Diseased #Comicsgate - The Culture Wars Hit The Funny Books!

BlueSpark said:
I don't think D&C has enough followers to make much of a difference, honestly.
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+60k subscribers on YT and 12k followers on Twitter (Twitter followers bleed into his YT subs), if 5% of his audience actually buys the comics he recommends thats a minimum of 3k spike in sales. Thats the bare minimum number for Diamond to start distributing a comic.

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Also:
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BlueSpark said:
I don't think D&C has enough followers to make much of a difference, honestly.
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With the numbers american comicbooks are showing these days, you don't need to influence many sales to have a big impact.

Even Marvel and DC has a lot of books around the 20k mark (which is around where the cut-off mark seems to be for them unless there's some reason to keep it anyway like a movie coming up (Captain Marvel)) so a few thousand buys extra can absolutely be the difference between cancellation or not for many a book.

For Indie titles, you need fewer buys than that to make a difference of course.
 
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That storyline, and what happened to it, resonates today. In one panel, a hooded Klansman calls black people “supposedly oppressed” while making the MAGA-esque boast: “We will establish a legal movement that will resound with our voices. And once again we will have true representation in our government.” In another, a character describes the KKK’s painfully familiar recruitment techniques: “Hit the middle and lower class whites where they live. They use everything. The recession. Liberalism. I tell ya, [the KKK] even have a great sense of drama. What with their burning crosses. But they try to keep any violence quiet and not traceable back to them. They aren’t overjoyed by bad press.”

Marvel execs were reportedly unhappy. “My response was, ‘Hey, you wanted white people, I gave you white people. There’s no satisfying folks,’ ” McGregor later joked in theintro to his 2010 Marvel Masterworks reprint of his now-legendary run. His bosses, who’d been concerned about his all-black cast, soon cancelled his book.

“Now, some will claim that my writing about the Klan killed the series. That sales then dropped. That may be the case,” McGregor argued. “But if the people hadn’t been so afraid of the subject matter, so hostile to my doing it, if those in charge had gone to the outside media and made them aware of what comics were now handling in terms of subject matter, maybe it would have held sales.”
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This excerpt right here pretty much sums everything wrong with Marvel's approach and how they're still making the same damn mjstakes: being openly hostile to editors and potential readers and deliberately being as abrasive and unsubtle as possible when handling the subject matter out of spite, and then blaming everyone else for your failures,when no one wants to read your books.

The article also fails to address that a huge part of the problem with the declining sales is that not miss coming in fresh from the successful comic films are equally as alienated from Marvel's character replacement antics as the long the long time fans, because when they get curious and decide they want to read up on Iron Man or Thor or Captain America, they'll want to be able to pick up an issue and read about the character they just watched, not be told they need to pick up additional material in order to understand why Iron Man is a black girl now, which requires picking up the crossover tie-in event, which requires picking up the prequel to that crossover event, which also requires picking up a handful of random issues from some other character's tie-ins in order to tie-in that prequel to the crossover event, etc... It's not even just the gender and race-bending, however hamfisted it may be, but it's so entrenched into the anti-consumer business model that is crossover events and the clusterfuck that is superhero continuity that even if all the new characters were pale blue-eyed Aryan ubermench the sales would still be tanking because the long time fans hate continuity fuckery and normies don't have time to sort through that shit.

If there was ever proof of this very phenomenon, the whole thing with Ben Riley and the Clone Saga is probably the poster boy for it: Peter Parker finds out he has a clone named Ben Riley who is an exact duplicate of himself in every way, a story line ends with Ben - who again, is exactly like Peter in every way - taking over as Spiderman so Peter can start a family with MJ, and readers flipped their shit until Marvel had to cook up an entire storyline just to put Peter back on the mantle.

Also gotta love how the author gets so close to self-awareness by mentioning that the old Black Panther collections and Wonder Woman traded sold well on Amazon post-film, and that the only trade that did nearly as well was the one Logan was adapted from, but instead of taking this as "hmm maybe comic trades do better when they're about recognizable characters from the films and changing shit around on people is confusing" but swerved right past it to conflate independent comic sales that don't have the same continuity baggage as superhero comics as proof that these recent Donut Steels no one has ever heard of should be bringing in the same numbers as Superman.
 
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One Man Bland said:
This excerpt right here pretty much sums everything wrong with Marvel's approach and how they're still making the same damn mjstakes: being openly hostile to editors and potential readers and deliberately being as abrasive and unsubtle as possible when handling the subject matter out of spite, and then blaming everyone else for your failures,when no one wants to read your books.

The article also fails to address that a huge part of the problem with the declining sales is that not miss coming in fresh from the successful comic films are equally as alienated from Marvel's character replacement antics as the long the long time fans, because when they get curious and decide they want to read up on Iron Man or Thor or Captain America, they'll want to be able to pick up an issue and read about the character they just watched, not be told they need to pick up additional material in order to understand why Iron Man is a black girl now, which requires picking up the crossover tie-in event, which requires picking up the prequel to that crossover event, which also requires picking up a handful of random issues from some other character's tie-ins in order to tie-in that prequel to the crossover event, etc... It's not even just the gender and race-bending, however hamfisted it may be, but it's so entrenched into the anti-consumer business model that is crossover events and the clusterfuck that is superhero continuity that even if all the new characters were pale blue-eyed Aryan ubermench the sales would still be tanking because the long time fans hate continuity fuckery and normies don't have time to sort through that shit.

