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Friday, October 10th, 2003

Marvel stock jumps on guidance update
(Comic Books) Marvel Comics issued a preliminary report on its third-quarter financial report, significantly raising the guidance on expected earnings. From the
press release, archived on the Security and Exchange Commission's website:

"[...] This revised range is based partly on assumptions for expected fees from motion picture studios and licensees, which are management's estimates based on discussions with license partners, and not actual figures at this time. Marvel now anticipates its Q3 2003 earnings per share to be in the range of $0.37 - $0.41 versus the original guidance range of $0.25 - $0.30 provided on August 12, 2003."

The company also stated that its cash and equivalent assets "had grown to $203 million as of September 30, 2003 versus $144.3 million as of June 30, 2003." Wall Street reacted happily to the news; as The Motley Fool's Rex Moore explained:

"The reason Marvel is hulking up its earnings? Once again, strong performance in its high-margin licensing division. Yes, the company is outsourcing most of its low-margin toy production, and is licensing its library of over 4,700 characters instead. As David Gardner wrote earlier this year, 'Among business management decisions made in this country in 2002, Marvel's decision to exit the toy business stands out as one of the better ones.' "

Moore was unwilling to commit to a guess as to how far Marvel's star would continue to rise, but investors weren't nearly so cautious. Marvel's stock opened yesterday at $26.05, a full $1.30 over its Wednesday closing price, and by the end of the day had risen to an unprecedented $28.52 -- well, unprecedented since the bankruptcy, any way. Marvel will release its full Q3 earnings report on November 18th.
Posted @ 4:20 AM by Dirk Deppey | permalink


Lambiek to close?
(Comics Retailing) A renovation is forcing legendary Dutch comics shop Lambiek to leave the Amsterdam building (at Kerkstraat 78) that has housed it for some thirty-five years, and may spell the end of the store altogether. The news comes from a press release reproduced on the venerable store's
website:

"Lambiek is unique for its great assortment in antique comics, as well as for being a meeting place for comic artists and fans during the frequent exhibitions that have been held here. The store will continue for a while on a much smaller scale on number 119, on the other side of the street. This space is so small, however, that it is impossible to maintain the usual stock, let alone to put up any exhibitions."

Lambiek has long been revered as one of the best comic-book stores in Europe, with a selection noted for its taste and breadth, as well as the above-noted exhibitions, signings and other special events; its passing would surely be a blow to European comics culture. That said, this doesn't necessarily spell the end. A note above the press release states, "Contrary to the news in the last Reporter, the future of Lambiek is still unsure." Further news as it develops.

(Thanks to Peter Breedveld for posting the news to our message board.)
Posted @ 4:20 AM by Dirk Deppey | permalink


In other news
(Potpourri) Aside from the above items, the biggest news floating around the internet at the moment is actually an unconfirmed rumor. Yesterday Warren Ellis posted the following to his "Bad Signal" email list:

"...word was circulating yesterday that Marvel President Bill Jemas (better known to us at Ellis Castle as the Jemas Home Entertainment System) has been removed from power, and that Epic Comics, perceived as his initiative, is being deactivated.

"This is, of course, just a rumour. But it's proving strangely persistent, and this email is partly an effort to get people to stop sending it to me."

I've been hearing similar rumors for the past couple of days, but this marks the first time they've actually entered the public bazaar as anything other than Rich Johnston scuttlebutt. I've gotten variations on this story from people with various levels of connection to Marvel; the only variation I've heard is that despite the recent alleged actions Jemas will remain at Marvel in some capacity until January, if for no other reason than that his contract doesn't run out until then. Again, this comes as no surprise if you've been reading Lying in the Gutters. That said, I cannot definitively confirm these stories to be true any more than anyone else seemingly can -- just so you know.

Elsewhere:

  • Egon links to a notice on French comics site BDnews (Google translation) which announces the release of the fourth and final volume of Marjane Satrapi's comics memoir Persepolis. As Egon points out, the first two volumes of the French edition were combined to form the first American translation; hopefully this means we can expect to see the concluding English volume some time soon.

  • California's San Bernardino Sun reports on the debut this weekend of The Light of the World -- the first film by bezerkotronic Christian self-publisher Jack T. Chick.

  • Want to know what happened to all those godawful comic books churned out in the early 1990s? According to ICv2, some of them wound up warehoused overseas -- English company Cards Inc. just stumbled across thousands of boxes of old Marvel and Fleer comics from the period buried amongst their inventory, and is wondering what to do with them all.

  • The Comic Book Legal Defense Fund offers a report on its fundraising activities for the past few months.

  • Blah blah blah welcome to the world of manga blah blah blah fastest-growing segment blah blah the kids love it blah blah blah.

  • Blah blah blah comics aren't for kids any more blah blah blah movies are revitalizing the medium blah blah truly unique form of entertainment blah blah blah. (Link courtesy of Neil Gaiman.)

  • Blah blah blah goddamn liberals blah blah blah turning Superman into Alan Alda blah blah it's un-American I tell you blah blah blah. (Link courtesy of Joe Littrell.)

  • It seems to be Joe Sacco week in Canadian newspapers -- Jeet Heer recently sat down for a chat with the award-winning cartoon reporter for The National Post. (Thanks to Nathalie Atkinson for the link.)

  • Daniel Robert Epstein speaks to Jeffrey Brown, the freshman creator of the well-regarded graphic novel Clumsy.

  • Silver Bullet Comics' Tim O'Shea interviews Eddy Zeno, author of the biography Curt Swan: A Life in Comics.

