Corey Blake, Author at Robot 6 @ Comic Book Resources
One of my favorite times of the year is here: the announcement of the nominees for the Will Eisner Comic Industry Awards. I love poring over each category to look for surprises, seeing books I never heard of or never got a chance to read. I guess when you get right down to it, I love getting to celebrate awesome comics.
It seems that with each year, the Eisners get better at reflecting the comics art form and industry at that moment. The judges not only hit the fan favorites and critical darlings, but also unexpected choices and hidden gems that truly benefit from this kind of recognition. It’s where quality instead of sales rule, as it should be for an award recognizing the very best of the industry.
What did you do last weekend? Nothing much, probably; no real reason to get excited. After all, it was just another awesome Marvel movie opening. Granted, “awesome” isn’t an objective description, and surely some people had a pretty miserable time. But judging from reviews, user ratings and my own anecdotal observations, odds are a significant majority of the approximately 11 million people who watched Captain America: The Winter Soldier enjoyed it.
The film has been thoroughly reviewed — you can read CBR’s take here — so I won’t get into a big assessment. (Suffice it to say, I liked it.) Instead ,what I want to talk about is the larger Marvel Cinematic Universe, and how it hasn’t just successfully adapted stories and characters, but the very experience of the Marvel Comics Universe.
It is now well-documented that Marvel Studios President Kevin Feige is a big comics fan. The difference, however, is that he didn’t grow up with them, but schooled himself on Marvel’s stories while working under producer Lauren Shuler Donner on the first X-Men movie. That distinction might have given him the ability to view the characters and concepts without being hindered by nostalgia, and helped him to dissect how Marvel’s framework could be used for future movies. Hollywood is an even more collaborative business than comics, so it’s unlikely that credit rests solely with Feige. But he certainly was an advocate for leaning more faithfully into the source material.
Emerald City Comicon may not come with the metric ton of announcements that Comic-Con International does, but in a way it’s all the better for it. Comics still feel as if they’re front and center just where I like them, and the announcements have more charm because they aren’t screaming to be heard over the din of film and television rollouts.
One year, I’ll get up to Seattle to experience the event firsthand, but in the meantime, I get to absorb all the news and photos like everyone else, as they’re posted online. ECCC even streamed all of its panels on flipon.tv. Anything that happened in Room 301 is free for anyone to watch. Everything else can be purchased with a full archive pass for $14.95. Or if, you don’t want to sit through hours of panel footage, there’s CBR’s coverage or, heck, try Google or something.
A number of announcements jumped out as particularly noteworthy, so let’s run through The 6 Best Things from ECCC. And from my count, Dark Horse won Emerald City. Your miles may vary though, so post your favorites in the comments.
The story of Chris Romberger’s comics vending machine reminded me of an idea I had kicking around my head a couple of weeks ago: Here in Los Angeles, there has been something of a food-truck revolution going on for the past several years. And then I saw that last summer, Penguin Books launched a book truck. As Book Riot pointed out, bookmobiles and other ways to bring books to the people are nothing new, so I thought, why not comics?
A comics truck would be a fun way to spread the love of comic books, graphic novels, manga and all things sequentially artistic. It would probably never really be a replacement for a comics store, due to space limitations, but it could be effective as an outreach tool to drive buyers back to shops — plus be a dynamic retail outlet that can carry specific titles for the readers it will reach.
Remember when comic books had only one cover each, and they didn’t glow in the dark or feature moving images? When the cover was just a good-looking illustration that made you curious about the story inside? And it was by the artist who actually drew that story?
Yeah, me neither.
Like it or not, we live in the age of specialized covers, whether in the form of variants or, for lack of a better (and less-derisive) term, gimmicks. I’ve mostly made peace with that, but the near-simultaneous announcements of Valiant bringing back chromium covers and DC doing a second round of lenticular covers recently stirred it all up again.
I know I’m being kind of silly about it. I mean, who cares? If people want them, they should have them. Obviously they help to increase sales, otherwise publishers wouldn’t go through the trouble. But is there more to it?
