In Fear Of a $10 Comic.
by Nevs Coleman 13-Feb-15
I’m 37, and I fully expect to see a regular issue of Amazing Spider-Man costing $10 before I die.
So, like everyone else working in comics in the last couple of weeks, my newsfeed has been an absolute torrent of news. Fantastic Four, Secret Wars, A-Force, Convergence, all kinds of speculation to where all this is actually going and what the endgame is for both Marvel and DC once their big events end.
Looking at Marvel’s actions over the last couple of years and the line-up of the ongoing titles DC are launching during and post-Convergence, I think its fair to say that The Big Two have finally woken up. They’ve realised that there is an audience to try to draw in, rather than placating the Buys New Comics Weds Morning 36+ White Male demographics as they have been since the launch of the Direct Market. This HAS to be a good idea, because as things stand, we’re all on a train that makes a lot of noise but doesn’t run very well.
Let me digress here, because I get some grief for my continued belief that the Weds regulars are the thing that’s holding the medium back.
First off, I need to say ‘Thank You’ to that crowd. A genuine Thank You. Before the films, cartoons, Anime and such made the world of comics cool again, you were there without fail, every Thursday and then Wednesday, you kept the industry going through Wizard, through Image, the summer of 93. through Heroes World,, through Diamond becoming the exclusive distributor of comics, through no end of price rises, event books, The New 52, Marvel NOW! and everything else. Every person working in comics today owes you a debt of gratitude for sticking with the business when so many have left.
I do mean that, but I also mean this:
We are at crisis point with the state of modern comics. We;re edging closer with every month towards the standard issue of Batman or Avengers being $5 an issue. Print runs are at shockingly low numbers (Ignore the glitch that was Star Wars 1. A fair amount of that print run was Gamestop buying copies to generate their own variants and even if it wasn’t, what other comic on the horizon do YOU see breaking 1 Million copies in preorders?*.) and unless radical steps are taken, there can’t be a way to keep comics as we understand them going. The maths just won’t add up. Plus, both Time Warner and Disney own DC and Marvel, so if the sales figures get too bad, I have to imagine someone at Disney will say to whoever Marvel’s CEO would be ‘Look, we’ve let you do it your way, and it isn’t working. Now we’re doing this.’
The first step was finally accepting the internet is part of most people’s lives, and rather than letting the pirates get all the income of digital comics (Meaning neither publisher nor retailer saw any profit.), letting things like Comixology, Sequential, Dark Horse Digital and Marvel Unlimited happen. The next was bending the books away from standard playing to the guy who knows the difference between Azrael and Talon and creating more accessible, all ages,woman friendly content Things like Hawkeye, Batgirl, Young Avengers, Grayson, Harley Quinn, Captain Marvel, Journey Into Mystery. Some of these books haven’t sold particularly well, but they are selling to a different audience than the guys picking up all of the Original Sin crossovers, I’ve noticed.
Ultimately, as I’ve said many, many times before, a 45-year-old can appreciate an issue of Batman, but an issue of Batman should never, ever be written for a 45 year old’s appreciation. Which is where the difficult bit is going to come in.
For American Superhero comics (And by default, everything else, because I love Love & Rockets, The Goon, Stray Bullets and Sex Criminals very much, but you can’t run a shop on the profits of work like that alone, unless you’re very rich to start with.) to survive, there needs to be an understanding that the writers on those books need to stop writing to you, the afore-mentioned 45 year olds. You’ve had nearly fifty years of being catered to, but Batman has to be a tween book again. Not just Batman, either. Superman, Wonder Woman, Spider-Man, Flash, Wolverine, Thor, the lot.
And you need to shut up and let it happen. No Gatekeeping. No more demanding that Cosplayers aren’t allowed to dress up as Female Green Goblin unless they know who Lefty Donovan is. This random influx of younger readers who love the material so much they actually dress up as Kate Bishop or Batgirl are the best hope for the survival of the industry. Please, please don’t drive them away because you resent that Batman isn’t written for you and your extensive knowledge of Joe Chill and The Drake family any more. The truth is those comics should never have been written for you in the first place.