  • Over at Slush Factory, Rich Watson talks to several people within the comics industry in an attempt to determine the creative and economic differences between color and black-and-white comics.

  • "The more I think about it, the more fucked up the comics industry seems." It doesn't sound like John Jakala needs any lectures from me, now does it?

  • Could someone please find Ninth Art's Alasdair Watson a better comics shop or something? After making a great display of asking his readers to name their favorite poem, painting, movel and play, he bemoans the fact that the comics medium has produced almost no works which can hold up to those exalted mediums, and cites Maus, Jimmy Corrigan, Ghost World and "Alan Moore" as the only apparent exceptions (he also offers Raymond Briggs and Posey Simmonds up in an aside). Alisdair: switch off your computer, and don't turn it back on again until you've read The King Canute Crowd, King, The Jew of New York, Epileptic, Our Cancer Year, It's a Good Life if You Don't Weaken, Safe Area Gorazde, Persepolis, Palomar, I Never Liked You, Louis Riel, Cages, Ripple, Hicksville, Boulevard of Broken Dreams, Beg The Question, The Golem's Mighty Swing, Goodbye Chunky Rice, Clumsy, Why Did Pete Duel Kill Himself... I'm sorry, what was the question again?

Finally, Jim Henley comments on Eve Tushnet's essay on superhero genre conventions and their place in storytelling (though he forgets to actually link to it). The conversation seems to be developing misunderstandings all around; on the one hand, Tushnet later notes that she thinks I was mischaracterizing her comments as being simply supportive of genre conventions, missing the nuances for which she was aiming. Fair enough, and I certainly didn't mean to imply that she endorsed all such tropes uncritically and without reservation. Henley, meanwhile, seems to think that I'm stating that merely deconstructing the goofier genre tropes is enough to produce a fine story. This is wrong -- I don't think deconstruction is necessary at all for a superhero story so long as it doesn't reach too deep into the real world or ask the reader to swallow too many obvious gimmes at once. As an example, Grant Morrison's New X-Men is a fantastic example of a series that manages to be a fine adventure yarn, which entertains in high fashion without abandoning wit or intelligence in the process. There's nothing "post-modern" in this series; such intellectual gamesmanship is unnecessary if all you're aiming for is a straightforward thrill-ride. Even here, though, Morrison picked and chose among the tropes and cliches he was going to use, and fashioned them carefully to fit. From his recent interview in Comic Book Resources:

"The ideas of villains -- in the sense of people who get up in the morning with the intention of being cruel to everyone and everything they meet -- seemed irrelevant, but I've created a whole bunch of characters like Cassandra Nova, John Sublime and the U-Men, the super-sentinels of the Weapon Plus programme, several new Shi'ar super-guardians, Quentin Quire... all of whom have fit the profile of 'villain' in a given story. Instead of villains plotting in expensive secret lairs, I prefer the idea of situations giving rise to conflict; the fun lies in seeing when people's natural desires bring them into opposition with others.

"I just decided to focus on characters as people rather than heroes or villains so there ended up being no real reason to mine the annals..."

Neither am I arguing that the subversion of genre convention by and of itself leads to great or even acceptable storytelling; all I'm saying is that if you're going to include, say, Bergmanesque drama on the one hand and periodic interruptions by the Frightful Four demanding a fistfight on the other, you're going to have to work pretty damn hard to keep the more baroque genre conventions of the latter from drowning the storytelling momentum and drama of the former in a thick, cheesy soup.

The superhero genre, as it now stands, is smothering in what can best be described as a sort of Caped Mannerism, a collection of decades' worth of accumulated contrivances that have come to be seen as a sacred gathering of artifacts to which homage must be paid. (JLA/Avengers, anyone?) This isn't to say that the core concepts are inherently cheapened, just that there's too much piled on top of them, and that they consequently cannot breathe. Serials like Alan Moore and Chris Sprouse's Tom Strong work by paring everything back down to the basic platform forged in the 1930s and starting a fresh path outward. Likewise, Moore and Williams' Promethea works precisely because it uses just enough of the various superhero conventions to build a Doctor Strange-like storytelling base, then pushes everything else into the background. In this regard, working in a shared universe with a long history can only further hobble the aims of the artist. Going back to Morrison's New X-Men, it's interesting that in the current Magneto storyline, no reference is made to the other superheroes based in Manhattan when Magneto tears the city apart. This isn't coincidental; if the rest of the Marvel Universe were allowed into the story, it wouldn't work. For Morrison's purposes, it's far more effective to pretend that the rest of the company's continuity simply doesn't exist. Under the circumstances, it's probably the smartest thing he could have done.

It's possible to successfully combine mature themes and situations -- and I choose the word "mature" carefully, here -- with genre schemata, but without planning strategies in advance to disarm the essential conflict between the two, and without cutting away the conventions deemed unnecessary to the tale, the result is likely as not simply going to be the sort of rotten, unsatisfying art for which traditional comic books are justly infamous. I'm not trying to lay down hard, fast rules for negotiating the conflict that I describe here; I'm merely pointing out that it exists, and it can be a difficult wall to climb, especially when dealing with a genre as encrusted with clichés as the superhero tale.
Posted @ 4:20 AM by Dirk Deppey | permalink



Thursday, October 9th, 2003

Bulldog droppings
(Comics Retailing) It's something of a slow news day today, so while there's a lull let's do a brief follow-up on yesterday's
Bulldog Collectibles controversy, hmm? As Rick Veitch promised, yesterday morning saw the posting of a "de-editorialized" version of the Bulldog story he yanked from the website on Tuesday (minus the speculation from Jennifer Contino that the activities in which Bulldog was engaged might have aided various DC titles in selling out over the past year), as well as a follow-up interview with Bulldog owner Greg Buls. There's not a whole lot of new information here; Buls does his best to sound like the agrieved party, despite essentially having been busted for performing acts that he had previously signed a contract agreeing not to perform. Cry me a river, Greg.

