Blog @ Canadian Geek

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I was fortunate enough to go to the San Diego Comic Con this past summer and unlike my first trip there in 2006, I decided to do this more as a “working” vacation than a “fanboy” one. I spent more time waiting to talk to vendors and distributors than I did waiting for sketches and signatures. In turn I had quite a different experience (natch).

Out of the several things I did was to make sure I attended more panels that discussed the craft of making comics; writing classes, discussions on theory and religion and so forth. At one very unique panel discussing religion, featuring Christian, Jewish and Witch followers, I came across a sample of a comic book on the chairs in the room. It was a flip book featuring “Serenity” on one side and “Goofyfoot Gurl” on the other.

“Serenity” I had encountered before as a sample copy had been sent to the store in 2006. Shawna and I reviewed the book and decided that the quality just wasn’t there in the writing or art that we could justify purchasing copies. I won’t get into detail but we know our customers and we judge ALL books against the fancies of our clientele.

“Goofyfoot Gurl” intrigued me more as the art style, while unpolished, was neat and I liked it. But as I read the story I quickly realized that it was pretty typical North American, decompressed storytelling and I was less impressed. However, the thing that really turned me off was the fact that “Gurl” and “Serenity” were both billed as Manga.

Now I am not an expert on Manga but I’ve learned quite a bit recently as it’s an essential part of my business and one of the first things I’ve learned about Manga is that it comes from Japan. Realbuzz Studios, the company home to both comics and a few others, as near as I can tell is American based. There’s no information about the writer or artist but I suspect they are American also.

Bucking the Manga trend further, these comics are in colour and read left to right. Seeing all these things countering my knowledge of what Manga is supposed to be, I went to Realbuzz’s booth and decided to talk to the company why they thought their books could be considered Manga. Sadly none of the talent was there but the woman working the booth was kind enough to engage me in the conversation which lead to her asking me, “What do you think Manga is?”

“Well, at a basic level it’s black & white, read right to left and it’s usually made in Japan.” I went on to say that the art in “Goofyfoot Gurl” was far more NA than Asian except for one page that had a chibi character on it. The people at the booth couldn’t wholly grasp what I was saying and said I would be better to contact the company and discuss it with them.

Now, why does this bother me? I mean, it’s not the first time a company, ANY company, has branded a product as something not quite what it was. Marketing is an ugly, tricky, corrupting being that often makes good people say misleading things and I fall into that category as well. Kid Drew has on more than one occasion challenged my wording of certain events that I put on the sandwich board outside the store. “That’s not entirely correct,” he would say. “We’ll educate them once they get upstairs,” I would reply. I need to bring people in or pique their curiosity and sometimes I use selective wording that may seem misleading with the hope that people will want to know more. Sneaky? Maybe. Effective? Usually.

In my mind, Realbuzz Studios is clearly making “comics” and labeling them as “Manga from Heaven”. Oh yeah, they’re a Christian publisher. That’s kinda making it a bigger issue for me.

So, what makes Manga? Is it colour vs b&w? The storytelling? Speedlines and big eyes? Direction for reading? What do you think? According to Wikipedia, Manga refers to comics published in East Asian countries with certain other criteria that none of Realbuzz’s books seem to follow.

Do you think that this Christian publishing company is out to lunch, unknowingly crediting their product as Manga or did they sink to the capitalist level in naming their product something it isn’t just to help sell books? Or, is it actually Manga and I just missed it?

The Shepherd

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Happy Harbor, in it’s mad idealism of trying to do things that no one else does, publishes a semi-annual anthology called “Tales from the Harbor”. The book allows anyone to create anything they want and see it in print while working under the guidelines and deadlines of a publishing schedule. It even comes with the added bonus of being just like a real publishing company in that no one gets paid. HA! Zing!

Anywho, the first volume of “Tales”, released in Dec 06, did well. 200 copies of the 290 page book were printed and at this time, more than 160 have sold. Not bad. It did take some work to encourage many customers to try it out and many obliged. Some even commented on the stories on CG.

