Vaughan & Chiang's "Paper Girls" Builds a Familiar Yet Disconcerting World
Among the deluge of pre-NYCC press releases was one from Papercutz that really grabbed my attention: According to publisher Terry Nantier (who also helms parent company NBM), pre-orders of their Ninjago graphic novel have topped 170,000 copies. That’s a pretty impressive number.
The graphic novel is based on Lego’s ninja-themed Ninjago playsets, which have already spawned a couple of made-for-TV movies, and there’s a cartoon series in the works. Plus, people really like Lego, so it’s logical that it would do well.
Still, numbers like that put Ninjago in rarefied company. The first printing of Scott Pilgrim (which admittedly wasn’t a slam dunk) was about 10,000, if memory serves. Potential blockbusters justify greater risk: Yen Press announced an initial printing of 350,000 copies of the first Twilight graphic novel, and over 168,000 copies were sold in stores monitored by BookScan (which includes sales from bookstores only, and not all of those) last year.
There aren’t many books that do that well, though. Dork Diaries, which is a prose-graphic novel hybrid, actually topped Twilight on the BookScan charts, and The Adventures of Ook and Gluk: Kung Fu Cave, by Captain Underpants creator Dav Pilkey, came in a very close third. But only those three topped 100,000 copies; Scott Pilgrim filled slots 4 through 9 on the chart, with sales ranging from 90,000 to almost 60,00, and the number 10 book was a volume of Naruto that moved about 53,000 copies.
That effect was even more pronounced in 2009, when BookScan’s top seller Watchmen, dwarfed the ninjas and the vampires with sales of well over 400,000 copies. The second best-selling book that year was Dork Diaries (again!) with sales of over 68,000, a considerable dropoff from the top spot. With graphic novels, it seems you can’t count on volume—unless you have Lego ninjas on your side.
In the wide world of comics there’s always a need for talented people — and not just for creating the comics. The comics you read every day are supported by an immense infrastructure of editors, publishers, designers, distributors and retailers that make American comics what it is today. And despite the frail economy, the comics industry is looking for employees.
We’ve compiled a list of all the openings in the comics industry for non-creative office positions and put it all into one place. It’s a good resource if you’re looking to work in comics, and also for armchair speculators seeing what companies are looking to do by seeing what positions they’re hiring for. We accumulated these by looking on publisher websites and job boards — if you know of a job not listed here, let us know!
ICv2 has an interesting report from the Bucheon International Comics Festival (Bicof) in Bucheon, South Korea. Korea is an interesting case because it actually has a government agency, the Korea Manhwa Contents Agency, dedicated to promoting the nation’s comics industry, and indeed, the manhwa (Korean comics) market is worth about U.S. $32.6 million for a population of 49 million.
While a number of American companies publish licensed manhwa, they usually don’t brand it as such. Tokyopop and Central Park Media started bringing it over in the mid-2000s to supplement their manga lines, which led many fans to dismiss it as an inferior version of manga. I remember sitting in the CPM panel at NYCC in February 2007, when CPM managing director John O’Donnell asked the crowd of mostly manga and anime fans what they thought about manhwa. Hoots of derision echoed off the concrete walls as fans ticked off the things they hate about manhwa, weak art and fractured storytelling looming large among them.
But that had a lot to do with the selection available; at that time, most of the manhwa available in English were second-string genre titles, and a lot of them did look like crappy imitations of manga. What’s more, people didn’t have a sense of manhwa the way they do of manga; the highest-profile manhwa property in the U.S. is probably Tokyopop’s Priest, especially since the movie came out this year, but people don’t necessarily know it’s Korean. Tokyopop made a good try by publishing a number of manhwa by Hee Jung Park that could hold their own in any selection of American indy comics, but they never found their audience, which is a shame. And no discussion is complete without a mention of Bride of the Water God, the beautifully drawn but oft-delayed series published by Dark Horse.
Square Enix is a Japanese publisher of manga and video games. It licenses print manga (including such high-profile titles as Fullmetal Alchemist and Black Butler) to Viz Media and Yen Press, and last year launched an online manga site that carries both those titles and 13 others. However, several reviewers (myself included) found the price of $5.99 per volume (in a streaming-only, no download format) to be a bit on the high side.
From now through Aug. 10, however, Square Enix is offering the first volume of any of its 15 series for free to readers who “Like” the company’s Facebook page or get a special URL at SDCC.
