Craig and I really worked to promote Marvel's early release of Captain America #600. That seems to have caught the eye of Marvel and the press. Craig was quoted a few times!
Matt Price's Nerdage
Newsarama.com
The Beat
Craig was also interviewed by Vaneta Rogers of newsarama.com back on 6/4 about variant covers. It's an interesting column, so check it out! I've been harping on variants since before I even started this blog - so I always like to see if I'm alone in my general dislike of them.
Showing posts with label Newsarama. Show all posts
Showing posts with label Newsarama. Show all posts
Friday, June 19, 2009
Friday, January 11, 2008
Brand New Day
Just as a quick follow-up to my past posts about the One More Day debacle I wanted to share the link to Vaneta Rogers' column on Newsarama where she asked several comic book store retailers their opinions on Brand New Day after One More Day.
I was quoted a few times. Rogers seemed to have had quite a few reactions from retailers to this, and she compiled the information very well to show the variety of opinions on the subject.
Notice that I pointed out that our first day sales of the first Brand New Day issue were down 25% from the first day sales of One More Day. It wasn't for lack of traffic in the store either, because we had 20% more transactions when Brand New Day came out this past Wednesday than we did on the Friday that One More Day was released. The first week sales should tell the story even better - it's hard to gage overall success of an issue based on its first day, but the first week usually is a pretty good reflection of how it sold.
Thursday, August 30, 2007
Event Fatigue - the fan's perspective
Today Vanetta’s column, “Talking Shop, Event Fatigue?” went live on Newsarama. There are already a good bunch of comments on it, and was quoted several times. It seems that most retailers agree that yes, events can sell comics, but that we are all starting to see some signs of fatigue from our customers. Many of the comments that follow the column express similar sentiments.
When I received the questions, I took a moment and asked you, fans of my blog who have read comics, what your feelings were on events. Since the Newsarama column went up today, I figured it was the perfect time to share the responses I received back in regard to the fan’s feelings of event fatigue.
My first question was weather or not people were less interested in comic book events now than they were two or three years ago. The answer to this was a unanimous YES.
One respondent, Ben said, “. I've been yearning for more stories that are self-contained, so I've hit up titles like "Y the Last Man," "Ex Machina," "The Goon," "100 Bullets" and "American Virgin" just to get away from the event-ridden superhero stories.”
Derry is feeling so much fatigue that she can’t take it anymore, “I hate big events – so much so that they've driven me away from comics. I've been waiting for an event-free few months to try to hop back in but it's just a constant hammering of event after event after event, each promising to Change The Universe! but just managing to get rid of the things I like.”
James L. feels like the events are actually ruining the characters and stories he once enjoyed, “Many of the great books that sprouted up a few years ago have been derailed from their natural story progressions by editorial decrees that the books adhere to the big events.”
My second question was weather or not people buy the tie-in titles for the events. Many said they do, or that they have in the past. But not everyone was a fan of the tie-ins. There were a couple who were very adamant that they do not pick up those tie-in titles.
The more interesting responses came from the follow-up question: “If you were not already reading that title but picked it up for the cross-over into the event, do you usually stop reading the title after the cross-over issues, or do you find that you typically continue to read that title?”
Betty said, “, I quit when/if it's no longer absolutely required, in the rare case that I bother to follow an Event.”
Ben picked up Cable Deadpool after Civil War because he, “got a huge kick out of Cable & Deadpool and their tie in to Civil War.” He says he liked the writing and got into Deadpool’s character. He says, “I'd forgotten how cool he was. I did continue reading that book...but it got sucky, so I put it down.”
James M. doesn’t recall many books that he had picked up because they crossed into an event that he then stuck with. “Outside of maybe a new series that had the first issue tie-in and I kept reading because it the series was new, it just usually doesn't work like that with me.”
To assume from the responses that everyone despises events would be incorrect. I asked what makes a good event, and the answered varied, but no one said, “not having one.’ While there were several who did agree that having fewer of them less often was one way to improve the situation.
Philippos felt that to make a good event the stories need, “cohesion; clear concept; good reasons for characters to react as they do; a concept that seems idea-driven rather than merely sales-driven. Not a lot of random loose things spraying all over the place; especially long after it should be over; or sloppy writing leaving a lot of crap on other people's characters.”
To James L, what makes a good event is the same thing that makes any regular comic book good, “a good story, well defined characters, good dialogue, good art, and a good ending.”
A worthwhile event in the eyes of James M, “is something that has something to say or accomplish, that tells you something about the character(s) involved and actually creates developments as fodder for more stories for the character(s) that can spring forth in their own series. It isn't just about empty hype or shaking things up. It's about creating a situation that will make for a maximum potential for future stories about the character(s) involved in the event. Without that kind of substance behind it, the event is a very hollow and ultimately wasted effort.”
Ben put it simply, “A PAYOFF!”
