Comic-Con and the Business of Pop Culture (McGraw-Hill, 2012) is a dazzling tour of the global pop-culture transmedia landscape and how comics are shaping the entertainment and communications industry of the 21st century, seen through the prism of the world's wildest trade show and consumer event - the San Diego Comic-Con.

Digital Comics in Foreign Markets

Today iVerse Media announced an exclusive deal with Marvel Entertainment to distribute foreign-language digital comics and graphic novels. This is potentially a big deal at the corporate top-end of the industry, where Marvel’s superhero franchises command massive attention and dollars. It’s also an interesting alliance given how highly Disney, Marvel’s corporate owner, has traditionally valued overseas markets. I’m sure we will learn more about what iVerse, the second-place digital distributor, brings to the table in coming months. According to the press release,”foreign language content will launch in late 2012 with staggered releases worldwide.”

At a larger level, this announcement and others like it underscore how big a game-changer digital is on the global level… but not entirely for the reasons we think. Read more

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Five Lessons Marketing Execs Can Learn from Comics: The Video

Last week I had a great conversation with Ty Pyburn at The Pulse Marketing regarding my recent FastCompany piece, “From Nerd Niche to Brand Superpower: 5 Lessons Marketing Execs can Learn from Comics.” Here’s the video:

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Can iVerse’s new Kickstarter-killer for Comics Draw a Crowd?

Following this year’s Comic-Con, I rated iVerse Media’s announcement of its Comics Accelerator crowdfunding platform the most potentially exciting digital comics move of the summer. Now according to Todd Allen’s piece at Publishers Weekly, the company is moving forward with more serious trial and deployment.

This should be good news for creators, publishers and ultimately fans. Comics Accelerator’s Kickstarter-killer is a $5,000 cap on the 10% fee the platform takes out of each project. Kickstarter has no cap on fees, which means that a lot of money that funders contribute to high-raising projects goes to Kickstarter rather than the creators.

Comics Accelerator also includes features uniquely helpful to comics publishing rather than general creative projects, such as automated fulfillment and the ability to manage multiple titles. This formalizes the potential of crowdfunding as a way to pre-sell otherwise viable commercial projects, reducing risk and exposure for publishers, in addition to launching pie-in-the-sky creative ventures from individuals. Kickstarter has been straddling both of those roles and seeing its infrastructure and mission strain at the edges as a result. One hopes that, as a fast-follower, iVerse will add some accountability and controls into the crowdfunding model, avoiding the various landmines that Kickstarter’s success has exposed.

iVerse’s biggest challenge is to generate critical mass quickly. Features and a lower fee structure are great, but the point of crowdfunding is to get funded, and that takes a lot of people.

Given that Kickstarter has become synonymous with crowdfunding and been the source of a bunch of high profile mega-successes, that will be a tough nut to crack. Kickstarter is starting to spawn an ecosystem of add-on products and services that add convenience for users without requiring the company itself to make additional investments. Just this Monday, a site called “Things We Start” launched, offering mapping and data visualization to find and track Kickstarters across a variety of parameters. More buzz = more users = more momentum behind their platform = more funders = more projects funded = more users = more third party participation = more buzz and so on.

iVerse understands better than anyone that certain kinds of markets tend to coalesce around a single leader, and how hard it can be to compete once the die is cast. In the crowdfunding space, they are already playing catchup to a world-class sprinter. To succeed, Comics Accelerator needs a couple of big wins fast to start a momentum shift.

 

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Five Marketing/Branding Lessons from Comics

What can marketing and branding professionals learn from the success of comics and comic-related properties in the wider media world? Check out “From Nerd Niche To Branding Superpower: 5 Lessons Every Marketing Exec Can Learn From Comics,” my latest at FastCompany.

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Of Geeks and Girls

The term “geek girl” has had to carry a lot of unwanted baggage lately. Intended as a positive self-identity for women and girls with well-developed interests in nerdy pursuits ranging from pop culture to science and engineering, it has become a flashpoint for gender friction within fandom and the target of suspicion among self-appointed guardians of subcultural boundaries.

That’s too bad, not just because girl geeks are as deserving of respect as their male counterparts, but because the emerging persona of the capital-G Geek Girl has the potential to expand old conceptions of both fandom and gender and get us past some of the current silliness.

This positive potential was in full display last weekend in Seattle at the second annual Geek Girl Con (GGC 2012).  More at CNNGeekOut.

