Conventions | Kandrix Foong, founder of Calgary Comic and Entertainment Expo, cautions latecomers that all 56,000 tickets for this weekend’s event are sold out. “We tell everybody now: ‘There are no on-site ticket sales,’” he said. “So they say: ‘OK, I’ll just try my luck when I get there.’ ‘No, no, no, you don’t understand. There are no on-site ticket sales. The end. If you show up you will be turned away. Sorry, but that’s the way it’s going to be.’” [Calgary Herald]
Conventions | Wizard World has released its annual report for 2012, and while its convention business was way up, from $3.8 million to $6.7 million, the company still finished the year with a net loss of $1 million. [The Beat]
Performance Designed Products, which already manufactures clip cases, iPad folios and iPod touch sleeves featuring Marvel characters, now has an exclusive line of Iconic Marvel Comic Covers cases for the iPhone 5 — available only in Apple stores and at Apple.com.
By “iconic,” PDP means landmark first appearances: Amazing Fantasy #15, featuring the debut of Spider-Man; The Avengers #1; The Incredible Hulk #1; and Giant-Size X-Men #1. Sorry, no Tales of Suspense #39, Journey Into Mystery #83 or Captain America Comics #1 … yet. They’re $34.95 each.
Continue Reading »
Awards | The 2013 Lynd Ward Prize for Graphic Novel of the Year, presented by Penn State University Libraries and the Pennsylvania Center for the Book, has been awarded to Chris Ware’s Building Stories. The jury’s comment: “Ware’s astute and precise renderings, composed with a tender yet unblinking clinical eye and fleshed out with pristine and evocative coloring, trace the mundane routines and moments of small crisis that his characters inhabit. In so doing, he produces not a document but a monument, a work whose narrative logic is architectural rather than chronological: a set of lives to be encountered, traversed, and returned to as the rooms and floors of a building might be over the years, still sequentially but not in a limited or decided-upon sequence. Stories, here, are meant not to be told but to be built, explored, inhabited—not merely visited but lived in.” [Pennsylvania Center for the Book]
This week’s new comic book releases included such noteworthy publications as the final issue of Paul Cornell and Ryan Kelly’s drama based on UFO folklore, Saucer Country, the latest installment of Marvel’s line-wide crossover-event series Age of Ultron, the one-issue return of some of Marvel’s fan-favorite Runaways characters in the tie-in Ultron #1, the latest issue of the best superhero comic book on the stands, Hawkeye, and the final issue of the Mark Millar-written comic-as-movie pitch series Secret Service, maybe better known as “What Dave Gibbons has Been Up to While DC Published Before Watchmen.” And those were just the serially published comic book-comics.
The comic I heard the most about this week by far, however, was Saga #12, the latest chapter in Brian K. Vaughan and Fiona Staples’ deservedly popular space fantas. And the reasons this particular issue was so talked about? Early in the week it seemed as Apple had rejected it for distribution for a couple of images of gay sex (although Wednesday afternoon, comiXology CEO David Steinberger said the move was actually due to his company’s mistaken interpretation of Apple policy).
I’m a somewhat-casual consumer of comics news these days, and yet I encountered iterations of this story over and over this week. And in the time between the story’s initial reporting and Steinberger’s clarification, I’ve seen stories on numerous comics news sites and the Comic Book Legal Defense Fund’s blog. A Google News search for “Saga #12″ and “Apple” brings up 9,370 results, the top two being for The Washington Post and NPR, so obviously the mainstream media bit on the story as well.
Having actually read the comic book, though, the content that earned the mistaken, temporary pre-banning was so small and inconsequential, I probably would have missed it. (Note: Some images below may be not safe for work.)
Passings | The New Yorker cartoonist Ed Fisher has died at the age of 86. Mike Lynch has a nice appreciation, with a sampling of cartoons and links to other obituaries. Fisher was diagnosed with Alzheimer’s in 2000, Lynch says, but even so, he often came to the New Yorker offices on “look day”: “He would be sitting on the couch, in the cartoonists’ waiting room, with his portfolio, ready to chat. I introduced myself and was really glad to meet him. More than once he pulled out his roughs and showed them to me. Ed treated me like an equal.” [Mike Lynch Cartoons]
Legal | Palestinian cartoonist Muhammad Saba’aneh, who was detained by Israeli authorities in early March, has been sentenced to five months in jail and must pay a fine of 10,000 shekels. Saba’aneh was charged with contacting “enemy entities,” according to his lawyer. He was originally arrested and held without specific charges, raising fears that he would be detained indefinitely. [FARS News Agency]
“Fiona and I could always edit the images in question, but everything we put into the book is there to advance our story, not (just) to shock or titillate, so we’re not changing shit.”
