A Talk with Diamond Comics Distributors

If you want to get a comic book into the hands of the fans, you'll most likely want to go through Diamond Comics Distributors. They are the biggest, baddest deliverers of titles in the comic kingdom, with 4,000 regular accounts, i.e. comics stores that order stuff every month, and over 500 accounts that order on a less-frequent basis, i.e. gift shops or video stores. In 2002, the distributor moved almost 80 million comics.

Many don't know, and/or don't care, who brings their comics to their favorite stores, but it's important to know that it's not just the shorts-wearing UPS man. We sat down (at our computers!) for a Q&A with Diamond (thanks Barry Lyga!) to ask about the process.

What companies does Diamond distribute?

We distribute titles from hundreds of publishers. We distribute Dark Horse, DC, Image and Marvel, as well as CrossGen, Oni Press, Abstract Studio, Cartoon Books, Viz, Gutsoon!, ComicsOne, TokyoPop, and the list goes on and on and on.

How do you choose who to distribute?

Diamond's Purchasing Department has five employees who focus on comic book publishers exclusively. These five folks, as well as the editor of Previews [a huge catalog of what's to come from nearly every publisher], look at every single submission that comes our way to judge whether or not the product in question is one that can sell in the marketplace. We understand that it can take time for new products to catch on, and we want to give promising new products time to find their audience. However, those products must generate enough sales to justify Diamond's expense in soliciting, marketing and distributing them.

Currently, Diamond's benchmark for comic books solicited through Previews is $2,500 retail. Generally, we give comics series from three to five issues to reach that benchmark. If the series sells below $2,500 but exhibits a trend towards growth, we may continue carrying it.

After more than twenty years as a distributor, we have a very good idea of what can sell and what doesn't.

What are the biggest ten titles?

As of right now (Nov. 21), the top ten titles on our most recent sales chart are:

• Batman
  
• JLA/Avengers
  
• Marvel 1602
  
• Ultimate Six
  
• Ultimate X-Men
  
• New X-Men
  
• Ultimate Spider-Man
  
• Superman/Batman
  
• Uncanny X-Men
  
• Amazing Spider-Man

Is there anyone you passed on or don't distribute that you'd like to?

Given our size, we're very fortunate in that we have the resources and the reach to be a first-choice distributor for a number of companies and products. This means that we very rarely miss out on anything. That said, we're always looking for new and exciting products and properties.

How much does it cost to distribute a comic book? I understand it depends on how wide, but do you have specific levels?

It's difficult to say how much it costs to distribute a single or specific comic book. Distribution is very much a matter of planning, organization and labor. Ultimately, for a comic book to end up in a store, someone at one of our warehouses physically has to locate it, pull it from a box, and make sure that it gets into the box that's being shipped to the store.

Typically, the publisher receives between 35%-40% of the cover price from us, then we turn around and sell to the retailer. The better the discount we get from the publisher, the better the discount we can give to the retailer. The better the discount the retailer gets, the more likely he or she is to order the product. So, for example, some publishers might want to offer a higher discount, making less money per copy in order to increase their sales volume.

What are the benefits/drawbacks to mass distribution versus self-distribution? I know you may be a bit biased, but ...

The advantages of mass distribution are enormous. We have hundreds of experienced, knowledgeable employees, systems in place to distribute comics and collect payment, and relationships with 4,000 stores that may be interested in your work. If someone is going to self-distribute, they lose all of those advantages. You get to keep all of the money, but you also have to do all of the work.

The Book on Stan

Stan Lee is easily the most recognizable comic book creator ever, but few people outside the comics fan community could tell you what exactly he did to achieve that fame.
That's why journalists Jordan Raphael and Tom Spurgeon wrote a biography of the Marvel Comics impressario, "Stan Lee: The Rise and Fall of the American Comic Book," published this fall by Chicago Review Press.

"What he actually did, the role he played in the creation of Marvel Comics is not well understood by the general public," says Raphael.

Piecing together a version of the oft-told Stan Lee story that would meet journalistic standards was difficult because there are few accurate sources of data on the history of the comics biz, says Raphael.