This actually brings up an interesting point: what exactly did Bulldog do that was so bad it merited such a response? While I made an ethical argument yesterday, I was just too tired to consider any practical arguments of quantifiable harm. Today I spoke to several retailers who were able to provide me with more concrete examples. As Buls has made clear over the past few days, at least some of his purchases from publishers are being made after the initial orders have been taken and the print run has been set -- that is to say, he's purchasing copies from the overprint. When he does this in mass quantities, what he's doing is ensuring that retailers who underestimated the demand for a given book are going to be correspondingly less likely to reorder copies from the publisher. If they want to get said copies, therefore, they're going to have to buy them from someone like Bulldog, who'll charge them more for their order than what they'd have spent had they been able to get the books from Diamond. This costs the publisher money, too: individual retailers aren't buying comics in the massive quantities that companies like Bulldog are dealing in, which means that their discounts aren't as deep as those Buls undoubtedly gets from Diamond; every time that Bulldog sells a copy of a given book to a retailer unable get it from the publisher, therefore, said publisher makes a little less money than they would have made had they sold the book directly to the retailer. We're talking about small change for a single issue, of course, but spread out over many titles and retailers, it adds up.

Anything else I need to cover? Oh yes -- In his response yesterday, Comicon co-owner Rick Veitch noted that I "apparently decided not to mention" his initial response in the entry. I should explain. I solicited Veitch for a response several hours before I sat down to write yesterday's entry, but he didn't reply until I'd begun writing. Because my home computer is over five years old -- I have a new one on order, but it hasn't shown up yet -- I have some rather obvious memory issues to deal with; in order to ensure that my computer doesn't slow to a crawl when writing the weblog, therefore, I shut down my email client so the computer is running as few programs as possible. Consequently, I didn't see Veitch's initial response until after I was done.

Here's the stupid part: despite the fact that I had solicited comments for publication, I was so tired that when I did receive the email I sent one back, apologizing for not getting the email in time and thoughtlessly asking how the update I posted should be worded. Ever gracious, Veitch sent back the reply that found its way into yesterday's entry. While said reply largely duplicated the previous one (and actually contained more information than was in his original email), Veitch was apparently so flummoxed by my stupid request that he seems to have inadvertently left out the first sentence. Here it is:

"DC was unhappy they weren't given a chance to respond but didn't 'demand it be killed'."

My sincerest apologies to Mr. Veitch for asking him to write a duplicate set of comments; I shall endeavor to avoid being so inconsiderate in the future.
Posted @ 3:30 AM by Dirk Deppey | permalink


In other news
(Potpourri) As noted above, the world of comics and cartoons isn't exactly quaking with earth-shattering events at the moment. I did, however, find the following:

  • Editor and Publisher's Dave Astor catches up with Kirk Anderson (second item), the editorial cartoonist fired from the St. Paul Pioneer Press, to find out how life after the layoff has been like.

  • Two employees of the Belgian publisher Dupuis were caught stealing what turned out to be upwards of a thousand comics hardcovers from their employer, according to Dutch online news-service Expatica.

  • How could teenagers possibly want to drink themselves into a stupor, after a hip and happenin' character like Archie Andrews tells them not to? The New York Times (registration required) tells you all about it.

  • CNN sings the praises of Tom Spurgeon and Jordan Raphael's biography of Stan Lee.

  • Daryl Cagle (no permalink available) points to a small but potentially thorny problem with the recently announced Herblock Prize: its ground-rules exclude some syndicated editorial cartoonists, as well as those whose work appears solely on the internet.

  • Over at Simply Comics, Babar continues charting the total dollar volume of the Direct Market.

  • Rodrigo Baeza has two interesting new entries online. The first looks at the controversy surrounding a page of comics art credited to Wally Wood, currently being sold on eBay by Jim Steranko. The second looks at some new books about comics scheduled for upcoming release -- including a follow-up to The Smithsonian Book of Comic Book Comics.

  • David Fiore offers the proposal for his intended thesis, entitled "Saints, Anonymous: Marvel Comics (1961-1976) and the Puritan Legacy in America."

  • Boing Boing's Cory Doctorow comments on BitPass and web-comics, echoing my own reservations about the new micropayment service.

  • You know what Eve Tushnet likes about superhero comics? The conventions of the form. In a long and thoughtful post, she turns to Shakespeare to explain why this is so.

  • Franklin Harris notes that the strong teenage-female audience for manga has significantly changed the criteria by which publishers release Japanese comics in America.

  • John Jakala derides the latest forthcoming funnybook atrocity by writer Chuck Austen.

  • Shawn Fumo schools me in anime and manga sales.

  • James Kochalka's boner-poppin' comics character Fancy Froglin stars in one of the most inexplicable Flash animations I've ever seen. Check it out, and see if you can figure out what the fuck is going on here. (Link via Jeff Mason.)

  • Another in an endless series of "this is old but it's new to me" entries: Nat Gertler took Scott McCloud's multidirectional comic Choose Your Own Carl and turned it into a random-comics generator, One-Armed Carl.

