A non linear selection of 'interesting' pieces of comic book history. Pro Bizarro, Anti Bat-Slap.
(3)
Joe Sacco is currently serialising his thoughts on 1srael and Palest1ne on The Comics Journal website.
Sacco is the creator of the graphic novels ‘Palest1ne’ and ‘Footnotes in G@za’.
We realise that adding numbers in lieu of vowels does look illiterate but we’ve also noticed that posts that don’t do this but do discuss the subject matter appear to be magically diminished in the algorithms, along with later content by the poster.
Link in comments.
Fantagraphics have just released a statement supporting a ceasefire from Israel.
If you haven’t read ‘Palestine’ by Joe Sacco, it remains in print. It is probably the most essential comic at the moment and can be ordered via bookshops and better comic shops.
MONDO WISHLIST!
Funnybooks has a weird hierarchy outside of other mediums.
You go to a vintage bookshop, the chances are they’ll have older or signed editions of respected works. A 1st printing Ruyard Kipling or a Polish only cover for 1984. Items that are genuinely both rare and desirable. Same with record stores. Sure, there’s a despicable irony customer base that covets a Mr Blobby 7’inch because you can take the student out of the union etc, but things like the cassette only version of ‘Exile On Main Street’ by P***y Galore and Lester Bangs Blondie biographies are the showcased items.
So, to clarify: the prestige wall space is given to things that are genuinely hard to find and of interest to people who’re into the form.
Then there’s comics.
Because comics has no self-esteem, the shops don’t highlight the works that represent the best of the medium. Nobody’s going out of their way to tell you they have the early issues of Raw (which serialised Maus) or the Epic printings of Jodorowsky & Moebius’s The Incal.
What comics continues to do is ‘Hey, we’re legit. Look, we’ll spend lots of money on a 1st appearance of Dazzler because she might be in a film soon! We don’t need quality when there are suckers willing to buy comics at high prices merely on sheer shared delusion.’
And it is shared delusion. To wit;
One of the high end items in comics is a copy of Incredible Hulk 181, because it’s the first full appearance of Wolverine. It trades for silly money. And it IS silly money because..copies aren’t rare. They’re expensive but if you want the original printing, you’ll find a copy online in an hour. If you’re not some kind of printing based lunatic, there’s been several reprints in comic and collection form. Or you can just go to Kindle and read it there.
So the thousands of dollars a copy this trades for? Shared delusion. Same with an Amazing Spidey 300 or New Mutants 87. They’re not rare, the material is in print and if you were going to pick a comic that represents the ambition, innovation and storytelling ability of the medium, something you’d show to someone who’d never seen a comic before, a work to rival The Brothers Karmazov, It Takes A Nation Of Millions To Hold Us Back or The Wizard Of Oz as an example of the form in it’s peak..
You’re probably not going to go with New Mutants 98, are you?
So, having established ourselves as the Unbearable Elitists that we are, here’s our wish list for things we want to find in 2024;
The Comic Book Confidential…comic.
Not sure quite why this is so obscure to find. The film is pretty good, though.
Sorority Babes In The Slime O Rama. As Lester Bangs once said, there is trash and there is crap. Anything involving Brinke Stevens is high end trash and worth your X-Men collection.
Any issue of the greatly underrecognised fanzine The Imp. We’ve literally seen one copy EVER. We guard it with our lives armed with knives
The Instant Piano prequel comic. We’re not sure if the distribution of this goes beyond the friends of the contributors but Instant Piano is absolute gold and you should hunt down any of the issues. Pearls before swine!
Neil Gaiman & Michael Zulli’s Sweeney Todd. Serialised in Taboo. Try finding a copy of Taboo.
Any issue of the Mexican Spidey comics:
Mexico ignores the death of Gwen Stacy and gives her the figure of Iggy Azalea instead. And people hate on The Multiverse!
That’s the start of our wish list and we look forward to learning about more items that defy the rules of common sense as the year progresses. What about you? What are YOU hunting for, Dear Mondo Maniac? The bagged with condom issue of Dicks? The unauthorised Taylor Swift biography? That issue of Zombie Tramp with Diana The Mail Girl from The Last Drive-In on the cover? Let us know in the comments!
Til next time, we’re Mondo FunnyBooks and you’re not! Support our exploration into the world of the unsane by PayPal donations to [email protected]. Tell your friends, tell your ma!
#1984
MONDO:THE PLAN.