Still, the essence of Lee's story stands up: Starting as an office boy fresh from high school at Timely Comics in 1939, Lee quickly became editor and head writer of the line. Growing bored after 20 unremarkable years on the job, Stan was challenged by his wife to create a comic he'd like to read. The result was The Fantastic Four, which debuted in 1961, and was followed by a string of hits that included The Hulk, Thor, Iron Man, Spider-Man, Doctor Strange, The Avengers, The X-Men and Daredevil. All of them are still being published today and most have become successful films or are in development.

What is not as well known to the general public is that Lee collaborated closely with artists such as Jack Kirby and Steve Ditko, and that both men were vital to the success of Marvel and felt slighted when extensive media coverage of the company focused almost exclusively on Lee.

The nature of Lee's fame as the public face of comic books, and that it has continued to grow over the years is something of a mystery to Raphael. His public persona of the corny, cool uncle would work for no one else, and his name alone continues to generate business opportunities and new ventures that even the high-profile failure of Stan Lee Media can't slow.

Lee's influence on comics remains strong, but it's also been a long time since he's really worked on them. "He basically quit writing and editing in 1972, and, with the exception of a few projects, he's really been out of comics as an active creative force," Raphael says. "But, if anything, his fame has grown in that time because he stepped into this role as a promoter.

"I can think of no other figure, maybe Walt Disney, who has done that, who has maintained his public status," he says.

Constantine Comments

One of the lesser known comic book properties coming to the big screen next year is Warner Bros.' "Constantine," based on the long-running Vertigo series "Hellblazer."

As with any comics movie, there's some fan trepidation, most of it surrounding the casting of Keanu Reeves in the title role of English occultist and con artist John Constantine. The character was created by writer Alan Moore and artists Steve Bissette and John Totleben way back in Swamp Thing #37 in 1983. Moore has said the character exists only because Bissette and Totleben wanted to draw a character who looked like musician and actor Sting, who played a Constantine-like character in the 1982 horror film "Brimstone and Treacle."

The "Hellblazer" series has since become one of the cornerstones of DC's adult comics line, Vertigo, and has featured work from many of comics' top talents including a lengthy stint by Belfast writer Garth Ennis and a controversial one by Warren Ellis.

Producer Lauren Shuler Donner says she first developed the project years ago when she was under contract with Warner, but is glad it came along later so she can use what she learned producing "X-Men" and "X2" on "Constantine." The film is roughly based on an early 1990s Ennis story called "Dangerous Habits," in which Constantine develops cancer and seeks some unusual treatments.

Shuler Donner says that even though the very-English character has been changed to an American for the film, the story and spirit remain close to that of the comic. And the English twist is not completely gone as director Francis Lawrence sees the character as a "Sid Vicious kind of guy," she says. (Fans of the early days of the comic will remember that Constantine once fronted a punk band called Mucous Membrane.)

Other elements from the comic, such as a scene involving a demon who enters a restaurant and loses weight the more he eats, could not be adopted directly because of cost but will appear in a slightly different fashion, Shuler Donner says.

"Constantine" is currently set for release in September.

Schrag reaching 'Potential'

An early indication of future success is sometimes easy to spot, as was the case with Ariel Schrag.

"When I was 2, I would tell my mom what to write and then draw pictures at the top." And there it was.

The recent Columbia grad is the writer and artist of "Potential," an underground comic book that is currently in the spotlight because of a movie deal signed with Killer Films.

"It was exciting. 'Potential' is a book that I really see as a movie," said the english lit major.

Schrag began self-publishing the comicbook during her freshman year in high school. The stories chronicle her developing sense of sexuality, dealings with teen love and her scholarly exploits. She said putting out such a private account was no problem.

"It really feels fine. Though it does reveal a lot and is very honest, it's a long process of choosing scenes. I have total control."

And the process?

"I pencil and write at the same time. When you separate them, it turns the drawing into illustration. The expression on someone's face is just as important as the writing, and the expression should be drawn just as the words are inspired."

Schrag has also published, through Slave Labor Graphics, other personal titles "Awkward," "Definition" and "Likewise."