See you tomorrow.
Posted @ 3:30 AM by Dirk Deppey | permalink



Wednesday, October 8th, 2003

DC bites the Bulldog
(Comics Retailing) Early yesterday morning, someone calling himself "keithmeister" posted an email he'd received from Arizona comics retailer Bulldog Collectibles on the
Newsarama message board. The email described a conflict between Bulldog and DC Comics, in which the comics publisher accused Bulldog of abusing the terms of sale and announced that it would henceforth refuse to allow Bulldog to buy its comics from Diamond Distribution. Bulldog, it should be noted, specialized in the purchase of multiple copies of perceived "hot" titles, which it would then resell to other retailers once the original print runs sold out. Here is the message DC sent to Bulldog in full, as reproduced in the email:

"19 June 2003

"Dear Greg: Following our conversation last year at the close of Comic-Con International: San Diego, DC Comics has again reviewed your website and your other promotional efforts. Due to your continued subdistribution of products in violation of DC's terms of sale, DC Comics has determined that Bulldog is no longer eligible to buy DC products via Diamond. If the nature of your business changes in the future, we will revaluate (sic) your eligibility.

"Sincerely,
DC Comics"

The Bulldog email went on to note that the retailer was cut off for some two and a half months, after which it finally reached an agreement with DC, under which the retailer would again receive DC product provided Bulldog did not attempt to again sell the company's books to other Diamond accounts until after the books had been on the stands for longer than three months, and only then if the books being sold were acquired from sources other than Diamond. Further, Bulldog was to provide DC with "detailed records on a quarterly basis to DC, specifying what DC comics [Bulldog] sold and to whom", as well as lists of the retailer's new customers, so that the publisher could ensure that the terms of the agreement were not being breached.

Later yesterday morning, an article on the subject appeared on rival news-site The Pulse, authored by Jennifer Contino. In the article, Contino interviewed Bulldog owner Greg Buls about the situation, and also noted, "Sources say that until a few months ago, Bulldog had a monopoly on the sold out comics and may have been responsible for the rash of DC Comics sell out issues from last year." Buls denied the notion that he was a factor in DC's sellouts, but his denial was more than a little curious in its phrasing. From the article:

"Buls admitted Bulldog, 'did purchase some issues that DC ended up selling out of, but I'm not aware of us running them out of anything. The largest percentage of any of their overprints that I'm aware of us EVER buying at any point was maybe 20% - 30% of the product. We generally purchase an amount like that long after the print run has been set and very near the time the book will be released -- so other retailers have had plenty of time to purchase issues themselves.'

"Buls offered his own view as to why DC Comics has had so many recent sell outs. 'The problem with the recent DC sell outs isn't Bulldog. It's something within DC's marketing department or some other factor that DC cannot control. We've only bought more than a thousand DC Comics on a handful of occasions.'

" 'For example, we did buy a fair quantity of SUPERMAN RED SON, but we sold at least 90 - 95% of what we bought at 40% off cover price to other retailers. That is typical. We exist to make books available to retailers in case they need them. We offer stuff they can't get from Diamond. A lot of bigger retailers order from us and support us because they like to see something different than just Diamond.' "

The article sparked discussion among the rest of the industry -- comics writer Warren Ellis pointed it out on the message board of the Comic Book Industry Alliance, at which point the industry insiders who populate that forum began debating its ramifications. Then, shortly after the article was posted, it was unceremoniously removed from The Pulse's website -- one of my more trustworthy sources is telling me that this action occured at the request of DC Comics, although I should strongly caution that this is unconfirmed and therefore speculative. If I were Rich Johnston, I'd give this one a yellow light; act accordingly.

Some of the gossip concerning the revelations in Contino's article apparently questioned whether there might have been some form of collusion between DC and Bulldog to create the sellout atmosphere and make DC's various titles seem "hot" to the speculators' market, but a close reading of the article reveals no evidence that this is the case. It seems far more likely to me that after warning a significant client once in 2002 over what it saw as unacceptable behavior, it simply took time for the thick layers of DC Comics' bureaucracy to follow up on what was going on, and that once this occured the company took steps to ensure that the violations of its Terms of Sale to retailers ceased, just as the Bulldog email posted to Newsarama indicated. Given DC's sharp response, the idea of prior collusion simply doesn't make sense on the face of it.

If DC did ask The Pulse to pull the article, however, the question remains: why? Without comment from the publisher, any answer to this question must of course be speculative. It's possible that the rumors of collusion reached the company, which then moved to nip them in the bud. Just as likely a reason, however, is the pall the article casts on DC's recent successes, even without such gossip spurring it on: by implying that the company's string of sold-out titles might have been aided -- however independently -- by a retailer looking to corner the market by purchasing upwards of 20-30% of the print run on select comics, the story makes DC's advances in the marketplace seem a little less genuine.

I think that this view is also more than a little unfair to DC. It's extremely unlikely that they're the only company whose titles have been purchased and resold by Bulldog; to the extent that mass quantities of comic books are being bought, held, and then re-sold for speculative purposes, it's almost certain to be a phenomenon taking place across the board. When you think about it, the spotlight cast on such practices by yesterday's controversy throws an unsettling aura over the whole industry. Was it entirely coincidental that the first new comics series published by Crossgen after the disclosure of its financial troubles, the pirate series El Cazador, sold out of its first printing so quickly? Having raised the question, I should note that Crossgen vice-president of sales and Marketing, Chris Oarr, was contacted for Contino's article and denied that Bulldog purchased any copies whatsoever of the first printing of the title in question -- but that's a far cry from stating that speculation on the company's health (and the possibility of an increase in value should the company go under) played no part in other people's purchasing habits. There's no way Oarr could even know such a thing. How many other supposedly hot titles are benefiting from speculators manipulating the market?