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Misc Stuff of Interest

Here are a few cool things that caught my eye in the last week:

  • Interesting new digital comics project called Aces Weekly, featuring top-drawer talent like David Lloyd, Kyle Baker, Phil Hester and Mark Wheatley. I talked to Mark about this briefly at SDCC. Glad to see it is coming to fruition.
  • Stumbled on this great portal covering the comics scene in South Africa. Looks like lots of interesting work going on there.

    Beautiful work by South African artist Jesca Marisa.

  • One of my Twitter pals tipped me off to this wonderful inversion of Wally Wood’s classic “22 Panels that Always Work” – “4 Panels That Never Work” by Mark Waid and Jeremy Rock.
  • Looking forward to GeekGirl Con this weekend in Seattle. Not sure which day I’ll be there, but it should be fun.
  • The day I’m not at GGC, I’ll be at the Comics Dungeon Anniversary Sale at my favorite comics haunt in Wallingford.
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Comic-Con 2012: Endless Summer is Here! Is Winter Coming?

Fabulous furry fanboy: meeting underground great Gilbert Shelton was a personal highlight.

For the past two weeks, people have been asking me what I thought of this year’s Comic-Con. It’s a reasonable question, but each time I’m asked, I have a harder and harder time coming up with a coherent answer. I went to a few interesting panels, but nothing headline-making. I didn’t bump into Sarah Michele Gellar in an elevator or play a hand of cards with Will Eisner, but had fun with a lot of my old pals.I bought a nice drawing by Rudy Nebres and got a Fabulous Furry Freak Brothersbook signed by Gilbert Shelton. All told, it was a pleasant enough weekend.

Somehow that’s not enough of an answer. Because I now write about all this stuff professionally, I am expected to have a concise, quotable opinion on what it all means. And I’m not sure that’s even possible. Considering it took me an entire book to explain what I thought of the 2011 show, a thousand words of a blog post is just me clearing my throat. But here goes…

Read more

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New iPad Zine Covers Digital Comics Scene

Infinity, now available free for the iPad at the iTunes store

Panel Nine Publishing just launched Infinity, a free publication on digital comics distributed exclusively via Apple’s Newsstand for iPad. The first issue features a roundup of the last few months of notable news on the digital scene, including coverage of Madefire’s launch and Graphicly’s retreat from the digital space. There is also an interview with artist Paul J. Holden and some tasty previews of new work from David Lloyd. My personal favorite: a short sample of iEnglish’s Dapper John, a digital reissue of some of the earliest work of Eddie Campbell.

The idea of a zine covering digital comics, where news breaks just about every hour, seems counterintuitive. Lots of websites and writers, including yours truly, post news and opinions on this beat daily. But there’s something integral about the magazine format that makes it more satisfying than atomized posts on websites, and there’s something about the traditional fanzine style that adds a reassuring note of continuity amid all the change that’s going on around the comics/graphic novel space during the digital transition.

All told, a nice debut.

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Are Digital Comics Expanding the Market?

comiXology co-founders David Steinberger and John Roberts discuss digital comics at Comic-Con

On Friday at Comic-Con, I moderated a panel called “Are Digital Comics Expanding the Market?” with David Steinberger and John Roberts of comiXology, Mike Richardson of Dark Horse, and Ted Adams of IDW. The impetus for the panel was to address lingering concerns that digital distribution of comics on iPads and e-readers would cannibalize and kill the fragile direct market for print comics. This is an issue I addressed in Comic-Con and the Business of Pop Culture and in articles like this.

In fact, a year’s worth of market data tells the opposite story. Not only have digital comics become the single largest growth segment in the industry, but they appear to have done so while leading print sales higher in both the direct market and bookstores. comiXology and both publishers on the podium agreed that 2011-2012 had been a turnaround year on all fronts, led by phenomenal sales on the digital side.

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Comic Book Entrepreneurs

Rob Salkowitz, David Steinberger, Mike Richardson, Peter Levin and Joe Field at the Comic Book Entrepreneurs Panel, SDCC 2012

At the recent Comic-Con, I was pleased to moderate a panel showcasing four groundbreaking entrepreneurs who launched successful businesses in the comics/pop culture space: David Steinberger (co-founder, ComiXology), Mike Richardson (publisher, Dark Horse Comics), Peter Levin (CEO, Nerdist Industries), and Joe Field (retailer, originator of Free Comic Book Day). The audio for this was just posted here

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