SDCC Coverage sponsored by Mad Cave
On a recent Saturday this summer, comic writer Mark Russell woke up early and headed through a busy convention center to a folding table stacked high in graphic novels. An indie book that invites Batman, Superman and billionaires to Kett. Russell sat behind their stacks and prepared to spend the day meeting new readers.
However, Russell was not at San Diego Comic Con, the summer comic event that premiered. Russell wasn’t actually a comic show. He was at the American Library Association’s annual conference. And he was not alone. Dozens of other creators and publishers were there too. And most notably, some of them called the top event of the year to get graphic novels to new audiences.
Over the past 20 years or so, changes in the ocean have taken over comic and book events. The disadvantages of the comic have evolved into a huge pop culture spectacle with new film announcements and photo shoots with Hollywood stars rather than actual comics. At the same time, the long-stigma about comics has faded within the traditional book space, with readers of all ages searching for graphic novels in libraries. As a result, the annual library show has become essential for comic book sales.
In a typical cartoon show, Russell states: “The people you like have already bought your book. People you don’t like are ignoring you. But you come here, come to the librarian convention and no one knows who you are.
ALA’s Abrams and Oni Press Booths
While walking down the show floor at ALA, I saw IDW and Boom! There are booths for indie publishers such as: Studio, and Onipress. It also had a considerable presence with DC Comics and a programming stage dedicated to graphic novels and games, with publishers like Titan Comics interacting with creators with participants.
As Russell pointed out, the advantage is not only meeting new readers, but new readers who professionally purchase books for hundreds of other potential readers around the country.
Leigh Walton was Senior Editor at Top Shelf, an Imprint of IDW Publishing – participated in his first ALA in 2008. At the time, he had to convince people that his table was small and that graphic novels were worth reading. These days he is no longer needed – librarians are now eager to seek graphic novels.
Walton gives a detailed and isolated speech for cartoon people about why ALA is “the most important show of the year.”
Especially in comic shows that are as big, flashy and expensive as San Diego, you go see what they already love, from films to TV shows to exclusive toys. That’s not the case in Ara.
“In the Ara,” Walton said, “It’s the book that they love. The era. And they’re hungry for new names, new writers, and love next year.”
Of course, this is useful for the business side of comic publishers. But it also helps with editing. Another reason Walton preaches the value of ALA is that editors can have conversations with people who publish books to make a living, and listen to readers of communities of all ages.
“This is a game changer for staff to be present in this and understand who this customer is or who this customer’s army is,” Walton said.
George Takei speaks with Meg Lemke at ALA 2025.
And as ALA has become important to manga, manga has become important to ALA too. At this year’s event, George Takei was the keynote speaker and discussed his new graphic memoirs.
However, Takei is not the first cartoon speaker hosted by the event.
Kevin Eastman, co-creator of the Teenage Mutant Ninja Turtles, spoke at ALA 2022 in Washington, DC. There, the librarians lined up the lengths of the convention center to get the first hard copy of the last Ronin. Frank Miller spoke at the ALA in 2019, and Jean Lun Yang was featured in 2017. The list continues.
The current president of ALA is Sam Helmick, Community and Access Services Coordinator at Iowa City Public Library, who oversees the Graphic Novels Division. A longtime comic reader, Helmic has been intrigued by graphic novels in Iowa City, with the library’s most requested posters being the graphic novels being the real books (see image below).
Helmic said another change was the idea that comics and graphic novels are the gateway to reading. It’s still true, but another idea has joined in it – graphic novels can become endpoints as well, allowing readers to continue picking up them into adults.
The comics are also a great addition to displays created by librarians.
“We’re always motivated, involved and joyful,” Helmic said.
Iowa City Public Library Poster
Paul Graller works for the event company Hall-Erickson, and plans the physical show floors of ALA each year. Glallah said the ALA always reflects what libraries look like nationwide, and that there has been a great growth in cartoons with the show over the past decade.
The show had its own artist alleyways and 20 years ago event stages in graphic novels and games. The floor changes are generally based on librarian research after each show, and continue to find more demand for comics.
Glallah says the comics are still growing at ALA, and he believes there are small things in the publishers, especially in the indie sector. He highlighted that the show is trying to accommodate them by offering a wide range of options at different price ranges.
At this year’s show, comics people felt great. You definitely saw it at Abrams booth. Jacq Cohen is Abrams’ marketing and promotion director, dating back to her time at Fantagraphics, and has been at the shows for 17 years. Meanwhile, John Jennings is curating a new line of Abrams’ graphic novels called Megascope. Jennings was in attendance for the second time.
But they were both excited. Cohen said the show’s challenges have loved growing up from explaining what the comics are reading to bridging readers, from Raina Telgemeier to adult graphic novels.
Meanwhile, Jennings was excited to discuss a megascope that covers a wide range of genres, from science fiction to fantasy, horror and history. The librarian was keen to learn about his books and discover new things, he said. That was, frankly, inspiration.
“I’ve only been here for an hour,” Jennings said.
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SDCC Coverage sponsored by Mad Cave