Volume 2 of “Tales” had a page count pushing 340 with the same $19.95 price tag so more bang for the buck should sell much better, right? Wrong. Out of the 200 copies released in June of 07, sales are currently under 75 copies. Granted, Volume 1 has had more time to sell but with both, the vast majority of sales came in the first couple weeks to months. Volume 2 doesn’t appear to have the legs to match 1 after 8 months of sales.

So what went wrong? Was the format of publishing anything and everything to much of a deterrant for some? Was the length to lengthy? Was the “quality” not there? Was the lack of a big, corporate logo a factor?

Last December, ICv2 columist Steve Bennent comment on the death of the anthology, stating that he believed most fans just don’t want anthologies any longer, even though they could easily produce more bang for the buck. But a compnay spending money to put top talent on a book that probably wouldn’t have any impact on that companies universe (Jimmy Olsen would never die in any book other than “Superman” or “Action Comics”, right?) doesn’t seem viable and the modern method of decompressed storytelling seems to work against the concept of short storytelling in an anthology.

Has the nature of storytelling evolved to a point that short stories aren’t wanted any longer? Has the demand from modern audiences for every story to have impact negated the desire for fun, off-the-cuff tales? Can the anthology come back and survive in today’s climate?

I won’t use “Tales” as a true gauge since it’s nature of being independant creator-owned material already puts it at a disadvantage but with Marvel returning their long running “Marvel Comic Presents” title this September, we’ll see exactly how the publisher approaches what material to print and excatly how the fans will react. Hopefully the book will be company supported for long enough to work out the bugs and bring the anthology back to the forefront of comicdom.

As a retailer who, even with all the space we have, is running out of room, I would be more than happy to see the end of the dozens of mini-series taking up shelf space and replaced with one book showcasing four different titles. Maybe it’s just me.

Shepherd

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As the title says, lots of ups and downs for us here in the past few weeks. Nothing earth shattering but still a bit tough on the soul. Our first forary into the performance arts was truely remarkable. Being the “Executive Producer” on SUPERHEROLIVE! showed me a side of the theater world I didn’t know existed and now I have a whole new respect for what these people do for us. It’s a lot of work and most of it goes unnoticed or misunderstood.

That’s where the roller coaster came in. I was putting a huge amount of time (and money) into something I was impressd with, proud of and really thought my little world would appreciate but sadly, they didn’t. Even though attendance was poor in my eyes, by the standards of the theater community, it was good. Even better than good. But I was hoping for more and that crushed me.

It’s not to say that that is the first time I’ve ever felt defeated by trying to do something for people and failed but this was big, even bigger than my percieved failure earlier in the year with the in-store book signing.

It really hurts to put so much into something and seemingly have no one care what you are doing for them. I was just about ready to pack it this week but I was holding on to the few bright spots that made putting this show together worthwhile (thanks to the staff, Alana, Brent, Megan, Robert and the couple other customers who did come and especially to Brian who, even though he had only 1 day off work over the 10 days of the show, drove 3 hours to see us perform).

That rather tenious thread wasn’t very strong but then on August 30, after I came back to the store from buying some groceries, I had a message that someone wanted to book the store for an event. This wasn’t too unusual; people frequently rent the space for different things so I phoned back and the rental request almost made me cry.

I have done some interesting things with Happy Harbor but I am proud to announce that in April of 2008, Happy Harbor will host it’s first wedding. Yep, a local couple wants to have a costume wedding in Canada’s Best Comic store and I couldn’t be more proud.

While people don’t always respond to many of things we do clearly we are doing (or have done) something right to entice two people to say, “We should get married at Happy Harbor.” I’ve been married and though the marriage didn’t last, the memory of it will. It is an amazing event, shared with those closest to you, creating stories that will be retold for many years to come. I am unbelievably grateful that this couple wants us to be a part of their memories.

