Axel-In-Charge: Extending "Secret Wars," Excitement for a "Totally Awesome Hulk"
The cover of Crisis on Infinite Earths #7 (which hit comics shops in the first week of June 1985) screamed, “This is it! Double-sized SHOCKER!” However, the ending had been spoiled about two months before, when DC Comics revealed this was when Supergirl would die. (The April 10, 1985, edition of USA Today also revealed the fates of the Earth-Two Superman and Lois Lane, seven months early.)
Usually I try to be somewhat coy about Crisis’ plot twists, as if I were coming to it for the first time. With this, however, there’s little use. By now everyone and their super-cat knows Supergirl dies in Crisis, and it was pretty much the same 30 years ago.
Therefore, the question is how well does Crisis’ brain trust sell Supergirl’s death? It’s harder than you might think. Issue 7 is certainly one of the maxiseries’ best single installments (and that’s not a backhanded compliment); but the fact is that Supergirl not only dies to save Superman, she tells him how great he is with her last breaths. It doesn’t get much more meta than that.
Manga | Roland Kelts looks at the international popularity of One Piece, whose sales number 300 million volumes in Japan and 45 million in the rest of the world. The piece includes an interview with creator Eiichiro Oda — he says he writes what he imagines his 15-year-old self would like to read — as well as editors from Viz Media, the American publisher of One Piece, who discuss the reasons for its popularity overseas as well as the global impact of manga piracy on these manga pirates. [The Japan Times]
Conventions | Which shows are money-makers for creators, and how much do they make? The answers, broken out into a handy infographic, may surprise you. [The Devastator]
After four installments, Comic Book Resources’ monthly “B&B” feature, in which DC Comics Editor-in-Chief Bob Harras and Editorial Director Bobbie Chase answered questions from readers and CBR’s Josie Campbell, is no more. Jerry Ordway’s work situation, and controversies generally, were apparently to blame. Of course, DC is free not to participate in such things, and CBR is likewise free to investigate such controversies on its own. Still, the whole thing only highlights the problems DC has had in connecting successfully with fans.
Now, it may be more accurate to say DC has had problems connecting successfully with fans who are vocal about their negative opinions of the company. For all I know, DC may be quite popular with whatever audience it has targeted. Regardless, despite its constant PR presence, today’s DC seems a lot more guarded than it has been; and I think that can only hurt it in the long run.
Ironically, part of the problem is the corporate-comics news cycle. Each week’s worth of DC books has a couple of promotional features, namely the “All Access” editorial and the new “Channel 52″ two-pager. Beyond that (and probably more frequently than once a week) the company issues press releases and facilitates interviews for various news sites. Furthermore, each month’s solicitations advertise what’s coming out at least two months in the future; and during convention season the company can manage its particular messages in person. That’s a lot of information for a company whose bread and butter come from a few dozen monthly 20-page story installments.
Mark Evanier has a fascinating, and unflinching, assessment of a period of Carmine Infantino’s storied comics career that’s gone largely overlooked in the obituaries that have appeared since the artist’s death on Thursday: those five years, between 1971 and 1976, when he served as publisher of DC Comics.
It wasn’t a great time for the company, or the industry, as newsstand distribution changed, printing costs increased, comics price raised — from 12 cents to 15 to 25 — the number of pages increased (with reprint material added to the mix), leading to a drop in sales and, ultimately, Infantino’s replacement by Jenette Kahn. (It’s also a scenario eerily familiar to anyone who’s been reading comics for more than a few years, as publishers struggle time and again to adapt to changes in the marketplace.)
But wait, there’s more: “Infantino always insisted he was not responsible for that failed strategy and he certainly didn’t cause the distribution crisis,” Evanier writes. “He might have been able to make the company more creator-friendly but maybe not … and even with that impediment, he managed to come up with some pretty good books. What he couldn’t seem to do was to keep them running long enough to find an audience. The minute it was clear or even suspected something new wasn’t selling as well as Batman, it was terminated. A few comics were even, quite literally, cancelled before there were any sales figures in on them at all […] A lot of those books were terrific. True, Green Lantern/Green Arrow by O’Neil and Adams only lasted fourteen issues but with a different man in charge, it might not have existed at all. Give him credit for that. Give him credit for helping move comics into a new era by among other things, treating covers as intended works of art rather than copy-heavy sales pieces. Give him credit for all the new careers that were launched during his time in charge. And a lot of comics that were considered flops during his regime — considered that by him as well as others — are still with us, some reprinted time and again in expensive hardcover editions with their characters turning up in other media and current comics. Time-Warner is now making a lot of money off some of Carmine’s ‘failures.'”
Really, you should read the whole piece.