Far from kicking back and benefiting from the process, DC Comics took steps to ensure that its Terms of Sale were respected, and for this action I think the company should be applauded -- speculation has damaged the comic-book industry too many times in the past, and should be discouraged wherever possible. This incident gives observers a rare glimpse of the presence of an economic cancer that once nearly destroyed the Direct Market. How far has the cancer spread?

Update, 6:10 AM: Beating me to the post by ten minutes, Matt Brady has his own take on the subject over at Newsarama.

Update, 7:25 AM: After posting the above, I checked my email and found a response from Rick Veitch, the man who bankrolls The Pulse, whom I'd emailed earlier in the evening for comment. Noting that I had already posted the entries for the day, I asked him if he wished to add anything to what I'd written. What follows is his response, in full:

"As I clearly told Dirk in my previous e-mail, (which he apparently decided not to mention in his piece), DC did NOT ask us to pull the story. Jen posted the first story before Steve Conley and I, who act as defacto editors of the PULSE, saw it. After we did read it we bounced it back to her for rewrite. Since the PULSE isn't a rumor site, we didn't like the way her original story led with rumor and supposition and asked her to go back and focus on the facts.

"The rewritten article (complete with the quotes from Greg Buls) should be up any moment. Its a much better piece of reporting that doesn't pull any punches. We'll be following up later with a more in-depth interview with Greg."


Posted @ 6:00 AM by Dirk Deppey | permalink

In other news
(Potpourri) In stark contrast to yesterday, today sees any number of interesting items worthy of your attention popping up on the internet. Top of the list, of course, is
ICv2's estimates for September sales in the Direct Market. On the surface, at least, it was an exceptional month; even by ICv2's conservative estimates, the top-selling comic -- the concluding issue of Jim Lee and Jeph Loeb's run on Batman -- sold an impressive 233,775 issues, while the comic book in the number two slot, JLA/Avengers #1, clocked in at 189,919 copies sold. A closer look, however, reveals a somewhat less impressive story. Note that of the top four titles, three are mini-series created specifically to register as pseudo-collectable special events among shop customers, while the fourth (the aforementioned Batman) might as well be. By contrast, the number five title on the list, Ultimate X-Men #37, sold 108,612 copies -- a drop of roughly 125,000 units from the best-selling comic of the month, and almost 2000 copies less than what Ultimate X-Men #36 sold. From there, it's pretty much business as usual, with even the most dramatic upsurge, Supreme Power #2, increasing its circulation for the month by 7000 copies. That aside, expect to see any number of columns and message-board posts triumphantly proclaiming the Direct Market to be growing at a phenominal rate -- you know, as opposed to getting better at plucking dollars from the wallets from the same old customer base as always. Then, of course, there are the speculators...

(Here are links to ICv2's estimates for the top 300 comic books and top 50 graphic novels for the month of September.)

Meanwhile, ICv2 has also just released its latest guide to manga and anime for retailers, and takes the opportunity to provide a snapshot of the market for manga on its website as well. While noting that titles are proliferating faster than sales can match, it still refers to the manga explosion as being in "full boom mode." Interesting fact: there were twice as many volumes of Korean comics in the Bookscan graphic-novel top fifty for September 7th as there were American graphic novels.

Elsewhere:

  • According to a story that is still available at The Pulse, financial analysis firm Raymond James & Associates has issued a report singing the praises of Marvel stock, based upon what is apparently information from the company's as-yet-unreleased third-quarter report. It states that Marvel's publishing division has increased in profitability due to better comic-book sales, despite a mild downturn in the sale of trade paperbacks. Given that last bit, perhaps I can be forgiven for being just a tad cynical about the report's trumpeting of bookstore sales in 2002 as partial justification for the rosy prediction.

    Curiously, no mention is made of Marvel's other divisions, most notably licensing, and it should be pointed out that publishing has recently accounted for just a fifth of the company's total profits. The Raymond James report is not available in the public portions of Raymond James' homepage, but it should be noted that the company has been predicting a target stock price of $30 for some time now, a target the stock itself has stubbornly refused to justify. Still, Marvel's stock jumped by almost a buck yesterday, a feat that may be at least in part attributable to the report.

  • The Herb Block Foundation, which is funded by the estate of the late editorial cartoonist for The Washington Post, has announced the creation of an annual competition for excellence in op-ed cartooning: The Herblock Prize. Each year's winner will receive a cool check for ten thousand dollars. Editor and Publisher has the story. (Thanks to Jeff Mason for emailing me the link.)

  • Publishers Weekly's James Lichtenberg offers up a timely, thorough and informative article on the state of e-book publishing in America. Elsewhere, the magazine notes that e-book sales jumped by 498% in the month of August.

  • Cartoonists in Japan have reacted to a burgeoning black-market in original comic-book rough drafts by forming the Committee for the Protection of Manga Scripts; and have announced their intentions to file lawsuits against the parties responsible for thousands of early drafts turning up for sale at several manga stores. Anime News Network has the details.

  • According to The Taipei Times, Germany's Kurtu Valeriu has taken the top prize in the Second Taiwan International Cartoon Contest, and will receive a medal and a $3000 cash prize in next month's awards ceremony.

  • The Times of India features a short piece on the skill and dedication required to become a cartoonist, as described by several local practitioners of the craft.

