November 30, 2008
Here’s Matthew J. Brady’s prescription for the comics industry:
“Amputate those gangrenous old sections that aren’t worth having around (lame, overserious superhero comics, mostly, although I would think that’s really just a little toe). Then, graft on some extra (robotic?) limbs in the form of more imports: more adult manga, more manga about esoteric subjects, more European comics, more comics from other corners of the globe that deserve recognition (India? Africa? South America?). Finally, replace the aging heart of the direct market with something futuristic (I don’t know what exactly; that’s for the scientists to figure out. But it should involve more genres, wider appeal, and easily-usable digital distribution). There you go: one cyborg patient, ready to march on into the future.”
November 29, 2008
Here’s Judah Alt’s prescription for the comics industry:
“For a healthy future, the comic industry needs to embrace the digital world. This means offering content online, and offering premium edition higher-end products for dedicated true fans. Stuff like the ‘absolute’ editions and opening chapters of comics.
“They need to sign up with a ‘Kindle’ provider once a digital, affordable, and high quality variation comes around. Right now Kindle is a great idea, but the execution is bad. The next Kindle generation will likely catch on more, and the comics industry should be there.
“Otherwise, low res scans of series available for free (at least the first volumes) would be a great way of getting people introduced to the stories/comics. Sort of like the Baen free library. But for comics. I’ve bought of books I wouldn’t have from reading Baen’s online content, and I don’t see comics being any different.”
November 29, 2008
Here’s Laethiel Mazake’s prescription for the comics industry:
“Regarding niche titles, localizers/publishers need to show that they won’t leave fans hanging. A policy of ‘This didn’t sell enough, so we won’t publish the rest of it (even if that’s only one or two more volumes)’ may cut losses on that one title, but it leads to a lack of trust that similar titles will continue to be published. This naturally leads to fans being leery of purchasing niche titles that may not be continued, lowering the sales numbers on new niche titles enough that they also get dropped, continuing the cycle. Of course, it’s also up to readers to buy good titles so that they’ll keep being published, but that becomes hard to justify if a company has a record of dropping series in the middle.”
November 28, 2008
Here’s Keath Patterson’s prescription for the comics industry:
“Since Manga is in better shape than Marvel/DC can I offer a solution about the big two?
“Hmm – I’m not sure how doable my wish for the industry is since they tend to play it safe by structuring everything around what their existing base wants rather than risk trying for new readers, but a good start would be to bring in artist and writers who are outside the comics world and then let them draw/write what they want rather than making them fit into predetermined story arcs. The comic world has become so insulated it’s like a continuous series of inside jokes and specialist knowledge which is unhospitable to new readers. Since there’s no real money in comics it’d be hard to attract established, top level talent from other fields (who aren’t already fanboys), but there are lots of up and coming writers and artists who’d probably be glad to take on the challenge if only for the additional exposure. And if they want to have Wolverine fight a talking banana, for God’s sake just let them do it – the fanboys will buy it anyway to keep their runs complete and just maybe they might pick up some new readers who like the zaniness. Mostly tho I’m hoping the new talent would bring good, non-traditional stories to the table so it’s not just another issue of Hero A fights Villain B for the 500th time.
“Anyway – it just seems to me that crap like Final Infinite Crisis on Infinite Final Earths appeals to fanboys only, whereas something like Paris by Watson/Gane could appeal to pretty much everyone. It’s the lesson the Big 2 still haven’t learned from manga.”
November 27, 2008
Here’s Michael Jewell’s prescription for the comics inudstry:
“My RX for the ailing comix industry?
“Creators: Plan conventions strategically. Hold your nose and keep cozying up to the mainstream lit press. Forget even thinking about relying on the Movie boom (for a bust, she’s a comin’). Be proud of what you do and never apologize for being a cartoonist. Make yourself a stiff drink.
“Publishers: Don’t turn your nose up at the manga boom; exploit it, but don’t really exploit it. Do it right. Quit it with the anthologies. Scale back floppies, step up trades and GNs. Don’t be afraid of change. Stop fucking your artists over. Seriously. Oh, and the movie point should apply especially to you. Don’t put all your eggs in one basket (majors) and don’t spread yourself too thin (small press).
“Press: Chill out. Everything’s cool.
“Take this and call me in the morning.”
November 27, 2008
Here’s Avery Dame’s prescription for the comics industry:
“I have two points which I think would help, though I certainly don’t think there’s a surefire solution.
“1. Digital Distribution: it’s the hold grail of comic industry success and for good reason. A mobile-device-ready format and contract with an existing media clearinghouse like ITunes would do wonders for getting people to impulse buy.
“2. Push to integrate comics into education, especially focusing outside depictions of classic literature: Comics can be great teaching tools even in areas one wouldn’t think of (see Japan, Inc.: An Introduction to Japanese Economics), make learning interesting, and gets the next generation to see comics as both viable lit and useful entertainment (and be willing to buy them on a regular basis). Also, educational comics can become a new market to tap.”
November 26, 2008
Here’s Lauren C.’s prescription for the comics industry:
“Prescription for the comics industry? Give indie creators a better chance to get their work to major bookstores.
“Okay, maybe that’s just me projecting.”