comics

Like most comic publishers I spend rather a lot of time contemplating the state of the industry and the way to make it better well, honestly, the simplest way to make my tiny corner of it better. After spending an enormous amount of time thinking it over and discussing what everybody perceives to be the main elements leading to the downfall of comics ( the distributor monopoly, as an example ), I realized what the most vital problem and killer actually is : the industry. I believe almost all the Problems that we encounter in the bizz come from the industry itself. First comic firms tend to make public for those that are in the sector. Comic publishers usually target their promoting towards those that are here and creators have an inclination to create product just for those that are familiar in industry.

Only occasionally does the concept of bringing new readers in truly ever pop up, which is crazy. That’d be like Hollywood only making films for those that work in film and television. As wacky as it sounds, this looks to be the mind-set of the industry at large. Mags like Cosmopolitan are fashion mags, but their audience is the average girl ( or girl ) entranced by fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the conventional itself, where its buyers reside. Why short sell your books only to the fifty thousand or so members of the active comic community and not go for millions of folk out there who enjoy action movies? Comic publishers aren’t the sole ones the culprit either. Creators themselves are as gigantic a stumbling block to new readership as anything more. If you’d like to know why, take a look at a modern comic vs one from as late as even the mid eighties and you may see one great difference. Check out Online Marvel Comic Books to see what I mean.

No, I am not talking about paper or printing processes. The art itself is the main issue with comics. Solid, clear storytelling has changed into a thing of the past. Did you know why a large amount of new readers are picking up Manga titles? It is down to the fact they are less difficult to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is happening and which panel comes next. This can not be declared about most US titles ( indy or conventional ). The incontrovertible fact that the prevailing trend in the USA is for over rendered, poorly thought out PC coloring, doesn’t help readability in any way. But it does not need to be that way. The public will read comics if you can get yourself out of the industry mind-set and start making comics for readers rather than for a sector more curious about John Byrne’s latest social blunder than in purchasing your books. Some places to think about for your books ( depending on its target market ) are non-chain book stores, new age shops, record stores ( Tower is beginning to have a great choice of indy and little press ‘zines ), libraries, corner markets, mags with an analogous areas of interest, colleges, neighborhood mailer compilations ( like the small discount books you get in the post ), area events ( concerts are a great spot ), swap meets, colonnades or game stores. Become used to it. These are some tips for making your books more accessible to general audiences : one ) promote your books outside of comic-specific areas. Work out who might have an interest in your book and pursue those outlets. I have had success at art holidays, flea markets, record stores, sci fi mags and more. It’s worth the additional effort. Two ) dump full page bleeds on each page. Do not be scared of negative space around your pages. They are also excellent for pacing in your storytelling. It’s muddy and confusing.

Look at animation or places such as Disney journeys for reference on coloring. Most cartoony books are well coloured because they need to ensure the work is swiftly accessible to readers of every age. Not every panel must be a totally digitally painted work of’art.’ five ) think about storytelling. The most significant thing in a comic is that you don’t lose your audience. If at any time your readers get puzzled as to where to read next, then you have failed at your job as a storyteller. And, remember, style is no excuse for poor storytelling ( or poor design generally, but that is a rant for another time ) six ) do not have huge blocks of text or dialogue in each panel.

There’s an old unwritten rule in conventional comics ( and one which has been mostly forgotten or ignored ) : never have more than twenty-six words in any balloon or caption box. Anything more than this and the words will run together, probably causing readers to hop over sections of what’s on the page. Seven ) This one is going to cause any comic collector to cower : shed issue numbers. Or, if you have to have them, put them in the indicia only. Sure you can make them aware there are more stories they can read ( and, which should be available in trade paperback ), but do not make those stories needed reading.

Follow Cosmo’s lead ( or Rich kid’s ) and just have the month and year on each cover. Comics should be entertainment first and most important. More: Marvel Comic Trading Cards

Eight ) Forget the chant, comics are not simply for youngsters anymore. It’s old, played out and is a part of the death sentence of the industry. Without young readers there’s no future in the business. As a 2nd part of this idea, because your comic has adult language, nakedness and graphic violence doesn’t immediately make the book for adults. My heresy will end with this statement : the sole way to save comics could be to let the comic industry, as it exists at the moment, shrivel up and die. The industry isn’t the heart of comics and did not make them, so dare to be different.

Put down the newest issue of the comic industry death watch, Magician . Pay no attention to the party line that an indy book will sell less than 250 copies there’s a world outside the Geppi chokehold.

A little bit of inspiration for you : Clever’s main title, the Cadre, sells over 5000 copies per issue and ninety percent of that’s outside the comic industry.

Not bad for a black and white, conventional style super hero comic. You have to head out and find them. Online Marvel Comic Books