There are a lot of caveats to this: The offer is open to residents of North America only (“Regional eligibility will be determined by MindMax® geolocation services,” says the press release, which sounds a little ominous). You’re also going to have sign up for a Square Enix account and download its proprietary reader. The press release seems to say you have to have a Windows computer to use the reader, but I managed to make it work on my Mac.
Obviously, the Square Enix folks are trying to get people to sign on with their sites. Their registration process is pretty cumbersome; I signed up a few weeks ago and I counted five separate registration processes, including creating two passwords, before I could buy a book in their store and read it on my computer. Offering a free volume may make readers a bit more patient with the process, though. I’m curious to hear what other people think, so if you take them up on the offer, feel free to drop back here and comment on how you liked it.
Publishing | DC Comics Co-Publisher Dan DiDio talks about the gay and lesbian characters appearing in the company’s books come September, including Batwoman and WildStorm imports Apollo, Midnighter and Voodoo: “When we looked at trying to incorporate some of the characters that inhabited the WildStorm universe Apollo and Midnighter are two characters that have always popped out. Not because of what they represent, but they’re just strong characters in their own right and [they] were able to represent a story, a style of character that wasn’t represented in the DC Universe. There’s more of an aggressive nature with those characters that will interact interestingly with other characters and allows us to tell more and better stories.” [The Advocate]
Publishing | Todd Allen, Tom Foss and Graeme McMillan react to the list of changes to the “younger, brasher and more brooding” Superman who will inhabit the DC Universe following the September relaunch. [Indignant Online, Fortress of Soliloquy, Blog@Newsarama]
Yen Press launched its iPad app this week, and it’s a thing of beauty—which is good, because it’s also expensive.
The app itself is free, of course, but the books will cost ya: Single volumes are priced at $8.99 each, which is less than the list price of $12.99 for print volumes but pretty close to the actual price most people pay for print—in fact, the print edition of vol. 1 of Maximum Ride is going for less than that on Amazon.com right now.
Let’s talk look and feel first: Yen Press feels deluxe. It opens up to a gorgeous full-color page from Maximum Ride. The catalog page is less cluttered than most, with three featured books framed in black at the top and six more in catalog listings below, with no distracting animation or scrolling. Touch any part of a catalog listing and a frame pops up with complete information. But here’s the nicest part: Touch the preview button and you immediately get a full-page preview, not the smaller images that other app developers provide in their catalogs. Everything loads quickly, so the whole thing works like a dream. The Yen folks didn’t use the comiXology or iVerse platform, like most other publishers, but they did a great job.
What a difference a year makes! A year ago today, the iPad not only didn’t exist, it hadn’t been officially announced yet. People read comics on their iPhones and iPod Touches, but the screens were too small for a good experience (and therefore, no one wanted to spend much money on them). The iPad changed all that, with a big, full-color screen that is just a tad smaller than a standard comics page (and a tad larger than a standard manga page), and publishers started taking digital comics seriously. The distribution was already in place, thanks to the iPhone—comiXology, iVerse, Panelfly—and now the publishers not only jumped on board with those platforms but also started developing their own apps.
The digital comics scene is still developing, but the iPad was the game changer. For many people, it was the first time that they could comfortably read comics on a handheld screen. Now, it’s just a question of marketing—this year, publishers will grapple with bringing comics to a wider audience, outside the existing readership, and balancing the digital marketplace with the established brick-and-mortar retail structure.
Here, then, is a look back at our digital year.
The Japanese publisher Square Enix, whose properties include the best-selling series Black Butler and Fullmetal Alchemist, revealed its online manga plans at the Tokyo Game Show yesterday.
Square Enix already has a website through which fans can purchase games, and they set up an online manga site for North America in July, with some sample chapters and an announcement that its digital media store would launch in Fall 2010. According to the information released at the Game Show, that date has been pushed back to winter. Square Enix already allows users to buy games through their website, and they will use the same system for manga, so existing users will not have to create new accounts.
Several Square Enix properties, including Black Butler, Soul Eater, and Pandora Hearts, are licensed by Yen Press but are not available on Yen’s online Yen Plus magazine. It looks like those series will be running on the Square Enix website.
As far as other platforms are concerned, Square Enix seems to be moving cautiously. In November, it will launch Gangan Online, an iPad and iPhone/iPod Touch app, but that will only be available in Japan, and foreign-language versions are not in the cards for the immediate future.
Yen Press editorial director Kurt Hassler unveiled the online version of Yen Plus magazine at Comic-Con last month, and it has given people plenty of fodder for discussion. The magazine is available in all regions (unlike other online manga sites, which are often limited to North America), and it will cost $2.99 per month, although Yen is offering a free online trial through September 9. What’s up at the moment is a mixed bag of old and new, Korean and original English-language manga—but no Japanese titles, although Hassler has hinted broadly that the all-ages favorite Yotsuba&! will be included in the mix in future.