The thing is that variant covers have never been more prevalent. People used to make fun of publishers like Avatar Press, which would flood each release with boatloads of different covers for the same story. It turns out the company was ahead of its time. That’s not always a good thing, of course. Variant covers can cause confusion with new or more casual readers who may not remember the issue number they last bought but can recall what was on the cover.
Eric Stephenson means well. As publisher of Image Comics, and even before he held that position, he’s often called out for change in the comics industry. I love these calls to action, even if they’re not always graceful; change usually isn’t. Most of us agree that changing the comics industry for the better is in everyone’s best interest, but how to change it and how we define better is when things get messy. I’m usually in agreement with what Stephenson is saying, but his speech last week at the ComicsPRO annual meeting was jumbled and tripped over itself when it came to licensed comics.
Stephenson got hung up on a significant sector of comics publishing, and I think it muddied his larger message. In his speech, as I’m sure you’ve seen re-quoted multiple times by now, he claimed that licensed comics like IDW’s Transformers and GI Joe, and Dark Horse’s Star Wars “will never be the real thing.” In the lead-up, he also explained there are “only two kinds of comics that matter: good comics and bad comics.” Now, he never outright said licensed comics are in the “bad” category, but some certainly viewed that as the implication.
His argument is that comics should rely on original ideas to produce original content, a point he underscored by pointing to the perennial bestseller The Walking Dead and the fast-growing Saga, both coincidentally published by Image. I agree original comics are where the magic can happen, and where the creators can most benefit. But that doesn’t mean everything else is by default a waste of time.
Something has been going on at the First Second website. For about a year and a half to two years, the publisher’s marketing and publicity coordinator Gina Gagliano has been bringing personality to its blog with informative, funny and engaging posts that make me want to Make Mine First Second. Yes, there’s decidedly a lack of alliterations, but there’s an effortless style to the blog that harkens back to the classic days of Marvel’s Bullpen Bulletins, as written by Stan Lee.
Gina was introduced to us in 2007, when First Second was just establishing itself. It was using Typepad for its blogging, and editor Mark Siegel was the primary writer. Gina’s posts generally stuck to limericks to promote new releases. Cute, and a unique way to talk about First Second’s books, but maybe too brief and structured so they didn’t really create a personal connection or invite conversation. But then somewhere around summer 2012, she began to become the dominant voice on the blog. As she took over, her posts became meatier, and she started to cover a richer variety of topics that have really brought the site to life in a unique way.
After growing to 2 percent the size of the direct market in the last quarter of 2013, the crowdfunding sector of comics stumbled in January, even while the younger Patreon expanded.
Following up on my number-crunching and analysis from last month, I’ve continued tracking the progress of a market within comics that’s only beginning to mature. While there are more than two dozen crowdfunding platforms, Kickstarter and Indiegogo have been the established leaders from the get-go, especially in terms of comics-related campaigns. There is a smattering of comics projects on sites like GoFundMe, but by comparison those could be considered the long tail of this market. A crowdfunding hit has yet to occur on a platform other than Kickstarter or Indiegogo.
That could change with Patreon, however. As our ROBOT 6 contributor Chris Arrant noted last week, Zach Weinersmith of Saturday Morning Breakfast Cereal was already bringing in $7,500 a month after launching his campaign on Dec. 10. At the time of this writing, that amount is now $7,822.86 each month of comics he produces (minus Patreon’s fees). That;s coming from 2,839 patrons, or supporters. Meredith Gran’s campaign for Octopus Pie, which launched at the beginning of this month, already has more than $750 per month from 235 patrons. Last month, I would’ve included Patreon in the previously mentioned long tail with GoFundMe; however, those two high-profile campaigns are drawing attention to Patreon, so I wanted to see if I could better measure its footprint, and see how it stands up against Kickstarter and Indiegogo. Surprisingly, it turns out that Patreon could eclipse Indiegogo as the No. 2 comics crowdfunding platform.
