comics

What is Corey Reading?

I’m sure you all ask yourself that every single day of your life.

In addition to my writing for Robot 6, the comics news blog at Comic Book Resources, I also chime in on their weekly What Are You Reading? column whenever I can. Sadly it’s not as regularly as I wish.

Anyway, I thought I would keep a record of what I’ve reviewed in that column. To be honest, I don’t like writing reviews, so I try not to think of them that way but I do like talking about cool comics I’ve read, and lamenting when something I thought would be cool misses the mark.

Click through the links to read the entire column that includes my thoughts on what’s listed below. I’ll add to this post as more go up at Robot 6.

July 29, 2012:

  • The Sandman: Doll’s House [recolored edition] by Neil Gaiman, Sam Keith, Mike Dringenburg, et al.
  • The Gutters by Ryan Sohmer, Ed Ryzowski, et al.
  • Comic Critics by Sean Whitmore and Brandon Hanvey
  • What Were You Raised by Wolves? by Vera Brosgol

August 26, 2012:

  • Emo Boy, Vol. 2: Walk Around with Your Head Down by Steve Emond
  • A Cartoonist’s Worldview by various (The Guardian)
  • Insufferable by Mark Waid and Peter Krause

September 16, 2012:

  • Elmer by Gerry Alanguilan
  • Freeway by Mark Kalesniko
  • Superman #423 & Action Comics #583: “Whatever Happened to the Man of Tomorrow?” by Alan Moore and Curt Swan

September 23, 2012:

  • Little Nothings: My Shadow in the Distance by Lewis Trondheim
  • Eat That Frog!: 21 Great Ways to Stop Procrastinating and Get More Done in Less Time by Brian Tracy and Paul Maybury
  • Tarantula by Mark Kalesniko

October 21, 2012:

  • Cuba: My Revolution by Inverna Lockpez and Dean Haspiel
  • Cul de Sac by Richard Thompson
  • Rachel Rising, Vol. 1: The Shadow of Death by Terry Moore

November 25, 2012:

  • Hark! A Vagrant by Kate Beaton
  • Love and Rockets: Maggie the Mechanic by Jaime Hernandez
  • The Walking Dead, Vol. 15: We Find Ourselves by Robert Kirkman and Charlie Adlard

December 16, 2012:

  • Archie: The Married Life Book One by Michael Uslan, Paul Kupperberg and Norm Breyfogle
  • Walt Disney’s Donald Duck: Lost in the Andes by Carl Barks
  • Avengers vs. X-Men #0 by Brian Michael Bendis, Jason Aaron and Frank Cho
  • Green Lantern #1 by Geoff Johns and Doug Mahnke
  • Tales Designed to Thrizzle #1 by Michael Kupperman

January 6, 2013:

  • The Complete Peanuts: 1950-1952 by Charles M. Schulz
  • The Adventures of Hergé by José-Louis Bocquet, Jean-Luc Fromental and Stanislas Barthélémy
  • RASL, Vol. 1: The Drift by Jeff Smith

April 14, 2013:

  • Owly, Vol. 2: Just a Little Blue by Andy Runton
  • You’ll Never Know, Book Two: Collateral Damage by C. Tyler
  • Kill All Monsters by Michael May and Jason Copland

April 28, 2013:

  • The Plain Janes by Cecil Castellucci and Jim Rugg
  • A Friendly Game by Joe Pimienta and Lindsay Hornsby
  • X-O Manowar, Vol. 1: By the Sword by Robert Venditti and Cary Nord

May 19, 2013:

  • Harbinger, Vol. 1: Omega Rising by Joshua Dysart and Khari Evans
  • Thor: The Mighty Avenger, Vol. 1 by Roger Langridge and Chris Samnee
  • Eve of the Ozarks #1: Guardians of the Bluffs by Gustav Carlson

May 26, 2013:

  • Amulet, Book One: The Stonekeeper by Kazu Kibuishi
  • Rust, Vol. 1: Visitor in the Field by Royden Lepp
  • Minor Acts of Happiness #1 by Adriana Ferguson and Kristen Van Dam

Saturday’s Tag Team Comedy Show to feature lots of stand-up and improv

Improv group Jump Start first to perform at Heyler’s, our new venue

This Saturday, the Magic Meathands Tag Team Comedy Show will be bursting with more funny people than ever before!