– writer Brian K. Vaughan, responding to Apple’s rejection of this week’s Saga #12 because of two panels depicting pretty explicit, if relatively small, images of gay sex (they’re on Prince Robot IV’s head-monitor). There’s already debate online whether gay sex is Apple’s issue, or whether it’s explicit sex in general, but it’s worth noting that the company apparently had no problems with the comic’s previous obvious depictions of cunnilingus, and penetration (of the heterosexual variety, complete with erect penis), not to mention the assorted sex shots that left a little something to the imagination.
We’ll not talk about that giant’s pendulous scrotum, which has to be the most “explicit” thing to appear in Saga. Certainly the most disturbing.
From the quarter bin to the slabbed copy sold at auction, sales of used comics are an important factor in the collectors’ market. Many a childhood comics habit started out with with secondhand copies picked up at thrift shops or garage sales for a dime, and a hefty area of the floor at every comics convention I have been to has been set aside for dealers with tables and tables of longboxes filled with old issues.
That’s one comics tradition unlikely to translate to the digital era: A federal judge has ruled the doctrine of first sale does not apply to digital files. In this case, they’re music files, but the case is being closely watched by book publishers.
The doctrine of first sale basically says that once you’ve bought a copyrighted product, you can re-sell it, rent it out, lend it, or do whatever you like with it — except reproduce it — without any obligation to the copyright owner. This allows comics shops to sell used comics and libraries to lend out graphic novels without having to pay royalties, but for obvious reasons, its application to digital products is problematic.
In “By the Numbers,” ROBOT 6 takes a look back at the events of the past five days … in numbers. Our starting point this week is Wednesday’s announcement that retailers ordered a record-breaking number of comics for Free Comic Book Day, an international event that will draw millions of customers into specialty shops on May 4.
However, there was another figure that’s almost as impressive: the print run for the latest volume of the hit manga One Piece.
It seems Sex doesn’t sell, at least through Apple.
The new Image Comics series by Joe Casey and Piotr Kowalski debuted Wednesday virtually everywhere, except on the Image Comics iOS and comiXology COMICS iOS apps, as it ran afoul of the App Store’s frequently bewildering rules governing sexual content.
As that policy isn’t likely to change for subsequent issues, the publisher is suggesting that readers purchase digital copies on iBooks or directly from the Image Comics website, and then sync them to their iOS device and preferred app. Sex is also available on the comiXology website.
As we finish off Year Five of digital comics (depending on how you count things), the distribution method is positioned to bring in a continually growing sector of new readers.
comiXology, the market leader, is ending 2012 as the third highest-grossing app of the year for the iPad. That’s up from the 10th spot last year, which is even more remarkable when you consider virtually no other app made an appearance on both lists. I can’t imagine that could be accomplished strictly with purchases from direct-market customers crossing over to digital. And when you take into account that direct-market sales have also been improving, that couldn’t happen even if every reader in comics got a big raise this year and was buying both digital and print copies. Worst-case scenario, we’re winning back lapsed readers. But mixed within those two groups (current and lapsed/returning readers) has to be a third, even if only a small percentage at this time. It seems too good to be true but it’s becoming more and more likely that the elusive new reader is being reached.
As digital sales continue to grow (“getting close to 25 to 30% of print sales,” for Robert Kirkman), several elements are in place, or just about in place, that could be creating a perfect storm to increase that new readers section of the pie.
Digital editions of this week’s DC Comics titles were available as early as last night on some platforms, hours before their traditional release — and before most brick-and-mortar stores open for New Comics Day.
Less than a week after the publisher announced it would offer its full line of periodicals across all major e-bookstore platforms, visitors last night to the Barnes & Noble Nook Store could access new issues of Batman, Batgirl, He-Man and the Masters of the Universe and Saucer Country, among others. A check early this morning showed the same availability on comiXology, Amazon’s Kindle Store and Apple’s iBookstore. We’ve verified the issues are downloadable and readable.
Previously, DC’s new comics debuted Wednesdays at 2 p.m. ET/11 a.m. PT on comiXology, giving direct-market retailers a leg up on sales. We’re awaiting comment from DC to learn whether this signals an official change in its digital-release policy.