Now, what to charge them….

The Shepherd

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About a year ago I was interviewed by the Edmonton Journal about webcomics and their imposing march forward to the demise of the physical comic book. I said that webcomics were a different animal than regular comics and that there was no doom for the floppy. We can actually all just get along. However, what went to print was slightly edited (who woulda thunk) to read something like, “No von vill defeat zee comic book! Zig heil!!” and the end result was me getting slammed on other blogs and boards as a “wet blanket”, apparently making me some kind of anti-webcomic guy (even though I host panels on them and make one myself).

I still stand behind the notion that it’s a different beast and there is room for all. Webcomics tend to be fractions of story, even smaller than the comic book, spilled over even more numerous episodes than the comic book. If you’re reading this, I don’t need to tell you about them.

There are all sorts of reasons why both formats are appealing from not only an entertainment perspective but also from a creative standpoint. Webcomics are a bit easier and more flexible to produce. Size restrictions and quality control are pretty non-existent considering how cheap web space is but the comic book tends to present challenges that push creators to greater lengths. And as each format continues to strive to cross over into the other, all sorts of people are complaining and pointing fingers, especially when the book comes to the web.

Recently, DC Comics announced the creation of “Zuda”, a webcomic host site where people would produce paid-for-hire or royalty work for DC. Everyone was quick to point out flaws with the proposed system, especially those who aren’t doing a damn thing to bridge the gap or encourage a higher level of quality from people. Our first contestant is Mr. Joe Quesada and this from a “News”arama interview;

“If I’m an online comics creator, I already have the greatest stage in the world, why do I need someone else to showcase my stuff and then take a piece of it?”

Yep, the webernet is the greatest stage in the world. In fact millions of people have posted all sorts of crap on it. Repeatedly. Good luck carving out a significant niche out there if you don’t have tech knowledge, a huge circle of friends, money, talent or any combination thereof. While you can make what you want when you want, that does by no means mean that you’re doing yourself any favours. Deadlines? Who cares. Quality? Friends are great for telling you when your work is sub-par, ain’t they. Who needs the guidance of an experienced corporation to help you get a regular paycheque while honing your craft to a certain standard of excellence?

Granted, Zuda will not be for everyone but what has been done is another avenue has been opened for people to explore and utilize IF THEY CHOOSE TO, which is more than could be said for most companies. There are a lot of complaints that opportunities are limited out there in the comic market so kudos to DC for making an effort, one that I’m sure will be finely tuned in the months and years to come, and giving even more people a chance to see their ideas reach a broader audience.

The Shepherd

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It is the biggest comic convention in North America. It has been in operation for more than 30 years. It is held in a convention centre bigger than George Lucas’s home, though not by much. It is the geek mecca and after going for my second year in a row I feel the need to tell you all that you should never go once to “The Con”.

You need to go at least twice.

This show is not just large in physical size but also in product diversity. So many people have been bashing the show recently because of the influx of other media that supposedly have nothing to do with comics. You know, cause geeks don’t watch the Spike Channel or Quinton Tarintino movies, buy trading cards or play video games.

I will concede that it is unfortunate that as these multi-media conglomerations move in with their massive displays occupying more space than my apartment, there become fewer booths for the smaller companies and independents to have. The dogfight for space begins and sadly those with the biggest pocket books will win.

Thankfully, the SDCC does have designated areas for those who fit into the categories of “small” and “independent” and here’s hoping that the flashy dollars of the WB and others of their ilk don’t corrupt them from shrinking those areas any further.

However, there are some up sides to these big companies coming in. First, they pay big bucks which help keep The Con viable and second, they attract visitors who might never have come to the con. Inevitably, this new breed will walk the floor and see something that might not have seen otherwise. It’s cross-promoting kids and while not prefect, we have to look at the positives until we develop a better game plan to keep comics in the public eye.

