1) If money weren't a factor - and we know that it is - but if it weren't, what one character would you like to publish an ongoing title for who doesn't get enough recognition? 2) Same question, but with a movie. What character/group should get a movie but is unlikely to given they may not be as well known? Again, money or recouping costs isn't a factor. 3) While you've had some successes bringing minority characters into established roles (Ms. Marvel, Power Girl, Huntress, etc.), when do you plan to create some new minority characters with an eye toward them standing the test of time?
1) If money weren't a factor - and we know that it is - but if it weren't, what one character would you like to publish an ongoing title for who doesn't get enough recognition? 2) Same question, but with a movie. What character/group should get a movie but is unlikely to given they may not be as well known? Again, money or recouping costs isn't a factor. 3) While you've had some successes bringing minority characters into established roles (Ms. Marvel, Power Girl, Huntress, etc.), when do you plan to create some new minority characters with an eye toward them standing the test of time?
1. Is there a line in the sand in which the cost of publishing monthy books become too high, the costs to customers too high, and the amount of revenue too low in which you would have to stop publishing monthly books and go primarily digital? (And if so, what is it?)
2. When starting a new title, how do you project how that book will do in regards to sales? While there is always the chance of a suprise hit, there seems to be many titles published that shop owners and regular customers would almost uniformily say will fail within a short period of time, yet the books are published. Is it just a shot in the dark most of the time or is there market research? How do you adjust when that research is wrong when the market as a whole rejects a title?
3. At one time, I assume you were just a fan like me with a large to be read pile. How has being in the position as an executive of one of the top two publishers changed your fandom and overall outlook on comics?
1. Is there a line in the sand in which the cost of publishing monthy books become too high, the costs to customers too high, and the amount of revenue too low in which you would have to stop publishing monthly books and go primarily digital? (And if so, what is it?)
2. When starting a new title, how do you project how that book will do in regards to sales? While there is always the chance of a suprise hit, there seems to be many titles published that shop owners and regular customers would almost uniformily say will fail within a short period of time, yet the books are published. Is it just a shot in the dark most of the time or is there market research? How do you adjust when that research is wrong when the market as a whole rejects a title?
3. At one time, I assume you were just a fan like me with a large to be read pile. How has being in the position as an executive of one of the top two publishers changed your fandom and overall outlook on comics?
Good questions, and I have it on good authority that they're hardly long-winded.
1 - Understanding that, in an age of trades and digital books, why do editor's boxes, which can actually point a reader to a product that you can still make a profit from, do you continue to to go unused?
2 - Have you actually tried to read a book printed on glossy paper?
3 - Do you honestly think that readers are really clamoring for another book about X? (OK, I wouldn't ask that one if it was an exec from Dark Horse, because I would like another book about X.
So, I asked some people at DC and Marvel a few of these questions.* Here’s what they had to say:
1) If money weren't a factor - and we know that it is - but if it weren't, what one character would you like to publish an ongoing title for who doesn't get enough recognition? DC: Kamandi. We love the contributions Jack Kirby made to our company. They’re just so much fun. And we feel Kamandi should be able to draw in a younger audience.
Marvel: Squirrel Girl. No, wait, we did that one... Okay, Luke Cage. No, no, did that one too... Ooh, I've got it: Howard the Duck. What? We are? Really? Who the hell’s left? Shang-Chi? Yeah, that’s it. Shang-Chi.
2) Same question, but with a movie. What character/group should get a movie but is unlikely to given they may not be as well known? Again, money or recouping costs isn't a factor. DC: Kamandi, just because we all want the action figures.
Marvel: The Eternals. We need to get our money’s worth from that settlement with the Kirby estate. Plus, the Celestials would look bad-ass on the big screen.
3) While you've had some successes bringing minority characters into established roles (Ms. Marvel, Power Girl, Huntress, etc.), when do you plan to create some new minority characters with an eye toward them standing the test of time? DC and Marvel (weirdly they both gave the exact same answer): Just as soon our writers and artists will give them to us for the peanuts we pay them, instead of keeping them for themselves and their creator-owned projects. Greedy bastards.
* Okay, I didn't really ask anyone at Marvel or DC any of these questions. So sue me.
3. At one time, I assume you were just a fan like me with a large to be read pile. How has being in the position as an executive of one of the top two publishers changed your fandom and overall outlook on comics?
I wish all the people who say Dan Didio cares nothing about DC’s legacy or comics in general could have seen him at the TwoMorrows booth in San Diego this year. He was like a kid in a candy story. He always buys stuff from us, including the companion books, and he is very much a fan of comic book history. I never talk with him about serious stuff when he comes to the booth, because that’s not what he’s there for. We just chit-chat about the fun stuff while he gets his fanboy on.