AS the realisation takes place in everyone’s mind that mainstream comics aren’t selling very well, we noticed a certain comic creator accusing ‘woke’ outlets of not offering solutions.
Well, being raised on superheroes, we’re on the side of ‘caring about other people’ and even have the testimonials to prove where we’ve done that, so we’re happy to offer up some ideas that might help:
1. EXPOSURE: we make this point frequently but it remains astounding that the amount of comic sourced media has not increased the sales of the comics. The preorder sales have continued to decrease since the 80’s with a few blips.
PART of the problem is that the dozens of films and related television shows don’t actually advertise comics. People have become trained to sit through the credits of a Marvel film to wait for She-Hulk to twerk or something. Why not, say, bunch up the names of the Best Boy and Assistant Best Boy onto one screen and post some images of the related comics in that credit sequence? The first step has to be using the largest platform possible to show people what the product looks like. And with that in mind;
2. ABSOLUTELY IGNORE THE COLLECTOR MARKET.
Let’s be clear and clarify the definitions before we go on. We have many, many comics. We did not collect them. We ACQUIRED them as a side effect of wanting to READ them.
The collector is not there to read. They are there to collect the thing and it is irrelevant what the thing is as it’s only being collected for investment purposes.
Because of the pandering to the Fisher Price Stock Exchange, the public face of comics is an embarrassment. CGC deals, Loot Crates for ‘collectibles’, guides to checking off those key issues, grail lists. Comic COLLECTORS do not sustain comic shops and all of this butterfly collecting mania is at the very best a distraction from the actual function of a comic, which is…
3. COMICS ARE FOR READING.
A fact that really should not need pointing out but apparently has been forgotten. The essence of a comic is to provide serial fiction. You read an issue. The story grabs you enough to want to come back for the next bit. Then the clever person behind the shop counter notices that you’re picking up ‘Where The Body Was’ by Brubaker & Phillips and suggests you pick up Eisner’s Spirit, Torso by Bendis or Frank Miller’s Sin City. Inspired by your enjoyment of these works, you check out more of their back catalogue.
But it starts with someone reading a thing and wanting to know what happens next.
This was what went quite wrong with comics in the 90’s. Less effort was paid to creating a complete story and more on investment driven first issues designed to attract speculators who will never read them anyway. The books that continue to be reordered are those that ignored attempting to create cheap buzz and got from the beginning to the conclusion. Preacher, Sandman, From Hell, Strangers In Paradise, Bone, Sin City, Fables.
4. MANGA GOT IT RIGHT. GET OVER IT.
Western comics: Hidden in odd shops with a ludicrously out of whack cover price, a variety of covers, relaunched every time a Disney accountant sneezes, no end in sight to any story and the idea of collecting a complete run of any character is frankly laughable.
Seriously, try it. You want to read each Daredevil story in chronological order? You’ll need to plough through the Essential, Marvel Masterworks, Marvel Now, Epic collections (not THAT Epic that Marvel created but the other one.), Taschen Editions, Visionaries and stand alone stories released outside of any chronology like Born Again, Fall From Grace or Man Without Fear. Some of those books may well be out of print.
And then you hear about this cool thing called Chainsaw Man. Your local newsagent/vending machine/library has the most recent Shonen Jump, you decide you like it but the story is quite deep in now, so you want to catch up. You go to your local bookshop and pick up Volume 1. You read it and pick up Volume 2. If your local bookshop hasn’t got it, it’s definitely in print or other websites can supply it. Or you can read it on Viz Media’s website.
Manga has made sure that the work is consistently available to as many people as possible and made sure as many demographics are served as possible. Which leads us to our next potentially controversial point….
5. RARITY IS A FAILURE, NOT A VIRTUE.
We used to have two evergreen sections in Comic Showcase. One for Underground Comix and the other for books of interest. We mention this to make the point that there are quite a few comics that will continue to sell outside their initial release.
People were still willing to buy back issues of Zap!, Arcade, Weirdo, Eightball, Hate, Jay & Silent Bob, The Blair Witch Project but obviously they had to be able to see them to buy them. Oni and Fantagraphics were clever enough to keep these books in print but the point remains; some comics have an interest window outside their release and they can’t be sold if they’re paywalled off for the collector’s market.
Our worry is that, say, the upcoming Sin City comic by Frank Miller and Milo Manara will be underordered, dumped half cover art on display behind the reprint of Secret Wars and sells out.