The main things that people do not like about events are how frequently they’re being staged by the Big Two these days, as well as all of the hype they use to try to build the events into something that they do not end up being.
“DON'T have an event every f#%*ing month!” says Bradley. “It seems like "The Big Two" have events now just for the sake of having an event. Plus, it is such an obvious sales tactic. The fact that there are "events" all the time really reeks of desperation on the parts of Marvel and DC.” He goes on to ad that, “Events need to be once every 5 years. You need to give the readers a chance to take in a big event and breathe again. Plus, if you're going to do an event, how about hiring a creative team that will actually do the books ON TIME? I honestly don't give a monkey's fart about any "big names" that will be doing event books! I'd much prefer a team that will dedicate themselves to doing that book and not have any other projects that will delay the title.”
Philippos makes an interesting point about events actually hurting continuity and giving publishers and their creative teams the excuse to be lazy, “They invite bad writing, especially when they're approached with the attitude that customers are dumb enough to buy really bad writing but want all those in-canon appearances (a lingering attitude from the "comics as trading cards" era). In any case, someone hired to write a crossover often gets some if not most of the characters wrong, but then, since the event had high sales, the sloppily researched version in the event becomes dominant in the subculture's mind.”
“I hate that events are so nakedly about holding the reader hostage for as many pamphlets as she can be induced to buy,” said Betty, who continues with her strong feelings on the current “event mentality.” “I hate that events feel like me versus the comic company: their goal is to keep me confused unless I buy every title, my goal is to buy as few as possible. I hate that events break up existing story-lines, existing character-arcs, and existing relationships which were actually quite interesting thank-you-very-much. I hate that events feel like a High School pep rally and I'm treated like an eighth grader, and a rather dim one at that. No, I will not believe you that it's awesome just because you repeatedly tell me it is. How about you actually write something awesome? I hate that events are driven not by the characters, or existing themes, but instead by shock-value.”
Everyone seemed to agree that while they did not believe that events were the only way publishers COULD sell comics, it does seem to be method they’ve chosen to use at the moment. Many also confirmed that they are feeling event fatigue and that if these non-stop events continue publishers will loose readers, rather than gain them.
Brian says, “I'm just not excited about the prospect of yet another BIG, MEGA EVENT as it makes the previous BIG, MEGA EVENT seem less important. Why should the reader care about this year's big event when another will be coming right around the corner.”
“[Events] scare away potential new readers, and frustrate long time ones,” says James L. “If the big two don't stop with the constant crossing over, I can see an industry bust on the horizon. Of course, maybe that's what the industry needs to get back to the state things were in a few years ago, with good writers and artists being allowed to tell good stories, rather than being forced to be disgruntled cogs in a corporate machine.”
Ben says, “Events are OK, every five years or so, but NOT EVERY FRIGGIN YEAR! It's OVERKILL! I wish Marvel and DC could let their characters breathe for five minutes before making them deal with Monitors or Skrulls or whatever the hell else the big wigs want to throw at 'em. The only thing EVENTS have taught me in comic books is that eventually, EVERYTHING goes back to zero.”
James M blames it on the “institutionalization and corporitization” of comics and their characters. “The big two are more focused in finding ways to develop the "intellectual property icons" they have into other media forms, with the comics that made them icons to begin with being much lower in importance to them. This is the ultimate price to be paid for allowing the big two to become tied to corporate industries and answerable more to their stockholders and board of directors, than the reading audience and their retailing partners. While they will probably always keep the comics going, so long as they generate even a mild profit, to help gage the viability of these IPs for further potential of profitability in other forms of media, comics day of being THE most important thing to the big two is probably a thing of the past. Thus, event-driven stories will continue to be the norm, so that they can grab up those short-term profit gains, to keep the stockholders happy. And none of those in the seats of power will care, until the day that short-term thinking balloon pops. They'll just pray it doesn't pop while they are the one(s) at the helm.”
Based on my informal research, it appears that events have already driven some people away from comics. In addition, those that are still buying and reading monthly comics are starting to show event fatigue. Some have stopped buying the tie-ins, others have stopped buying events altogether. Others just cry out, “Make it stop!” Events do sell comics, but will there be a breaking-point where a majority of the current super-hero fans decide not to buy into the next big event? Maybe. At least for those that took the time to respond to my questions, it seems that they are starting to get pretty fed up with the current event-hype-event-hype-event trend we’ve been experiencing from the Big Two’s super hero universes. As I said in the Newsarama interview, "When used correctly they can definitely increase sales to both fans and new or returning readers. However, they should not be over done -- one event every year [total, not per publisher] or every other year would be fine. Then just focus on the core of the universe and make those titles good. I don't want people to just buy the events. I want them to buy comics."
When I received the questions, I took a moment and asked you, fans of my blog who have read comics, what your feelings were on events. Since the Newsarama column went up today, I figured it was the perfect time to share the responses I received back in regard to the fan’s feelings of event fatigue.
