The Walking Dead #115 was the top-selling comic book of 2013.
Despite all the turmoil, 2013 turned out to be a fantastic year for the comics industry.
Diamond Comics Distributors just posted its year-end stats, revealing comic book sales were up more than 10 percent over 2012 and graphic novels up 6.5 percent. That’s an overall sales boost of just over 9 percent.
Both unit sales and dollar sales charts showed Marvel and DC collectively accounting for about two-thirds of the business, followed in dollar share by Image Comics, IDW, Dark Horse, Dynamite, Boom!, Eaglemoss, Valiant and Avatar Press.
The Walking Dead #115 turned out to be the top-selling single issue of the year — fueled no doubt by the ten connecting variant covers celebrating the series’ 10th anniversary— followed by DC relaunches Justice League of America #1 and Superman Unchained #1. Marvel dominated the rest of the top ten, with Guardians of the Galaxy #1, Superior Spider-Man #1, Infinity #1, X-Men #1, Age of Ultron #1 and Uncanny X-Men #1. Rounding out the list was Superman Unchained #2.
Graphic novels were dominated by Image, with volumes of Saga and Walking Dead taking the top six spots. Marvel’s sole title on the list was Hawkeye, Vol. 1, while Batman scored two for DC with The Court of Owls and The Killing Joke Special Edition.
The charts also show why publishers are constantly rebooting and relaunching titles: Those tactics sell lots of comics. So I expect we’ll see a lot more of that.
On the plus side, it’s great to see almost all the major publishers posting gains and also that each has forged for itself a strong identity in the market through publishing quality work. I can think of books I like from pretty much every one of the top publishers, which is saying something.
It’s also interesting to see Diamond list its account tally for comic book specialty shops at more than 3,500. That’s up from what I remember it being in the not-too-distant past, and an increase in this number likely has a lot to do with market growth considering these sales tallied here are sales to retailers, not sell-through numbers. I’ve long thought that more comics shops were important for the industry just to get the damn things out there and in front of people who’d buy comics and like them if they could actually see them for sale somewhere.
Star Wars #107 (Sept. 1986), the final issue of Marvel’s original run of Star Wars comics.
I really want Marvel to get Jo Duffy and Cindy Martin back and restart with Star Wars #108.
After more than 20 years of publishing Star Wars comics, Dark Horse will give up the reins as Disney hands the license for the mega-franchise back to Marvel, the company that had it in the first place starting in 2015.
This move was absolutely no surprise to anyone after Marvel parent company Disney acquired Lucasfilm and the entire Star Wars property last year. But it’s a big change for fans of Star Wars comics given the job Dark Horse has done for many years on the property.
I grew up with the original Marvel series and collecting it was my gateway into the entire comics medium. Those comics have many quirks that came from being produced on a monthly basis in and around the original trilogy release. That meant Marvel had odd obstacles to the series, like being unable to resolve the major plot points of the movies and forcing them to avoid direct confrontations with Darth Vader or have the rebels race off to rescue Han Solo.
But there was some excellent work done in there that had real energy and remain good comics. I particularly liked the long run of Archie Goodwin and Carmine Infantino, which gave us the “Waterworld,” “Wheel” and “Valence the Hunter” storylines; the excellent run by David Michelinie and Walt Simonson that introduced Shira Brie and turned Luke into a traitor; and the final run by Jo Duffy and the delightful art of Cynthia Martin that was sadly cut short when Lucasfilm basically mothballed all Star Wars licenses in the mid-1980s. This was good stuff and I’d like to think Marvel could once again do a good job with Star Wars.