Interesting to note: At Columbia, Schrag attempted to create a custom major called Disease, as she was aspiring to write children's books getting kids to understand diseases.

"Books now are like 'Tommy has a booboo.' But the booboo is leukemia."

Too Cool For School

Kindergoth #1-3

Creators: Lee Kohse, script; Jeff Zugale, art

Bloodfire Studios

$2.95 and 32 pages each

So? Comedy is a bit of a lost art in comic books, and it shouldn't be. Like TV animation, the comics page is a great place to experiment with humor. Bloodfire Studios' Kindergoth, about a group of sarcastic, goth-dressing kindergartners, owes more than a little to South Park and Mystery Science Theater 3000. Though far less explicit than those shows, these kids act more like teenagers, with enough quick one-liners and too-cool-for-school attitude to fill a John Hughes movie. The plot about an alien invasion is really a framework for the jokes which are rapid enough and hit home frequently enough to keep the pages turning.

A Manga Sales Jump

Comic book sales figures are a slippery thing. Publishers in the past guarded them with secrecy in order to keep their work-for-hire writers and artists unaware of how many copies their comics were selling, and, nowadays, to prevent embarassment at the low numbers.

Sales have been edging up in the specialty market of comic book stores, with Marvel and DC series generally seeing an increase over the past few years. Still, the number of titles that sell more than 100,000 copies a month is small, especially when you consider that a circulation of more than 200,000 was low enough for Marvel to cancel the X-Men back in 1969.

Then comes a report on ICV2 that the sales of Shonen Jump!, the thick monthly collection of translated Japanese manga, have grown more than 60 percent since midyear, from 190,000 copies to more than 300,000.

The manga phenomenon is fascinating to watch after so many years of languishing sales and tired, recycled superheroes in American comics. That publisher Viz can put out the monstrous Shonen Jump! -- each issue is at least a couple hundred pages for about 5 bucks vs. 32 pages for $2.25 for the average Marvel or DC comics -- shows that value and quality will get young readers interested in comics.

The challenge for U.S. publishers like Marvel, DC, CrossGen and Dark Horse is find ways to adapt the Japanese model to America, and change is something that comes with difficulty to the comics biz.

It will be interesting to look back in 20 years to see if kids have any interest in another Spider-Man movie, or if instead they'll be really hyped about a new live-action Dragonball Z.

It's All About the Image

Mythology: The DC Comics Art Of Alex Ross

Designer: Chip Kidd (photgrapher: Geoff Spear)

www.alexrossart.com

$35, published by Pantheon

So? The book touches on each of illustrator Alex Ross' most recognized and favorite creations, from his popular Justice League of America characters (Superman, Batman, Wonder Woman, etc.) to his Uncle Sam creation, showing sketches, pencils, and completed works.
Each character receives a page with a quick definition of who they are within the framework of Ross' artistic interpretations. Ross' use of models is also highlighted, displaying costumed real-life individuals, alongside the drawings created from their poses.

There is no story here, just a display of Ross' realistic portraits of heroes. For most, the images are striking enough that they need a second look to make sure they're not photographs. A coffee table book for art aficionados of all kinds, Ross' illustrations seem to have created another standard altogether for comic books.

Ross Reigns

Alex Ross is the hot commodity right now.

The super busy comic book illustrator and 2002 Oscar-poster painter chatted with fans and curious onlookers in Pasadena, Ca., at Vroman's bookstore on Nov. 15 while promoting his new hard cover book of art, "Mythology: The DC Comics Art of Alex Ross."

Ross has been interviewed/profiled in the New York Times (registration required). His books on popular characters like Superman and Wonder Woman, and his art on the Kingdom Come miniseries have helped catapult him to the top of the comic book world.

Ross elaborated on some of the influences that inspired him (Neal Adams, George Perez, and Bernie Wrightson to name a few), dispelled a few of the myths (On drawing Marvel's Ultimate line: "Doubtful"; on his involvement with the "X-Men" movies: "I was involved in some redesigns of the characters that they never used"), and imparted his wisdom about today's comics creators ("The current wave of artists are a little bit more anime influenced" then their predecessors).