My first question was weather or not people were less interested in comic book events now than they were two or three years ago. The answer to this was a unanimous YES.
One respondent, Ben said, “. I've been yearning for more stories that are self-contained, so I've hit up titles like "Y the Last Man," "Ex Machina," "The Goon," "100 Bullets" and "American Virgin" just to get away from the event-ridden superhero stories.”
Derry is feeling so much fatigue that she can’t take it anymore, “I hate big events – so much so that they've driven me away from comics. I've been waiting for an event-free few months to try to hop back in but it's just a constant hammering of event after event after event, each promising to Change The Universe! but just managing to get rid of the things I like.”
James L. feels like the events are actually ruining the characters and stories he once enjoyed, “Many of the great books that sprouted up a few years ago have been derailed from their natural story progressions by editorial decrees that the books adhere to the big events.”
My second question was weather or not people buy the tie-in titles for the events. Many said they do, or that they have in the past. But not everyone was a fan of the tie-ins. There were a couple who were very adamant that they do not pick up those tie-in titles.
The more interesting responses came from the follow-up question: “If you were not already reading that title but picked it up for the cross-over into the event, do you usually stop reading the title after the cross-over issues, or do you find that you typically continue to read that title?”
Betty said, “, I quit when/if it's no longer absolutely required, in the rare case that I bother to follow an Event.”
Ben picked up Cable Deadpool after Civil War because he, “got a huge kick out of Cable & Deadpool and their tie in to Civil War.” He says he liked the writing and got into Deadpool’s character. He says, “I'd forgotten how cool he was. I did continue reading that book...but it got sucky, so I put it down.”
James M. doesn’t recall many books that he had picked up because they crossed into an event that he then stuck with. “Outside of maybe a new series that had the first issue tie-in and I kept reading because it the series was new, it just usually doesn't work like that with me.”
To assume from the responses that everyone despises events would be incorrect. I asked what makes a good event, and the answered varied, but no one said, “not having one.’ While there were several who did agree that having fewer of them less often was one way to improve the situation.
Philippos felt that to make a good event the stories need, “cohesion; clear concept; good reasons for characters to react as they do; a concept that seems idea-driven rather than merely sales-driven. Not a lot of random loose things spraying all over the place; especially long after it should be over; or sloppy writing leaving a lot of crap on other people's characters.”
To James L, what makes a good event is the same thing that makes any regular comic book good, “a good story, well defined characters, good dialogue, good art, and a good ending.”
A worthwhile event in the eyes of James M, “is something that has something to say or accomplish, that tells you something about the character(s) involved and actually creates developments as fodder for more stories for the character(s) that can spring forth in their own series. It isn't just about empty hype or shaking things up. It's about creating a situation that will make for a maximum potential for future stories about the character(s) involved in the event. Without that kind of substance behind it, the event is a very hollow and ultimately wasted effort.”
Ben put it simply, “A PAYOFF!”
The main things that people do not like about events are how frequently they’re being staged by the Big Two these days, as well as all of the hype they use to try to build the events into something that they do not end up being.
“DON'T have an event every f#%*ing month!” says Bradley. “It seems like "The Big Two" have events now just for the sake of having an event. Plus, it is such an obvious sales tactic. The fact that there are "events" all the time really reeks of desperation on the parts of Marvel and DC.” He goes on to ad that, “Events need to be once every 5 years. You need to give the readers a chance to take in a big event and breathe again. Plus, if you're going to do an event, how about hiring a creative team that will actually do the books ON TIME? I honestly don't give a monkey's fart about any "big names" that will be doing event books! I'd much prefer a team that will dedicate themselves to doing that book and not have any other projects that will delay the title.”
Philippos makes an interesting point about events actually hurting continuity and giving publishers and their creative teams the excuse to be lazy, “They invite bad writing, especially when they're approached with the attitude that customers are dumb enough to buy really bad writing but want all those in-canon appearances (a lingering attitude from the "comics as trading cards" era). In any case, someone hired to write a crossover often gets some if not most of the characters wrong, but then, since the event had high sales, the sloppily researched version in the event becomes dominant in the subculture's mind.”
“I hate that events are so nakedly about holding the reader hostage for as many pamphlets as she can be induced to buy,” said Betty, who continues with her strong feelings on the current “event mentality.” “I hate that events feel like me versus the comic company: their goal is to keep me confused unless I buy every title, my goal is to buy as few as possible. I hate that events break up existing story-lines, existing character-arcs, and existing relationships which were actually quite interesting thank-you-very-much. I hate that events feel like a High School pep rally and I'm treated like an eighth grader, and a rather dim one at that. No, I will not believe you that it's awesome just because you repeatedly tell me it is. How about you actually write something awesome? I hate that events are driven not by the characters, or existing themes, but instead by shock-value.”
Everyone seemed to agree that while they did not believe that events were the only way publishers COULD sell comics, it does seem to be method they’ve chosen to use at the moment. Many also confirmed that they are feeling event fatigue and that if these non-stop events continue publishers will loose readers, rather than gain them.