But Dark Horse and its approach of many miniseries and filling in the millennia-long history of the Galaxy Far, Far Away seems more in synch with what modern fans want from Star Wars comics. When Dark Horse began its Star Wars comics — picking up the Dark Empire miniseries that had originally been in the works at Marvel’s Epic line — it really was a huge part of an entire Star Wars renaissance that, along with the Timothy Zahn novels, reminded people how much fun this stuff was. It also took the entire canon more seriously and Dark Horse clearly put a lot of thought into its Star Wars comics and a lot of effort into the execution. There long ago were too many Dark Horse Star Wars comics for me to want to keep up with, but every year or so there would be something cool to pull lapsed fans back in. I’m thinking in particular of the very cool adaptations of the Zahn novels and, more recently, the Brian Wood series and the current miniseries adapting George Lucas’ rough draft screenplay into comics form.
I’ll be sorry to see the end of the Wood series in particular, but at the same time Marvel might be able to bring some raw energy and more focus to Star Wars comic-dom. Plus, I’d love to see a Marvel Omnibus edition of the old series. I’d have to dig deep and splurge for that one.
Original art for X-Men #141 by John Byrne and Terry Austin, as it appears in
Fantagraphics’ The X-Men Chronicles II from 1982.
2013 was a pretty good year for comic-book movies in particular — and movies in general — with 2014 also looking sharp.
Top of my list to see is, not surprisingly, X-Men: Days of Future Past, due out May 23 and looking to have the same sort of big Memorial Day box-office debut as X-Men: The Last Stand. This is adapted from one of the most influential and beloved X-Men stories, published long ago in 1980 in The Uncanny X-Men #141 and 142.
I remember being a new X-Men fan in the mid-1980s and realizing the importance of this story was second perhaps only to the Dark Phoenix saga in the mutant mythos. I scored my copy of #141 at a long-gone comics shop in Phoenix for something ridiculous like 50 cents back in the fall or winter of 1986-87. The following summer, I bought #142 at All About Books and Comics for an amount I can’t even recall. I took #141 to my first Comic-Con in San Diego in 1993 and got it signed on the first page by John Byrne and on the cover by Chris Claremont. The story — in which an adult Kate Pryde psychically travels back in time from the desolate future of 2013 to her younger self in 1980 to convince the X-Men to stop the Brotherhood of Evil Mutants’ planned assassination of future president and anti-mutant activist Sen. Robert Kelly.
This story fully brought the Holocaust themes Claremont had been hinting at into the X-Men, and the future timeline in which Sentinels rules America and had hunted down or imprisoned in work camps all known mutants was startling in its boldness. Not only were bunches of X-Men already dead, but we saw a glimpse of the future reformed Magneto, the then-mysterious redhead Rachel, and the gruesome deaths of Wolverine, Storm and Colossus. Even though it was copped from an episode of one of the Brit sci-fi TV shows like The Avengers or Doctor Who — favorites at the time of both Claremont and Byrne — the story really works well as the ultimate expression of everything that the X-Men are fighting for going wrong. The movie version will be quite different, with Wolverine reportedly put in the main role of time traveler instead of Kitty, but it’s exciting to see the X-Men movie series move forward with a kind of merging of the best parts of Bryan Singer’s original films and Matthew Vaughn’s First Class crew. I expect big things for this movie, and for the Apocalypse follow-up Singer teased for 2016.
The Amazing Spider-Man 2 is due out May 2 and I expect to like it much more than the first installment in the series, which spent so much time retelling the origin story that it was hard to figure out what made Marc Webb’s version very different from Sam Raimi’s. I like Jamie Foxx as Electro and Paul Giamatti as The Rhino, but I’m not looking forward to playing out once again the inevitably tragic fate of Gwen Stacy. That’ll probably be saved for part 3, but we all know it’s still coming.
300: Rise of an Empire, due out March 7, makes me scratch my head a bit. I don’t think we really needed a prequel or sequel to this movie, which I think got a bit of a bad rap when it came out from critics. It was a cool exercise in style that paid off extremely well for Zack Snyder et al., but I suspect there will be little here to make the sequel stand out and stand up on its own.
The same could be said for Sin City: A Dame to Kill For, which really should have been made about five years ago. Due out Aug. 22, this won’t have the same “wow” impact that the first Sin City did, but the stories Robert Rodriguez and Frank Miller have to work with are pretty good and should make for a fun movie and a modest hit if it turns out comparable quality wise to the original.