Another complaint often heard is the crowds. This year’s SDCC set an attendance record for the history of the show, selling out 3 of the 4 full days with estimates of 140,000 people or higher. While the floor does get crowded at times, there are things to remember.
1) If there’s a Big Company booth in your path to “Bob the Artist” and you’re not really interested, walk around that area. Trying to cut past will not save you time and only increase your hatred for mankind.
2) Check for when the big media panels are. Generally a large portion of the crowd will shift upstairs for them and create a small breath on the vendor floor.
3) Avoid the outer edges and the center alley. Most people tend to cling to walls or cut a path through the middle. I found the “side alleys” much easier to navigate.
4) Avoid booths with creator signings (unless you want an autograph).

If you pick and choose your path and timings well, you can still enjoy the biggest geekfest this continent has to offer in the company of your brothers and sister without wanting to kill them all (a few but not all).

Before I finish, a shout out to Earth 2 Comics in Sherman Oaks, California for being the receipiant of the 2007 Will Eisner Spirit of Retailing Award. They deserve it.

Shepherd

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Probably not very.

About half a lifetime ago, with the rise of the eco-friendly movement, I began to wonder why comics were still printed on paper. Wasn’t there a better way, other than a computer monitor, to provide this most excellent form of entertainment to the masses? Couldn’t they be printed on something man-made and less dangerous?

Now, I’m not “Joe Treehugger” (don’t even think of stealing that for a character name) but I have been trying to make a bigger impact in my personal life with being responsible about my footprint on the planet. Sadly, I then come to work and hear the cries of thousands of dead trees for 10 hours a day. Okay, a bit over the top but you get the point.

Why aren’t comics printed on something other than paper? Considering the chemicals used to make a lot of the comic paper more vibrant, it almost seems a no-brainer that we could advance forward to print this four coloured magic on something else. Turns out, there are options, like in any other industry, but again, like in any other industry, companies are resistant to change.

A recent article on the Comics Foundry website called “Crisis on Environmental Earth” covers the alternatives in some detail, providing the information about the damage being done to the world from not just paper production but also the typo of inks used as well. Personally, I had no idea how harmful most inks are and thankfully, there are alternatives that some companies (like DC) are using these days.

But using recycled paper seems to be the big bump in the road. Seemingly, as with most things environmentally friendly, recycled paper is perceived as more expensive. Dark Horse refuses to even consider it an option because of this perception but Image Comics changed printers over a year ago and discovered their earth friendly paper and process to not only maintain the quality of their product but actually improved it (too bad it can’t help on the creative side too).

While most companies are willing to at least talk about what they are doing or looking at to make this industry healthier, there is always one stick-in-the-mud. One guess. Yep, Marvel. They refuse to talk about their “trade secret” paper which means they are doing nothing except helping to bring Joe Quesada’s prophecy of paper comics going the way of the dodo in 30 years to fruition.

Most people familiar with the industry side of comics have heard of Quebecor printing. For decades, they were THE publisher for comics in North America, sometimes printing up to 80% of the periodicals on the comic racks and they are still a force today. Sadly, a tour of their website provides no information about what they offer for printing options in an eco-friendly manner instead choosing to focus on their multi-media expansion and global dominance in print media. A possible field trip to the Edmonton office may be in order to find out more but you would think that in the interests of just good, old-fashioned PR, they would tout “soy-based inks and affordable recycled paper” as much as possible.

In the end this Rant’s a bit of downer, I know, and I’m certainly not going to tell any of you to buy fewer comics (honestly, I won’t be). What we should do is start letting companies know that we think is issue is important. Ask them to put it in their Previews solicitation and in the legal print of their comics how friendly they are made and see what kind of an impact it will have. I’m sure many of us, when debating on a new comic to test the waters on, will have the scales tipped towards the one book with a mind toward the future as opposed to one that’s less Marvelous. Just sayin’ is all.

The Shepherd