That’s great for the flippers but of no benefit to Frank or Milo. Once that print run is gone, they don’t see money from subsequent sales. Ideally, if you’re a publisher, you DONT WANT YOUR COMICS TO SELL OUT. You don’t want them on the back walls of comic shops or on eBay selling for high amounts as that immediately creates a limit on the subsequent issues you can sell.
‘Yaay, we have sold out of this thing and can no longer exploit it for further sales.’ is a failure.
So in summation, the goal ought to be the material advertised using the largest platforms possible, in as many venues that young people frequent that can be accessed with an eye to using formats/prices people like and STORIES that drive the reader to come back. ‘Hot books’ sold for mark up are a short term salve that ultimately restrict the long term sales of the title and inaccessibility is not a virtue.
Also slabbing is for rubes and suckers but you knew that.
MONDO COVER STORY.
With the conversation in comics currently on the state of pre-order figures, there’s a point that nobody else has mentioned that we felt ought to be mentioned;
It’s worse than you realise.
You look at the sales charts and you see in the last 40 years, only 4 comics have managed to garner pre-orders of over a million. 3 of those were based on delusion and the fourth was due to some serious help of the gaming market.
4.
Four.
Consider that Marvel movies have been the dominant genre of cinema in the West since 2008 or so and with all that exposure and advertising, the modern Marvel comic is so undesirable to the millions of people who will happily go to the cinema or subscribe to a network to keep up with the characters that not Spider-Man, not The Avengers or Captain Marvel can get near a million pre-orders.
There are lots of understandable reasons for the continued decline in the sale of superhero comics, but as we said, it’s worse than you think it is.
The chances are that if a comic shop has survived the continuous series of misfortunes fate has thrown at them over the decades, they used cycle sheets.
We’re sure we must have mentioned this before but it’s so key to survival in a market that requires the pre-ordering of non-returnable stock that it should be kept in circulation. ESPECIALLY now.
So, for argument’s sake, you pre-order 100 copies of this month’s Amazing Spider-Man. You put aside the 20 allocated for standing orders. That leaves you with 80 for the shelf.
At the end of the 1st week of sale, you’ve sold 40 copies and you record the remaining amount on your cycle sheet: Count 40
2nd week: 15 sold. Count 25
3rd week 4 sold. Count 21.
You’ve got 21 copies left and if you want to stay alive, you drop your order of Amazing Spider-Man by 21 copies. It MIGHT be that they sell as back issues but by the time you’re doing that third week count, the next issue is going to need that shelf space.
It’s a simple and intelligent process that kept shops going because they used real-time data to track how many copies their particular store could sell.
And then the ratio based incentive cover showed up.
Order 10 copies of Uncanny X-Men, get a variant cover as your 10th. Literally ten times harder to find than the other 9 and comic fans LIKE rare so you can charge more. Then add a 1 in 25 variant. And a 1 in 100. Sure, you’re ignoring your own data for short term gain but those losses will be off-set by the premium you make on those variant covers, right?
Nope. You store those unsold books and they’re eating up space. Space that you could be stashing stock that sells but instead you’ve got a short box of Marvel Nemesis:Rise Of The Imperfects non variant 2-5 that you’re never going to sell. A short box carries roughly 200 comics so that’s maybe $300 of your money wasted and going nowhere.
Somewhere along the line, the use of the ratio based variant cover was used to encourage pre-orders on a book that would be significant, like an Avengers 500 or ASM 700 and slowly but surely, it became the standard business practice.
So shops aren’t ordering to their own sales data, they’re ordering on the hope of this month’s variants being a big deal. The already pitiful pre-order numbers on these comics are actually massively artificial hype numbers rather than representing how many copies shops can sell to their customers.
We rather hope that the hunter-gatherer instinct at the base of this almost anti-reading practice pops at some point, because our point has always remained this on the subject:
You can scour shops and the Internet to find that super-rare 1 in 2’000 cover and pay huge amounts of real money for it.
Or you could find that cover online, click ‘save image’ and pay cover price for the regular version instead. And there isn’t a counter argument to that idea that isn’t based on greed, speculation or figurative dick waving.
So if you take away what is modern tulip buying from those pre-order numbers…
Then it’s worse than you thought.
MONDO BFG
Happy 30th Birthday to our favourite game ever, Doom. Never forget that it also spawned the comic that is what people tend to think 90’s comics are, if you see what we mean.
(Written for the group ‘Forgotten, Obscure and Underrated Characters but we have an odd feeling this one might not slip under the wire…)
Speaking of oddly forgotten, Joe Sacco’s graphic novel ‘Palestine’ appears to be missing from a lot of those end of year reading lists popular amongst the type of people who like to look culturally relevant.