Brian says, “I'm just not excited about the prospect of yet another BIG, MEGA EVENT as it makes the previous BIG, MEGA EVENT seem less important. Why should the reader care about this year's big event when another will be coming right around the corner.”
“[Events] scare away potential new readers, and frustrate long time ones,” says James L. “If the big two don't stop with the constant crossing over, I can see an industry bust on the horizon. Of course, maybe that's what the industry needs to get back to the state things were in a few years ago, with good writers and artists being allowed to tell good stories, rather than being forced to be disgruntled cogs in a corporate machine.”
Ben says, “Events are OK, every five years or so, but NOT EVERY FRIGGIN YEAR! It's OVERKILL! I wish Marvel and DC could let their characters breathe for five minutes before making them deal with Monitors or Skrulls or whatever the hell else the big wigs want to throw at 'em. The only thing EVENTS have taught me in comic books is that eventually, EVERYTHING goes back to zero.”
James M blames it on the “institutionalization and corporitization” of comics and their characters. “The big two are more focused in finding ways to develop the "intellectual property icons" they have into other media forms, with the comics that made them icons to begin with being much lower in importance to them. This is the ultimate price to be paid for allowing the big two to become tied to corporate industries and answerable more to their stockholders and board of directors, than the reading audience and their retailing partners. While they will probably always keep the comics going, so long as they generate even a mild profit, to help gage the viability of these IPs for further potential of profitability in other forms of media, comics day of being THE most important thing to the big two is probably a thing of the past. Thus, event-driven stories will continue to be the norm, so that they can grab up those short-term profit gains, to keep the stockholders happy. And none of those in the seats of power will care, until the day that short-term thinking balloon pops. They'll just pray it doesn't pop while they are the one(s) at the helm.”
Based on my informal research, it appears that events have already driven some people away from comics. In addition, those that are still buying and reading monthly comics are starting to show event fatigue. Some have stopped buying the tie-ins, others have stopped buying events altogether. Others just cry out, “Make it stop!” Events do sell comics, but will there be a breaking-point where a majority of the current super-hero fans decide not to buy into the next big event? Maybe. At least for those that took the time to respond to my questions, it seems that they are starting to get pretty fed up with the current event-hype-event-hype-event trend we’ve been experiencing from the Big Two’s super hero universes. As I said in the Newsarama interview, "When used correctly they can definitely increase sales to both fans and new or returning readers. However, they should not be over done -- one event every year [total, not per publisher] or every other year would be fine. Then just focus on the core of the universe and make those titles good. I don't want people to just buy the events. I want them to buy comics."
Thursday, August 23, 2007
Do you Suffer from Event Burnoout?
I received an email from the vivacious Vaneta, writer for Newsarama, asking retailers to participate in a column she's doing on event fatigue. As a store owner I have my own views on event driven comics and weather or not there is some fatigue from fans. But, I thought I'd ask you fair readers to share your feelings as well. After all, you are the ones that I have to use to base my buying decisions on.
Please reply here or via email: neptunecomics@sbcglobal.net and let me know what your opinions are! I will share the results sometime next week.
Are you less interested in larger, multi-title comic book stories than you were, say two or three years ago?
When comics publishers have storylines that tie in to more than one title, do you buy those tie-in titles?
If you were not already reading that title but picked it up for the cross-over into the event, do you usually stop reading the title after the cross-over issues, or do you find that you typically continue to read that title?
What makes for a solid event?
What do you not like about "events?"
Are multi-title stories the only way the big two can sell anymore?
Please reply here or via email: neptunecomics@sbcglobal.net and let me know what your opinions are! I will share the results sometime next week.
Are you less interested in larger, multi-title comic book stories than you were, say two or three years ago?
When comics publishers have storylines that tie in to more than one title, do you buy those tie-in titles?
If you were not already reading that title but picked it up for the cross-over into the event, do you usually stop reading the title after the cross-over issues, or do you find that you typically continue to read that title?
What makes for a solid event?
What do you not like about "events?"
Are multi-title stories the only way the big two can sell anymore?
Tuesday, May 08, 2007
Quoted Today
I got a lengthy quote on Lying in the Gutters today in the section about Free Comic Book Day. I expressed some concerns that I know some other comic book retailers share - about the content of comics available for Free Comic Book Day. While I don't think there shouldn't be any mature themed titles, I do think that 1. all Gold Sponsors should be all-age appropriate including any and all ads placed in the book and 2. books that are for mature audiences should say so on the cover. We retailers don't get a lot of information on the comics when we order them, so either we need more time before FCBD to read them ourselves or there needs to be better oversight and ratings so that we know what we're giving out. At Neptune we try to be pretty careful about who gets what comics, but not every store is diligent, and some just don't know. I'd hate to see the fun and good reputation of FCBD taken away by a law suit when a child ends up with a comic book their parent finds inappropriate for his/her age.
