comics industry Archives - Page 4 of 84 - Robot 6 @ Comic Book Resources
Retailers gave away a record 4.7 million comics on Free Comic Book Day, up slightly from the more than 4.6 million handed out in 2013. According to Diamond Comic Distributors, more than 1 million fans — an attendance record — showed up at more than 2,100 participating locations on May 3.
“Free Comic Book Day was a tremendous success this year,” FCBD spokesperson Jason Blanchard said in a statement. “A large percent of participants celebrated FCBD for the first time and loved it! The fans were pleased with the variety of comics available and commented on the fact there were numerous kids comics, making FCBD an even bigger family-orientated event.”
Retailing | Finally breaking its silence regarding the feud with Hachette over sales terms, Amazon acknowledged it’s buying less print inventory and “safety stock” from the publisher and is no longer taking pre-orders for its titles. And while Amazon conceded that “Hachette has operated in good faith and we admire the company and its executives,” the retail giant said “we are not optimistic that this will be resolved soon.” The company also recognized the affect the dispute may have on authors, revealing it offered to fund 50 percent of an author pool to help mitigate the impact. Hachette responded, saying it was glad Amazon has admitted its actions have an effect on authors: “We will spare no effort to resume normal business relations with Amazon—which has been a great partner for years — but under terms that value appropriately for the years ahead the author’s unique role in creating books, and the publisher’s role in editing, marketing, and distributing them, at the same time that it recognizes Amazon’s importance as a retailer and innovator.” [Publishers Weekly, GalleyCat]
In an industry that’s quick to trumpet distributor-level sellouts and multiple printing, publishers and creators are generally reluctant to reveal any actual sales numbers. Sure, there are those monthly direct-market sales estimates, but they’re just that — estimates (and most anyone who attempts to divine meaning from them is usually quickly reminded of their inaccuracy).
And so it was refreshing to see Warren Ellis disclose orders for the first issue of Trees, his new Image Comics collaboration with Jason Howard, in his Orbital Operations e-newsletter. Or, as he puts it, “I am going to tell you a thing that I probably shouldn’t.”
Retailers ordered about 38,500 copies — “I don’t recall the precise number and can’t check it right this second,” he writes — and he and Howard authorized a print run of 50,000.
Ellis confesses, “That’s a big overprint, and it could easily blow up in our faces — if the overprint doesn’t sell, then the print cost is taken out of our hides. On the other hand: if you go looking for it, and your store tells you it’s sold out or that they couldn’t get any, you can tell them that I told you we printed 12K extra copies.”
Conventions | Lance Fensterman, ReedPOP’s global senior vice president, talks about his company’s strategy of focusing on a few big shows, rather than a lot of smaller ones, and gives the numbers for last month’s Chicago Comic & Entertainment Expo: Attendance was about 62,900, up 18 percent from last year, and the show floor grew by 15,000 square feet. Attendees are mostly in the 18-to-35 age group, and the majority are male, although the proportion of women at C2E2 has increased by 6 percent since 2011. Male or female, many of the folks on the floor seem to be “casual consumers” rather than “hardcore fans”: About 50 percent of attendees at New York Comic Con were there for the first time. “Depending on which exhibiting company you’re talking to, they either love it or they’re not sure what to do with it,” Fensterman said. “You’re delivering new readers and new potential consumers. We think it’s cool that you’re getting that fresh perspective, not quite so jaded (been there, done that).” [ICv2]
The husband-and-wife team of Fred Van Lente and Crystal Skillman have launched a Kickstarter campaign to help fund King Kirby, a play about the life of legendary comics creator Jack Kirby. Characterized as “a real-life Adventures of Kavalier & Klay,” the production is set to be staged at Brooklyn’s Brick Theater as part of the Comic Book Theater Festival on June 20, the day the campaign ends.
“King Kirby has been a long-term passion project of mine,” Van Lente, known for his work on such comics as Action Philosophers, Archer & Armstrong and The Incredible Hercules, said in a statement. “With Crystal’s help, it’s down on paper. Now, with your help, we’ll bring this crucial piece of comics history to life on stage.”
On the opening night of the Toronto Comic Arts Festival, organizer Christopher Butcher articulated a simple and very important vision for the event:
I looked at the people we were already approaching for 2014 last year, and we had an incredibly strong lineup already of people who wanted to participate who were women who were working in the industry with a history or who were fresh faces doing exciting, wonderful material, and we decided that was going to be an unspoken theme, we were going to really try to spotlight, highlight, the work of women in the industry … This isn’t a one-year thing for us. This isn’t just a theme this year, we aren’t going to be going back to anything, I think we have done a good job of showing the diverse faces of the comics industry but we can always be better… I want us to continue to be as inclusive as possible and to include all different kinds of work. I want comics to be the theme of TCAF and that means including everyone who makes comics, and particularly people who are doing a good job.
