The Comics Observer Archives - Robot 6 @ Comic Book Resources
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.
I have a confession to make: I had a complete geek tantrum over the news that Joseph Gordon-Levitt is finalizing a deal to produce, and possibly star in and direct, a feature adaptation of Neil Gaiman and company’s The Sandman. I actually blurted out, “Who asked for this?!” Quite loudly. In a well-populated room.
I’m not proud; I should be above such pettiness. In fact, I should be thrilled because we all know what this means: DC Comics’ recently remastered collections of The Sandman are going to get a nice sales boost from the movie promotion (see Watchmen, 300, Scott Pilgrim, Hellboy, et al).
That’s nothing but good news for the creators, retailers and DC. It’s also good news for a new generation of readers that will likely be introduced to the landmark Vertigo series. More people being exposed to such an excellent example of comics is great, and when it comes down to it, I just want comics to succeed. So my feelings should be put aside, and I should be trumpet the adaptation as good news. But …
I don’t wanna. I really don’t wanna.
Marvel on Tuesday released the first preview of its remastered Miracleman #1, dividing fans with its modern coloring. Some of the comments come from newer comics readers still wondering what the big deal is about this series; surely, the “mehs” are already being prepared for the issue’s Jan. 15. debut.
Despite the updated coloring, it probably isn’t fair or even realistic to hold the series up against contemporary comics, despite Miracleman‘s significant influence on a good deal of them. Instead, it’s best to view these stories in the context of the times, which makes it easier to see why Miracleman (or Marvelman, if you prefer) is the natural stepping stone to Watchmen, and established many of the themes Alan Moore and many creators that followed him would explore in subsequent works up through the present day.
Among the relatively few fans who have read these stories, Miracleman is often held in the same regard as seminal works like Watchmen and The Dark Knight Returns. Both of those revered miniseries debuted in 1986 and caused a seismic shift in how superhero comics, and mainstream comics in general, were created and received. It’s worth noting then that a good amount of what Watchmen and The Dark Knight Returns later touched upon and accomplished had been done four years earlier with Marvelman. If it weren’t for the legendary rights quagmire that prevented those stories from being reprinted, Miracleman would almost surely be just as celebrated and commercially successful as its successors.
PictureBox may be the only comic book publisher to win a Grammy Award, as Dan Nadel helped design the packaging for Wilco’s 2004 album A Ghost is Born. What might be more remarkable is that despite such a high-profile achievement, it isn’t likely to be how the small yet innovative comics house will be remembered when it closes at the end of year. Instead, at least in comics circles, PictureBox will be remembered for somehow capturing and releasing a mercurial yet eye-catching merger of music and imagery that manifested as graphic novels, art books and magazines.
For all intents and purposes, PictureBox is Nadel. He’s an accomplished editor, designer, publisher and curator of “visual culture,” as he describes it. “Each project comes from my own tastes and relationships, and are rooted in what I believe in,” he wrote on the PictureBox website. “Since it’s just me running this thing, you’re pretty much seeing me through those books and this site.” Looking through the PictureBox catalog proves that to be true. It’s like walking into the house of the kid down the street who had a collection of comics you never heard of but instantly wished you had. Where did he find these people, these mad geniuses? Maybe if I read everything, I’ll understand.
Thursday at this time, many Americans will be digging in to their bountiful Thanksgiving dinner or, depending upon the time zone, blissfully enjoying a tryptophan coma. Feasting isn’t the only tradition, however: There’s also the custom of giving thanks, hence the holiday’s name.
With the end of the year approaching, it seems like a good opportunity to reflect on the state of comics, and celebrate what’s working. Sure, this crazy industry can be frustrating at times, but it also gets a lot of things right. So in keeping with the numerical motif of our namesake, here are six things in comics for which I’m thankful.
1. Image Comics is killing it
There are a lot of fantastic comics today. It’s been said a number of times by myself and others but it’s so fun to repeat: We are living in a new renaissance period for comics. I don’t think there’s ever before been such a sustained output of quality books. You can’t reasonably give credit for that to one publisher, but if we’re just looking at the major players in the direct market, Image Comics is just killing it this year. I don’t think they’ve ever had such a stellar line-up of quality creators putting out books that look fantastic, have great hooks to them, and stand on their own as solid entertainment.
Marvel’s announcement last week that a Muslim teenager living in New Jersey will star in the new Ms. Marvel series is an exciting step forward in diversifying superhero comics. And even better is the involvement of writer G. Willow Wilson and editor Sana Amanat, both Muslims, which should bring an authentic voice to the title.
The move is already garnering a lot of media attention, and I expect it will pique the curiosity of a number of people who never really expected a mainstream comic book to tell a story so closely connected to their own. This isn’t the first comic book to do something like this, but it’s remarkably significant.
I’m looking forward to Ms. Marvel, and I really hope the comic finds an audience (I’m also thrilled to see artist Adrian Alphona back on an ongoing series). But there’s no doubting this title is an underdog. Marvel often struggles with keeping solo series starring women; just ask fans of She-Hulk, or Rogue, or Carol Danvers. Poor Storm can’t even get more than a miniseries every 10 years or so. DC may be able to boast Wonder Woman and a number of female-starring Batman spinoffs, but both publishers have had limited success sustaining books that star minority characters. From Black Panther to War Machine to Steel to the current Batwing, there have been valiant efforts that ultimately get canceled. And I’m hard-pressed to think of a significant Marvel or DC book starring a character whose religion was such a strong crux of the premise.
Orson Scott Card wrote the Hugo Award-winning novel Ender’s Game and its sequels, short stories and related material. He also wrote a number of other novels, essays and comic books that have earned him significant praise and success. And … he has an uncomfortable track record with his position on same-sex marriage.
Despite somewhat backpedaling by calling the issue “moot” and resigning his position on the board of the National Organization for Marriage, Card’s history was not so easily forgotten by Geeks Out and the 11,800 people who signed the organization’s petition pledging to skip the feature film adaptation of Ender’s Game. After all of the uproar and protesting, Ender’s Game had a strong opening last weekend and has been garnering reasonably positive reviews. While a sequel is being debated, Card announced Friday he will be writing and releasing more books in the Ender’s Game series.
At least on the surface, it doesn’t look like the boycott did much, if any, damage, despite some PR scrambling ahead of the film’s release.
All of that got me to thinking about boycotts, petitions, and fans’ reactions in general when we’re faced with distasteful information about a creator whose work we enjoy.
Comics are truly entering the mainstream: They’ve become an annoying Facebook app.
Bitstrips allows its 20 million users to create comic strips of themselves as status updates, with a friend or as a greeting car; they can then be shared via the Facebook app or the new mobile app. And no, “20 million” is not a typo. Potentially some 20 million people are interacting with the language of comics in a way most never do – trying to create and clearly tell a story. Sure, that story is usually the equivalent of an inane status update, and “creating” is used very liberally here, as users choose from a finite number of backgrounds and settings that they customize.
Despite looking like a cross between Bratz dolls and Wii avatars (ie, bright and garish, squarely aimed at pre-teens), Bitstrips sprung forth from a comic artist. According to Know Your Memes, the mysterious Ba (surname unknown) was tired of re-drawing characters for a comics project, so he created a system where he could re-use customized characters and settings instead of drawing them from scratch every time. He teamed up with four other guys — graphic designers and comic fans — and launched Bitstrips at the 2008 South By Southwest in Austin. Bitstrips for Schools launched soon after as an educational tool, but things didn’t start to take off until 2011, when they caught the attention of Cartoon Network.