Kelly Sue DeConnick was quoted in a post over at Badassdigest explaining the hurdles with attempting to launch comics in today’s market. On the whole, I tend to agree with her assertion that the main problem is trying to sell radical ideas to a conservative audience, where things that aren’t WASP HeroGuy and his pals and gals (Or New WASP HeroGuy and his pals and gals, or Uncanny WASP HeroGuy and his pals and gals, etc) just don’t sell. I believe she received a bit of stick for essentially blaming the consumer base, but I can’t see who else there is to blame. Publishers respond to what sells and attempts to duplicate that formula, Diamond can only offer what publishers print to retailers who can only sell what their customers are willing to buy.
DeConnick also raises the rise of sales of Manga to young women in America, pointing out that it is actually easier for them to get into Manga, a translated medium than it is to start reading comics about characters they’ve seen in American made films. She points out how simple it is to walk into Barnes & Noble and get into One Piece, which is true. Even walking into any comic shop and picking up her own Captain Marvel isn’t very simple when you realise that there are seven different volumes with the same title, no two of the trades necessarily relate to each other, not all of them actually feature Carol Danvers and that’s without the whole Shazam! thing tied into the name, and as she rightly says, that’s assuming you’re dealing with a friendly & knowledgable member of Comics Retail who isn’t trying to shun any women from entering the clubhouse.
The problem with seeing Manga’s working model as a situation to aspire to is the main problem that The Direct Market gave us.
Comics are sold firm sale to retailers from Diamond. Waterstone’s or Barnes & Noble could take a chance of getting a full run of Ultimate Muscle in stock. A quick Wiki tells me that’s 29 books, and that’s a fairly short run for most popular Manga. If the books don’t sell. No big, they can just be returned to VizMedia and it becomes their problem.
If a comic shop tries that, it’s a firm investment of maybe $250. Once the shop has them, they can’t be sent back to Diamond. Take that risk and crap out too many times and that’s the end of your shop. Assuming the audience you would have had for those books don’t realise that you can read almost any popular Manga these days for free online and aren’t obligated to keep buying the books from you. (It literally took me two minutes to find a site that ran perfectly translated scans of Bakuman, and I didn’t know what I was doing or what the hot hub sites are for this material.)
So, some major problems there: The content is too expensive, it’s inaccessible to new readers and the comics aren’t written to the target audience, who aren’t willing to buy outside of their comfort zone anyway.
I have a couple of ideas on this:
First Off, Marvel and DC need to brand ALL their comics with volume numbers as fast as is humanly possible.
You don’t know much about comics, but you’ve just watched Daredevil on Netflix, and decide you quite like it, so you’re going to learn more about Matt Murdock. You go to a comic shop and the person there sells you Daredevil (Devil At Bay.) Volume 1 by Mark Waid. You take it home, read it, decide that’s quite good as well and go back to the shop. It’s a different and less helpful member of staff on duty, so you search the shelves to find Daredevil Volume 2 by Mark Waid. When you look, you find Daredevil: Volume 2 by Mark Waid, Daredevil Volume 2: West Case Scenario by Mark Waid and possibly also the hardcover called….Daredevil Volume 2. By Mark Waid.
You see the problem here, and that was a fairly simple example featuring a character who only has one title. Keeping up with the volumes of Avengers, New Avengers, Uncanny Avengers, Mighty Avengers, Avengers: A.I. and their multitude of relaunches is an absolute nightmare**. Customers come into the shop having seen the films, innocently asking ‘Got any Avengers books?’ and my heart sinks realising the two minutes of explanation this is going to take, made worse by the fact that there are no Avengers comics that are anything LIKE the film that made the franchise desirable to the outside world in the first place. (‘I realise you liked The Black Widow and Iron Man, but I can do you a comic where the Black Panther kills Namor instead? No?’)
I’m aware that Marvel have been attempting to emulate the season format from Television with their comics in recent years, but the thing is, if you put a DVD on sale that reads ‘Breaking Bad: Season Two.’ on the cover, that doesn’t hinder sales because people don’t buy them for their investment value. The comics and subsequent trades are too difficult for any new reader to get into, to the point of their giving up on the entire medium. Just take the books and add ‘Volume 7: Book 3′ or whatever to the spine and cover. It’s not difficult, and to bring up the Manga comparison again, you start reading Death Note with Volume 1. It’s quite simple to both buy and sell.