Then Butcher did something truly amazing: He introduced a panel of three women that was not titled “Women in Comics.” At TCAF, women were simply treated as equals and judged on their merits. And trust me, I walked the halls at the Toronto Reference Library and came back with two bags of comics and graphic novels, so I know: There were no charity cases at TCAF. Every exhibitor, male and female, was top-notch. This is a show that a huge number of people want to be a part of, so organizers can pick and choose. What they did this year was simply choose more women, which makes sense in a field where women have been well represented for many years. (There were plenty of men as well, they just weren’t in the majority as they are at every other show.)
With April sales numbers released from Diamond Comic Distributors, a subtle pattern has revealed itself: Dark Horse has reclaimed its position as fourth-largest publisher from IDW Publishing for three months straight. It’s a streak of growth in market and dollar share that hasn’t happened for Dark Horse since fall 2011.
It’s great news for an industry mainstay that seemed to be getting eclipsed by the younger IDW at its own game of mixing licensed properties with creator-owned titles. Whether it’s temporary or not, digging into the sales charts, it’s clear there’s more stability in Dark Horse’s catalog than there might first seem.
Obviously Star Wars is the property many know the company for, and when it was announced the license would move at the end of this year to Marvel, some worried how Dark Horse would carry on. However, most publishers realize that no license is forever, so Dark Horse has built a diverse library that seems to be lifting it up now. Despite such diversifying, Star Wars is still the big seller at comic shops, but it’s only the beginning. The back-to-back launch of The Star Wars, a comics adaptation of an early draft of George Lucas’ screenplay, and a back-to-basics Star Wars by Brian Wood provided two accessible titles; if you’d ever seen the original Star Wars trilogy, you’re all set. The last issue of The Star Wars comes out later this month, with a collection in both hardcover and softcover to follow in July.
Toronto has become Comics Town this week, as the Toronto Comic Arts Festival (aka TCAF) presents an entire week of events capped by a two-day MoCCA-style show this weekend at the Toronto Reference Library.
As it has in previous years, the event has drawn a stellar list of comics creators, including Lynn Johnston and Kate Beaton (who will be doing a kick-off panel tonight, moderated by Raina Telgemeier), Jeff Smith, Trina Robbins, Ed Brubaker, Kazu Kibuishi, Michael DeForge, Darwyn Cooke, Luke Pearson and Moyoco Anno. The list of debut books includes Jillian and Mariko Tamaki’s This One Summer, Michael DeForge’s A Body Beneath, Anno’s Insufficient Direction, Gabrielle Bell’s Truth Is Fragmentary and Box Brown’s Andre the Giant. You can just save this list now and use it as a cheat sheet for next year’s Eisner nominations.
And, recognizing the most important demographic in comics, there will be a full slate of children’s programming on Saturday.
TCAF has an indie vibe, more in the vein of MoCCA and SPX than Wizard World, but with a strong manga component. There are no cast members from The Walking Dead, no Marvel and DC panels, and no booths selling T-shirts or plushies. Cosplay is politely, but firmly, discouraged:
Retailing | While Captain America: The Winter Soldier Ultimate Collection cracked Nielsen BookScan’s Top 20 graphic novels sold in bookstores, making it the first Marvel or DC Comics release since January to do so, the April chart was again dominated by three familiar titles: The Walking Dead, Attack on Titan and Saga, which claimed a combined 13 spots. The horror series by Robert Kirkman, Tony Moore and Charlie Adlard led the trio with six volumes, followed by Hajime Isayama’s dystopian fantasy with four, and Brian K. Vaughan and Fiona Staples’ space opera with three. The 36th volume of Masashi Kishimoto’s hit manga Naruto was No. 1 in April. [ICv2.com]
Events | On the eve of the 11th Toronto Comic Arts Festival, The Japan Times looks at both the growing presence of manga, and Dork Shelf talks with festival director Christopher Butcher about its Comics vs. Games 3 showcase. Meanwhile, the National Post is running a series of conversations between artists attending TCAF, beginning with Georgia Webber and Seo Kim, and Réal Godbout and Nick Abadzis. You can read more of its festival coverage here. [Toronto Comic Arts Festival]
If you had pinned your hopes of attending Comic-Con International on the annual resale of refunded or unallocated badges in June, we have some bad news: There won’t be one.
