ARC: The International Opportunities And Pitfalls Of Print Publishing

The ARC Contemporary Comics Festival, held at The Hub in Peckham, London, provided a platform for an insightful discourse on the international scope and hurdles of print-based comics publishing in the 21st century. Ahead of the ARC Small Press Festival, a panel convened prominent figures from various corners of the print comics industry to share their experiences and perspectives on navigating global markets.

Moderated by Dr. Andrea Aramburú, the discussion brought together Andrew Alexander of Cram Books (USA), Jordan Taylor from PageMasters (UK), Olle Forsslöf representing Swedish publisher Peow2, and Emma Hayley of SelfMadeHero (UK). Their dialogue illuminated the complexities and unique characteristics of producing and distributing physical comics across different regions.

A recurrent theme was the significance of local comic scenes amidst a fragmented international market. Aramburú highlighted how geographical, linguistic, and economic divides contribute to the limited awareness among creators and publishers about each other’s work worldwide. Notably, piracy emerged as a controversial yet educational component of comic and film culture in Latin America, underscoring the nuanced realities in diverse markets.

Andrew Alexander recounted the artisanal nature of his operation at Cram Books, where comics are still handcrafted and distributed in small batches internationally. He emphasized print’s enduring value, noting that physical comics often outlive digital formats and travel to unexpected global destinations, fostering organic sharing among readers. Alexander also detailed the evolving nature of their anthology series, which features a rotating roster of contributors, and reflected candidly on the pitfalls of producing art books intended for specialized fairs, which sometimes resulted in unsold inventory.

From Sweden, Olle Forsslöf shared Peow2’s journey from a localized Swedish publisher to gaining an international audience, particularly in the United States. Their discovery of overseas readers initially came through social media platforms like Tumblr, where they engaged selectively with creators rather than focusing solely on sales potential. Peow2’s anthology, Ex Machina, balances the inclusion of emerging talents with recurring artists, and they employ grassroots distribution tactics by leaving copies of their comics in various travel destinations. Forsslöf also touched on logistical challenges, including last-minute delays in shipping books to events.

Jordan Taylor shed light on the operational side from PageMasters, a printing service supporting both niche zines and larger print runs. Taylor underscored the collaborative spirit of DIY culture, which depends on extensive networks for distribution and promotion. He cited examples of projects evolving to find their audience, such as a comic initially centered on a ghost that expanded into a more comprehensive thematic dictionary. Taylor also described strategic placements of comics in unconventional venues, like coffee shops near major art institutions, to target specific audiences. The panel discussed efforts to republish previously banned works with updated context, reflecting a commitment to preserving and reframing marginalized narratives. Taylor acknowledged common pitfalls, including misallocated resources and technical setbacks like missing page files or the need to unbind already finished books for corrections.

Emma Hayley recounted SelfMadeHero’s two-decade history, highlighting their pioneering work with Manga Shakespeare and a diverse catalogue that includes translated graphic novels and biographical projects such as a German Johnny Cash title. Hayley reflected on the profound impact of the COVID-19 lockdown on the comics community, noting the renewed appreciation for physical comics and live creator-reader interactions following festival reopenings. The publisher places strong emphasis on discovering new voices via awards and festival participation, with recent acquisitions demonstrating their ongoing international engagement. Hayley stressed the effectiveness of live events in increasing audience engagement, including drawing sessions, readings, and workshops, which are more established in countries like France but less common in the UK. Educational outreach through libraries and curated reading lists also plays a role in cultivating interest in graphic novels. Despite occasional production errors, Hayley expressed confidence in printers’ willingness to rectify mistakes when substantiated.

Overall, the ARC panel highlighted that while print comics publishing presents enduring opportunities for cultural exchange and artistic expression, it is also fraught with practical obstacles such as distribution complexities, market segmentation, and production challenges. The conversations underscored the vitality of community networks, innovative marketing strategies, and adaptability in sustaining print media’s relevance in an increasingly digital age.

The ARC Contemporary Comics Festival continues to showcase these dynamic facets of the comics world through talks, workshops, and social events, fostering dialogue and collaboration among creators, publishers, and readers alike.