Funny, that. It’s still in print. Our local Waterstones has a copy right now.
MONDO BULLETS.
WHEN we started this kerfuffle years ago, there were a few set goals in mind:
1. Find and upload a copy of the infamous Marvel Mart insert.
2. Discover if the story of P*** ****i** chasing ** **l***** through a forest with a baseball bat because of late **g **m**** art was true.
3. Begin the process of turning comics away from the secondary market.
4. Ask Keith Giffen if he really shot a bullet through a number of copies of Trencher at a comic con in order to manufacture a truly rare collectible.
5. Live long enough to see collections of Penthouse Comix.
We’re three for five at time of writing and can provide proof of number 4 due largely to the excellent website Kwakk*, an archive of better comic magazines. And Wizard.
A few months back we discovered that Keith Giffen was on Facebook and while we have literally picked up too many of our childhood heroes out of the gutter and held back their hair whilst they emptied their chemical concoctions into the porcelain temple to be starstruck by most comic people anymore, Keith was…different.
Giffen brought a sense of slapstick, irony, love and meta to his work that has had a profound influence on our outlook on life and we took a while to build up the bwah-ha-has to ask him to answer one of the most important mysteries of the 90’s.
‘Keith, did you REALLY shoot a comic?’
He confirmed this as you can see in the screenshots. While we’re no closer to obtaining a copy or even seeing one, we’re glad to know it exists. Whilst people are probably aware that Trencher was originally published by Image, the newer reader may also wish to check out his further adventures as released by BlackBall Comics.
Thanks for the laughs, Keith. You were one of the good ones. We wish we asked you what DID happen with The Great Polybag Competition, anyway.
(Special thanks to Pulsatin’ Paul Gravett for making us aware of Kwakk.Info. Link in comments. Mock up of what the gunshot incident looked like by Jolly John Bishop. No, the actually funny one.)
MONDO MOORE!
Obviously Alan Moore is the best writer comics has seen, (Only beaten out in terms of quality by Alejandro Jodowrsky because Alejandro wouldn’t let the underpaid amateurs at Avatar undermine his scripts with their light box scratchings.) and his catalogue of work speaks for itself.
As do the desperate attempts at quality via osmosis by using his ideas without him via legal chicanery. Which is the point of this birthday tribute to the Glycon waving beardy giant. While any fool can see the difference Alan brought to the medium with the quality of his writing, what’s more important is the strength of his spine.
What Alan was frequently willing to say was ‘No.’
In an industry littered with nepotism, blacklisting, imbalance and ruled with a culture of fear that saw trademarks worth millions bargained away for a month’s page rate, Alan became ‘difficult’ because he would say ‘No’. He wasn’t willing to buy into the faux patriarchal relationship between publisher and freelancer. Pay him what he’s worth. If what he’s doing is selling your product for you, he probably doesn’t need your editorial interference and yes he would like to take a look at the contract before signing it, thanks.
Consider this: Without Moore’s work on Swamp Thing, would DC have sent Berger & Giordano to England to pick up the likes of Gaiman, Delano, Milligan or Morrison, thus building what would become the nucleus of Vertigo? Without the success of Watchmen (alongside DKR and Maus), would there even even be a trade paperback market now?
We admire that ‘I don’t need you, I can just do what I do somewhere else.’ attitude that he brought to the industry and while it’s obviously cost him a great deal, his ability to both hold his position and articulate that intelligently whilst moving onto the next project is the real thing people should have stolen from him in the 80’s.
Happy Birthday, Your Mooreness. May you carry on kicking against the pricks as your presence provides shameful relief against those without the balls or self respect to follow your example.
MONDO VERTIGO
WE’RE given to understand that there are rumours doing the rounds that DC are contemplating bringing back the Vertigo brand on the back of the success of ‘Bodies’.
As we think Vertigo was the last intelligent thing an American mainstream publisher did, we have thoughts on this.
1.) Cancel Black Label and if it isn’t already dead, Young Animal immediately. Everyone needs to stop pretending that Batman and Superman aren’t kid’s characters and blurring the lines doesn’t end well once a parent notices these things. See; All Star Batman, Batman: Doomed. None of the Vertigo evergreens have any business mucking about with The Flash or whoever.
2) Keep Vertigo an entirely separate entity upon return with it’s own trade dress and branding. The original core titles stood out because they looked like comics for adults.
