Vaughan & Chiang's "Paper Girls" Builds a Familiar Yet Disconcerting World
If there’s one job in comics that I’m not sure that I’d want, it’d be the guy who has to tell everyone that J. Michael Straczynski isn’t writing the Superman or Wonder Woman series anymore (sorry, Alex). But if there’s another job, it’s PR person for an indie publisher.
See, Marvel and DC have it (relatively) easy when it comes to PR, at least when it comes to the comics internet: Sites like Newsarama, Comics Alliance or this very place are pretty much primed for almost any piece of (real) news that either publisher puts out, because news from either publisher – or, to a lesser extent, Image – is big news, both in terms of the fact that the companies are so big in the industry that they can set the news agenda if they try hard enough, and in terms of the fact that stories about Marvel and DC are what the majority of visitors to those sites want to read, and every website wants the hits, so they’ll go where the virtual money is. But for indie publishers, that’s not only not the case, but any and all press that gets released will have to fight for attention (and, let’s face it, normally lose) against the Marvel/DC PR for the day.
This came to mind yesterday, when I looked through this week’s shipping list and saw that Archaia’s Return Of The Dapper Men was coming out. Through sheer force of will – and, I think it’s fair to say, writer Jim McCann’s background with Marvel and just sheer likability – Dapper Men has somehow become a must-read book for me, and had managed to do so months before its release. How did that happen?
I mean, sure, yes: A lot of my interest comes from the fact that I’ve enjoyed everything I’ve read by McCann, and knowing that he and I share similar tastes in comics, TV shows and Marvel characters that need to have their own monthly series because they are awesome (Seriously, who wouldn’t want to read about Alison Blaire again every four weeks? Music-hating terrorists who hate joy, that’s who), but there’s a lot that’s the result of planning and subtle yet definite intent; McCann was talking about Dapper Men on his Twitter feed and in interviews for a long time, which would’ve provoked at least a “What is that damn thing he keeps talking about?” reaction from most anyone reading. But as the book moved along in terms of production, McCann and artist Janet K. Lee would also share glimpses of the book online and, as order deadlines were due, even get review copies in the hands of tastemakers to keep the book in fans’ minds – and, hopefully, get them telling their retailers that they’d like a copy.
It’s probably not a repeatable phenomenon – How many other indie writers would have McCann’s experience, or personableness? – but there’s some kind of lesson in there about how to bring people to your comic, about making people aware of it without selling them, and letting others tell people how good it is when it counts. Of course, I could be wrong, but I’ll be spending my $30-odd on a copy, so it worked for me, if nothing else.