Make the first three issues of any new series returnable. And preferably cheaper than average.
There are no fixed commodities in comics. None. For every Amazing Spider-Man, there’s a Web Of Spider-Man, a Marvel Knights Spider-Man, Peter Parker, Spider-Man Unlimited, a Spectacular Spider-Man, a Sensational Spider-Man, an Avenging Spider-Man, Superior Spider-Man Team Up, Marvel Team Up, books designed to cash in on the popularity of a title. More often than not, it just doesn’t work, because of the refusal to believe that the creative team are responsible for the resurgence of interest in X-Men, or Hulk or whatever, so there’s just the daft idea that the punters have suddenly decided they really like Batman, with Jim Lee and Jeph Loeb creating the content having nothing to do with the increased sales. (And you wonder why Image happened?) Just sticking the brand name ‘Avengers’ on a comic doesn’t guarantee high sales.
I, for one, am ecstatic at the risks being taken at the moment. A female Thor, A black Captain America, Ms Marvel, a rise in female-led books, more than ever before, but if they’re fed through the same filter, they’re going to die on the shelves and two years from now, we’ll just see more Avengers and Justice League spin-offs dominating the shelves.
What we need here is the ability to properly promote these books. More than a couple of unlettered pages in Previews and maybe an artist publishing a cover on their personal Tumblr. Say what you like about Image, but when soliciting new comics in Previews, each book gets a couple of pages of story art, the cover, a synopsis in the solicitation and also more content in their newsletter. That’s the best way of doing it, for my mind.
Compare this to DC, who’ll write flimsy ‘An all new start for The Flash as he buys a puppy. $3:99′ or Marvel either releasing as little information as possible so to avoid spoilers and returnable books or just writing snarky text to presumably amuse themselves. It’s all well good to keep the actual events of a comic from readers, but retailers need more to work with than that.
The thing is, we can only guess how well a new comic will sell until it actually hits the shelves, and for all the PR dick waving of Pre-Order Numbers and buying huge quantities of a print run for investment purposes, (Try selling a copy of Rob Liefeld’s X-Force 1 from 1990 today.) how the books sell from retailer to customer are what determines the book’s fate. Chucking comics at us with no preview material, high cover prices and the frankly arrogant assumption that the customers will buy it because it features someone from the Batman family leads to…well, where we are now. But if the new titles were solicited with decent preview material, a cheaper cover price to entice new readers to taking a chance and that 3 issue returnable window would mean retailers would order more copies and wouldn’t be taking such a gamble from their own income should the book tank (You can only lead a horse to water, and we’re a bit tired of paying out ourselves every time it doesn’t drink.)
So, ideally, if Marvel were to launch, say, a Black Cat comic by Terry Dodson and Kathryn Immonen comic spinning out of Secret Wars, the 1st and 2nd issue would cost $2:50, we’d have spoiler free preview material to show customers and we’d be able to see how well the book actually sold in shops and order subsequent issues based on that information, rather than having to do the ’40 for 1, 25 for 2, 15 for 3….Actually make it 30 for 1. People don’t buy female-lead comics ‘ formula that can kill books before they even get started.
With cheaper access comics, featuring material written to the correct audiences and a back catalogue filing system that’s much easier to understand, the industry could start to flourish again, keeping the old material in print and embracing a young audience who are demonstrably keen to get into our business, but literally don’t know where to start.
Because if we don’t start thinking along these lines, nothing will change. The audiences will continue to decline, and the rest of us too stupidly devoted to funnybooks will end up paying for those who’ve left or never started in the first place. I’m 37, and I fully expect to see a regular issue of Amazing Spider-Man costing $10 before I die.
I hope, and pray, I’m wrong.
* Now wait and see Secret Wars get pre-orders of 1.5 Million just to prove me wrong…
**Or as a colleague put it last week: ‘Another Powers Issue 1. Huh, I guess it IS Tuesday.’