For years I’ve imagined running my own comic book store. I’ve dreamed of it, even planned; sometimes I scope out locations while driving around town. I’m sure lots of fans have similar fantasies, but unlike everyone else, I would run the best comic shop ever. Not only would it be the best, it would be the most unique shopping experience. It would be perfect.
Of course, reality would be significantly different, and probably far less impressive. I mean, I’m fairly confident I could make a better store than the guy from The Simpsons. But how would I really make it stand out? When I sit down and think about it, I don’t understand how anyone would think it’s a good idea to open up a store.
Here in Los Angeles, like in a lot of major cities, we’re pretty spoiled. There’s no shortage of truly exceptional stores, whether you’re in the Valley, in Hollywood or on the Westside. And if you want that old, crummy comic dungeon of yore, there are a few of those as well. The Westside might not be quite as saturated, but L.A. is generally well-covered, which means there might not be room for a new store. Invariably, I would be stepping on someone’s territory. A store here would either create bad blood with the nearest specialty shops and their patrons, or it would really have to go in a different direction and appeal to a neglected or untapped demographic. That’s certainly possible. On the other hand, L.A .rent is notoriously high.
In less than a week, New Warriors #1 by Christopher Yost and Marcus To will be in my grubby little hands. While everyone else will still be basking in the glow of this week’s new Wolverine and Punisher series, I’ll be resurrecting my dormant Marvel zombie for some much-neglected superhero nostalgia.
Most of my comic book-loving friends cite Spider-Man or Superman as their favorite characters, and the ones they read religiously as kids; they’re undeniably iconic. However, the superheroes that resonated most with me were those off the beaten path; the obscure characters have always led to the more satisfying reading experiences, even if it often meant tolerating missteps and frustrating gaps in time.
Maybe it’s a matter of rooting for the underdog, but I think generally there are more opportunities for exciting and entertaining stories when your main cast isn’t the star of several feature films and a merchandising empire.
I first encountered the New Warriors in 1990, not long after their debut. I was new to the Marvel Universe, and only Firestar was somewhat familiar to me from her role on Spider-Man and His Amazing Friends, but she didn’t act the same as she did in the cartoon. She didn’t even have the same pet: Where was Ms. Lion? (Actually, that’s fine, leave Ms. Lion out of it. In fact, never mention Ms. Lion again.) Instead, Firestar had a pet cat named Pum’kin, which suited me fine — I was always more of a cat person anyway.
Where is the line? When is an image empowering, and when is it too risque? While the case of the contested variant cover of The Powerpuff Girls #6 has a lot of silly aspects, its core speaks to larger issues the comic book industry has been wrestling with of late, and may find itself wrestling with even more. The questions it raises aren’t always easy to answer — as is so often the case, the devil is in the details.
All-ages comics have a larger presence now than they have in decades. Every month, tie-ins to popular kids’ shows and original books suitable for readers are released in high enough numbers that you could open a comic book store that’s just for kids. Many stores have increased their kids sections, and with events like Free Comic Book Day, it’s easier for those shops to prove themselves to parents as a safe place. Meanwhile, awareness of the industry’s female readership has never been higher; in October, digital comics platform comiXology released some startlingly specific data: Its average female reader is “17-26 years old, college-educated, lives in the suburbs, and is new to comics. She prefers Tumblr to Reddit. She may have never even picked up a print comic.” In six years, female readership on comiXology increased from less than 5 percent to 20 percent.
In three short years, Image Comics has turned Image Expo into the first big comics event of the year. Interest in the publisher’s announcements has reached the point where I wish there were live-streaming video of the presentation. Maybe next year. For now, we have to settle with live coverage, which was still pretty fun. Image Expo didn’t disappoint: It seemed as if every title announced caught my interest. There are a few that stand out, however, so here are my Top 5 picks of the announcements that went above and beyond.
1. Image signs Ed Brubaker and Sean Phillips to a five-year exclusive contract
The acclaimed collaborators have a perpetual green light at Image to do whatever they want for the next five years. That’s a big vote of confidence, and a real commitment to support Brubaker and Phillips. It must be quite a relief for them to not have to worry about crafting the perfect pitch and convincing someone to believe in their story. They just get to create. It’s an exciting arrangement, and one I hope will serve as a pilot program for others equally worthy.
