Can comics journalism bootstrap its way to success?

For British comics week, we'll be looking at a pair of creators from a different tradition each day. Today: Karrie Fransman and Tom Humberstone

"Comics" are often mistaken for a genre. (Giles Coren got in a bit of a kerfuffle the other week for doing this, for instance) Of course, they aren't; they are a medium, and like most other media, can be used to communicate nearly anything.

That's not to say that comics don't have a slightly lop-sided focus. The most popular are overwhelmingly genre fiction (seven of this week's top ten NYT best-selling hardback "graphic books" are, for instance, with Alison Bechdel's Are You My Mother, Chris Ware's Building Stories and a Mad Magazine best-of rounding out the list); and a bizarrely large chunk of those are still superhero books.

Writer Warren Ellis famously called that dominance "absurd", writing in 2000 that:

It's like every bookstore in the planet having ninety percent of its shelves filled by nurse novels. Imagine that. You want a new novel, but you have to wade through three hundred new books about romances in the wards before you can get at any other genre. A medium where the relationship of fiction about nurses outweighs mainstream literary fiction by a ratio of one hundred to one. Superhero comics are like bloody creeping fungus, and they smother everything else.

(Incidentally, how terrible is it that we are actually living through Ellis' nightmarish scenario, except that instead of "nurse novels", it's "shit erotica"?)

But that piece was written 12 years ago, and in the meantime, there's been big changes. Comics have spread out to cover other genres and none, and some of the biggest ones in the last decade would, were they prose pieces, make it out of the genre-fiction ghetto altogether and be awarded the title of "literature".

But comics are at heart just words and pictures; and there's nothing about "words and pictures" which means fiction. Pretty much anything which can be done in another medium can be done by comics – including my own job.

Delightfully, graphic reportage has a small but growing place in the ecosystem. There's always been a relatively strong undercurrent of autobiography and memoir work in the canon – Bechdel's aforementioned Are you my mother for one – but the difference is the number of cartoonists who approach the topic, not as biographers or diarists, but as journalists first and foremost.

The undisputed king of journalistic comics is Maltese-American reporter Joe Sacco, whose collection of journalism (called Journalism, natch) we reviewed in October. But in Britain, the field is wide open.

Karrie Fransman and Tom Humberstone are two of Britain's top young comics journalists, and have both written for the New Statesman before. They both take a rather different tack to Sacco, who, despite writing from the land of Hunter S. Thompson and "New Journalism", fears the accusations of subjectivity that he believes comes with comics – a concern I have discussed before:

In the introduction to his new collection, Journalism, comics journalist Joe Sacco addresses the dissenters "who would naysay the legitimacy of comics as an effective means of journalism". He responds to the criticism that since drawings are "by their very nature subjective", the can never aspire to represent the objective truth – that which, his detractors claim "is what journalism is all about".

Fransman, by contrast, approaches her pieces more like short feature articles. There is reporting, to be sure – her piece on "shock comedy" for the magazine involved interviews with comedians and psychologists, and couldn't have been done without a fact-finding trip to the Edinburgh festival – but it is also firmly in the realm of opinion. The same is true of her piece on graduate unemployment for the Guardian.

Humberstone draws a weekly cartoon for the New Statesman, In the Frame, short half-pagers which alternate between reporting and opinion, but also does longer pieces. One, on the 2012 Olympics, was directly responsible for that weekly gig, and it's easy to see why. Over the course of ten pages, Humberstone lays out the unease which many in London were feeling over the corporate behemoth that was squatting over our city. It's hard to remember now – after the Opening Ceremony arrived and swung public opinion quite literally overnight – but re-reading it brings it all flooding back.

The number of outlets for graphic journalism is still small. While some papers squeeze it in when they can, for the most part the cartoonists have to bootstrap their own platform. Some of this comes from the British comics scene's fondness for anthologies – ink+PAPER and Solipsistic Pop (edited by one Tom Humberstone) both provide space for the occasional journalistic piece for instance – and some comes just from hard graft. But hopefully it will grow, because when it's done right, there's nothing quite like it.

A panel from Fransman's work for the New Statesman.