If there was ever proof of this very phenomenon, the whole thing with Ben Riley and the Clone Saga is probably the poster boy for it: Peter Parker finds out he has a clone named Ben Riley who is an exact duplicate of himself in every way, a story line ends with Ben - who again, is exactly like Peter in every way - taking over as Spiderman so Peter can start a family with MJ, and readers flipped their shit until Marvel had to cook up an entire storyline just to put Peter back on the mantle.

Also gotta love how the author gets so close to self-awareness by mentioning that the old Black Panther collections and Wonder Woman traded sold well on Amazon post-film, and that the only trade that did nearly as well was the one Logan was adapted from, but instead of taking this as "hmm maybe comic trades do better when they're about recognizable characters from the films and changing shit around on people is confusing" but swerved right past it to conflate independent comic sales that don't have the same continuity baggage as superhero comics as proof that these recent Donut Steels no one has ever heard of should be bringing in the same numbers as Superman.
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You notice it's one of the original writers of Black Panther talking about how he put white people into the comic - as the Klan - over forty years ago?

damian said:
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(Sarcasm)I see he's trying to acclimate himself to those SJWs.(/Sarcasm)
 
What the fuck happened to just wanting 20ish well drawn pages of a superhero wrecking shit with some social commentary on the side every now and then?

The crossover stuff is what made me quit reading comics like 20 years ago. They still haven’t figured out spider man fans or whoever really don’t want to buy 7 other titles every month just to keep up with the only dude they really care about?
 
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gobbogobb said:
They still haven’t figured out spider man fans or whoever really don’t want to buy 7 other titles every month just to keep up with the only dude they really care about?
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They have, they just don't care about their customers, and Marvel has found a way to (temporarily) work around this by just overshipping everything.
 
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RockVolnutt said:
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Further proof that Aubrey Sitterson is the most pathetic Anti-CGer, I never saw this article until i watched this video, I was there when Aubrey shot himself in the foot (multiple times), this timeline that Rich made is somewhat accurate in the way that Rich can spin his little web, archive.
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Rich Jonston considers this "subtle":
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RockVolnutt said:
Why is this guy still relevant (as if he was ever)?
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He's a fun punching bag.
 
Somsnosa said:
I own reprints of 60s-70 Dr strange, its trippy style is simply astounding, very interesting for Marvel. How did it evolve? Would it be worth to read Dr Strange nowadays for someone who's more into european comics? That cover with the digital copy-pasted effect circles doesn't really speak Dr Strange to me, so I wonder
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Considering that a lot of the 60-70s Dr. Strange writers and artists admired to doing LSD while coming up with ideas, the style looking trippy is no surprise.
The first 4 volumes of ANAD Doctor Strange are fantastic. The trippy style is well evolved with the art style used, while a lot of colors blend together, it makes what you’re looking at very confusing at some points, and that’s part of what gave the old Dr. Strange so much charm.
The stories themselves are great as well. Jason Aaron certainly knows what he’s doing with a lot of his comics. Such as his Darth Vader stories, and even some bits of Jane Foster Thor. The first Volume of Dr. Strange gives us more depth on how the magic of the Marvel Universe works, being a price to pay for every spell he casts, and he’s had trouble paying the “magical tab” as it’s called in many instances.
The second Volume is the consequences of neglecting the tab, with Earth’s magic being attacked by a genocidal science maniac who sees any and all magic as evil and should be purged. His motivations and reasonings feel relatively justified, seeing as how when he was born, Blood Monks who served Shuma-Gorath killed his parents to sacrifice. He even succeeds in his goal of nearly all of the magic on Earth. He is naturally defeated, but the magic that was killed is still gone.
This builds up to Vol. 3, “Blood in the Aether,” which shows many of Strange’s old enemies taking advantage of how weak Strange is now. From Nightmare, (who will be the antagonist of Doctor Strange 2), to Satana, Mordo and Dormammu. This Volume also ends on a cliffhanger building up to Vol. 4, which I don’t want to spoil.
TL;DR: Go pick up some Doctor Strange comics. They are definitely worth a read.
 
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BlueSpark said:
I don't think D&C has enough followers to make much of a difference, honestly.
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You would normally think so. But here's the thing, by and large D&C and Capt Cummings etc followers are people that actually buy and read comics and have been doing so for years. They are the disgruntled disaffected comic consumers. And while D&C may only have 50 or 60k followers, currently a very good book from Marvel barely sells 40k. America was hitting 8k at best and that was with Marvel double and tripple shipping to inflate numbers. Current Marvel numbers are so bad that even D&C's followers are enough to have a measurable impact. It's not from the strength of D&C and his channel. It's from the weakness of the publishers.

And yes this can also work in reverse. A grouping of several thousand SJW's can inflate a book into its own special niche. But they generally then walk away after the first two issues, as they are not by and large comic readers.

emspex said:
I've seen that GI Joe cover before, but always in a D&C video. I never appreciated how bad the art and coloring are until right now.
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It's like they hired someone from Junior High School. Someone who decided to take Shop instead of Art
 
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RodgerDodger said:
You would normally think so. But here's the thing, by and large D&C and Capt Cummings etc followers are people that actually buy and read comics and have been doing so for years. They are the disgruntled disaffected comic consumers. And while D&C may only have 50 or 60k followers, currently a very good book from Marvel barely sells 40k. America was hitting 8k at best and that was with Marvel double and tripple shipping to inflate numbers. Current Marvel numbers are so bad that even D&C's followers are enough to have a measurable impact. It's not from the strength of D&C and his channel. It's from the weakness of the publishers.
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If a very good book from Marvel barely sells 40k - and I assume the comic fans aren't rejecting said very good book out of hand because it's from Marvel - this is probably not going to have much effect.
 
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