After about five years of slowly building momentum, the crowd-funding sector of comics may be nearly 2 percent the size of the direct market. Based on analysis of the past three months of campaigns, funds generated through Kickstarter and Indiegogo would be roughly the equivalent of the sixth- or seventh-largest publisher distributing to specialty shops in North America.
While crowd-funded comics haven’t seen as brisk of an increase as digital comics, it’s a sector of the industry that’s undeniably growing. As more established creators and publishers experiment with running campaigns, they have pulled in their readers, increasing the awareness, and even the legitimacy, of the platforms. I’ve found this area to be under-studied, and I was curious to see just how economically significant crowd-funding is becoming to the comics industry. So I have collected data on every campaign that successfully raised funds through Kickstarter and Indiegogo from October 2013 to December 2013. I’m actually going further back than that, but that data isn’t ready yet; I’m still digging through the numbers, as data collecting, sorting and number-crunching can be challenging due to the different platforms and currencies. But I wanted to make public what I have so far because as we head into 2014, following Fantagraphics’ amazing Kickstarter campaign (as just one example), I believe we’re going to be seeing the industry embrace crowd-funding more and more, and there’s a lot we can still learn about how it works and how it affects comics.
Humanoids Inc. has big plans for 2014. In addition to releasing The Incal material never before published in the United States, the company will debut a new edition of the racy Barbarella adapted by Captain Marvel and Pretty Deadly writer Kelly Sue DeConnick.
That book will be joined by a trio of other releases to make the coming year a standout for the publisher; ROBOT 6 has an exclusive preview of the upcoming titles.
For the uninitiated, Barbarella was a popular science fiction comic strip by Jean-Claude Forest that debuted in 1962, when it played a significant role in the sexual revolution of the era. It was adapted into the cult-classic movie starring Jane Fonda, and is reportedly in development as a television series.
Using a previously existing translation, DeConnick will update the script for a modern sensibility, and gear it closer to the provocative tone of the original version.
The new year will also give us a prequel to The Metabarons, the classic series created by Alexandro Jodorowsky and Moebius. Jodorowsky is joined by Das Pastoras (Deadpool, Wolverine) for Metabarons Genesis: Castaka starting in March.
The line-up is filled out with two promising new titles for U.S. readers: Sam Timel and Corentin’s Milan K is a political thriller series in the spirit of The Bourne Identity; and Christian Durieux brings the lighthearted Benito Mambo, a magical tale about a kid who just wants to dance.
Read on for the full details and an exclusive look at the art:
The material is a sequel to the celebrated science fiction epic The Incal begun in 1981 by Alexandro Jodorowsky and the late Moebius. After more than 30 years, the epic will finally be available in its entirety in the United States. Humanoids has provided ROBOT 6 with an exclusive look at pages from the forthcoming U.S. edition of Final Incal by Jodorowsky and Ladrönn.
After the Incal was Moebius’ final contributions to the series. Jodorowsky was then joined by Ladrönn to complete the story cycle in Final Incal. Both works will be presented in premier editions formatted like previous Classic Collections releases of The Incal and Before The Incal.
To celebrate the conclusion of this seminal series, Humanoids will release Final Incal in two distinct formats: the same oversized (9.5-inch by 12.5-inch) deluxe edition with slipcase as The Incal, and Before The Incal Classic Collections, as well as in Humanoids’ Coffee Table format (12 inches by 16 inches). The latter will be an extremely limited and numbered edition that will include a book plate signed by Jodorowsky and Ladrönn.
Both editions will contain all three volumes of Final Incal from Jodorowsky and Ladrönn, in addition to the first volume of After The Incal, drawn by Moebius. The last cycle of the adventures of John Difool, After the Incal was not yet completed when Moebius stopped working on the series. So when Jodorowsky discovered José Ladrönn, he rewrote After the Incal for him, which morphed into Final Incal. Two variations thus coexist: After the Incal by Moebius and Final Incal by Ladrönn.