Coincidentally (or perhaps not), the Japanese series Black Butler, Nabari no Ou, and Pandora Hearts, which had been serialized in the print edition of Yen Plus, are now up on a new online manga site from Square Enix, the Japanese publisher of those series. That site is also in a free-sample mode right now, with an online store projected to open in the fall. Hassler would not comment on the relationship between the two, but the Square Enix site is currently hosting the Yen Press editions of these manga.
I spoke to Kurt about the new Yen Plus, the recent removal of all the online manga from OneManga.com, and Yen’s new line of children’s books.
Brigid Alverson: How will the paid version of Yen Plus differ from the free version we have been reading?
Kurt Hassler: It’s really not going to be different. The experience you have now will be pretty much the same. The only different element will be the PayPal component for getting your subscription.
Brigid: What about the Japanese content?
Kurt: That is something we are working on. We have the first title, but finalizing the contract is always getting down to the wire. It is not going to be a ton of material initially; you are going to see material being added gradually over time as licensors get comfortable with digital distribution.
Manga blogger Deb Aoki talked to Yen Press senior editor JuYoun Lee recently, and she brought up an important point about Yen Plus, their manga magazine which shifted this month from print to online publication. Deb pointed out something I hadn’t noticed: Yen Plus is not region-blocked, which is huge. One big reason that people use scanlation sites like the recently defunct OneManga.com is that the “legit” online manga sites are available only in the U.S. and Canada. Says Deb:
So for example, when VIZ Media started publishing the current chapters of Rumiko Takahashi’s Rin-Ne simultaneously with the Japanese releases, I was telling readers, “Look, isn’t this awesome? It’s free, it’s available the same day as it is in Japan, and it’s legit.” I asked, “Why are scanlators still scanning and pirating Rin-Ne? VIZ and Shogakukan is going through the extra trouble to translate and post it on the same day as Japan to address fans’ complaints that they don’t want to wait to read the latest chapters of their favorite manga.”
Then I heard from fans who told me that the manga posted on the Shonen Sunday website was blocked to readers who aren’t from North America. They said things like “No, I can’t read it because I live in Mexico,” or “No, I can’t read it because I live in outer Tasmania.”
While the licensors are certainly entitled to demand separate licenses for different regions, that’s not really the way the internet works. And a lot of regions aren’t ever going to have a big enough market to support their own manga publishers, so including them in the potential audience for online manga may be the only way to capture their dollars (or whatever the local currency is).
The inaugural issue of Yen Press was also notable for only having American and Korean comics, however, Japanese licensors are notoriously sticky about terms and conditions, and it may be that the next issue, which will contain Japanese content, will be more restricted.
Yen Plus magazine launched two years ago at San Diego Comic-Con, and at this year’s SDCC, Yen Press relaunched it as a web-only publication.
Subscriptions to the magazine will be priced at $2.99 per month, compared to $8.99 per issue for the print version, and Yen is offering a free trial through September 6, so I thought I’d go in and kick the tires a bit. What I found was a mixed bag: The interface is clean and smooth, and I was delighted to find a short comic by the talented Madeleine Rosca (creator of Hollow Fields), but just as with the print version, I was left wondering who exactly they are editing this magazine for: The signup restricts it to readers over 17, but most of the series (Nightschool, Maximum Ride, and especially Rosca’s Haunted House Call) are more appealing to younger teens, while Jack Frost and Gossip Girl are clearly pitched at older readers—and may make the magazine off limits to younger teens, at least if their parents get a glimpse of the full content.
There are no Japanese manga in this issue, although the Yen folks promise that Yotsuba&! will join the lineup in future issues. One reason for this may be that the Japanese publisher Square Enix has set up its own online manga site (apparently in partnership with Yen Press) and their titles include Black Butler and Soul Eater, two former Yen Plus series. I hope Square Enix is giving Yen a good cut of the take from that website, because Black Butler is one of their most popular series.
Saturday at Comic-Con International in San Diego, once upon a time, was “big movie day” at the con … back before every day became big movie day at the con. Still, today somewhat lived up to its reputation for being eventful, as the Avengers assembled on stage, Green Lantern movie footage was shown and one poor fan was stabbed in the eye while attending programming in Hall H, where several of the big movie panels took place. The victim was taken to UCSD Medical Center, while his attacker was taken away by police after attendees detained him.