3) Understand that the thing that made Vertigo work was supporting the creators and editors behind the titles. Don’t flinch because a cover may be the subject of ‘OUTRAGE’ for a day or two. And with that in mind…
4) Use the exposure and distribution DC has to start scooping up some of the very good comics that aren’t getting the recognition they deserve. Republish The Black Crown line, some of the better Image comics, offer Junji Ito a better deal than he’s currently getting for English language exclusives. Give Ashley Wood a tank in exchange for the right to reprint Popbot.
Heck, reprint all of Strangehaven in a format that doesn’t require tracking down 4 kickstarters to work out which issue of Meanwhile has what bit of the story. The Kickstarter websites are now doing for intelligent publishers what 2000AD used to do. Most of that stuff doesn’t make it beyond it’s country of origin because international shipping makes it prohibitively expensive to buy.
5.) Cancel all that ‘Approved by Neil Gaiman/Jamie Delano’ Sandman/Hellblazer Universe stuff. It looks desperate. On a Doomsday Clock level.
6.) Act like a publisher, not a children’s content creator that worries it might upset it’s babysitter if it goes too far. Find the things that have been out of print or threatening to fade into obscurity like Arcade, Zap!, Raw, Weirdo, even Scream. The rarity is only doing the second hand sellers good and that doesn’t lead to new readers. Thinking of that…
7) Come in guns blazing with reprints of Bill Sienkiewicz’s Brought To Light* and Famous Dictators cards. Maybe even reprint The Air Pirates with a new cover by him just to give Disney the heart attack they need.
You’ve got the resources and the decades worth of untouched material, along with dozens of unrecognised creators who could provide the next generation of content.
If you’re just going to revive the brand to put a new filter on Superman, leave it dead.
*Whatever you need to do to apologise to Alan Moore? Do that. You need him a lot more than he needs you.
Mondo Cruella
IT MAY not shock the Mondomaniacs to learn that we absolutely loved the 2021 musical fashion riot that was Craig Gillespie’s ‘Cruella’. A collection of fine songs and full Merchant Ivory drama performances using the universal theme of the wronged employee plots revenge on the evil boss but ends up becoming the same. He who would slay monsters should and all that.
Cruella was something of a big deal and obviously our first thought was ‘Well, Disney owns this. Disney owns Marvel. There should be a good comic on the way.’
Our second thought was ‘Oh hang on. Star Wars, though.’
Younger readers may not be aware that the original Marvel Star Wars comics are credited as saving said company with extremely high sales to the tune of a million copies demanding multiple printings.
Indeed, when the franchise returned from Dark Horse in 2015, it was the first Marvel comic since Jim Lee’s record breaking X-Men 1 back in 1991 to crack that million copy pre-order number. Given that sales at that time on your higher tier ran around 200’000 for something like Secret Wars, that was an impressive feat.
For issue 1.
After that….not so much.
The thing with those high pre-order numbers on Star Wars is they’re very much buffed by the ratio incentive cover gimmick being ordered by hobby/gaming shops. Ordering two hundred copies of a comic for the rare cover isn’t a big deal for somewhere like GameStop or Loot Crate, whose weekly spend on new product dwarfs that of any comic shop’s year without blinking.
But they didn’t order issue 2. Or 3. Or Star Wars: Darth Vader, Princess Leia, Dark Droids, Han Solo, etc, etc.
That’s the flaw in bragging about high pre-order numbers; (HI, Rob). Unless they create new regular customers for your output, it’s a singularity. A fluke. The Star Wars titles still poke around the top ten list of pre-ordered comics but nowhere near that million number it enjoyed back in 2016.
The audience is clearly there for Star Wars comics, but the distribution structure Marvel employs isn’t there to reap the reward of that interest.
So, if I were someone at Disney and thinking ‘Well, we’ve just given our own comic publisher, Marvel access to one of the biggest licenses in the world outside GTA and Fortnite and they can’t even sell a million units per issue.’ I probably would outsource my other licenses too.
Which is exactly what they did, giving Viz Media (of Junji Ito, BakuMan, Demon Slayer, Death Note, My Hero Adventure and Chainsaw Man fame. To name but a FEW.) the rights to publish ‘Disney Cruella:The Manga. Black, White and Red.’ by Haichi Ishie.
Are you interested in reading this? No worries. Your local bookshop probably has a copy face out in its Manga section. Or you can read a sample via various sites. It remains in print and will probably pop up on your algorithms once you’ve finished reading this.