  • Egon points to this article from Sunday's Toronto Star, which spotlights Joe Sacco's new book of cartoon journalism, The Fixer.

  • I almost missed the regular comic-book column in the new issue of online literary magazine Bookslut, which this time out asks mainstream book critics to try to avoid sneering down their noses quite so much when reviewing graphic novels, please-and-thank-you. Fortunately, Comixpedia was on the case and caught the link.

  • It occurs to me that Alan Donald's Silver Bullet Comics column, The Panel, really should be renamed Who Has The Clue? Each week, it seems that there are one or two responses based in reality, buttressed by multiple examples of wish-fulfillment and projection. This week's example is no exception, as Donald asks whether or not superhero comics will still be the dominant comics genre years down the line. Surprise! Alan Grant has the clue.

  • Bill Sherman continues his layman's exploration of manga, this time looking at Junji Ito's three-volume horror series Uzimaki. I haven't read this series yet, but I do own the two collections of his earlier work, Tomie, about a demonic high-school girl and the lives she destroys as she comes into contact with them. I'm not sure I'd go so far as to call the series scary, but it's well-done nonetheless, and has its share of genuinely creepy moments.

  • Jason Kimble returns to the subject of "decompression" in comics storytelling, and takes issue with something that I'd written previously on the subject: namely, that many cartoonists have solved the conundrum posed by the technique by simply ignoring the serial-comics format altogether when planning and creating their works. If they're going to do that, Kimble asks, why even bother publishing comics pamphlets in the first place? I suspect that the answer differs mildly from artist to artist -- for Dave Sim, whose book collections probably earn enough to support him financially, the vow to publish three hundred issues has almost certainly become the sole remaining justification for publishing a comics series that, I strongly suspect, would not be enough to keep the rent paid were it Sim's sole economic outlet. For others, however, comics continue to serve as a way of keeping the bank account happy until the collected book is in print and earning money on its own. We're in a transitional state at the moment, poised between what I'm convinced are two distinct eras in the medium, and while this makes the future of comics look potentially more exciting and hopeful than any time in the last ten years or so, it also means that economic incentives require keeping a foot in both camps. That said, more and more cartoonists are in fact simply skipping serialization and going straight to the book, a trend that I suspect will only continue to gain momentum as publishers become more entrenched in the bookstore market.

Finally, Jim Henley looks at a complaint from John Byrne concerning the influence Dark Knight Returns and Watchmen have had on superhero comics, compares Byrne's opinion on the subject to my own (scroll to bottom of entry) and explores the similarities and differences. I would only add that I don't object to comics warping and perverting various superhero tropes per se -- I'll confirm for Jim that I liked Watchmen and Dark Knight Returns just fine, and am currently enjoying the recently-revived Planetary. I simply don't think that the superhero genre can withstand the scrutiny inherent in stories that attempt stark realism without acknowledging the absurdity of the core concepts.

(For an even more cynical take on the subject, check out Steven Grant's latest column for Comic Book Resources -- scroll down to the item that begins "How many more half-assed knockoffs of WATCHMEN and THE AUTHORITY are we going to have to endure?")
Posted @ 6:00 AM by Dirk Deppey | permalink



Tuesday, October 7th, 2003

Slow news day
(Potpourri) Congratulations! Even if you wanted to obsess over what's happening in comics today, there's nothing new for you to worry about. The Fates have decreed that you find something else to waste your time thinking about. In the meantime, here's a few nuggets vaguely worthy of your attention:

  • Cartoonist Klyde Morris recently found himself confronted by security guards when photographing the Federal Aviation Administration building in Washington DC. The Washington Post (registration required) has the story.

  • Comic Book Resources posts the raw figures Diamond provides for September sales in the Direct Market. The usual qualifiers apply: these numbers don't include the actual numbers of sold copies, which will be guessed in conflicting estimates by Newsarama and ICv2 shortly, et cetera.

  • Over at Santa Rosa, California's Charles M. Schulz Museum and Research Center, the artist Christo is about to present Schulz' widow, Jeanne Schulz, with his latest creation: "Wrapped Snoopy House." Yahoo has the press release. (Thanks to Egon for emailing me the link.)

  • Bookslut's Erik Ferguson interviews Scott McCloud about the state of webcomics.

  • Mark Crilley, the cartoonist behind the Akiko series of graphic novels, recently did a reading for elementary-school students in Ypsilanti, Michigan, and Ann Arbor News reporter Emma Jackson was there. (Registration required for the link. Lie to the fuckers.)

  • Over at ICv2, Australian retailer J. Carmody makes short work of the whole "why are companies giving bitchin' deals to chain stores" argument by explaining, in informative detail, the reasons and mechanics of such deals.

  • Big Sunny David rants about the current plotline in Grant Morrison's New X-Men -- still the best genre comic being published today (though Paul Grist's various titles, both for Image and his own Dancing Elephant Press, do come close).

  • That Franklin Harris, he don't have no use for The Pulse's pseudonymous reviewer Jess Lemon -- nope, no use at all.

Finally, a correction: reader Patrick Dean writes in to note that the Avengers "microsex" concept I wrote about yesterday was originally depicted in graphic detail by cartoonist Colleen Coover in EROS Comix' Small Favors #4, right down to the whole "feet-first" thing. I'd read that issue while putting an EROS catalog together for my day-job, and while I wasn't thinking about it when I wrote yesterday's entry, that's really no excuse. All apologies to Ms. Coover for the theft of her creative concept.
Posted @ 2:05 AM by Dirk Deppey | permalink



Monday, October 6th, 2003

William Steig dead
(Cartooning) William Steig, the cartoonist famed for cartoons, magazine illustrations and a series of illustrated books for children -- one of which, Shrek, inspired an Oscar-winning animated film -- died in Boston last Friday at the ripe old age of 95.
The BBC lists some of his many accomplishments:

"He combined a child's innocent eye with idiosyncratic line to create a world of animal characters for his books and Edwardian-era dandies in his drawings.

