comics industry Archives - Page 4 of 78 - Robot 6 @ Comic Book Resources
New York Comic Con reportedly attracted more than 130,000 attendees over four days, meaning the six-year-old event is now roughly the same size as Comic-Con International, which has had to cap attendance because of space limitations. Last year, NYCC drew about 116,000 people; in 2007, its inaugural event, there were just 15,000.
ICv2.com receives the news from Lance Fensterman, global vice president of organizer ReedPOP, who lays out some of the changes this year, including a reduction in the number of three-day passes (allowing more new people to attend each day), and the use of RFID (radio-frequency identification) to try to clamp down on fraudulent badges and badge-sharing among exhibitors.
“I think we had wildly underestimated our fraudulent ticket issue,” Fensterman told tells the website. “We had the exact same number of ticketed people per day as last year, but if you looked at the common spaces, they were 40 percent less congested. We had a pretty big counterfeit problem.”
Despite objections by the San Diego Chargers and concerns about public access to the waterfront, the California Coastal Commission on Thursday unanimously approved the $520 million expansion of the San Diego Convention Center, viewed as critical to keeping Comic-Con International in the city.
While the blessing of the commission — it’s a state agency with regulatory oversight of land use and public access to the California coastal zone — removes one major obstacle, U-T San Diego notes there remains pending litigation to the project’s financing scheme, which calls for a hotel surcharge of 1 percent to 3 percent. Hoteliers have already agreed to the plan, and a judge has upheld the assessment as legal, but opponents have appealed the ruling, arguing the arrangement amounts to privatizing the city’s taxing authority.
Digital comics | Declaring that “the mainstreaming of digital publishing is nearly complete,” veteran technology writer Andy Ihnatko outlines three major steps the industry still needs to take: a move by Dark Horse to comiXology; the adoption of ePUB as an industry standard; and the abandonment of digital rights management. “We should be grateful to DRM,” Ihnatko writes. “‘What about piracy?’ wasn’t Marvel or DC’s only qualm about digital publishing, but it was a question that needed to be addressed before the major publishers could go all-in. But now that comiXology is up and running, and people have been ‘trained’ to use the new infrastructure, DRM is becoming less and less valuable with each passing quarter.” [Chicago Grid]
Digital comics | For readers only now discovering digital comics, Jeffrey L. Wilson provides a guide that covers the basics, from what they are to where they can be found and how much they cost. [PC Mag]
Tim Beyers of The Motley Fool recently speculated that comiXology could be positioning itself to go public. Or as he put it, “comiXology could be the next IPO multibagger.” He even asked CEO David Steinberger, who responded, “I would love to be significant enough to feel like we could do that. That would mean that it’s working, that the market is getting bigger.” Which is basically corporate for “Oh, God, I hope so!”
It may still be a few years off, but comiXology is definitely on the right track. The digital-comics platform just surpassed 200 million downloads, a milestone that was crossed exponentially faster than the 100 million mark. And no, it’s not all from free downloads. The company has been profitable since 2011, when Steinberger claims it made $19 million. That turned into $57 million in 2012. ComiXology’s expansion into the French market and the 10th anniversary of The Walking Dead, which coincides with the fourth-season premiere of the hit television series, are expected speed the company past 300 million downloads. This year’s launch of comiXology Submit is also likely helping push the needle further. Could comiXology hit $100 million in sales next year? If it stays on the current track, it seems entirely possible. ComiXology launched in July 2007 and turned a profit in about four years, an impressive feat, especially considering the state of the economy during that period.
“There are some really good reasons to do work-for-hire. It’s a valuable way to build a reputation. It’s probably not wise to devote 100% of your time to it, but only you know what your priorities and appetites are, and no one else has a right to judge them. And, yes, every job has its drawbacks and moments where it’s better to be flexible than absolute. I truly, truly understand having to take work you don’t love, or work with folks you don’t love, in order to make the rent. And early on, there are things I put up with that I now regret, and there are opportunities I lost because I pushed back, and there are still things I do sometimes to be a get-along guy that aren’t always in my best interests. Everyone’s threshold is unique, and sometimes you let someone take undue advantage because the cupboards are bare or because you’re dealing with a friend who’ll get yelled at if you don’t toe the line. I get that. Circumstances are circumstances. But if you never listen to another word I say, and I talk a lot, please know this: the only one watching out for your future is you.”
