The debate has been raging on for years now: What will comics be like in the years ahead, if they survive at all?
When I come across someone, often an expert in another industry, who enters into comics and says they know how to “fix” what’s wrong with comic books, I’m worried these days.
Several of them have poured boatloads of cash into these endeavors, and so far I haven’t noticed any change in how things are being done, honestly.
But still contenders make their presence known and take their shots. Some are at it even now.
THE NEW GUYS
The latest one I’ve found is called Limit Break Comics, “a Dublin-based comic collective, founded on the back of a shared desire to see small press comics grow in Ireland,” according to their website. The reason I was intrigued by them was their announcement of a new sci-fi anthology book that debuted this past weekend at the Dublin Comic Con called Plexus. I’m always intrigued by science fiction, and I wish I had noticed it when it was on Kickstarter recently.
I’m anxious to hear how Plexus was received over the weekend. If I find a digital copy I can purchase online, I’ll give it a whirl. I’m intrigued by their other books called Meouch, MixTape and Life & Death.
While I was researching LB Comics (as they are known), I ran across another “new” company called AWA, which stands for Artists, Writers and Artisans. There are several familiar names associated with this group, including former Marvel publisher Bill Jemas, former Marvel EiC Axel Alonso, and creators Peter Milligan, Frank Cho, Christa Faust, ACO, Garth Ennis, and J. Michael Straczynski.
From what I can tell, they launched back in March of this year. Their goal is to set up what they refer to as “a combination of shared superhero universe and Image-style standalone titles.” They also say it is “an entirely new, cohesive, shared comics universe.”
Their first titles will be called Fight Girls, Archangel 8, Bad Mother and American Ronin. However, they recently announced a title intended to launch those books called The Resistance, about teen heroes and written by Straczyinski and artist Mike Deodato, Jr.
I had picked up Ignited #1 from Humanoids at my local shop a few months back. Since then, I haven’t been able to locate any more issues of Ignited in stores within a hundred miles of the one I got that initial book in. None of their other books have been in this region either, including Twisted Tales, Shanghai Dream, and Strangelands. I suppose I could buy digital versions of these books, but some I still want in paper formats!
If you go to their website, they say that “from the beginning, Humanoids has embodied creative innovation, a fiercely independent spirit, and a drive to break new ground.”
There’s that word “new” yet again! And I’m sure there are other companies out there that I simply haven’t come across with the same “new” focus. I don’t know if I have enough money to keep up with all of these books as well as Marvel’s current attempt to flood the market.
THE FIRST TIME I HEARD THIS KIND OF APPROACH
All this makes me harken back to 1998 when a company called CrossGen (later Cross Generation Entertainment) started publishing. It was located in Tampa, Florida, and Mark Alessi was the founder. He attracted many name creators such as Barbara Kesel, Mark Waid and Ron Marz to relocate and become salaried employees.
They worked regular office hours, I understand, and that made it tough for creators who worked when the spirit hit them. I had heard one who worked through the night to finish a story, then tried to lay his head down in the morning only to receive a call that he was due in the office immediately! He made it in, but I believe he barely got through that day!
I had bought many of their books, including Crux, Ruse, Sojourn, and The First. As time went along, however, I couldn’t find their titles anywhere. Eventually, leaders seemed to lose interest in pouring more and more cash into the company, and when bankruptcy and other financial difficulties hit, it was eventually bought out by–who else?–the Walt Disney Company (I prefer the word “Conglomerate”) in 2004.
In 2010, Disney re-established the brand through Marvel Comics, announcing that they would revive CrossGen titles. A few made it to the stands, but nothing has happened since, apparently due to lack of interest on the part of Marvel as well as fans.
THEN THERE WAS DIGITAL
It wasn’t that long ago that digital was going to save the comics industry. With households full of multiple computers, digital versions would end up on many of them instead of having to go through the laborious process of printing and distributing paper copies and forcing fans to drive to local stores.
For a long time on my podcast, I would ask comics creators if they thought digital was the future. Nearly all of them were uncertain if digital would even make a dent.
I recently read that Jim Lee at DC had said in interviews that their digital sales had “hit a wall.” I don’t hear much positive from Marvel or other companies, either, although I still appreciate comiXology as a place to catch up on comics I can’t find in the stands.
As I look over local comics shops and online sites, I don’t see that much has changed in many years. Collectors still keep many Indie comics afloat, and paper still rules when it comes to how fans prefer to buy their comics.
Personally, I don’t know that making some external changes to comics is going to impact the industry very much moving forward. I hate to keep repeating myself, but it’s the story that counts. Great storytelling is what gets the attention of fans, in my opinion, not changing people behind the masks. Along with many of my friends, I’m ready to pay more money to get a book that’s engaging on many levels. I enjoy it when my thought processes and my eyes are all tickled. I still don’t think many comics companies understand that. I wish they did.
Different pay scales, specific political outlooks on the right or the left, and flipping costumes haven’t meant new fans. Let’s get back to trying keeping readers engaged with great art and terrific scripting, okay?