We had a great debut at Heyler’s last Saturday with our Family Friendly Show. Thank you to all who came out to help us celebrate our new home! We’ll be there again this Saturday night with our biggest Tag Team Comedy Show yet! Before you know it, Heyler’s will be known as the biggest comedy spot in LA! Or at least, the biggest on Pico Blvd. Surely somewhere between those two benchmarks.

We’re very happy to have three stand-up comics help us kick off the first Tag Team Comedy Show at Heyler’s:

  • John Vargas made his debut at The Comedy Store and has been performing regularly at comedy clubs in and around LA.
  • Vance Sanders is a Groundlings graduate who works the local comedy club circuit and is the host for the Scoomies, the award show celebrating stand-up comedy in LA.
  • Pat Reilly is another regular of the LA comedy club scene, which helps him study sociology at UCLA.
  • Ceci Noire came from Haiti to live the movie star lifestyle, and has unlocked the secrets of the universe.

A trio of comedians should be enough to pass the legal requirements of a comedy show, but that wasn’t enough for us! We’ve also got the improv group Distant Relatives! They perform every Friday night at The Improv Space, and now we’ve got them! All they need is one suggestion from the audience, and they turn it into a fully improvised long form show. The group includes former Meathand Eric Chad Ho, as well as Jason King, Tim Limbrick, Samir Forghani, and Stephen Perlstein.

To finish it all off, it’s the Magic Meathands! Yes, us! We perform a mixture of long form scenarios and short form games to create a lively and energetic show. So we’ll have you laughing one way or another!

See you Saturday at 8 PM!

Heyler’s
10659 West Pico Blvd
Los Angeles, CA 90064
(one block east of Overland)

Tickets: $7

PARKING: The meters on Pico Blvd. do not need to eat after 6 PM. They’re on a special diet. Yes, that’s right, free street parking on Pico Blvd.! But look closely at the signs if you park on the side streets off Pico.

The above was cross-posted on the Magic Meathands blog. I’ve been a member of the Magic Meathands for over 3 years, performing over 150 shows of improvised comedy. If you’re in the Los Angeles area, give yourself a treat and catch one of our shows.

Caturday: Digging for Gold Edition

The Comics Observer recommends 3 new graphic novels worth checking out for new comic readers. And it also continues its coverage of the LA Times Festival of Books with a look at the just-announced program schedule.

In case you missed it here, learn about the Magic Meathands’ Comedy Outreach Project, bringing comedy to people in our community who need some laughter.

Nahleen had her first full week of blogging! Go her! This one, about how sometimes she just has to WAIT whether she wants to or not, might be my favorite of the week.

My Tumblr gets a rare but probably controversial update in support of Détente.

And on the totally other end of the music spectrum, if you’re into singer-songwriters from the late ’60s and early ’70s, take a look at the Troubadour Tribune.

Oops… Things Change Fast on the Internet

So yesterday I teased the debut of a new column by Dig Comics director Miguel Cima at The Comics Observer. It’s still coming! But I decided to push it back to Friday so that a post could go up today about a comics conference (or colloquium, as they’re calling it) about race and comics that’s happening tomorrow.

Because my bandwidth is stretched pretty thin these days, I’m just not able to make The Comics Observer one of those high-volume sites with 5-10 posts a day. Maybe some day but not right now. So bear with me as I juggle when things come up.

It’ll be worth the wait. Miguel’s column should make for good weekend reading and debating.

Dig Comics director Miguel Cima speaks out

I’m very excited to announce the launch of a new column at The Comics Observer starting tomorrow. Director/writer/host of the award-winning documentary Dig Comics, Miguel Cima, will be contributing a new installment every month, where he’ll be looking at what excites him about the art form found in comic books and graphic novels, and what he feels is holding it back. He starts off with a doozy where he challenges readers and publishers alike to step up.