Meanwhile, a glance this morning at comiXology’s Same Day As Print page revealed some new issues from other publishers — notably, the debuts of Marvel’s All-New X-Men, Fantastic Four and Thor: God of Thunder, and Image’s Saga #7 and The Walking Dead #103 — are already on sale; the statuses of some titles changed from “Pre-Order” to “Buy Comic” even as this paragraph was being written. According to the comiXology blog, non-DC new releases previously went live “around 10 a.m.”
DC Comics is expanding its digital reach by making its full line of periodicals available for download from Amazon’s Kindle Store, Apple’s iBookstore and Barnes & Noble’s Nook Store.
With the move, which begins today, DC becomes the only comics publisher to offer its line of titles across all major e-bookstore platforms. The company previously had sold digital editions of its monthly comics exclusively through comiXology.
“We were the first to offer our entire comic book line same-day digital and now we are the first to offer fans the convenience of multiple download options,” Co-Publisher Jim Lee said in a statement.
DC Comics announced a new digital storefront in Apple’s iBookstore this week, and for now, it’s filled with Batman graphic novels. The graphic novels were already available in iBooks, but the storefront pulls them all together in one place. Of course, you can also buy DC’s digital graphic novels via comiXology or DC’s comiXology storefront, or from DC’s Amazon storefront.
You might want to shop around a bit, though, because several of those books are cheaper on Amazon than in the iBookstore: Frank Quitely and Grant Morrison’s Batman and Robin, Vol. 1, is $9.68 on the Kindle, $11.99 on iBooks. Frank Miller’s The Dark Knight Rises and The Dark Knight Strikes Again are $9.99 on Kindle versus $12.99 in the iBookstore. There are a couple of more, and in each case that I saw, Kindle beat Apple, at least on price, and all were readable using the Kindle apps on the iPad and Android devices, so these digital versions are in direct competition with each other.
What’s going on here? My understanding was that Apple’s agreement with publishers who use iBooks is that they won’t sell them at a lower price elsewhere. Of course, they may be easing back on that since the U.S. Department of Justice sued them, alleging price-fixing. Or maybe it’s just a glitch.
This week, 2000AD launched its new iOS reader, adding the U.K.’s iconic anthology to Apple’s lucrative Newsstand application. 2000AD artist Paul “PJ” Holden is a longstanding commentator on the digital distribution of comics, frequently blogging and podcasting about the subject, since long before the launch of the game-changing iPad device. ROBOT 6 asked Holden to review the app, and he quickly obliged.
PJ Holden: First, let me get this out of the way, I’m a 2000AD artist, who’s worked for “The Galaxy’s Greatest Comic” (as it is sometimes known) for something over a decade. In fact, I’m currently the artist on “Judge Dredd” (at least for the next two weeks). So, in some respects, I have a horse in this race. Rebellion, the parent company of 2000AD, has had a curious relationship to digital comics. They bought the digital comics company Clickwheel a number of years ago, far in advance of the real blossoming of digital comics with the advent of the iPad (and whatever you feel the merits of Apple vs Android, the iPad was what really opened the doors to the tablet becoming a mass-medium digital comic reading device) and have been selling PDF/CBZ formats of 2000AD ever since. Since then they’ve also opened a digital comic shop on the 2000AD website itself, again selling DRM free versions of 2000AD (in both PDF and CBZ formats). But now, at last, they’ve joined the surprisingly small ranks of publishers who’ve put out on iOS comic reader, and, as a publisher which also happens to be a video game developer, the only thing that’s really a wonder is how long it’s taken.
The venerable British anthology 2000 AD will now available digitally worldwide, through the Apple Newsstand, the same day copies go on sale in the United Kingdom. That’s good news, certainly, for U.S. fans.
“Making 2000 AD as accessible as possible is something we’ve been working towards for some time,” Editor Matt Smith said in an announcement on the magazine’s website. “For the first time we can offer easy, quick digital subscriptions so that readers can download the latest issue with a single push of a button. If you’ve ever had trouble getting hold of the latest 2000 AD, don’t like waiting for the physical Prog to reach your shores, or you just want the ease of having digital copies then our new app is ideal.”
As an introduction for new readers, Rebellion is offering a free 69-page sampler issue featuring such recent 2000 AD stories as “Judge Dredd: Day of Chaos,” “Zombo” and “Ichabod Azrael.”
Subscribers can save up to 24 percent, and gain free access to a range of back issues. Single issues can be purchased for download for $2.99; a one-month subscription is $10.99, while three months is $2.99. An entire year goes for $109.99.