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IDW Publishing has announced it will relocate in June to the former Navy barracks within San Diego’s historic NTC at Liberty Station, where it will open a comics art gallery.
Located within the publisher’s new offices, the San Diego Comic Art Gallery will serve as a permanent home to showcase sequential and animation art, with retail space and working artists. Harry L. Katz, former head curator in the Prints and Photographs Division of the Library of Congress, has been named as the gallery’s curator.
Cosplay | The Christian Science Monitor looks at how cosplay is spilling out of comics and sci-fi/fantasy conventions and into “daily life,” such as movie theaters, pubs and public squares: “The spread of cosplay owes a lot to the Internet. Social media sites build buzz around the next big cosplay event. Tumblr and Instagram allow strangers to pass around photos of past work and offer words of encouragement from afar. YouTube videos reveal how to craft foam core into realistic-looking armor and braid hair like an elf.” [The Christian Science Monitor]
Passings | Tom Medley, creator of the comic Stroker McGurk, which ran in Hot Rod magazine for many years, died on March 2 at the age of 93. Medley was a hot-rodder himself, which is how he got his big break: He used to post his cartoons at a local hot-rod builder, and the publisher of Hot Rod, which was just getting off the ground at the time, spotted them and hired Medley as his comics and humor editor. Medley’s son Gary said his father’s humor sometimes foreshadowed reality: “Stroker’s — or Medley’s — inspired genius came up with a host of crazy ideas that appeared impractical at first, but were later adopted by everyday car builders and racers. Multi-engine dragsters, wheelie bars, and drag chutes all sprung from Stroker’s fertile mind before they were embraced in the real world.” [AutoWeek]
Publishing | Sales of IDW Publishing’s My Little Pony comics, in single-issue and graphic novel format but not counting digital, have topped 1 million copies. (It does really well in the iBookstore — there are multiple issues in the Top 10 every week — although it seldom registers on the other digital comics platforms.) IDW’s Ted Adams says this is because it’s such a great comic, but shrewd marketing such as offering a special Scholastic Book Fair edition with a bonus pony figure probably helped a lot. [ICv2]
Digital comics | The motion-comics platform Madefire has secured $5.2 million in funding. In July it announced agreements with four comics publishers — IDW, BOOM! Studios, Top Cow and iTV — and the first IDW comics came out in August. Madefire also has a partnership with DeviantArt. [Publishers Weekly]
Publishing | ICv2 posts a three-part interview with IDW Publishing CEO Ted Adams that covers a multitude of subjects, including the company’s digital strategy, the Artists Editions, news that Scholastic has picked up its My Little Pony comics, and that the publisher’s book sales are up, even though Borders is gone: “The book market used to make me crazy on this returnable basis basically forever. That was never a sustainable business model. Where we are today is we are able to sell product in a reasonable way so that the bookstores get a chance to sell the product and we don’t get these giant returns. ” [ICv2]
Piracy | Earlier this year, the Chinese Internet company Tencent inked a deal with Shueisha, the publisher of Shonen Jump and thus the licensor of some of the most popular manga in the world. One consequence of this deal has just hit home with the Chinese reading public: Scanlations are disappearing from the web, and fans are not happy. [Kotaku]
Following a Monday visit to Dave Sim’s Ontario home by CEO Ted Adams, IDW Publishing has struck a deal to release a hard-copy version of the Kickstarter-funded Cerebus: High Society Audio Digital as part of its new IDW Limited program. The company had already announced this week that it will publish a collection of all 300 Cerebus covers.
“I was coming here more as a decades-long Cerebus fan than as a publisher,” Adams said in a statement. “Scott [Dunbier, special projects editor] was describing all the amazing cover material he’s been scanning since Friday night and — talking to Dave on the phone — I said, ‘I’m the CEO. Why does Scott get to have all the fun?” So I booked the same commuter flight Chicago-to-Kitchener that Scott had taken last week.”