Disclaimer: I helped produce the two Dig Comics shorts that can be seen on DigComics.com, and continue to serve as a consultant and more as we talk with production companies to launch a TV series, feature-length film or web-series. To follow our progress and join in the crew’s comics discussions, check out the Dig Comics Facebook page.

Caturday: Sponge Loving Kitteh Edition

I love the reaction shot at the very end.

There’s a Magic Meathands show tonight where we’re teaming up with the improv group In Rare Form. One of our fans loves both of our groups, so he conspired to get us to perform together on the same night. See? Dreams do come true!

At The Comics Observer:

Year in Review: Digital Comics are Really Here

ComiXology leads digital revolution

While comic book stores were struggling (and in some cases closing) through much of 2011, the other major distribution outlet for comic books and graphic novels also faced a tough time. Book stores became a major outlet in the 2000s, primarily due to the manga explosion that brought a whole new audience back to sequential art in the United States. But with the dominance of Amazon.com and the rise of digital e-readers, book stores were forced to evolve. Unfortunately Borders, the second largest US book store chain and the first to usher in manga to American readers, failed to do so in time and went into bankruptcy this year and caused a ripple effect throughout the comics industry.

For some comics publishers, the effect was minimal, as previous payment issues with Borders caused some to shift their business away from them before the bankruptcy was announced. But others felt it more strongly, such as Los Angeles-based Tokyopop, the second largest manga publisher in the United States. In the beginning of the year, Borders stopped paying its vendors in an effort to avoid bankruptcy. This resulted in orders getting cut, and with Borders being Tokyopop’s largest customer account, income was severely damaged. Layoffs at Tokypop followed. Despite the late-entry hit manga Hetalia: Axis Powers, it couldn’t reverse the damage of a closing Borders, online piracy (and a digital strategy that amounted to too little too late), and the under-performing Priest feature film. By May, Tokyopop was holding a garage sale to empty out their LA offices. With their termination of US publishing, licenses were canceled, leaving a good number of manga series unfinished. It’s difficult to know how many casual readers of those series drifted away from reading manga and comics entirely after their favorite manga simply stopped coming out. In October, Tokyopop founder Stu Levy revealed that he is “continuing to explore any and all opportunities to relaunch the manga publishing operations” but it will require him having to renegotiate contracts with Japanese publishers. In the meantime, Tokyopop remains as a modest web-newsletter about Asian pop culture, in a partnership with GeekChicDaily.

Viz blazes own path, offers digital subscriptions to Shonen Jump Alpha

It was clear that another distribution outlet was needed, and fortunately one has been steadily growing over the last two years. Digital comics allow people to read print comics and manga on the web or mobile devices such as the iPad, iPhone, Android phones and tablets, Kindle and Nook. Companies have been popping up to provide publishers with the service of configuring their comics to the digital landscape and selling them on these devices. The digital distributor ComiXology has pulled ahead as the clear industry leader, with an exclusive partnership with DC Comics and partnerships with almost every other major comics publisher and many smaller ones too. Other prominent digital distributors are Graphicly, with their focus on community-building, and iVerse Media’s Comics+. Some publishers have chosen to build their own in-house digital distribution systems, such as Dark Horse Digital and Viz Manga. Some publishers are even shifting entirely to digital or publishing digitally first, mimicking the successful web-comics model of building an audience to support print releases.

Most significant in 2011 is the near industry-wide move by comics and manga publishers to ramp up their digital output. This was most notable in numerous announcements by publishers to release digital and print versions simultaneously (frequently called “day-and-date”). Prior to this, digital comics were released erratically, sometimes as far out as 6 months after the print version, seriously undermining the ability of digital to be taken as a serious method for consumers to become engaged in specific titles. The brand new Kindle Fire tablet/e-reader, which had huge sales for the holidays, has available an exclusive set of 100 DC Comics graphic novels, along with a free, pre-loaded Comics by ComiXology app.