"He produced more than 1,600 drawings as well as 117 covers for the New Yorker.

"He wrote more than 30 children's books, a feat he did not begin until he was 60. His third effort, Sylvester and the Magic Pebble, was rewarded with the prestigious Caldecott Medal in 1970."

Steig is survived by a wife and three children. You can learn more about the artist at his website.
Posted @ 6:00 AM by Dirk Deppey | permalink


Everything you ever wanted to know about sex between shrinking Avengers (but were afraid to ask)
(Comic Books) As you've probably noticed, I've discontinued the "Monday Mailbag" feature of this weblog, primarily because it had outlived its usefulness; the feature was a dodge against slow-news Sundays, and when weekend blogging ceased, the need for such a feature evaporated. Besides, putting it together each week was more trouble than it was worth. That said, every once in a great while, an email arrives which just screams for an answer (the extra exclamation points are a dead giveaway). One such email arrived over the weekend. Fair warning -- we're going to be getting fairly crass from here to the end of this entry, so skip on down to the one labeled "In other news" if this isn't your cup of tea. The email reads:

"I am a big fan of your !!!!JOURNALISTA!!! weblog. As I believe you are both a relatively tireless chronicler of all things comics, both really inane and vaguely important (as comics go,) I have no doubt that when you update your magical page on Monday after the Long Weekend, you'll include some link or mention of this very silly Marvel Comics Goes Porno For an Issue Story.

"That's fine; I understand it's what you do and I look forward to you doing it.

"However, without making an assessment of the gender with which you prefer to commiserate, I do feel comfortable enough assuming that you are a man who HAS had some kind of penetrative sex over the course of his life time.

"To wit, I think you know the way things go in and how.

"That being said, I direct your attention to this URL, which I have no doubt you have already looked at with the curious mixture of disgust and confusion that I myself am feeling.

"Sir, to put it frankly, I have had a lot of sex. I don't say this to brag, but merely to establish credentials: I've done it. I establish these credentials because: (a) I'm a guy talking about comics and (b) I'm really irrate about an issue of the Avengers (which I haven't read since 1990! and then it was only WEST COAST AVENGERS! honest!!!!!)

"Despite recalling on all the sexual experience of my life, I am currently at a TOTAL LOSS to explain this example of sequential art.

"Presumably we're meant to assume that HANK PYM a/k/a ANT MAN, who is capable of shrinking himself down to the size of ant, did some kind of weird shrinking that enabled him to do something to the vagina of the superheroine (who I think is The Wasp.) But for the life of me, I can't figure out what that might be.

"Dirk, you're the foremost investigator of Issues Facing Comics, (or at least the only I religiously read,) and I'd really like you to figure out what the hell is happening on this page. I asked my girlfriend what she thought and she suggested that HANK PYM a/k/a ANT MAN shrunk himself down and dove into The Wasp?'s vagina, but I honestly can't figure out how he could do this without suffocating to death; then my girlfriend suggested that perhaps he kept his head sticking out of the vagina while doing a full body fuck; but the thing is, it's ANT MAN. It's not Superman. ANT MAN can't fly, Dirk. Ant Man needs to call a flying ant if he wants to fly. Did Ant Man call a flying ant and lay across the back of the ant and then have the ant relentlessly push into the Wasp's vagina? And if he did, would that constitute a tag team? I can't figure out any other way which he might have done it. Did he do some kind of expanding/shrinking thing? Again I see a big issue with this primarily in the horizontal/vertical dichotomy which must come to light in any kind of ANT MAN penetrative sex.

"Part of the problem is the fact that The Wasp? is quoting from the screenplay to NO MAN'S LAND: INTER-RACIAL VOLUME ONE, which I guess is meant to imply she's had an orgasm: which means that whatever ANT MAN did down must have been effective. Unless she's faking. But a lifetime of watching porno has taught me: no women with implants that big ever fake. They just can't. It's impossible.

"Dirk, can you figure this out for me? I'd really be glad if you did. I have a feeling I might very well be haunted for the rest of my life if you don't.

"In all seriousness, I was just earlier this evening bitching about how awful I find most erotica primarily because it seems to be written by people so ignorant of sex that they warp the essential mechanics in their writing. Why must people who have never had sex write sex scenes?"

Thank you for writing, o anonymous reader; I think I can clear up some of the confusion you're experiencing. First, let me put your fears to rest: the issue of Avengers in question is not in fact "porno." That term is generally reserved for explicit depictions of human sexuality, and what we have here is strictly softcore. I'd go so far as to say that a case could be made for the scene in question being fit for television, today's standards being what they are. I suppose this is the point where I should rail against Marvel for placing inappropriate material in what is ostensibly a children's comic, but to tell the truth I've largely given up on the idea of anyone outside the current baby-boomer/gen-X readership ever setting foot in a comics shop again. In fact, I'd say that this depresses me more than any artificially-manufactured Marvel "controversy" ever could. You want to watch Stiltman molesting sheep in your funnybooks? Fine. The only time anyone ever notices is when Marvel sends out the press releases anyway. What does it matter?

