digital comics Archives - Robot 6 @ Comic Book Resources
Manga | In a two-part interview, ICv2 talks at length to veteran Dark Horse manga editor Carl Horn about how the manga market has evolved since 1987, which manga do and do not do well, and what the future may hold. The good news is the market seems to be recovering after several years of declining sales; the hard evidence is that Dark Horse is sending more royalties back to the Japanese licensors. And the new reality is that while the market may be smaller, almost everyone knows what manga is now: “You can’t simply put a manga on the market and expect it to sell because it is manga (that was one of the nice things about the boom because you could take a chance on more marginal titles), but on the other hand you don’t have to do as much explaining about what manga is anymore.” In addition, ICv2 lists the top 25 manga and the top 10 shoujo and shonen properties from the last quarter of 2013. [ICv2]
Conventions | The Salt Lake Comic Con spinoff event FanXperience is shaping up for its April 17 debut with the addition of KidCon, a pavilion dedicated to younger attendees. “We don’t want the impression that we have KidCon there for everything else to become less kid-friendly,” says co-founder Dan Farr. “Although I would imagine 99 percent of the people that are coming are going to take their kids throughout the whole hall, it’s just to have an area where they can go and spend a little more time with their kids.” The inaugural Salt Lake Comic Con in September drew an estimated 80,000 attendees; organizers anticipate as many as 100,000 for FanX, which will have almost double the floor space. [Deseret News]
Legal | The judge was a no-show for what was supposed to be the announcement of the verdict in the trial of Algerian cartoonist Djamel Ghanem, who stands accused of “insulting the president of the republic” in a cartoon that was, bizarrely, never published. Ghanem’s lawyer says the verdict has been postponed; the cartoonist faces up to 18 months in prison and a fine of 30,000 dinars ($380 U.S>) if found guilty. [Global Post]
Digital comics | Japanese publisher Kadokawa plans on March 22 to launch ComicWalker, a digital comics service that will carry manga in three languages: Japanese, English and Chinese. The stories will include some well-known classics (Sgt. Frog, Neon Genesis Evangelion, Gundam: The Origin) as well as new manga, and apparently they will be free. The launch will include 150 titles, 40 of which will be translated, so it sounds like not everything will be available in English right away. [Anime News Network]
Conventions | Lewis Trondheim, a former winner of the Grand Prix d’Angoulême and therefore a member of the academy that chooses each year’s winners, provides an insider’s view of the voting and the causes and effects of the changes that have been made over the past two years: “In its forty-three years, the festival has had, I believe, three Americans, one Argentine, one Swiss, three Belgians, and over thirty Frenchmen. This doesn’t seem to correspond with the reality of the comics world to me.” [The Comics Journal]
The publisher’s digital subscription service allows users to access more than 15,000 classic and newer comics on their desktop browser or through the Marvel Unlimited app. A monthly membership normally costs $9.99; a basic annual subscription costs $69.
Publishing | Viz Media’s Kevin Hamric discusses how the availability of streaming anime has been boosting sales of the related manga. Series that have gotten a boost lately include Blue Exorcist and Kamisama Kiss: “Overall streaming has had a positive effect on our book sales. In recent years, Blue Exorcist is probably the biggest example I can give — one of newest hits under our Shonen Jump Advanced imprint. We launched our series [in 2010] and had very good sales (they matched our expectations), but once the anime was available through streaming, sales jumped through the roof, and that was in 2011. So streaming was fairly young at that time. Once the anime was streaming, sales of the manga were way above expectations.” [ICv2]
Passings | Comics journalist and commentator Bhob Stewart died Monday at the age of 76. Stewart kicked off his career in 1953, at the age of 16, by publishing an EC fanzine; the following year, as Carol Tilley documented in a recent talk, he sent a copy to anti-comics crusader Fredric Wertham, along with some tart commentary. Stewart went on to become an influential voice in the conversation about comics; he wrote several books, taught classes at the School for Visual Arts, and curated the first exhibit of comics art in a major American museum. Heidi MacDonald credits him with inventing both Wacky Packages and the term “underground comics.” [The Beat]
Editorial cartoons | German cartoonist Burkhard Mohr has apologized for a cartoon depicting Facebook founder Mark Zuckerberg with a hooked nose, an image that critics said was reminiscent of Nazi propaganda. The cartoon appeared in the early editions of the Munich newspaper Sueddeutsche Zeitung, but Zuckerberg’s face was replaced by an empty hole in later editions. “I’m very sorry about this misunderstanding and any readers’ feelings I may have hurt,” Mohr said. “Anti-Semitism and racism are ideologies that are totally alien to me” [ABC News]
Diamond Comic Distributors’ digital comics program, Diamond Digital, will shut down on Friday, although titles purchased through the service will continue to be available via iVerse’s Comics Plus app.