Captain America: The Winter Soldier, out April 4, looks very good. The opportunity to see Cap working in the modern world will help keep things fresh after the obligatory World War II outing in the first movie. I haven’t read Ed Brubaker’s run and am not familiar with the specifics of the Winter Solder storyline, though people whose opinions I trust assure me it’s good, so I’m thinking this will be another hit for Marvel.
And then there’s the big wildcard and gamble of the year: Marvel’s Guardians of the Galaxy, due Aug. 1, right after Comic-Con. Marvel’s obviously putting a lot of muscle into this one, with some interesting casting and a more movie-friendly take on the franchise already tested out as a comic. I expect this gamble will pay off for Marvel, especially in the usually sleepy movie month of August, and show the studio’s savvy at turning even its C-list and D-list characters into hit movies. I wish they’d lend some of that knowhow to DC, which still is having a hard time getting B-list characters off the ground in theaters.
And that’s just the comic-book movies. There’s also cool stuff like Transcendence, Interstellar, Dawn of the Planet of the Apes, The Hunger Games: Mockingjay, Part 1 and The Hobbit: There and Back Again to look forward to.
* Lots of TV shows (of the prestigious variety!) have been making the jump into comics, with Boom! putting out a very cool Sons of Anarchy series and Marvel taking Dexter on a tangent with a series by the character’s creator Jeff Lindsay and a second coming soon. That’s in addition to The X-Files: Season 10 series that’s more like the sort of thing you expect to see in comics. Sons of Anarchy is a show I’ve only tangentially watched, but I enjoyed the comic quite a bit.
Marvel’s Dexter series was quite good and a lot better than the last few seasons of the Showtime series. I read the first Dexter book a few years back after Showtime dropped a copy in the gift bag from a Dexter TV show party at Comic-Con and really enjoyed it. Turns out there’s a long-running series of books that take Lindsay’s original idea in a different direction. Lindsay is enjoying doing comics (at least he said so on his Reddit blog). It’s always interesting to see creators from other fields tackle comics, and I think comics could benefit from more novelists jumping into the fray to counter the overdone screenwriting influences and the decompressed storytelling it inspires.
As for The X-Files: Season 10, I still think writer Joe Harris is doing a good job and it’s cool that creator Chris Carter is pitching in, too. I don’t think this show will ever quite re-capture the same zeitgeist it did in the 1990s, but it is nice to revisit the characters and ideas in comic book form, which has a bit more kind to the series than the big-screen sequel of a few years back.
* I visit my old stomping grounds in Arizona once or twice a year, and finally managed to make time for a visit to All About Books and Comics. I used to frequent the store during summers in the late 1980s and early 1990s, and always enjoyed the depth of the back issue selection in particular. I’m happy to report that hasn’t changed a bit, and a good portion of the store was devoted to selling inexpensive packs of classic comics runs from the past 30 years or so. I snagged a batch of Captain Canuck originals and the first 10 issues of Comico’s Grendel series, as well a lengthy run of the original Power Pack run — all for a great price. I briefly chatted with owner Alan Giroux about the old days and how much we both like shops that stock lots and lots of back issues. I am grateful that Los Angeles has so many great comics shops, but one that stocks back issues like All About is at this point just another item on my want list.
Shade: The Changing Man #1
* Also in Arizona, I found some boxes of old Star Trek and V paperbacks from the late 1980s and early 1990s, along with a few relics from the speculator age of comics: three sets of X-Force #1, three sets of X-Men #1 and polybagged black cover and green cover copies of Spider-Man #1. I also found a poster from Atomic Comics’ 1993 Mega-Jam, signed by a ton of creators, including the late Steve Gerber. I don’t remember where it came from, as I didn’t attend the event, but it’s totally extreme, dude. And just to show I don’t have completely horrible taste, this box also included most of Steve Ditko’s 1970s DC Comics series Shade: The Changing Man. That was some funky, weird, cool stuff.