It’s time! The Beat’s Annual Creator Survey is where we look forward to the year to come and reflect a little on what has just passed in comic, with opinions from a wide swath of industry creators, pundits and retailers. This time out, because 2016 was a little rough, I’ve added a question about what inspires our survey takers, because we can all use a little something to feel good about.
Here’s the third part of our annual creator survey with a varied look from people in all aspects of the business from creators to publishers to journalists. As always, buried among the answers you will find a bunch of news items for the sharp eyed and also some preview art. In case you haven’t noticed, our panel certainly did: 2015 was the year diversity broke around the comics industry, although much, much, much more needs to be done. Read on to see what our our respondents thought about the year past and what they have coming for 2016.
Disclosure: Todd Allen is a long-time contributor to this site, so read the following as advanced log-rolling if you will.
That said, the book he kickstarted over the summer, Economics of Digital Comics is out. I have an early digital copy and this is really a book everyone in the comics business should read, especially people going into various digital models, from crowdfunding to subscription to pay what you want. Allen casts a cynical eye on most of this stuff, and runs numbers to show what works and what doesn’t. But he also looks at print costs, and the economies of other channels to give a strong overview of what we talk about when we talk about selling comics in 2014. The book has new interviews with digital players and statistics on what webcomics earn from advertising, how much it costs to print books, what the big players take out of various delivery methods and more. All footnoted. And an introduction by Mark Waid, who has become something of the spokesman for Generation Digital.
OK, comicsphere, we need to talk about conventions. This convention hubbub that’s flared up in the last week or so is a fairly complex one. Just for the sake of the arguments that are still going on, let’s break this down into the individual issues that are affecting creators that are exhibiting at comics shows.
Issue #1 – CCINO
Yes, I’m borrowing from political rhetoric. “Comic Conventions In Name Only.” Ever been to an alleged comic convention that had little-to-zero comics programming, few (if any) comics publishers exhibiting and pretty much all the comics content was artists alley and anyone selling comics in the dealers area?