Artists also got insight on technical questions about his use of models, style and attention to detail by using photographs and/or costumes ("I now have a closest full of superhero costumes.") A foreword in the book by filmmaker M. Night Shyamalan, who consulted Ross while thinking up his movie "Unbreakable," even touts the artist's realistic portrayal of people. But Ross chalks it up to common sense when drawing.

"Without the iris, you're thinking 'Where is he looking and why is he blind?' "

Simple, but effective.

Life Stories

Keeping Two #1 and #2

Creator: Jordan Crane

www.reddingk.com

$2 and 38 pages each

So? Comics are best known for the bombastic drama of superheroes, but they also can do quiet drama. Crane's story is actually three different stories told in various orders through flashbacks of everyday arguments, regrets and loss. In one, a couple argues over driving; in another an expectant couple loses their child; and in the third the absence of a deceased pet is strongly felt. The art is simple and effective at capturing the individual moments that make up everyday life. The result is a very intimate, simple comic that feels like a found chapter from the life of a distant relative.

It's Worley's World, Almost

The Comics2film Web site has recently undergone some major changes, as has the site's founder, Rob Worley.

The site: Definitely one of the best resources for anyone looking for film- and television-related comic book info (the coming soon index is daunting but exhaustive), Comics2film has been transformed to a portal through which fans and industryites can quickly scan news compiled from many varied sources.

The founder: One of the reasons the hub has became more community-built was the sudden workload taken on by Rob Worley. A computer programmer who "just started rounding up stories" about comics-related film and TV news he found by scouring the web and calling up Hollywood producers from his Michigan locale, Worley's exposure to the creative side of the industry led to his metamorphoses into a journalist. And that experience pushed him towards becoming a comic book writer and screenwriter.

"I was writing for the website almost every day, getting to know screenwriters and other industry people, and one of them in particular would pick my brain on ideas and stuff. So I just said 'Maybe I ought to try it.' "

Try it he has. Worley, through Marvel, is bowing a comic book in February as part of the comic company's Epic banner, an imprint created for unknown talent to pitch ideas and get them published (submissions aren't currently accepted due to oversupply). The book, titled Young Ancient One, is a Doctor Strange prequel that mixes Kung Fu and sorcery. Worley is also working on a spec screenplay with a writing partner. With so many things on the burner, something had to give -- and so he took the plunge.

"Working a full-time job and running the website didn't leave me a lot of time, so I quit my day job. It's a kind of risky move," said Worley. "Now I sort of just let the fans be the catalysts."

More New Treasures

Bunnywith #1

Creator: Alex Pardee

Publisher: Eyesuck Ink

$4, 40 pages

So? Not a story, but a collection of small cartoons all portraying a bunny with ... something extra. Not much as high concept goes, but after a few pages, illustrations such as "Bunnywith missing eyeballs," "Bunnywith bread torso" and "Bunnywith air compressor" become infectiously funny. Pardee plans to do about a thousand "Bunnywiths," which should take a few more issues. Pardee also sells small stuffed "Bunnywith" toys, which are available through Tower Records.

Newfound Treasures

Comics indy scene took its own small but vital stage at the super*Market convention last weekend at UCLA. This quiet affair at the Ackerman Union featured tables of indy comics creators selling posters, toys and comics they made themselves and published either through a small press house or on their own.

The fun of such a show is finding new treasures and talking to the oft-shy cartoonists about their work. These folks don't do books for money or fame, they do it because they love comics, and it shows. The event was hype-free, low-tech and the comics exhibited were fascinating artifacts of individual expression.

The healthy stack of new books we took away have some great hidden gems we plan to critique over the next week or so. Reviews will contain contact info so you can check out the books for yourselves.

Scalawag #1

Creator: Steve Lafler

www.stevelafler.net

$4, 24 pages

So? This is a preview of Lafler's next graphic novel in the Bughouse series published by Top Shelf, which follows the adventures of a Jimmy Watts and his bop band, whose members just happen to have insect heads. The band is old school, dressed in suits and hats, and they enjoy drinking, gambling and philandering a little too much for their own good. This time, the band has a new piano player who may not be all he seems. Lafler moves the story along quickly and establishes a nice, playful mood that still hints at the trouble to come.

