at the time I was pretty upset she hadn't come to me to say anything about it because I consider her a friend…

Thing is, Philippa's comments were, largely, spot on. The panel needs more diversity… It will have it over time… And of course this stuff should be in the open, it's hugely important that the BCAs gets the balance right.

To be clear, there are indeed women sitting on both the BCA committee and the judging panel. The judging panel has four men and two women, while the committee is made up of five men and two women. Currently, the public nominates titles for consideration, the committee then picks the short list, and the judges choose the winners. This process is closed, leading to accusations of sexism and favouritism that cannot be properly answered.

One person who spoke in favour of Rice in the ensuing Twitter debate was Howard Hardiman, author of the critically acclaimed The Lengths. Speaking out about the importance of acknowledging structural prejudices in comics as an industry, he voiced the worry that the selected nature of the shortlists combined with an ignorance of privilege put non-male/white/abled/straight creators at a disadvantage. When I spoke to Hardiman on Thursday, he summed up the situation wonderfully:

I completely applaud the BCA's spirit and approach, but I think it's inevitable that when a group of friends decide to react to previous awards which were losing all credibility, they'll look first to the work they're familiar with, and that's most likely to be that made by those most similar to themselves. I don't think the nominating or the judging panel were guilty of any wilful bias, but I do think it's important to be mindful of the notion that one of the fundamental signs of privilege is that you're not aware of your privilege.

I think that people who are straight, white, non-disabled, men or of any other advantaged group should always try to be mindful of that and not be affronted if people without those advantages find that there are barriers to being heard, whether that's in the nomination process passing over some absolutely phenomenal titles by women or other marginalised voices or in raising concerns about those omissions.

I'm very glad that we're having this discussion; I think it's long overdue, and it comes from a perspective of celebration rather than criticism, so the message isn't 'Your privilege bias is showing!' but 'You might have inadvertently missed out on some absolutely cracking and innovative work here!'

Rice also suggested that having fellow creators on the committee and judging panel could potentially be unfair, with several nominees having completed work in the past for anthologies edited by committee members, and even some of the nominated works containing work by committee members. As a result, one committee member, Dan Berry has stepped down, stating that

[Rice] makes a good point. I don’t think that creators should be on the committee, especially if people think that they may have biases based on their own work, the publishers they work with and the other creators that they are friends with.

Asking Berry for further comment, he told me:

The space I vacate on the committee should be filled by someone who can help address the balance in the coming year and help solve the problems and the perceptions of bias surrounding the awards.

Indeed the current makeup of the committee has detracted from the very real praise that the winners of the BCAs deserve. The Best Book prize went to Nelson, a wonderful collaboration between 54 top UK comic creators, where each artist tells one year of one woman's life. It is a worthy winner, yet the fact remains that two of the artists are also on the committee. Given that two more of the committee are publishers themselves, with one of their anthologies also containing work from other BCA winners, things start to look a little blurry.

The argument has been made that this is a necessary result of including anthologies, but Rice tells me,

They are trying to make points that the UK comics industry is very small and everyone's in these anthologies, but my point is that that isn't actually true, the stuff that they've overlooked is the stuff that isn't in that little circle of anthologies, Karrie Fransman, Nicola Streeten, Simone Lia, Mary Talbot etc.

The issue of merit is important, because often when gender disparity rears its ugly head, the defence argue that merit was judged above all else (the implication being that the absence of women is simply because their work was not as good). Hardiman's comments that committees will be more drawn to work that they are familiar with, or they feel is more presentable to the public, is key.

This may well absolutely not be the case, but with a lack of transparency and other creators left feeling mystified by the process, there is a real sense that this is a problem that could and should have been avoided. Indeed, a welcoming of criticism as well as praise would have gone a long way towards soothing ruffled feathers, and ensuring that no underprivileged group felt unfairly discriminated against.

Asked to comment on the situation, Adam Cadwell made the following statement on behalf of the BCA committee:

The British Comic Awards were set up to celebrate and promote the best in British comics from the last year… Representing the diversity of creators in the UK wasn't our main aim. We chose books based on merit alone, we chose the books we each thought were the best regardless of the gender, race, religion or sexual persuasion of the author and we think that was a fair way to do it.

There has been criticism that the committee wasn't made up of men and women equally. We would have liked for this to be the case but back when we were asking people to commit large amounts of their free time to an idea it wasn't possible… We are hoping with our first year accomplished it will be an easier task to get more people involved and have an even number of men and women on the Committee…

We admit the Awards weren't perfect this year but we think they were a good and positive thing for the entire industry and can only help to elevate the status of the art form in this country. We hope to get better and better at doing this and opinions outside of the Committee are vital.

Rice rightly worries about the fact that "UK comics are getting a reputation for being a 'boys club' and that is true within a small circle of UK comics," and states that, "outside of that club there are lots of women making comics, and they're not unworthy of merit! Outside of the 'UK COMICS SCENE' circle we're getting great reviews, lots of happy readers and making a living from comics."

Thought Bubble remains a wonderfully welcoming comics festival. Yet the quiet upset that has spilled out around the BCAs is indicative of a community worried it cannot criticise an organisation that seeks to celebrate their work.

Last but not least, Lisa Wood, director of the Thought Bubble festival, expressed concern that the pro-woman festival itself and the issues raised were being overshadowed by the war of words:

Philippa and I chatted about this before the FP interview… With the current climate I think it is very easy to see situations like this in a certain light. The point I tried to get across to Philippa is that, as I see it, her perception of the situation is absolutely not the case as it stands. I want discussion about this topic, I welcome it, I'm a feminist, and I have constantly worked in a male dominated environments. I set Thought Bubble up to attempt to change this, that was one of my core aims…

And, I suppose, I keep putting myself in the shoes of the male BCA committee members, I know them, not one of them is a sexist, so for them, and I guess me, to be accused of this, even in an indirect manner, is upsetting, and, moreover, demoralising. What I'm trying to say is, that I understand why Matt got upset on twitter, it shouldn't be personal for him but it is, he's very upset by it…

Yes, lets talk about all these issues facing the industry openly, lets discuss the under-representation of women in comics, I need this, I want this, but to use the BCA to do this, I don't think the focus is right.

The winners of the British comics awards. Josceline Fenton, 2nd right, was the only woman.

Laura Sneddon is a freelance journalist. Find more of her work at comicbookgrrrl.com

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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.