If we’re Disney, this is exactly what we want from our comics; constantly available, displayed in high profile shops and sold to an audience who don’t care which printing the copy is. They just want to read it. The book even has the website listed so you can look at the other titles. Blimey. It must be rocket science.
And if we’re Disney, we have to be wondering; if we’ve bought the biggest comic publisher in the world and we can’t trust them to be able to sell Star Wars comics, then beyond an I.P. farm ,what is the point of maintaining them?
Stay tuned as in the SECOND part of this Mondo DOUBLE COLUMN, we ask MONDO HOW TO SAVE MARVEL COMICS!!!
Thanks for reading. We’re still very much housebound and reliant on the charity of you good people for waffles and energy drinks. Donations for sandwiches or unauthorised 90’s music comics can be sent to [email protected]
MONDO NARCOTIC FAIL.
The problem is, most comic publishers have never sold drugs.
So we’re given to understand that Rebellion are finally reprinting the long awaited horror classic, Scream.
Yaay. The British anthology so feared by the establishment that it caused Liberal Democrat Paddy Ashdown to write letters of complaint, available after nearly half a century to terrorise a whole new generation? Excellent.
Oh wait. It’s a £75 hardcover.
We spoke previously about money being left on the table by Marvel because they didn’t recognise and thus realise the potential inherent in what they have. Now it seems Rebellion have the same short sighted outlook.
In the short term, this is good. The book will be an instant sell out and then command higher prices on the secondary market which should prove useful if a ‘warehouse find’ suddenly becomes available to staff.
But THEN what?
We mentioned Marvel because they made this mistake last year with the publication of Miracleman:The Silver Age. With interest in the property at the highest it had been for years, their attempt to capitalise on it was knocking out the $100 omnibus of the previous material. Not, say, reprinting the 1st issue cheaply or reissuing the cheaper trade paperback collections.
And this is why we say comic publishers have never sold drugs. Because 101 THE FIRST HIT IS FREE or as close to free as you can get. You start with the cheapest version to lure your potential addict (and don’t kid yourself. You ARE creating and perpetuating addicts. Ever seen a group of kids angry that the promised Pokémon restocks haven’t come in? Or adults the regular shipping day the week of a Bank Holiday? Addicts in extreme withdrawal.) and get them on the expensive stuff down the line once they’re hooked.
To continue the analogy, your addicts who’re already too far down the line to even question the price will buy your omnibus or hardcover but drug dealer 102 ALWAYS EXPAND YOUR MARKET. Who ELSE is going to buy this? People don’t go from clean to shooting up into their eyeballs in one purchase. You have to build up to that.
Scream is an excellent collection of work with which to create new, younger regulars who’ve already been weaned on the likes of Junji Ito, Stranger Things, Deathnote and IT. They ARE there and WILL spend the money if you make the stuff accessible to them in a format and venue they recognise. Disney aren’t stupid. They didn’t let Marvel handle the comic of Cruella, they gave it to Viz Media to create and distribute where it continues to do very well.
So, here’s what we’d do if we were reprinting Scream.
UK market: Chuck in facsimiles of 1-3 in three subsequent issues of The Megazine. Lord knows it needs the preorder boost this would give it. Have the 1st Trade ready for late October/Novemberish to capitalise on the Halloween and Christmas period.
As you’re ready for Volume 2, chuck in 4 of the reprint into The Megazine. Same deal with 3 and a final book that has all the post regular comic content and some notes/interviews/newspaper articles. Then get the HC for the collector’s market the following Xmas.
So, since The Megazine is sold in Smiths and Sainsbury’s, you’ve gone outside the trad markets.
U.S: Two formats for an issue 1 reprint via IDW with a lower quality paper variant for Free Comic Book Day. Reprint strips from Image’s Creepshow comic with photo variant covers. Reg comic size and Warren size. Get the likes of Eric Powell or Becky Cloonan to do covers. Black and white & colour interior variants.
Japan: Run the Thirteenth Floor in Shonen Jump. Standard Manga format for reprints with a new strip by the likes of Ito or Kazeu Umezu for each book.
So now you have a set up where Scream completists are vying to pick up the regional variations which offer new content whilst in forms that a greater audience can be exposed to.
Or it can sit in a comic book shelf gathering dust until some flipper picks it up so it can gather more dust waiting to be sold to the next flipper.
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MONDO BFG Happy 30th Birthday to our favourite game ever, Doom. Never forget that it also spawned the comic that is what people tend to think 90’s comics are, if you see what we mean. #doom #idsoftware #gaming #comics #pc
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