Chicks Get Comics Fix

The stereotypical comic book reader is a kid, say 11 - 17, wearing baggy clothes, hunkered over a stack of books with his friends.

You see I said "his." That's also the common perception. You don't see many girls in the comic books shops or at the comic book conventions. But the ratio is changing and the perception is changing as well. Two publications/organizations that highlight and promote this development are Sequential Tart and Friends of Lulu.

While Sequential Tart is a webzine about the comics industry published by women, Friends of Lulu is an information hub and organization that promotes the reading of comics by females and spotlights women in the biz. Lulu lists not only women on the creative side of comics, but also those in retail, production and administration (their Industrial Strength Women). Suggested readings, resources, and an event calendar are also provided.

Sequential Tart publishes articles, columns and features that range from general news and reviews to pleas on comics' (specifically Meridian's) behalf.. The site received a Lulu award in 2002 (for bringing attention to the best, most women- and reader-friendly work in comics and for recognizing the work of women comics creators of the past).

Mia MacHatton, a contributing "tart" for the Sequential Tart zine, believes that even though the industry may cater to "boys," things have been changing (as evidenced by the film deal recently signed by Ariel Schrag for her self-published title Potential) Her tastes in books is diverse (faves include Kabuki and Route 666), but the ultimate goal as a reader is not so different from any other fan, male or female.

"The common thread is that they're all good stories. They have characters I care about and plots I find interesting."

Comics' Indy Scene

Just as there's an indy film scene that presents alternatives to the Hollywood mainstream, there's a comics indy scene full of small, usually homemade projects that are as different from Superman and X-Men as Whalerider is from The Matrix.

And that scene will be on full display this weekend at super*Market, a three-day indy comics show at UCLA, featuring guests such as Jaime Hernandez (Love & Rockets), Carol Lay (Story Minute), illustrator William Stout, underground legend Robert Williams and Jim Mahfood (Grrlscouts, Generation X).

Much of the indy comics scene is based around minicomics, usually printed at Kinko's and sold or traded at comics shows or through the Internet. What makes minicomics and indy comics from small press publishers worth a look is the total freedom they have to do anything they can think of. The tradition extends back to the late 1960s and 1970s, when guys like Robert Crumb and Harvey Pekar (both of whom have had their stories put on the silver screen) pushed the bounds of American comics in new directions.

This year's event should be more satisfying than last year's. The guest list is longer and there's a full schedule of events beyond the dealer's room, meaning there's more reason for anyone interested in comics to check it out. We'll be there on Saturday.

'80s Redux

One is an anomaly. Two is just coinicidence. Three is a pattern. And four or more, is a full blown trend.

Battle of the Planets (or G-Force, as I knew it). Thundercats. G.I. Joe. Transformers. Voltron. Masters of the Universe. It's like a warp hole has opened up back to the cartoons of the mid and early '80s. This programming is also showing up on comic book shelves everywhere in the form of newly launched titles, some even done manga-style.

The eighties are apparently back, in more ways than one. The clothes, the music, TV, and movies ... all celebrating trendy 20-year anniversaries as this decade progresses.

G.I. Joe vs. Transformers

Tone Rodriguez, an artist who's drawn for G.I. Joe and the Snake Plissken Chronicles -- which continues tales derived from another '80s icon, Kurt Russell's character in "Escape From New York" and "Escape from L.A." -- gave a quick take on why he thought there was such an influx of these nostalgic titles.

"Well, the people that used to watch these things are now adults. People get into the movie industry, they get into the comic book industry, the book industry ... and the affinity for something you had or liked as a child just comes back. And now you have disposable income or you're involved in the field and can focus on bringing this stuff back. It's like, all of a sudden, you're wondering 'Hmmm ... whatever happened to G.I. Joe?' "

It certainly seems that the 'disposable income' is coming in to the local comic book stores. Among the 60 top-selling comics, nestled alongside the many Batman and X-Men titles, sit Transformers at #17 and #54, G.I. Joe at #28 and #38, and Thundercats at #53.

Who knows? This trend may even grow into a full-blown genre.