The news broke Friday at The Hollywood Reporter, where Graeme McMillan picked up on an email sent to retailers two weeks ago. The stated reason: “18 months after its launch, results indicate that Diamond Digital has not gained enough traction in the marketplace to continue.”
There are a lot of reasons why Diamond Digital didn’t work, but I think chief among them is the initial concept was flawed. The idea wasn’t to provide readers with a simple, easy-to-use digital comics service; it was to protect brick-and-mortar retailers by providing them with a digital comics service that wouldn’t compete with them. That drive to avoid competition resulted in a clunky and almost-unusable platform. Meanwhile, comiXology took a different tack and expanded the comics market, bringing in new readers — who then found their way to comics shops and bought print comics.
Of course, the biggest problem operationally was that Diamond Digital catered to a market dominated by Marvel and DC but didn’t carry single-issue comics from either publisher. And granted, that is a huge flaw.
Legal | It looks as if Tunisian cartoonist Jabeur Mejri will not be released from prison any time soon, despite being pardoned by President Moncef Marzouki for charges stemming from his cartoons depicting the Prophet Mohammed. It turns out that the mysterious other criminal case that’s been holding things up is a charge of embezzlement that dates back a few years to when Mejri was working for the Tunisian railways. Neither Mejri’s lawyer nor his family had been aware of the charge, but the judge in the case issued a warrant for Mejri’s continued detention on Jan. 9. His lawyer will submit a bail request, which he hopes will be granted next week. [Independent Online]
Creators | Chris Ware talks about his Building Stories in an interview that was recorded before a live audience in Portland, Oregon. [Oregon Public Broadcasting]
Top Shelf Productions, home to some very successful graphic novels — among them, March and The League of Extraordinary Gentlemen — has announced it will make its graphic novels available digitally as DRM-free direct downloads. That’s something readers say they want, and it’s a model that Image Comics has already implemented.
Digital readers have been clamoring for this sort of thing on message boards and in comments sections for some time, although it remains to be seen whether the warm feeling of absolute ownership that comes with a DRM-free PDF trumps the convenience of cloud storage, easy syncing and Guided View offered by comiXology. As a matter of fact, Top Shelf’s Chris Ross and comiXology’s John Roberts discussed this very point in July at Comic-Con International and found a surprising amount of common ground.
