India has ethnic, linguistic, and cultural diversity, unlike any other country. This accounts for the vast heterogeneity in the contribution that the comic industry has had in India.
The history and evolution of comics in India can be divided into three phases chronologically - the ‘Age of Cartoons and Comic Magazines’, the ‘Age of Comic Strips, Syndicates and the Rise of Publishing Houses’ and the ‘Age of Digitisation, Comic Book Anthologies, the Graphic Novel and Growth of Independent Publishing’. These divisions are far from independent of each other. While the effect of one phase may seem to be more prominent than another, the divisions remain mutually inclusive.
This evolution is a result of variables ranging from cultural and political biases to the economic well-being of Indians and the constant flux in their tastes. The transition from single-panelled cartoons to multi-panelled strips and from single-page comics to comic books and ultimately, to the modern graphic novel has been instrumental in shaping the mindsets of the readers, a majority of whom are middle-class people in India.
Today, comics have become a medium used to address serious social and political issues in a manner that is accessible and comprehensible by all. ‘River of Stories’ by Orijit Sen (1994) explored the devastating impact that the Sardar Sarovar Dam had on the local people who lived in the Narmada Valley. ‘Bhimayana: Experiences of Untouchability’, written by S. Anand and Srividya Natarajan, expresses the harsh realities that the Dalit community faces by exploring the life of Dr. B. R. Ambedkar.
Whether it be the age-old battle between ‘good’ and ‘evil’ or diving into the complexities and intricacies of human emotions, comics such as ‘Chacha Chaudhury’, ‘Shikari Shambu’ or the timeless ‘Tinkle Digest’ have won over the hearts of innumerable children and have become cherished memorabilia for adults.
The reality, however, should not elude us. The industry has dwindled from one consisting of more than twenty publishers who produced hundreds of comics per year to one that relies on three mainstream publishers and a handful of indie publishers who produce fewer than a dozen comics a year combined. These publishers struggle to exhaust print runs of 2000 copies and the few who do indeed overcome this impediment face yet another - one of the comic distribution systems being non-existent.
Creators, too, are suffering. They receive abysmally low financial compensation and with the advent of the pandemic, are only receiving COVID-19 or healthcare-related comic reportage. One Indian illustrator, Devaki Neogi, whose work has been circulated in international markets, has not escaped the affliction of the Virus. ‘Diamond Comics’, the largest distributor of comics in the western world, has declared that they are going to halt distribution. Devaki, whose livelihood depends on creating illustrations for comics, is one among many whose projects are either on hold or face uncertainty as to their completion.
However, the digitisation revolution has not only improved the accessibility of comics in India but has also led to a possibility for the creation of a viable business model for independent artists and small publishers to distribute and monetize their content with no upfront investments as a methodical and democratic approach to tackle the various issues mentioned beforehand.
Another effective and supportive approach can be observed in the Government of India’s effort of issuing a new comic book for COVID-19 disease awareness entitled ‘Kids, Vaayu & Corona’ which provides details about the Corona-Virus and expresses various measures one should observe to stay safe. Additionally, the inclusion of Herge’s ‘Tintin’ in the ICSE and ISC syllabi and the inclusion of ‘Bhimayanais’ in the B.A. (Hons) English courses at Delhi University are some of the initiatives which have been undertaken to revive the industry.
The future of the comic industry looks to be turbulent. The Indian mainstream will continue to seek the bestseller and the prices of comics will remain unchanged. Independent publishers, too, will face adversities though they anticipate normalcy soon. ‘Kokaachi’ and ‘Syenagiri’ which are small comic publishers have not sold a single copy since the pandemic. On the other hand, ‘Tinkle’ has been agile in its receptiveness regarding the current situation and is considering digital publication as a viable option even after the pandemic.
Those below the age of 35, who enjoy a majority in the country, believe that the graphic novel as a genre in India has substantial potential to flourish and contribute to the literary space. The crux of the matter lies in extending support to the creators and publishers and thereby significantly contribute to the eventual revival and subsequent success of the industry.
Written By - Saumya Seth
Edited by - Sravanthi Cheerladinne
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