In happier news, here’s what was announced on the comics front:
• Marvel Editor-in-Chief and Chief Creative Officer Joe Quesada confirmed that Marvel is “gonna be doing some CrossGen stuff.” CrossGen, which published numerous titles like Sojourn, Way of the Rat, Abadazad and Meridian starting 1998, went bankrupt in 2004. Disney bought their assets that same year.
Their titles covered many different genres, from fantasy to horror to detective stories. “I think with the CrossGen stuff you’re going to see us attempt a little more genre publishing, which I think is much-needed in our imprint,” Quesada said. No word yet on what properties they plan to bring back.
• Kurt Busiek announced that American Gothic, the urban fantasy comic announced at last year’s WildStorm panel, will now be called Witchlands. The series will be drawn by Connor Willumson. Busiek is also working on an Arrowsmith novel titled Arrowsmith: Far from the Fields We Know, which will include illustrations by Carlos Pacheco.
I’m going to lead with a new license announcement from the Tokyopop panel at Comic-Con International: Koge-Donbo’s Naki Shōjo no Tame no Pavane (Pavane for a Dead Girl), a story about a musical prodigy who makes a deal with the angel of death. Tokyopop’s Marco Pavia told me they have another new title as well, Ghost Face, by Min-Woo Hyung, the creator of Priest.
The other big manga news is that Drawn & Quarterly has the license for two Shigeru Mizuki manga, Onward Towards Our Noble Deaths and NonNonBā. (If you’re wondering why that sounds vaguely familiar, it’s because NonNonBā won the Best Album Award at the Angoulême International Comics Festival a couple of years back. This is very good news for those who like their manga on the literary side. And the D&Q folks had to be smiling pretty broadly after Yoshihiro Tatsumi’s autobiographical tome A Drifting Life took two Eisner awards.
Meanwhile, Yen Press announced a number of new titles, including Otoyome-Gatari (The Bride’s Stories) by Emma creator Kaoru Mori, as well as Highschool of the Dead, Aron’s Absurd Armada, Betrayal Knows My Name, and yet another arc of Higurashi When They Cry. They also revealed that Yen Plus magazine, which stopped print publication this month, will continue as an online anthology that will be free the first month and cost the reader $2.99 per month after that.
There was one bit of sobering news, a reminder that things are still not all they should be in the manga industry: Del Rey’s indefatigable marketing manager Ali T. Kokmen is no longer with the company. Ali is well-liked in the industry, and hopefully some smart manga company will snap him up soon.
As we inch another day closer to Comic-Con International, which kicks off in just 13 days, organizers have released the schedule for Friday, July 23.
Below you’ll find highlights of the comics-related programming, which range from a panel on AMC’s highly anticipated adaptation of The Walking Dead to spotlights on such creators as Chris Claremont, Moto Hagio, Paul Levitz, C. Tyler and Stan Lee to, of course, peeks at publishing plans for companies ranging from Marvel, DC and BOOM! to Dark Horse, IDW and Top Shelf.
The full programming schedule for Friday can be found here.
10 to 11 a.m. DC Talent Search 2 — DC’s editorial art director Mark Chiarello presents an informative orientation session that will explain how DC’s Talent Search works and discuss the different needs of DC Universe, Vertigo, WildStorm and MAD magazine publications. If you want to learn what DC Comics looks for in artists and how to improve your chances of becoming a working professional, this is the panel for you! To have your work reviewed, attendance at this orientation session is mandatory. (Please note: Not all attendees are guaranteed a one-on-one review.) Room 4
It looks like the first round in the scanlation wars has gone to the publishers, but appearances can be deceiving.
Shortly after several publishers announced that they had formed a coalition to fight manga piracy, a number of the most popular scan sites removed scans of series that had been licensed in the U.S. Or did they? As a blogger named Kimi-chan explained a few days ago, the site admins at two sites, Mangafox and Animea, merely disabled the links from the home page. If a user had bookmarked the series, however, the bookmark would still work, and Google searches still turn up valid links for these series.
Kimi-chan’s post has been up for about a week, and when manga blogger Deb Aoki tried the tactic with a number of Viz titles on MangaFox, she found that they truly were gone. But that made me curious about something else.
A few months ago, I downloaded an iPod app that pulls manga scans from the Onemanga database—it’s one of several free or cheap apps that do that. I opened it up for the first time since April, apparently, and it immediately updated the list of available titles. Sure enough, all the Viz manga were gone from the list. There were a scattering of Del Rey, Tokyopop, and Vertical series, though, and a number from Yen Press.