Convention organizers announced this morning that, “due to an extremely low rate of refunds and cancellations this year,” they’re simply unable to hold a resale.
In documents filed this morning with the U.S. Securities and Exchange Commission, the company attributes that growth to holding four conventions in the first quarter of 2014, versus just two last year, better marketing and advertising, and increased admission prices. Each of those events — in Portland, Oregon, New Orleans, Sacramento, California, and Louisville, Kentucky — averaged about $1.3 million in revenues, up from $896,737 in 2013.
However, gross profit in that same period decreased from 46 percent to 37 percent, which Wizard World chalks up to the cost of increased advertising for each convention. The company reported a net profit for the quarter of $692,041.
Responding to a recent assertion by a DC Comics representative that “We’re all good” with the late Bill Finger and his family, the granddaughter of Batman’s uncredited co-creator has made it clear that’s not the case.
“I am currently exploring our rights and considering how best to establish the recognition that my grandfather deserves,” Athena Finger said in a statement.
Characterized by biographer Marc Tyler Nobleman as “the dominant creative force” behind Batman, Bill Finger is widely acknowledged with such contributions as the Batmobile, the Batcave, the name Gotham City, Alfred Pennyworth, Commissioner Gordon, the basic look of the Dark Knight’s costume, and numerous villains and supporting players. However, because of the contract Bob Kane negotiated with what would become DC Comics, only he receives official credit for the creation of Batman and most of those foundational elements.
Long a sore spot with fans and creators alike, the matter surfaced again last month at WonderCon Anaheim, when participants on a Batman panel were asked their thoughts about Finger not receiving “created by” credit. Larry Ganem, DC’s talent relations director, replied, “We cherish what Bill Finger did, and his contribution to creating Batman. We’re all good with Finger and his family.”
Publishing | In the wake of the ban in Saudi Arabia of the animated adaptation of The 99 comic, creator Naif Al-Mutawa writes about what he had to go through in the first place to get approval in that country for the Islamic superheroes (one of the steps was the sale of Cracked magazine at a loss so his company would be sharia-compliant to the satisfaction of an Islamic bank). He looks at what led to the fatwa, and concludes by seeking one of his own, posing questions for the clerics who issued the decree. [The National]
Publishing | As part of its five-year anniversary celebration, Multiversity Comics surveys such industry figures as Eric Stephenson, Rachel Deering, Tom Spurgeon and Gina Gagliano about the biggest changes that have taken place during that time, and where comics are headed. [Multiversity Comics]
Publishing | I talked with TOON Books founder Francoise Mouly about her new imprint, TOON Graphics, which will feature “visual books” (picture books and comics) for readers ages 8 and up. The line launches with three titles: Theseus and the Minotaur, by Yves Pommaux, Cast Away on the Letter A, by Fred, and Hansel and Gretel, retold by Neil Gaiman and illustrated by Lorenzo Mattotti. [Publishers Weekly]
Commentary | Former DC Comics senior editor Joan Hilty tackles the issue of sexism in comics and calls for publishers to include more women in their senior editorial rank:. “Women are getting the bestselling books into stores and greenlighting the million-dollar movie franchises, but they’re barely represented among the creative executives who map out the universes and storytelling strategies. That’s where you cement broad-based, long-term loyalty to authors and characters, tap new audiences and trends, and grow readership, without which none of those books or movies would exist.” [The Guardian]
Conventions | Ross Lincoln gathers up the threads of a story that’s been unfolding over social media for the past few days: A cosplayer expressed concern that the Facebook cosplay gallery for the inaugural Cherry City Comic Con in Salem, Oregon, featured significantly more women in costume than men. Displeased by the dismissive reply from the administrator of the Facebook page, she sent a private message asking for a refund of her convention registration fee, explaining, “I don’t think this will be a safe place for female cosplayers.” Organizer Mark Martin posted that request on his personal Facebook page with the response, “despite the no touch policy, the family friendly policy, the 3 security guards at all times, and the fact that you’re bat-shit crazy? Refunded!”
Several prominent cosplayers picked up on that, and it became a cause celebre on Twitter and Facebook for a couple of days; meanwhile, things got more complicated with sock puppets and a possibly fictitious con representative getting involved. In the end, Martin apologized; to give organizers their due, the convention includes a harassment policy in its official rules and policies. The con will take place on May 10-11. The Daily Dot has more. [The Escapist]