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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How Moonlight’s win led to the most shocking Oscars night in history

They gave Best Picture to La La Land first by mistake.

“This is not a joke by the way. This is not a joke.” You know things are bad when, at possibly the most anticipated cultural moment of the year, you have to keep insisting what’s happening is not a bad skit. Yes, La La Land was announced as the winner of Best Picture at the 89th Academy Awards - but it later turned out that Moonlight had actually won the prize.

We often talk about “Best Picture shocks”, but this was an unprecedented moment in Oscars history: an extraordinary sequence of live television that ended in the makers of La La Land, led by producer Jordan Horowitz, having to hand over the most prestigious award of the night, mid-acceptance speech, to the Moonlight team.

But Moonlight’s victory is shocking in a more significant way than the deep, horrible cringe you feel watching the La La Land team’s celebrations turn sour. It’s shocking because a genuinely original and urgent underdog film about the coming-of-age of a black gay man won Best Picture. 

It’s tempting to see Moonlight’s win as part of a conversation that started last year, when the #OscarsSoWhite scandal began. But, of course, the Oscars has a much longer history of rewarding straight white stories and actors. This was the first Oscars in a decade with multiple black acting winners. Viola Davis became the first black person to receive an Oscar, Emmy and Tony for acting. Mahershala Ali became the first Muslim to win for acting, ever. In 2017.

This year's awards saw the continuation of a split result for the Best Directing and Best Picture gongs - something that was once relatively rare but has happened almost every year since 2013. But while La La Land did still pick up six awards, and Moonlight three, there can be no doubt that this was Moonlight’s night.

"All you people out there who feel like there's no mirror for you, that your life is not reflected… we have your back," director Barry Jenkins said when accepting the award for Best Adapted Screenplay. The biggest shock of the night wasn’t the seven-minute long fumble over who actually won Best Picture. It’s that a film about black gay love could move the voting members of an awards ceremony dogged by such a long history of racism. Oh, and that Suicide Squad is now an Oscar-winning film.

The full list of winners and nominees at the 2017 Academy Awards

Best picture

Winner: Moonlight
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight

Best director

Winner: La La Land - Damien Chazelle
Arrival - Denis Villeneuve
Hacksaw Ridge - Mel Gibson
Manchester by the Sea - Kenneth Lonergan
Moonlight - Barry Jenkins

Best actor

Winner: Casey Affleck - Manchester by the Sea
Andrew Garfield - Hacksaw Ridge
Ryan Gosling - La La Land
Viggo Mortensen - Captain Fantastic
Denzel Washington - Fences

Best actress

Winner: Emma Stone - La La Land
Isabelle Huppert - Elle
Ruth Negga - Loving
Natalie Portman - Jackie
Meryl Streep - Florence Foster Jenkins

Best supporting actor

Winner: Mahershala Ali - Moonlight
Jeff Bridges - Hell or High Water
Lucas Hedges - Manchester by the Sea
Dev Patel - Lion
Michael Shannon - Nocturnal Animals

Best supporting actress

Winner: Viola Davis - Fences
Naomie Harris - Moonlight
Nicole Kidman - Lion
Octavia Spencer - Hidden Figures
Michelle Williams - Manchester by the Sea

Best cinematography

Winner: La La Land - Linus Sandgren
Arrival - Bradford Young
Lion - Greig Fraser
Moonlight - James Laxton
Silence - Rodrigo Prieto

Best original score

Winner: La La Land - Justin Hurwitz
Jackie - Mica Levi
Lion - Dustin O'Halloran and Hauschka
Moonlight - Nicholas Britell
Passengers - Thomas Newton

Best original song

Winner: La La Land - City of Stars by Justin Hurwitz, Benj Pasek and Justin Paul
La La Land - Audition by Justin Hurwitz, Benj Pasek and Justin Paul
Moana - How Far I'll Go by Lin-Manuel Miranda
Trolls - Can't Stop the Feeling by Justin Timberlake, Max Martin and Karl Johan Schuster
Jim: The James Foley Story - The Empty Chair by J Ralph and Sting

Best original screenplay

Winner: Manchester by the Sea - Kenneth Lonergan
20th Century Women - Mike Mills
Hell or High Water - Taylor Sheridan
La La Land - Damien Chazelle
The Lobster - Yorgos Lanthimos and Efthimis Filippou