Before a lot of these digital announcements were made (and when most digital comics were only available through the iPad and iPhone), digital comics were showing significant growth as sales doubled for the first half of 2011. Prior to that, digital comics sales were estimated at $6 to $8 million for 2010. Print sales for the North American comic book industry were estimated at under $420 million for 2010. While still only a fraction of print, digital is still extremely young with immense potential to reach new and lapsed readers.

Digital Comics Update: Doing Great in Some Non-Specific Way

Justice League #1 - Record-setting sales for DC's digital comics

While still a fraction of print sales, digital comics continue to grow. (Digital comics being comic books you read on the web and mobile devices like the iPad and Android phones.) Great news, right? I’m a big believer in digital comics. But it’s not so easy to know exactly how much they’re growing or whether everyone’s just really excited about a lot of unsubstantiated press release hype.

Within a week of each other, the largest comic book publishers in North America both claimed that sales of one of their digital comics surpassed their own records for digital sales. In both instances, the record-setting digital comic was released on the same day as its print counterpart was released in comic book stores. DC Comics announced in this interview with Salon the good sales news for Justice League #1 by Geoff Johns and Jim Lee, the launch title for their ambitious and highly publicized New 52 initiative.

Jim Lee: [B]ased on recent numbers, certainly Justice League No. 1 has surpassed the recent highs in comics sales. […] It’s also setting records digitally. I can’t give numbers, but on the first day it set a record for us.

Salon: Once you compared the volume of DC’s digital comics sales to dental floss. Is it up to dental tape now?

Jim Lee: It’s too early to say.

Marvel Comics later issued a press release for their announcement regarding Ultimate Comics Spider-Man #1 by Brian Michael Bendis and Sara Pichelli, where the webbed adventures begin for the half-black/half-Latino Miles Morales.

The trick? Neither publisher actually revealed any concrete sales data.

This has caused a bit of consternation among comics industry watchers, who are trying to understand the actual strength of digital comics and sales of comics in general. As The Comics Reporter‘s Tom Spurgeon wonderfully puts it, sales figures are usually only hinted at or used for hype by publishers like DC and Marvel, resulting in the “I have a girlfriend in Canada” of sales analysis.

Ultimate Comics Spider-Man #1 - recording-setting sales for Marvel's digital comics

Looking outside of comics, most entertainment companies don’t share honest sales numbers because they consider that proprietary information, but those other industries have something comics doesn’t have – a third party tracking sales through reasonably objective means. Put bluntly, comics needs a Nielsen. The best we have are the sales estimates put together by ICv2, John Jackson Miller’s The Comics Chronicles, and a few others. These are best guess estimates based off charts provided by the largest distributor of comic books, Diamond Comics. But they’re only counting comic book stores in North America. There’s little to no coverage of book stores, no coverage of subscriptions, no sales to libraries and schools, nothing from the UK and other countries, no newsstand sales (meager but still out there), no sales from other outlets like grocery stores. To be sure, North American comic book stores are the dominant sales channel for print comic books. But it’s not the entire picture. What’s more, the sales estimates are determined by using Diamond’s odd index numbering system constructed around everything’s relative sales to that month’s issue of Batman. So if you figure out the sales of Batman in any given month, you can figure out the sales of everything else in that same month. Why Batman of all things? It’s mostly arbitrary but its sales have been historically pretty stable due to the character’s popularity and longevity of the series. On top of all that, the numbers only reflect what comic book stores are ordering. We have almost no idea about sell-through to actual paying customers beyond anecdotal reporting and the assumption that most stores are ordering month-to-month close to what they think they can sell. Needless to say, the accuracy of these estimates has been disputed and called into question. Some say it gives a fairly reasonable picture and is better than nothing, which is true. But numerous comic book creators have gone on record to say that the estimates are wrong when compared to their royalty vouchers and other internal accounting statements.