It took a day, but here's the link to the Retailer column by Vaneta on Newsarama discussing FCBD. I was quoted a few times - she has a LOT of retailer quotes. None of our pictures made the cut, unfortunately. But we did have a bunch make the Diamond Daily page.
It took a day, but here's the link to the Retailer column by Vaneta on Newsarama discussing FCBD. I was quoted a few times - she has a LOT of retailer quotes. None of our pictures made the cut, unfortunately. But we did have a bunch make the Diamond Daily page.
Monday, March 05, 2007
Digital Comics Discussion
Vaneta Rogers' column on digital comics and their impact on the comic book retailer went live today. It's an interesting column and I was quoted several times. Some of the responding posters didn't like my comments, which I consider a compliment since many of them are clueless.
Here's a portion of the column:
Click here to read it all.
Let me know what you think about the column and digital comics!
Below are my complete answers to all of Vaneta Rogers' questions. Read on if you're interested:
What's your general reaction to the ongoing news that digital comics are being explored by various publishers? Do you think this move toward digital comics will affect your business? How?
While digital comics can and will take some readers away from the traditional paper format, I have found that many folks who read paper comics do so because they like it. Many people sit in front of computer screens all day, so when they go home and read their comics they do not want to do it in front of a computer screen. My assumption, and we will see over the next few years if I'm right, is that digital comics will have more appeal to people who are not currently reading comics than it will to people who already are regular readers of the paper format.
Younger buyers as well as non-collectors seem to be the people who would show the most interest in digital comic books. Many of these people have already gone with publisher subscriptions or other low-cost mail-order services. At least in the short run I think that the comics-by-mail industry will feel more of the pinch of digital comics than the brick-and-mortar comic book stores. We b&m stores have so much to offer in terms of a variety of products and quality customer service, that fans of our type of in-store experience will hesitate going to digital comics, at least in the short-term.
Which parts of your business will it affect the most? The least?
The "floppies" or single-issue comics will be the most hurt by a move to digital, especially comics that tend to attract teen age readers, as they spend a lot of time in the digital world already. Manga will probably be impacted by the move to digital, as many are target to a tween and teen market.
Graphic novels might see some decline, but I do not think it will be as much as the single issues and manga.
We still have a ton of products that are not books - toys, t-shirts, statues, etc. Those items should not see a down turn because of digital comics. If digital comics draw in new readers it might actually help increase the sales of comic book related items in stores.
What are the benefits and risks for the comics medium in exploring
this type of distribution of its creative materials?
The big benefit is that this medium could increase readership in comic books, and generate a broader interest in comic books and related items. This could help improve the market for back issues and older graphic novels that would not yet be available to download, as well as increase the demand for other items like branded clothing and toys.
The risk is just the opposite - a loss of readership. If digital comics take off and comic book stores cannot sustain themselves because of it, there will be a decline in comic book readership. Many folks in their 30's and up grew up with paper comics, and many of them have to work in front of computer screens at their jobs. These people will be difficult to convince to switch to digital comics, and if their local comic book stores close, they will simply stop reading. Additionally, web sites simply cannot offer the hands-on customer service a good local comic book store can offer. So, someone reading one or two comics might not ever know of other great comics they might enjoy. These days the brick & mortar retailer does a great deal of the marketing for publishers. What will the publishers do when that grass-roots marketing is gone?
Who do you think reads digital comics? And have any of your customers
indicated that they've read digital comics?
None of our customers have said that they read digital comics, and many that we have asked have expressed that they prefer paper comics. For current paper-comic readers who have grown up on comics, I could see a switch to graphic novel format from "floppies" before a switch to digital comics. I believe that the main readers of digital comics are primarily people who do not shop in the brick & mortar stores: tweens, teens, non-collectors and women.
Obviously, the technology and means are there -- do you wish it
weren't used at all? Or if it is to be used (which seems apparent),
then how would you wish it were (or believe it should be) utilized?
Digital comic books could be beneficial to the comic book industry if they are used more as a tool to promote comics to new readers than if they are utilized to poach current readers.
Current readers might be compelled to switch to digital comics if they are cheaper, if the digital data can be stored long-term, and if the files can be shared for free on the world-wide-web. Especially if they can get them at the same time as the paper issues come out. This could lead to the death of the direct market, or at least the death of many brick and mortar stores.
If publishers price the digital comics at a comparable price or make them self-destruct after a few weeks, and release the digital format weeks or months after the paper issues are released, that would help keep current readers buying paper comics, yet mean very little to people coming into comics for the first time as a digital format.
If digital comics do lead to a substantial decrease in the number of
print comics that are purchased, how will your store be affected? How
do you answer the folks who wonder why you can't survive on other
comics-related merchandise? Can't you adjust your offerings to meet
demand?
We do carry a variety of other merchandise in our store, but single-issue comics are 45% of what we sell. Graphic novels account for another 17%. If we lost a majority of that business, it would be devastating. We receive the best discounts on comics and graphic novels, which means that they account for an even larger amount of profit than what those numbers illustrate. Then there's the income flow comics provide - we have a portion of our customers come in every single week to pick up their new comic books. This provides us with a fairly steady flow of cash. Without that it would become difficult to purchase those other items like t-shirts, statues and toys, that just do not sell as fast. Unless we completely changed our store's business model, becoming something other than a comic book store, we would go out of business.
Do you think digital comics will overtake print comics as the
preferred way to enjoy the medium? If not -- why not? If so, what do
you think will happen to the comics medium in general if digital
comics do become the norm?
Many of the current readers of paper comics show little interest in switching to a digital format. In the near future there will be people, especially younger readers and those not currently reading comics, who find the digital format appealing. But just as eBooks have not put book stores out of business, I do not think that digital comics will become the preferred format. At least not in the next decade.
However, as today's youth grow up and our current 30 something customer base reaches a point where they are no longer purchasing comics, we could see the trend toward digital comics take hold. The price of portable computers with high-quality screens needs to go down while the storage space and data download times increase. When these two events begin to converge, we will start to see a gradual switch to the digital format in all digital reading materials, not just comic books.
If digital comics were to become the norm, I think that there would be even less tolerance for late issues from readers. In addition, people would demand higher and higher quality art - much like the trend we have seen in video games. This could then take jobs away from the traditional pen and paper comic book artists as the new generation of artists create life-like images in a quarter of the time it takes to draw by hand.
I also wonder how it would impact back issue comics. Obviously there would not be any back-issues of the new, digital format comics. But, would the paper issues of the past become a vintage collectable, or paper trash?
Is there anything you think the publishers who have decided to
explore digital comics could do to help you out as they do so?
Something they could do to insure the viability of your business
despite trying to reach customers without you?
There are several things:
Do not release the digital version for weeks or months after the initial release of the paper format. Make sure that the digital files cannot be shared on-line for free (this will kill not only my store, but the publishers as well). Either price the digital comics at a price similar to the paper versions, or encode the digital comics so that they self-destruct after a pre-specified amount of time. Use the digital format to bring in new readers by creating comics geared to them that are digital-only, while letting them know that they can find similar paper comics at local comic book stores.
Here's a portion of the column:
When asked to weigh the benefit vs. the risk, all the retailers said there could be a benefit to digital comics if they are successful in reaching new readers online, while the risk is obvious -- the end of the paper comic and local comics shops.
"The benefit? Exposure," said Paul Stock, owner of Librairie Astro in Montreal, Canada. "The direct market is said to be down to 2,500-3,000 stores. Even if we triple that number to cover the world, we're still barely scratching the surface of the population. Exposing the medium on the net will reach a huge audience, and if even a tiny fraction of that audience decides to adopt hard copy because they prefer the different experience, the market should expand enormously.
"The risk, obviously, is that the public fully embraces the digital delivery, to the point that print is no longer financially viable," Stock continued. "Presuming the publishers have found a way to cash in on digital delivery, the risk is not to them or the creators, but to printers, distributors, and retailers."
Lopacinski agreed. "Digital comic books could be beneficial to the comic book industry if they are used more as a tool to promote comics to new readers than if they are utilized to poach current readers," she said.
But the risk, she said, is that current paper comics readers might be compelled to switch to digital comics "if they are cheaper, if the digital data can be stored long-term, and if the files can be shared for free on the world-wide-web. Especially if they can get them at the same time as the paper issues come out. This could lead to the death of the direct market, or at least the death of many brick and mortar stores."
Click here to read it all.
Let me know what you think about the column and digital comics!
Below are my complete answers to all of Vaneta Rogers' questions. Read on if you're interested:
What's your general reaction to the ongoing news that digital comics are being explored by various publishers? Do you think this move toward digital comics will affect your business? How?
While digital comics can and will take some readers away from the traditional paper format, I have found that many folks who read paper comics do so because they like it. Many people sit in front of computer screens all day, so when they go home and read their comics they do not want to do it in front of a computer screen. My assumption, and we will see over the next few years if I'm right, is that digital comics will have more appeal to people who are not currently reading comics than it will to people who already are regular readers of the paper format.
Younger buyers as well as non-collectors seem to be the people who would show the most interest in digital comic books. Many of these people have already gone with publisher subscriptions or other low-cost mail-order services. At least in the short run I think that the comics-by-mail industry will feel more of the pinch of digital comics than the brick-and-mortar comic book stores. We b&m stores have so much to offer in terms of a variety of products and quality customer service, that fans of our type of in-store experience will hesitate going to digital comics, at least in the short-term.
Which parts of your business will it affect the most? The least?
The "floppies" or single-issue comics will be the most hurt by a move to digital, especially comics that tend to attract teen age readers, as they spend a lot of time in the digital world already. Manga will probably be impacted by the move to digital, as many are target to a tween and teen market.
Graphic novels might see some decline, but I do not think it will be as much as the single issues and manga.
We still have a ton of products that are not books - toys, t-shirts, statues, etc. Those items should not see a down turn because of digital comics. If digital comics draw in new readers it might actually help increase the sales of comic book related items in stores.
What are the benefits and risks for the comics medium in exploring
this type of distribution of its creative materials?
The big benefit is that this medium could increase readership in comic books, and generate a broader interest in comic books and related items. This could help improve the market for back issues and older graphic novels that would not yet be available to download, as well as increase the demand for other items like branded clothing and toys.
The risk is just the opposite - a loss of readership. If digital comics take off and comic book stores cannot sustain themselves because of it, there will be a decline in comic book readership. Many folks in their 30's and up grew up with paper comics, and many of them have to work in front of computer screens at their jobs. These people will be difficult to convince to switch to digital comics, and if their local comic book stores close, they will simply stop reading. Additionally, web sites simply cannot offer the hands-on customer service a good local comic book store can offer. So, someone reading one or two comics might not ever know of other great comics they might enjoy. These days the brick & mortar retailer does a great deal of the marketing for publishers. What will the publishers do when that grass-roots marketing is gone?
Who do you think reads digital comics? And have any of your customers
indicated that they've read digital comics?
None of our customers have said that they read digital comics, and many that we have asked have expressed that they prefer paper comics. For current paper-comic readers who have grown up on comics, I could see a switch to graphic novel format from "floppies" before a switch to digital comics. I believe that the main readers of digital comics are primarily people who do not shop in the brick & mortar stores: tweens, teens, non-collectors and women.
Obviously, the technology and means are there -- do you wish it
weren't used at all? Or if it is to be used (which seems apparent),
then how would you wish it were (or believe it should be) utilized?
Digital comic books could be beneficial to the comic book industry if they are used more as a tool to promote comics to new readers than if they are utilized to poach current readers.
Current readers might be compelled to switch to digital comics if they are cheaper, if the digital data can be stored long-term, and if the files can be shared for free on the world-wide-web. Especially if they can get them at the same time as the paper issues come out. This could lead to the death of the direct market, or at least the death of many brick and mortar stores.
If publishers price the digital comics at a comparable price or make them self-destruct after a few weeks, and release the digital format weeks or months after the paper issues are released, that would help keep current readers buying paper comics, yet mean very little to people coming into comics for the first time as a digital format.
If digital comics do lead to a substantial decrease in the number of
print comics that are purchased, how will your store be affected? How
do you answer the folks who wonder why you can't survive on other
comics-related merchandise? Can't you adjust your offerings to meet
demand?
We do carry a variety of other merchandise in our store, but single-issue comics are 45% of what we sell. Graphic novels account for another 17%. If we lost a majority of that business, it would be devastating. We receive the best discounts on comics and graphic novels, which means that they account for an even larger amount of profit than what those numbers illustrate. Then there's the income flow comics provide - we have a portion of our customers come in every single week to pick up their new comic books. This provides us with a fairly steady flow of cash. Without that it would become difficult to purchase those other items like t-shirts, statues and toys, that just do not sell as fast. Unless we completely changed our store's business model, becoming something other than a comic book store, we would go out of business.
Do you think digital comics will overtake print comics as the
preferred way to enjoy the medium? If not -- why not? If so, what do
you think will happen to the comics medium in general if digital
comics do become the norm?
Many of the current readers of paper comics show little interest in switching to a digital format. In the near future there will be people, especially younger readers and those not currently reading comics, who find the digital format appealing. But just as eBooks have not put book stores out of business, I do not think that digital comics will become the preferred format. At least not in the next decade.
However, as today's youth grow up and our current 30 something customer base reaches a point where they are no longer purchasing comics, we could see the trend toward digital comics take hold. The price of portable computers with high-quality screens needs to go down while the storage space and data download times increase. When these two events begin to converge, we will start to see a gradual switch to the digital format in all digital reading materials, not just comic books.
If digital comics were to become the norm, I think that there would be even less tolerance for late issues from readers. In addition, people would demand higher and higher quality art - much like the trend we have seen in video games. This could then take jobs away from the traditional pen and paper comic book artists as the new generation of artists create life-like images in a quarter of the time it takes to draw by hand.
I also wonder how it would impact back issue comics. Obviously there would not be any back-issues of the new, digital format comics. But, would the paper issues of the past become a vintage collectable, or paper trash?
Is there anything you think the publishers who have decided to
explore digital comics could do to help you out as they do so?
Something they could do to insure the viability of your business
despite trying to reach customers without you?
There are several things:
Do not release the digital version for weeks or months after the initial release of the paper format. Make sure that the digital files cannot be shared on-line for free (this will kill not only my store, but the publishers as well). Either price the digital comics at a price similar to the paper versions, or encode the digital comics so that they self-destruct after a pre-specified amount of time. Use the digital format to bring in new readers by creating comics geared to them that are digital-only, while letting them know that they can find similar paper comics at local comic book stores.