– industry veteran Mark Waid, from a lengthy “Open Letter to Young Freelancers” that’s a must-read not only for comics creators — of any age, and at any stage in their careers — but also for freelancers in other fields, to say nothing of editors, publishers and consumers.
“It might, if what DC was doing was impacting on their sales at all — but it really isn’t. Doesn’t mean we’re going to change the way we go about our business or anything, but for all that there’s a lot of uproar on the internet about whatever decisions DC is making, their sales remain constant. Sends a very clear signal to folks in charge both over there and elsewhere that it really doesn’t matter who works on what series, or how well or poorly they’re treated. So as a whole, the readership will reap what it sows.”
– Tom Brevoort, Marvel’s senior vice president-executive editor, responding to a fan who wondered if, “with DC continuing on their weird way of interfering with creative teams and basically hating people does this kinda give you guys a new sense of that you’re on target for the quality of product and creative composure that needs to help make the industry thrive.”
After 13 years, iFanboy announced this afternoon that it’s “ceasing normal day-to-day operations,” with only its podcasts continuing on the website. There will be no new written content.
“The simple fact is that our lives are much different now than they were even five years ago, and with families and day jobs and other opportunities all vying for our time and attention, iFanboy.com has been suffering for it and we couldn’t watch it suffer any longer,” co-founder Conor Kilpatrick wrote on the site. “It hurts us to not be able to put our all into this place that we’ve spent so many years building into a vibrant and wonderful community.
iFanboy, which was purchased in February 2010 by digital distributor Graphicly, split with the company in January 2013, even as website co-founder Ron Richards announced he had joined Image Comics as director of business development.
“After five years spent running iFanboy.com as our primary jobs, we had to transition back to running iFanboy part time after Graphicly handed it back to us in February of this year,” Kilpatrick continued, “and there just aren’t enough hours in the day to focus on everything we need to focus on in the manner that it deserves to be.”
There’s much more at iFanboy, including messages from many of the key contributors.
The Will Eisner Comic Industry Awards celebrated its 25th anniversary this year at Comic-Con International in San Diego. For a quarter century, the most prestigious award in comics has been recognizing the best — or, depending upon your perspective, getting it wrong for two and a half decades. However you feel about the results, the Eisners are established as our most respected and classy way for the industry to recognize excellence and put its best foot forward to the larger world.
It didn’t seem like there was a lot of acknowledgement of the anniversary, so I thought I’d take the opportunity to dive into the archives, sift through way too many numbers and names, and present 25 fun facts, figures and random whatnots.
So here now are 25 fun facts about the Eisner Awards:
Jack Kirby, the legendary artist who, with Joe Simon, created the genre of romance comics before going on to co-found the Marvel Universe with the likes of Stan Lee, Steve Ditko and Don Heck, would have turned 96 today.
If you’ve enjoyed stories about Captain America, the Fantastic Four, the Avengers, Challengers of the Unknown, Thor, Etrigan the Demon, Nick Fury, the X-Men, Klarion the Witch Boy, Black Panther, Ant-Man, the Wasp, the Incredible Hulk, Darkseid, the Red Skull, Kamandi or Mister Miracle — in comics, in film or on television — you should thank Kirby, who created all of those characters (and many, many others) either in collaboration with Simon or Lee, or on his own.
But most people reading this blog already know that. What you may not know is what’s being done today to celebrate Kirby’s birthday — and how you can help.
For the second year in a row, Jack Kirby’s youngest granddaughter Jillian is commemorating the legendary artist’s birthday by spearheading the Kirby4Heroes campaign to help creators in need.
On Aug. 28, what would have been Kirby’s 96th birthday, fans are asked to donate to The Hero Initiative, the only industry organization that provides financial assistance to creators who have fallen on hard times.
Some retailers have also pledged to donate a percentage of their profits on that day. Writing on Hero Complex, 17-year-old Jillian Kirby says some stores will host “birthday parties” for her grandfather and auction off original art to benefit The Hero Initiative. This year’s goal is $10,000, nearly double what was raised in 2012.
“I started the Kirby4Heroes campaign as a way to connect with my grandfather, who died the year before I was born,” Jillian writes. “I’ve grown so much closer to him through my endeavors in this area. I have to admit I’m astounded by him as an artist, family member and just a kind human being. Raising funds for those in the comic book industry in need of financial and medical assistance is a cause my grandfather Jack would have championed. He never turned his back on a person in need.”