1. Look, I like Walking Dead as much as the next guy. But, could we please have a reduction in the number of zombie comics?
2. Marvel-Your movies are making Boku-bucks at the box office, but this doesn't seem to translate over to comic sales, why is that?
3. DC-Your cinematic efforts always seem to be trying to re-create Nolan's Dark Knight trilogy; Why do you think that just because it works for Batman, that it must also work for every other DC character?
3. At one time, I assume you were just a fan like me with a large to be read pile. How has being in the position as an executive of one of the top two publishers changed your fandom and overall outlook on comics?
I wish all the people who say Dan Didio cares nothing about DC’s legacy or comics in general could have seen him at the TwoMorrows booth in San Diego this year. He was like a kid in a candy story. He always buys stuff from us, including the companion books, and he is very much a fan of comic book history. I never talk with him about serious stuff when he comes to the booth, because that’s not what he’s there for. We just chit-chat about the fun stuff while he gets his fanboy on.
Ok that makes me smile so much.
Having to work on that side of the desk can change so much about your passions. The truth is your passions can/will change regardless of which side of the desk you are working on in comics. It is really easy to be about the business when something you love becomes your job.
Comments
1) If money weren't a factor - and we know that it is - but if it weren't, what one character would you like to publish an ongoing title for who doesn't get enough recognition?
2) Same question, but with a movie. What character/group should get a movie but is unlikely to given they may not be as well known? Again, money or recouping costs isn't a factor.
3) While you've had some successes bringing minority characters into established roles (Ms. Marvel, Power Girl, Huntress, etc.), when do you plan to create some new minority characters with an eye toward them standing the test of time?
All great questions @Torchsong!
1. Is there a line in the sand in which the cost of publishing monthy books become too high, the costs to customers too high, and the amount of revenue too low in which you would have to stop publishing monthly books and go primarily digital? (And if so, what is it?)
2. When starting a new title, how do you project how that book will do in regards to sales? While there is always the chance of a suprise hit, there seems to be many titles published that shop owners and regular customers would almost uniformily say will fail within a short period of time, yet the books are published. Is it just a shot in the dark most of the time or is there market research? How do you adjust when that research is wrong when the market as a whole rejects a title?
3. At one time, I assume you were just a fan like me with a large to be read pile. How has being in the position as an executive of one of the top two publishers changed your fandom and overall outlook on comics?
I want those digital sales figures!
1 - Understanding that, in an age of trades and digital books, why do editor's boxes, which can actually point a reader to a product that you can still make a profit from, do you continue to to go unused?
2 - Have you actually tried to read a book printed on glossy paper?
3 - Do you honestly think that readers are really clamoring for another book about X? (OK, I wouldn't ask that one if it was an exec from Dark Horse, because I would like another book about X.
1) If money weren't a factor - and we know that it is - but if it weren't, what one character would you like to publish an ongoing title for who doesn't get enough recognition?
DC: Kamandi. We love the contributions Jack Kirby made to our company. They’re just so much fun. And we feel Kamandi should be able to draw in a younger audience.
Marvel: Squirrel Girl. No, wait, we did that one... Okay, Luke Cage. No, no, did that one too... Ooh, I've got it: Howard the Duck. What? We are? Really? Who the hell’s left? Shang-Chi? Yeah, that’s it. Shang-Chi.
2) Same question, but with a movie. What character/group should get a movie but is unlikely to given they may not be as well known? Again, money or recouping costs isn't a factor.
DC: Kamandi, just because we all want the action figures.
Marvel: The Eternals. We need to get our money’s worth from that settlement with the Kirby estate. Plus, the Celestials would look bad-ass on the big screen.
3) While you've had some successes bringing minority characters into established roles (Ms. Marvel, Power Girl, Huntress, etc.), when do you plan to create some new minority characters with an eye toward them standing the test of time?
DC and Marvel (weirdly they both gave the exact same answer): Just as soon our writers and artists will give them to us for the peanuts we pay them, instead of keeping them for themselves and their creator-owned projects. Greedy bastards.
* Okay, I didn't really ask anyone at Marvel or DC any of these questions. So sue me.
2. Marvel-Your movies are making Boku-bucks at the box office, but this doesn't seem to translate over to comic sales, why is that?
3. DC-Your cinematic efforts always seem to be trying to re-create Nolan's Dark Knight trilogy; Why do you think that just because it works for Batman, that it must also work for every other DC character?
Having to work on that side of the desk can change so much about your passions. The truth is your passions can/will change regardless of which side of the desk you are working on in comics. It is really easy to be about the business when something you love becomes your job.