Digital comics | The Korea Times takes a look at the comics market in that country, where government suppression of comic books in the 1990s (and school-sponsored book burnings even before that) has combined with the current demand for free digital material (in the form of the wildly popular “webtoons”) to create an uncertain environment for cartoonists trying to make a living from their work. “Unlike Japanese manga, which continues to drive a large part of the country’s publishing market and provide a creative influence to movies, music and video games, Korea’s cartoon culture was deprived of its opportunity to thrive,” said Lee Chung-ho, president of the Korea Cartoonist Association. “However, the most difficult process for us will be to find a sustainable business model. Readership has increased dramatically through webtoons, but you have no clear idea on how many of these readers will be willing to pay for content.” [The Korea Times]
Publishing | Variety speaks with Madrigall President Antoine Gallimard about how the French publishing giant and its holdings (Gallimard, Casterman, Flammarion and Futuropolis, among them) handle the film rights to their many graphic novels, and the popularity of comics as source material: “I think that the French publishing and film industries feed on, complement, and ultimately do help each other. The number of films adapted from books that are produced every year in France is eloquent testimony to this.” Noting that, “In recent years, there’s a real feeding-frenzy for graphic novels, comic books,” Gaillimard says, “Comedy, in all its variants, is the most popular of adapted materials.” [Variety]
Legal | An Algerian judge has made a preliminary recommendation of 18 months’ imprisonment for cartoonist Djamel Ghanem for drawing a cartoon, which was never published, that government officials deemed offensive. In an odd twist, Ghanem was sued by his own newspaper, La Voix de l’Oranie, which tends to favor the current administration, and as a result, he has been blackballed by the Algerian media. The cartoon is critical of President Abdelaziz Bouteflika’s bid for a fourth term but doesn’t even depict the president — it shows two people in conversation, comparing the fourth term to baby diapers — Ghanem said the point was that Algerians were treated like children. Pressed by the district attorney to admit the cartoon was insulting to the Bouteflika, Ghanem insisted that wasn’t his intention. [Global Voices Online]
Manga | While at the Angouleme International Comics Festival, I had a chance to study the French manga market and talk to some of the publishers. Manga represents more than one-third of the French comics market (last year, there were more new manga releases than BDs), and sales and production dipped for the first time last year. [Publishers Weekly]
Comics | Gary Cox rounds up reactions from refugees to the Australian government’s online comic that warns them not to try to enter the country without a visa. “The people who are coming here are not economic migrants, they’re coming to have a safer, peaceful life here,” says Ibrar Hassani. And an advocate for refugees pointed out that the images of refugees suffering in detention centers were evidence that the government is deliberately mistreating them. [SBS]
Publishing | DreamWorks Animation’s announcement on Monday that it is launching its own book-publishing unit doesn’t mean the end of the road for its comics licensees, at least not yet: ICv2 talked to representatives from IDW Publishing, which publishes the Rocky & Bullwinkle comics, and Ape Entertainment, which has had a number of DreamWorks licenses, and both say that this won’t affect their comics. [ICv2]
Auctions | A collection of comics that included the first issues of The Amazing Spider-Man and the British satirical comic Viz, as well as long runs of several Marvel series, brought in almost £25,000 (about $41,300 U.S.) at an auction in Newcastle, England. The majority of the comics were from a single collector whose wife decided to put them up for sale after he died. For those who are curious about the details, Duncan Leatherdale of The Northern Echo liveblogged the auction. [BBC News]
Comics sales | ICv2 crunches the January numbers and calculates that just one comic, Batman #27, sold more than 100,000 copies in January, something that hasn’t happened since August 2011; this follows a weak December in which only three comics broke the 100,000 mark. The retail news and analysis site also lists the top 300 comics and graphic novels for the month. [ICv2]
Creators | Batman writer Scott Snyder talks about his plans for Batman #28, writing the Riddler, working with artist Greg Capullo on the action sequences, and getting ready for Batman’s 75th anniversary. [Hero Complex]
Creators | Eugenia Williamson profiles Shelli Paroline and Braden Lamb, whose work as artists on the Adventure Time comics has brought them an unexpected measure of fame. [The Boston Globe]
This weekend marked the 50th anniversary of the Beatles’ arrival in America and their appearance on The Ed Sullivan Show.
The intersection of the Beatles and comics began a year earlier, though, when Paul McCartney told the music magazine NME that he would like to appear in The Dandy, a popular weekly children’s comic (almost 50 years later, he got his wish, as he appeared in the final issue).
In their heyday, the Beatles made frequent cameos in comics, and were often the subject of comics themselves; over the past few years, however, comics creators have taken a retrospective look at not just the musicians but the times they lived in and the personalities around them. Here, then, is a look at four comics, all very different, but each with its own appeal to those of us who remember when the Beatles were hot—and those who want to relive it in the pages of comics.