Publishing | IDW Publishing CEO Ted Adams discusses the company’s new IDW Limited program, which will produce small print runs of deluxe editions that will be marketed direct to the consumer. How small? The print run for the Blue Label edition of Teenage Mutant Ninja Turtles, Vol. 1 Deluxe Limited Edition will be 10 copies. “The only fair thing to do is to give the fans direct access on a first come first served basis,” he said. “We’re putting an incredible emphasis on quality, and that directly affects the quantity of books IDW Limited can produce. We’re designing new covers, building custom cases and paying the artists to do hand drawn sketch work to go with these books. The reality is that that’s all very expensive and unfortunately it makes it difficult for us to offer this line at the deep discount needed for traditional retail distribution.” [ICv2]
Libraries | Following the firestorm sparked last month when a youth library in Stockholm briefly removed Tintin comics because of their racial caricatures of Africans and Arabs, a survey finds that 10 percent of Swedish libraries have removed or restricted Herge’s books due to “racist content.” [The Local]
Auctions | Todd McFarlane’s original cover art for The Amazing Spider-Man #328 sold at auction Thursday for $657,250, shattering the record for a single piece of American comics art set last year by a splash page from The Dark Knight Returns #3 ($448,125). However, the price falls well short of the $1.6 million shell out last month for the original cover art for Tintin in America. A 9.8 graded copy of X-Men #1 was also sold by Heritage Auctions for $492,937.50, more than twice the previous record for that comic. [ICv2]
Publishing | Lily Rothman takes a look at iVerse’s newly announced comics-only crowdfunding platform Comics Accelerator, which will allow immediate delivery of digital rewards in a more sophisticated format than an e-mailed PDF and cap its share of the take at $2,500. As Laura Morley of Womanthology points out, it can go both ways: Being on Kickstarter, a trusted platform with wide visibility, helped boost the project, but on the other hand, “Any site that’s able to take advantage of the fact that comics online already work as a big community, as a place where people talk to their friends and promote things they’re interested in, is likely to do well.” [Time]
Passings | The Comics Journal collects tributes to Maurice Sendak, the legendary children’s book author and illustrator who passed away Tuesday at age 83. Philip Nel, director of Kansas State University’s Program in Children’s Literature, also writes an obituary for the influential creator of Where the Wild Things Are. [TCJ.com]
Publishing | In an interview with the retail news and analysis site ICv2, IDW Publishing President and CEO Ted Adams says that while digital sales are at 10 percent of print sales, both are going up: “There’s just no question at this point that selling comics digitally is definitively not impacting [print] comic book sales. If anything you could make the argument that the success of digital is driving more print comic book sales. The correlation at this point is that increased digital has resulted in increased print. Whether or not that is a direct correlation, I don’t know how you would figure that out. I can say with no uncertainty that our increased digital revenue has come at a time when we’ve had increased comic book sales.” [ICv2]
Retailing | Borders Group began liquidation sales over the weekend at 200 stores, discounting items 20 percent to 40 percent. As Publishers Weekly and Blogcritics chart the 40-year rise and fall of the retailer, PW’s Jim Milliot looks at the effects the bookseller’s bankruptcy will have on the publishing industry: “The trickle-down impact will affect everyone from manufacturers to agents. Borders accounted for about 8% of overall industry sales, a higher percentage in some categories. A downsized Borders means publishers are likely to receive smaller orders and in turn place smaller first printings, resulting in less business for printers. The likelihood of lower print sales, one publisher said, means that books acquired one or two years ago when Borders was much bigger will have a more difficult time earning the advance back and that less shelf space could mean lower advances.” [Publishers Weekly]
Retailing | Tracey Taylor has details of retailer Jack Rems’ plans to resurrect Berkeley, Calif., institution Comic Relief as a new store called The Escapist — a nod to the Michael Chabon character — possibly at the same location. [Berkeleyside]
ICv2 starts off the week with a marathon interview with Ted Adams of IDW Publishing. Part 1 focuses on the current comics and graphic novel market and IDW’s place in it, which is pretty solid — sales held steady in 2009 and 2010, and last year IDW became a Diamond Premier Publisher, meaning they get featured in the front of Previews each month. Part 2 covers their digital strategy, which has been quite aggressive, and in Part 3, Adams talks about IDW’s plans for new comics and collections in 2011.
It’s all interesting reading, but of course the part that’s most interesting to me is Adams’s reflection on the digital comics market in part 2. Digital sales doubled last year, he says, but the number is still small—”an insignificant part of our net revenue.” And it seems to be new revenue: