If they can pull this off, it would be an impressive achievement. I think a 12 issue run by Johns & Frank would certainly be a quality creative team to follow Moore & Gibbons’ work.
I didn’t know if there was a “state of the industry” thread but we’re always talking about it and this was a good article to me:
It seems like there is real concern about the direct market dying now. Comics seem as a popular as ever but the “buying superheroes at select shops on Wednesdays” feels over and not coming back, any more than Blockbuster videos are.
I love a lot of what DC is doing right now, and they seem to be doing their best to keep the model afloat, but they also seem to be getting no help from Marvel.
I don’t know if you fully agree with the article or not, but it’s quite balanced and seems to suggest that both Marvel and DC have been at fault with some of their policies, and also that both are trying to help give the market a boost in their own way.
It’s interesting, while a lot of the problems cited in that article are highly reminiscent of the 1990s crash, the sales figures that we’re seeing today seem to be some way below that period. The market survived the bust of the '90s, but with such a lower starting point, could it survive a similar bust again?
I don’t agree with all of the article, I just thought the article was good.
Agree or disagree with him, but one of Brian Hibbs’ recurring themes is that, despite it being in their interest to do so, the companies don’t help the shops in how they publish comics.
It sounds incredibly dumb but then you look at the sheer amount Marvel’s putting out, plus DC, plus everyone else, all on a non-returnable basis in the main and you have to wonder how any comic shop owner keeps their shop going.
80% anime funkos
I think DC are handling the PR here better than Marvel are - Didio’s statement seems designed to make people believe that DC are trying to help the market survive in a way that Marvel aren’t - and readers seem to be responding well to the Rebirth books in a way that they aren’t enjoying Marvel’s current output.
But really I think it doesn’t need to become a DC-vs-Marvel argument as it seems that the underlying causes are shared by both companies (various reboots and relaunches, marketing gimmicks, and milked-to-death event comics).
These seemed to be quite telling sections of the article:
Ultimately I think the final line of the article probably nails it: both companies need to produce books that people actually want to read and can get excited about. That’s easier said than done, but is a big part of it.
DC seem to be in front in that area at the moment but indications seem to be that Marvel are gearing up for something to challenge Rebirth, so we’ll see how that goes.
I’ve talked to the owner of my LCS numerous times about the industry. He’s been in business for 42 years.
He doesn’t call his store a “comic shop”. It’s a “sci fi/fantasy superstore”. While comics are an important part of his sales, they are not the biggest slice. He has a varied product base. He also has a very knowledgeable staff that can not only help you find comics you might enjoy but other merchandise as well.
I say that because I think moving forward, digital comics are going to be bigger and more important moving forward. The younger generations are growing up online and if comics are an entertainment form they choose to get into, they will probably go digital. Smaller stores that survive on primarily new comic sales probably won’t make it long term. Stores like mine will survive longer because of their more diversified product lines.
That is something else to consider: Retail is undergoing a transformation due to the influence of online shopping. It will definitely have an impact on the comics industry.
His mention of the “strong rumor” that Marvel is rebooting after the Secret Empire fiasco is intriguing. I’m not sure, given the info we currently have, that it’s going to be anything more than a short term bump.
Bleeding Cool is claiming that Legacy is really a lead-in to the real event/soft reboot which will feature extensive new creative teams, a return to core characters and no major crossovers/events for at least a year.
But it is Bleeding Cool so who knows who reliable that is.
Yeah, impossible to know really. And those Marvel reboot rumours seem to do the rounds during every Marvel event (there were widespread rumours that they would reset the entire line after Secret Wars, and that didn’t happen), so who knows if it will really come to pass.
After DC’s New 52 I think a lot of people would have maybe written off line-wide reboots as only offering a short-term lift, but Rebirth seems to have been pretty sustained (so far, anyway). The article suggests that that’s maybe because DC have put a bit more long-term planning and strategy into it this time. So if Marvel are looking to make big changes, I hope they’ve thought them through rather than just looking for another short-term bump.
While I can believe almost anything where Marvel is concerned, if they’re going to reboot then they don’t need Waid and Samnee to go to work on Cap, do they?
This has been a great series. It took a few issues to get going but Abnett has made it his own and he has been ably assisted by the art team, with Scott Eaton turning in some of his best work, supported by Anderson and Pelletier. They’ve made for a tremendous team and we’ve have 24 issues of an Aquaman run that holds up against Johns new 52 run and should go down as a classic.
Abnett is a very popular writer, and he’s found the perfect vehicle here. He’s a man of a million ideas, most of which are very straight forward, as is his style of writing, and it just all comes together in this really solid example of good superhero comics.
Issue 25 is a bit special. As much as I’ve enjoyed all of the art (and colours, Aquaman is a bright and vibrant book), Stephan Sejic makes this issue stand out that little bit more and I think it works here in that it gives the extra sized issue it’s own wee podium, and that’s the way it should be with these milestone issues - rather than just churning out the extra pages and decompressing the story a bit; which is what we often see in these and modern day annuals.
And the good news is, he’s back for issue 26. Which might make what I’ve just said a lot of shite, I don’t know, I stand by it, but I could understand it being picked apart. It just felt like we were getting a visual treat for sticking with the book this past year.
When I read this and i look at something like the art in Crosswind, it just feels like some artists are poles apart in understanding the the actual art form of comics and sequential storytelling.
The expression on Murk’s face on page 2 conveys basically a whole 24 issues of character and relationship building in a single image and Abnett has smartly left it to his artist to do this - showing the trust in him to pull that off.
I really get the sense that the artist has read the previous issues or scripts, or at least asked a bunch of questions to Abnett before deciding how to represent these characters on the page.
Body language, gestures, facial expressions, layouts - they are all tools that an artist would do well to understand before emabarking on a career in comics.
It wouldn’t surprise me at all if Sejic has some sort of background in animation.
There’s a lot of budding artists floating about in Millarworld - I’d recommend picking this issue up and studying it.
Back to the story and Abnett has continued on directly from the previous arc and Arthur’s forced exile from Atlantis .
If you have read much of Abnett’s work you will know he does a lot of smart Sci Fi work and it’s noticeable that he brings some of that in here, with the Ninth Tride of Atlantis - which of course makes sense, as Atlantis may as well be a world alien to us.
And it’s the visual introduction of this that shows another side to Sejic that he is also master of, and that’s beautiful design work; characters, creatures, clothing and environment - this must have all have taken a bit of time. I hope that it it is recognised in the industry.
Quite a brilliant issue, marred by a typo by the letter lee that I can’t believe that neither he or the editors never picked up, I noticed it right away where they have used the word ‘form’ instead of ‘from’ and it is quite jarring and disappointing when an artist has put so much on these pages in both the art and the colours, that something like this is overlooked by either laziness or folk who have just switched off and going through the motions.
The whole run is to be recommended, but this issue in particular is a highlight and a nice change of pace which serves to keep the series interesting.
Take a bow Mr Abnett and Mr Sejic.
This is an important point and something we’ve discussed in relation to the sheer amount of content coming out.
Another analysis I saw showed that while comics sales at the top end had barely moved, the book at number 300 in the charts had continued to rise. I can’t find the numbers now but I recall it was a 600% sales increase in 10 years on the average number of copies sold.
That’s not great for the retailers because they have to guess the demand for each one. Having a steady 20 big sellers every month from Marvel and DC can form the backbone of that.
Just getting caught up on Action Comics and i’ve found this Revenge arc to be a bit of a bore, but the last issue had an interesting development with the return of Ursa and Lor-Zod.
I’m guessing this won’t be the same Lor/Chris that stayed with Clark and Lois pre-flashpoint, but it’s cool to see him back. And surely it’s only a matter of time until he shows up in Super Sons to mess with Jon and Damien. A lot of fun story potential there.
I have the same questions and thoughts about that one.
New Gods Special #1 was a really pleasant surprise.
I wasn’t expecting much out of Shane Davis but in doing a simple one-shot to showcase Orion he did a splendid job.
He gets all of the basics in and portrays them in a very entertaining manner.
The art is a bit wonky, but that’s the only complaint from me.
I know someone else read it, Robert maybe, I just got to it last night…how good was Batman/Elmer Fudd?
I thought that was a really clever take, putting a bit of a Sin City/Ed Brubaker’s Criminal universe style, hard boiled noir spin on the Looney Toons characters…and also pulling it off…Tom King is living up to all the hype, continually. Really creative and dialogue for Elmer was perfect, not to mention some of the other character with some superb touches;
My name is Elmer Fudd
And we’re hunting wabbits
Lee Weeks art here again makes me wonder why he’s not being showcased on a top title somewhere - the man’s an artistic genius. This was a brilliant piece of work.
I’d actually like this in hardcover format. It will be a really thin volume, but they could make it oversize to showcase the art. I’d like to have it on my crime shelves along with the types of book I’ve mentioned above.
The lack of widespread buzz on this is another indicator that there’s far too many books out there. The real genius stuff is slipping under the radar with the weight of books on the market.
Too many publishers, too many books, too many writers and artists.
If there is a bit of a rough spell there could be some good come of it, the industry needs to contract.
Jim started a topic on it:
It’s a great issue.
Damn, I don’t remember seeing that