Le journalisme musical et les chroniqueurs de comics

Warren Ellis - On magazines about comics

Now, obviously, I'm an old guy. My notion of what makes a good comics magazine comes from the 80s, pre-net. In fact, I worked on a comics magazine back then, Speakeasy, which was very informed and influenced by music papers. It was a monthly, and we didn't have a huge problem getting stuff reviewed within a month of its release. Obviously, we weren't affecting things within the week of their new-release cycle. But, hell, even the music paper came out every two weeks. It was a slower time. That said, you could still find the comics being reviewed, as indeed you could now.

Music papers were the grail of arts writing, back then. There was a period in the 80s where the best cultural writing anywhere was being done in the music inkies. And the majority of this was happening in the reviews sections. These weren't enthusiastic amateurs who thought that ten years of reading superhero comics (or skimming them behind a desk) qualified them. These were people who were hired (very important) because they lived and breathed and understood music and who could write and communicate brilliantly.

And what they did was write with passion and in an informed manner. These were people who knew what they were talking about, and who could contextualise what they were feeling about the work at hand, be it excitement or disappointment.