Digital comics | Financial-services company The Motley Fool touches upon how digital has helped to boost the comics industry, rather than undermine print sales as some predicted it would. “Digital has not to anyone’s observation pirated the sales of comics. It looks like just the opposite,” writer and charts-watcher John Jackson Miller tells the website. And then, because it’s The Motley Fool, the story veers off into what investors can learn from digital comics — specifically, “three forces [that] conspired to transform digital from a threat into a catalyst”: quality, format and access. [The Motley Fool]
Creators | Brian K. Vaughan talks about producing the CBS sci-fi thriller Under the Dome and writing Saga as well as his digital comic The Private Eye. His take on Saga: “I definitely wanted to write about the experience of fatherhood and parenthood while also recognizing that’s extremely boring for most people. How do you talk about these mundane topics in an exciting way? Hopefully setting this story in a wacky sci-fi fantasy universe has given us room to tell this story with some visual spectacle and just Fiona Staples being awesome.” [USA Today]
Amid the flurry of news coming out of Comic-Con International in San Diego, digital-comics distributor comiXology announced this morning it has surpassed 180 million downloads worldwide. That’s just about nine months after the company hit the 100-million mark.
It’s been a year of growth for comiXology, which opened a Paris branch in January, leading to distribution agreements with French publishers Delcourt, Glénat and a dozen others. And just this week, the company announced a partnership with North American manga publisher Seven Seas.
However, it hasn’t all been about signing deals, as comiXology also launched the comiXology Submit self-publishing platform, as well as subscription and bundle features.
Hawkeye and Saga lead the ballot for the 2013 Harvey Awards, tying with nominations in seven categories, including best new series, best continuing series, best writer (for both Matt Fraction and Brian K. Vaughan) and best artist (for both David Aja and Fiona Staples).
ROBOT 6 was nominated for best biographic, historical or journalistic presentation, alongside Alter Ego Magazine, Jack Kirby Collector, Team Cul de Sac: Cartoonists Draw the Line at Parkinson’s and Marvel Comics: The Untold Story.
Named in honor of the late Harvey Kurtzman, the cartoonist and founding editor of MAD magazine, the awards are selected entirely by creators. Voting is open now through Aug. 19. The winners will be presented Sept. 7 during Baltimore Comic-Con.
The full list of nominees can be found below:
Zak Sally’s announcement that his latest Sammy the Mouse book is ready for purchase also includes some commentary about his experience with publishing the first book himself:
printing it was a nightmare. at the end of that process, i had to face the fact that the 5 months of frustration and banging my head against the wall of the “steep learning curve of being an offset printer” was all time taken away from the primary goal, which is MAKING the COMICS. and it was too much; both the time and the frustration.
This volume will be published by Uncivilized Books, which spares Sally the hassle of getting it printed while allowing him to sell it directly to consumers, which is the part he likes about self-publishing.
It’s a point that anyone considering funding their next book through Kickstarter would do well to consider. It has always seemed illogical to me to have every creator handling their own print run of 5,000 books individually — for one thing, not everyone is good at it, as Sally can attest. Beyond that, though, one of the most valuable functions a publisher can serve is streamlining the less creative parts of the process. Book production is a tricky business, and publishers have experienced people who know how to navigate the fairly technical process; a creator taking a book to the printer for the first time is likely to make mistakes and waste a lot of time. What’s more, an individual creator is never going to be able to negotiate a better price than a publisher who sends a continuous stream of business to the printer.
While many of us were enjoying our holiday, Comic-Con International organizers were busy releasing the programming schedule for Thursday, July 18, the first full day of the San Diego convention. The rundown for Friday, July 19 should come along early this afternoon.
As we’ve come to expect, Thursday’s lineup is a healthy mix of comics, television, toys, fantasy and film (although light on the latter, which take center stage on Friday and Saturday). The comics programming includes panels from Avatar Press, Bongo Comics (it’s the publisher’s 20th anniversary), BOOM! Studios, Dark Horse, DC Entertainment, Kodansha Comics, Marvel, Monkeybrain Comics (it’s that publisher’s first anniversary), TwoMorrows, Vertigo, Viz Media and Warp Comics.
However, that’s only for starters, as there are spotlights on Chris Samnee, Jeff Smith, J.H. Williams III, Dan Parent and Gary Frank, The Walking Dead‘s 10th-anniversary panel, and discussions about digital comics, gender in comics, LGBT webcomics and much, much more.
Check out some of the comics-related highlights below, and visit the Comic-Con website for the full schedule: