Direct Market single issue sales are the most important number. It’s also a dependable number. Comic shops don’t get to return unsold copies (as opposed to standard returnability in bookstores, and what remains of the newsstands) in exchange for a bigger discount. Pre-orders, order adjustments before FOC, and re-orders are almost formulaic at this point—although Rocket Girl happens to do much better on reorder and sell-through than the average comic. So pre-orders are where you need to push because it’s so hard to break out of the cycle.
At this point, I can use real dollars because there is enough surplus on the balance sheet. We have the cash flow to cover current daily production. We can weather for at least a few issues a precipitous decline in sales or thunderous rise in costs. Fan support through five issues has secured that, for which we’re grateful. The short version is Amy and I are locked in to making at least as much on Rocket Girl as we would at Marvel or DC at least through issue 10. Given that we’re bimonthly, there’s plenty of time to determine the future.
We’ll see how sales are at #9 and #10. And by that time, we’ll have a sense of how well the collected edition is doing. We’ll monitor how well merchandise sells and sales at conventions. Ancillary rights are still almost completely untapped—obviously there’s a lot of potential there. There is a reality in creator-owned that you have to take charge of some elements of the business. But with that, you come to realize that a healthy business plan actually helps the creative process rather than distract from it.
- Brandon Montclare on the business of keeping a creator-owned comic afloat at Image
"Steve: Would you say that’s a particular problem for Marvel? Or do you think there’s a charm in having Wikipedia open while you read your first ever X-Men comics, to help learn backstories and origins?
Rachel: I think it’s a problem fairly common to shared-universe characters who’ve been around for the better part of a century. If someone did a similar podcast with the DCU, I’d listen in a minute, because I am so completely intimidated by that timeline that I don’t even know where to start."
Firstly: go read this interview Steve Morris did with Rachel and Miles, who X-Plain the X-Men on a weekly basis (Also, if you don’t listen to that podcast, then go and listen to that podcast).
Secondly: I made a joke awhile back on Twitter about wanting to do an X-Plain the X-Men for the Justice League, and now that I’ve seen Rachel talk about someone doing a similar podcast for the DCU, I really want to do it. This is clearly a bad idea and Rachel is accidentally enabling me without even know it.
.@IDW To Bring @LionForge Comics to Print
Lion Forge Comics have been one of these quietly growing publishers who, over the last year or so, have started to reach out and start hitting headlines and grabbing attention. With a series of licensed comics, the company have books starring real-world figures, like ‘Rampage Jackson: Street Soldier’ which is based on an MMA wrestler. They also have 80s-tastic licenses for stuff like Knight…
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When I write a news story I like to go on tangents
firehawk32 said: Why do you think it's so hard to find a not skeevy picture of Mary Jane Watson online? More than other comic book women her Google image search is rough. Is it just because she's a model?
I think it’s because
a) she’s a female character in comics who’s not a superhero and is frequently and explicitly characterized as playfully sexy in those comics,
Sara Pichelli is the only female artist I can remember having drawn a Spider-Man comic