So we’ve got an entire industry more or less groping in the dark trying to feel out the shape and size of their own business. But it’s the best we’ve got, so numbers are put under the microscope. At least there’s something for print comics. Digital comics have vague statements of modest to booming success. ICv2 estimated earlier this summer that digital comics sales are generating between $6 to $18 million a year, with sales doubling from 2009 to 2010. Archie Comics boasted nearly 2 million downloads back in January. ComiXology, the undisputed largest digital comics provider, trumpeted surpassing 1 million downloads at the end of 2010, and their main Comics app was recently the second grossing iPad app, outselling the popular app for the Angry Birds game. IDW Publishing announced over 1 million downloads of their various digital comics apps back in April. Plenty of similar announcements have been made. It’s great news because it confirms that there are a lot of people interested in comic books. But how many of those downloads generated money. It’s free to download almost all digital comics apps, and there are plenty of free comic books available to download within each app. How many of those millions are paying?

What we do know is that digital comics is one of the biggest growth sectors for comics. The independent comics publisher SLG Publishing recently announced they were switching to digital first distribution. The transition will see the end of print comic books from the publisher. Issues will instead be released only as digital comic books that will eventually be collected and released for the first time in the physical world as print graphic novels. While several publishers have abandoned the single issue comic book format to strictly graphic novels, this is the first significant comics publisher to transition their serialized stories to the digital space. SLG was among the first publishers to embrace digital. They are one of the few that allow full ownership of their digital comics through their Eyemelt store, which sells .pdf, .ePub and .cbz that can be used anywhere. (ComiXology and other digital comics providers are technically leasing you the right to view images of comics files, which can be and have been taken away or locked.) SLG comics are also available on iBooks, Barnes & Noble’s Nook, ComiXology, iVerse’s Comics+, Graphicly, and Panelfly.

According to SLG publisher Dan Vado, much of the company’s marketing has not been focused on digital, so their sales there have been promising but not exceptional. In fact, in a surprising break from the above trend, Vado was willing to make public some of the company’s digital comics sales figures.

The best selling downloadable comic we have had is The Griffin #2 at around 200. This is like a 20 year old comic I did for DC Comics.

Most of the other books have struggled to get to triple digits.

How does that one digital comic stack up against the digital sales of Justice League #1 and Ultimate Comics Spider-Man #1? I’d like to believe there’s a significant difference but who can tell? For whatever it’s worth, Justice League #1 has 318 reviews on ComiXology, while Ultimate Comics Spider-Man #1 only has 58, at the time I’m writing this. Not everyone that buys and reads a digital comic will submit a review of whether it was a 5-star comic but that seems like a bare minimum at least. Except that anyone can leave a review whether they’ve read the comic or not, as long as they’ve logged in.

As The Beat’s Heidi MacDonald points out in the above link, SLG’s most popular and well known property is probably Johnny the Homicidal Maniac by Jhonen Vasquez and that will be released digitally next year. Vado expects that to be their top digital seller very quickly, especially since they will have ramped up their marketing efforts focused on new readers instead of readers that already own the print version. If Vado continues to be as transparent, SLG could be a very interesting case study of a publisher transitioning to digital. And in the process, he could give us a better idea of the actual strength and success of digital.

Comic-Con Wrap-Up: Digital

Foxtrot by Bill Amend notes the limitations of the iPad (originally published 3/21/2010)

Digital comics are gaining momentum as more people enjoy the convenience of downloading comics onto their tablet device and/or phone, and/or read them on their browser while they’re already at their computer. July has already seen a lot of announcements and Comic-Con, as expected, had a ton more. Here are the highlights:

  • Digital comics sales have doubled for the first six months of 2011, according to industry white papers presented by ICv2 Publisher and CEO Milton Griepp. Digital sales were estimated at less than one million in 2009, somewhere between $6 and $8 million in 2010, and will likely double that amount by the end of 2011. Despite fears of losing print readers to digital, the report states there’s little evidence to suggest a significant level of overlap between buyers in the two markets. Much of the growth is led by the strength of the iPad, with a lot of potential still expected from the Android and e-readers like the Kindle and Nook. Digital sales on PSP have mostly collapsed, likely due to a massive hacking incident on the Sony PlayStation network in April that resulted in the service being shut down for nearly a month and the compromise of millions of their users’ personal data. New additions to the PSP Digital Comics Store were discontinued earlier this month, although the program may get relaunched when Sony releases the PlayStation Vita, expected toward the end of the year. (ICv2)
  • Marvel Comics will begin transitioning to simultaneous print and digital releases (instead of waiting months to release the digital versions of their print comics) starting with this week’s Amazing Spider-Man #666, which kicks off the “Spider-Island” summer event, and the current X-Men event Schism. The Spider-Man family of titles will be released the same day and date in comic book stores and through web and mobile devices. Uncanny X-Men #1 and Wolverine & the X-Men #1 will follow in October and November. Marvel, the comics industry’s number one publisher, will look for more opportunities as titles hit good jumping-on points. (ICv2)
  • VizManga.com has launched from the largest US publisher of Manga, Viz Media. The site syncs with their iOS and Android apps, so manga bought at one can be read on the others. There is a 40% sale going until July 31 and the first chapter of each manga is available for free. There are currently over 40 series and over 300 volumes available, with more added each week. (Robot 6)
  • A collection of 39 Japanese publishers will launch JManga, a web portal to read manga online and interact with creators and fans, in August. Popular manga like One Piece and Naruto are expected to be part of the line-up, as well as more obscure titles that have never been licensed for US release. The cooperative initiative is intended to reverse shrinking sales that publishers feel are due to importing lag time, piracy, and the closing of Borders. (Anime News Network)
  • Top Shelf entered the digital space by launching over 70 graphic novels on the Comics+ app by iVerse Media. According to this interview with Robot 6, they want to have everything in their library that they can release digitally to be available by the end of the summer. They will also be launching on other digital distributors soon and will have their own apps, one for Top Shelf’s entire line and a Kids Club app for their all-ages material. They also have some books on the Kindle, Nook, iBooks, and Google eBookstore. (Top Shelf)
  • Panelfly will be relaunching their app as Panelfly Prime and Panelfly Plus beginning in early August. The two apps will enhance the now-standard comics reader experience with videos, news and social media integration within the comic, an experience they’re pitching as SuperMedia. Their recently released Burn Notice digital comic is a template for what they’re building. (Comic Book Resources)
  • Graphicly is adding bonus features and other enhancements to digital comics. Similar to DVD bonus features, the first batch includes audio commentary tracks by creators and trailers, with more to come. (The Couch)
  • LucasFilm OK’ed the digital release of Star Wars comics, so the Dark Horse Digital Store now has tons of Star Wars comics, with more to be added every week. Dark Horse Comics has been publishing Star Wars comics for 20 years now. Part of the release includes Marvel Comics’ 1977 adaptation of the original movie Stars Wars Episode IV: A New Hope. (Dark Horse)
  • Manga publisher Square Enix is running a special sale on their online reader site. If you “like” their Facebook page or got a special URL at Comic-Con, you can get the first volume of any of their 15 series (including Fullmetal Alchemist) for free. Books are usually priced at $5.99. The deal is good until August 10. (Robot 6)

Me on Tumblr: Breaking News on Comics and Random Inanity

If we’re friends on Facebook or you follow me on Twitter, you might’ve noticed a new feed coming in to those sites. Yes, I’m on Tumblr!

There I will be posting links to breaking news about comic book, graphic novels, manga, comic strips, web-comics, digital comics and other forms of sequential art. Yes, believe it or not, breaking comics news is actually a thing that happens in the world. For example, see this story. Or this story. There will also be a side dish of random silliness or oddities that amuse me to lighten things up, as well as a link to my weekday posts on my blog here, which tomorrow will create an internet loop from which we may never escape.

So if you’re on Tumblr, you should follow me! Or if you’re not on Tumblr, you can subscribe to my Tumblr’s RSS feed. It’ll make you a better person.