Best adapted screenplay

Winner: Moonlight - Barry Jenkins and Alvin McCraney
Arrival - Eric Heisserer
Fences - August Wilson
Hidden Figures - Allison Schroeder and Theodore Melfi
Lion - Luke Davies

Best costume design

Winner: Fantastic Beasts and Where to Find Them - Colleen Atwood
Allied - Joanna Johnston
Florence Foster Jenkins - Consolata Boyle
Jackie - Madeline Fontaine
La La Land - Mary Zophres

Best make-up and hairstyling

Winner: Suicide Squad - Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson
A Man Called Ove - Eva Von Bahr and Love Larson
Star Trek Beyond - Joel Harlow and Richard Alonzo

Best documentary feature

Winner: OJ: Made in America
13th
Fire At Sea
I Am Not Your Negro
Life, Animated

Best sound editing

Winner: Arrival - Sylvain Bellemare
Deepwater Horizon - Wylie Stateman and Renee Tondelli
Hacksaw Ridge - Robert Mackenzie and Andy Wright
La La Land - Ai-Ling Lee and Mildred Iatrou Morgan
Sully - Alan Robert Murray and Bub Asman

Best sound mixing

Winner: Hacksaw Ridge - Kevin O'Connell, Andy Wright, Robert Mackenzie and Peter Grace
13 Hours: The Secret Soldiers of Benghazi - Gary Summers, Jeffrey J Haboush and Mac Ruth
Arrival - Bernard Gariepy Strobl and Claude La Haye
La La Land - Andy Nelson, Ai-Ling Lee and Steve A Morrow
Rogue One: A Star Wars Story - David Parker, Christopher Scarabosio and Stuart Wilson

Best foreign language film

Winner: The Salesman - Iran
A Man Called Ove - Sweden
Land of Mine - Denmark
Tanna - Australia
Toni Erdmann - Germany

Best animated short

Winner: Piper - Alan Barillaro and Marc Sondheimer
Blind Vaysha - Theodore Ushev
Borrowed Time - Andrew Coats and Lou Hamou-Lhadj
Pear Cider and Cigarettes - Robert Valley and Cara Speller
Pearl - Patrick Osborne

Best animated feature

Winner: Zootopia
Kubo and the Two Strings
Moana
My Life as a Zucchini
The Red Turtle

Best production design

Winner: La La Land - David Wasco and Sandy Reynolds-Wasco
Arrival - Patrice Vermette and Paul Hotte
Fantastic Beasts and Where to Find Them - Stuart Craig and Anna Pinnock
Hail, Caesar! - Jess Gonchor and Nancy Haigh
Passengers - Guy Hendrix Dyas and Gene Serdena

Best visual effects

Winner: The Jungle Book - Robert Legato, Adam Valdez, Andrew R Jones and Dan Lemmon
Deepwater Horizon - Craig Hammack, Jason Snell, Jason Billington and Burt Dalton
Doctor Strange - Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould
Kubo and the Two Strings - Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff
Rogue One: A Star Wars Story - John Knoll, Mohen Leo, Hal Hickel and Neil Corbould

Best film editing

Winner: Hacksaw Ridge - John Gilbert
Arrival - Joe Walker
Hell or High Water - Jake Roberts
La La Land - Tom Cross
Moonlight - Nat Sanders and Joi McMillon

Best documentary short

Winner: The White Helmets - Orlando von Einsiedel and Joanna Natasegara
4.1 Miles - Daphne Matziaraki
Extremis - Dan Krauss
Joe's Violin - Kahane Cooperman and Raphaela Neihausen
Watani: My Homeland - Marcel Mettelsiefen and Stephen Ellis

Best live action short

Winner: Sing - Kristof Deak and Anna Udvardy
Ennemis Interieurs - Selim Azzazi
La Femme et le TGV - Timo Von Gunten and Giacun Caduff
Silent Nights - Aske Bang and Kim Magnusson
Timecode - Juanjo Gimenez

***

Now listen to Anna discussing the Oscars on the NS pop culture podcast, SRSLY:

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