Friday, February 23, 2007
Death of Comic Books as we know it?
As I am spending time alone today besides the occasional customer I wandered over to Newsarama to check out coverage of the New York Comic Con. What do I see as the headline when the page opens: Marvel to pursue digital publishing of Comics. Now this has been a hot topic for the last couple of years. Dan Buckley in a panel at the NY Con came out and said that Marvel will be publishing their comics digitally for download sometime in the future. As a comic book retailer there is a couple of ways to look at this. First: "This is the death of Comic Book stores they are all going to dry up and go away." Second: "Cool, more exposure, more people reading, better for the industry." Of course these are the 2 extremes of the argument. Where do I fall? I guess somewhere in middle. While I do believe that more exposure is good and hopefully bring in new readers. I do believe that we would lose some of those weekly customers to the download. All you have to do is look at the newspaper industry. When was the last time you actually bought a newspaper for the purpose of reading the news? I know I just go to the web and read the articles I want to read for free. As far as the exposure argument goes look back to the 70's-80's when you had comic books at Drug stores, Food Markets, and other shopping outlets. Because of this "exposure" you have men who grew up back then still reading, collecting, and enjoying comic books. I should know I am one of them.
Marvel and DC need to get those books back in those places to get those 8-12 year boys make Mom buy them a comic to keep them quite while Mom shops. I think the downloading of comics might kill a lot of shops like mine because of the 24-35 year old downloading all the new books. They are the life blood of shops like mine, due to the fact they are the ones with money. They can support their hobby because they have full time jobs. Taking off the retailer hat for a moment I can say that I personally like holding the book reading it in my favorite chair or couch. I hate trying to read stuff on a monitor. Whenever I get a long joke via email sent to me I don't read it I just delete it. So hopefully a lot of people agree with me and believe that having the book is better than downloading and keeping it on your computer.
Marvel and DC need to get those books back in those places to get those 8-12 year boys make Mom buy them a comic to keep them quite while Mom shops. I think the downloading of comics might kill a lot of shops like mine because of the 24-35 year old downloading all the new books. They are the life blood of shops like mine, due to the fact they are the ones with money. They can support their hobby because they have full time jobs. Taking off the retailer hat for a moment I can say that I personally like holding the book reading it in my favorite chair or couch. I hate trying to read stuff on a monitor. Whenever I get a long joke via email sent to me I don't read it I just delete it. So hopefully a lot of people agree with me and believe that having the book is better than downloading and keeping it on your computer.
Tuesday, February 13, 2007
All Star Excuses
I know I've complained about it before, but I'm doing it AGAIN. Today we got our retailer email from DC Comics. It reads:
ALL STAR BATMAN & ROBIN, THE BOY WONDER #5 TO BE RESOLICITED FOR MAY IN-STORE
Orders for ALL STAR BATMAN & ROBIN, THE BOY WONDER #5 (SEP060194) have been cancelled. This issue will be resolicited in the March Previews (Volume XVII #3) with a new in-store date of May 16.
I don't even remember exactly when the previous issue came out, but it was before April 2006. That means that we'll wait over one full year for this comic book's next issue.
Frankly, I'm sick of excuses! I do not care whose fault this is. If I were a consumer of comics I wouldn't even purchase any of these All Star comics. All they are is a book showcasing some of the publisher's top talent. And because they are "top talent" they can do whatever they want whenever they want and who are we, the simple masses, or DC their boss, to tell them otherwise. Deadlines need not apply. Maybe Frank Miller is too busy making movies. Maybe Jim Lee is to busy doing art for other late comics. WHATEVER! It is just stupid to make this into a comic book series and never be able to get the issues out. They should just have had this as one-shot stories (at least that's what they did with All Star Superman) or put it straight into a graphic novel once they were done with the story. I think Jim Lee himself said, in an interview about Wildcats, "It's comics, it's not rocket science." At least if you were a rocket scientist you'd be doing something significant enough to have an excuse for being late, Jim.
Click here to read the Jim Lee interview with Newsarama where he tries to explain away his lateness.
Then there's Frank Miller's horrible variant covers. I know I've ranted on this before too. I just don't get what people like about his art anymore. These covers look terrible! The two above are even more horrible because they clearly treat female characters as sex objects. Black Canary looks like a crack whore and I think that the random rear belongs to Wonder Woman - but she must not be important enough to have a visible face. Seriously Frank - a cover that is just a female butt! How does DC even accept that as a viable cover? Do we see Wonder Woman at all in this issue? Maybe only her backside? And people pay MORE for these than the regular covers. This is just one more thing that serves to make this "All Star" comic book a royal joke. It's a punch line. Only no one is laughing, except maybe these two "all star" creators--all the way to the bank.
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