Back to the subject at hand. Much of your confusion revolves around the notion that Henry Pym had to dive in "head-first," and I think this is probably a wrong assumption. If it were otherwise, you'd be able to tell because it would be the diminutive Dr. Pym rather than his ex-wife doing the screaming; unless he had a tiny little scuba-style breathing apparatus (or a creatively-used bendy-straw), it seems likely that breathing in such an enclosed space would be more than a little difficult, and it's tough to imagine such bizarre marital aids being very comfortable for the former Mrs. Pym either -- I would imagine that they'd ruin the mood. Moreover, according to recently-released scientific surveys, there's a two-thirds chance that Janet's state of arousal would further complicate attempts to breathe tremendously. I'd say more, but there's the remote chance that Dave Sim is reading this, and such clinical descriptions of the mechanics of female sexuality would doubtlessly make him go "Eeeeew."

No, it's far more probable that Pym had inserted himself feet-first, and not only for the above reasons. Women, as you may know, are capable of two distinct kinds of orgasms: clitoral and vaginal. To induce a vaginal orgasm, it wouldn't seem to matter which direction the good doctor was pointed; it would make far more sense for him to break out his secret "Giant Man" formula instead. (Was it a formula? Was Pym bitten by a radioactive ant or something? I was never all that into Avengers comics.) For a tiny little man, clitoral orgasms seem the way to go, and this would be better served feet first, with his head and shoulders sticking out, allowing him to massage the clitoris with small-but-agile hands. Come to think of it, it would probably be better if only one shoulder was exposed, since this would be an ideal position from which to attempt a little g-spot stimulation as well. Oh, he could wiggle around a little as well -- while he's there, he might as well -- but such activities probably wouldn't be the main attraction here. You follow?

(I realize I'm being a tad condescending, here, but it really is obvious when you think about it for a moment. If it's any consolation, Silver Bullet Comics reviewer Craig Lemon is under the impression that it was oral sex that the book's writer and artist were hinting at here, as though shrinking the tongue somehow made it more pleasurable or something. I imagine that there were any number of comics-loving websurfers confused by the previewed pages, so you're not exactly alone here, gentle reader. If it helps any, a little self-confidence and a copy of Masters and Johnson's On Sex and Human Loving should assist wonderfully in attaining the necessary enlightenment.)

I suppose I could be a little more adventurous and describe for the reader what Dr. Pym meant by "Your turn," but that would definitely be pushing us well into Dave-Sim-goes-"Eeeeew" territory. Interested parties should instead ask their doctors or the closest helpful gay male for further explanation.

Nothing says "comics aren't for kids anymore" quite like a tiny little man wiggling around in a vagina, does it? You know, I take it all back -- what we're witnessing here may well be the event that finally gives comics the respect they deserve. Is that Marvel's first Pulitzer I smell...?
Posted @ 6:00 AM by Dirk Deppey | permalink


In other news
(Potpourri) Aside from the above two stories, it was a relatively quiet weekend in the world of comics and cartoons. Here's what I found:

  • Ron Williams, who drew editorial cartoons for a variety of gay newspapers across America, died in Santa Fe, New Mexico, of AIDS-related complications; he was 45. Southern Voice has an obituary, as well as a sampling of Williams' work.

  • In this week's Lying in the Gutters, Rich Johnston has an unusually strong set of items, including Bill Jemas' potentially precarious position at Marvel, the price DC paid for Elfquest, even more on that sexy Avengers interlude, something called "Captain Rush" that must be seen to be believed, and more.

  • How did I manage to miss this? Egon catches an interview with cartoonist Chester Brown, which ran in Canada's National Post the previous weekend.

  • The Philippines' Sunday Inquirer looks at four Pinoy artists who've broken into the American genre-comics scene, and the tradition they follow in so doing.

  • PopImage's Jonathan Ellis interviews comics writer and self-publisher Jai Sen, who swears his new book will be out soon.

  • Over at Ninth Art, Rob Vollmar begins the first of a four-part essay devoted to define the graphic novel. I think it's a bit too early to do such a thing, myself, but that could just be IndustryThink talking -- so far, the closest I've come to an acceptable definition of the term is "a marketing convenience." Still, Vollmar's piece looks like the beginnings of a nice attempt.

  • In celebration of Halloween, Sean Collins is blogging horror this month. His question to you: what horror comics scared the pants off of you as a kid? The only one I can think of was a Charlton story drawn by Tom Sutton, which featured a living teddy bear. I think I was seven when I read it. (Andrew "Captain Comics" Smith has some recommendations, but I warn you now: the list starts with Vamperella.)

  • Australia's Sydney Morning Herald recommends five comics collections (while calling it four): The League of Extraordinary Gentlemen, Palestine, Persepolis, Quimby the Mouse and Krazy and Ignatz.

  • This is probably old news to some readers, but I only found out about it recently -- it's the Preacher Grievous Head-Wound Count! (Courtesy of Steven Goldman in the Larry Young Delphi Forum.)

One correction from Friday: Jim Zubkavich's web-comic, The Makeshift Miracle, has been with Modern Tales from the beginning, and did not "just sign on" as I reported last Friday when linking to an interview at The Pulse; rather, Zubkavich has just cut a deal with micropayment company BitPass to allow people to read his strips on his website, in addition to the Modern Tales option.

Finally, congratulations to San Francisco comics retailer Brian Hibbs and his wife Tzipora Friedman on the birth last Saturday of their son, Benjamin.
Posted @ 6:00 AM by Dirk Deppey | permalink



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