A longtime showbiz journalist and fan's thoughts on comic books, movies and other cool stuff.

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Comics slowdown emerges in stores, new Diamond policies

So the general economic troubles have started to have a concrete impact on the comic book business. Take, for example, this article from today’s Los Angeles Times, which says more fans are reading trade paperbacks through their local libraries rather than buying them, and notes the overall downturn in the direct market:

But even after a year stuffed with blockbuster films based on comic books, growth in all sectors is stalling.

There are no statistics available for comic books sold to customers. But the number sold to merchants is dropping. For February through November of 2008, the amount of top comic books sold to shops was lower than the same period in 2007, according to online research group Comics Chronicles.

Sales figures in broader comics categories, including magazines and trade paperbacks, nonetheless increased in the January-through-November period, though just 0.5% more than a year earlier, said John Jackson Miller, a Comics Chronicles researcher.

The article also discusses the impact of piracy and mentions the recent postponement of Wizard World Los Angeles. On a good note, it seems as though the Third Planet store in Torrance has been given a bit of reprieve:

Dreary sales forced Third Planet Games & Comics in Torrance to shut its doors in early January.

But in true superhero fashion, a longtime customer saved the day by buying the business.

The store will reopen with a smaller staff and stricter standards for ordering, manager Scott Grunewald said.

“Hopefully we have a happy ending,” he said. “Because now, we’re starting from scratch.”

On top of this comes the news of policy changes at Diamond Comics Distributors that raise the performance bar for new products — and will certainly put the squeeze on, especially, small publishers. The Beat has all the particulars, including on-the-record comments from Joe Nozemack at Oni Press. Here’s the gist, from The Beat:

In a change that will have a far greater impact, according to numerous reports, Diamond is raising its benchmark for products it will carry from $1500 to $2500. Jones has the clearest explanation of this change, (although he later amends perhaps the most key point of all) but the short version is that unless orders to Diamond on a product are consistently greater than $2500 at wholesale, Diamond will no longer carry the product.

The obvious result is that a lot of publishers in the back part of the Previews catalog will likely be dropped, limiting their ability to publish at all. This may not seem like a huge loss at first, but as pointed out on a number of sites, things that have become classics like Bone or even 30 Days of Night might never have been published with the new standards in place.

Being the optimistic guy I am, I wonder if this doesn’t perhaps open up an opportunity for secondary distributors like Haven (formerly Cold Cut) to add more titles and specialize in the sort of indie titles that are being dropped. Sure, lots of stores won’t add a second distributor to their workload and expenses in tough times, but low-fi indie work has a long tradition in the direct market that may now have a bit of a fire lit under it by the Diamond actions.

‘Watchmen’ dispute settled

Fans can relax: Watchmen will hit theaters March 6 as planned now that Fox and Warner Bros. have settled their rights dispute. Here’s Variety’s story, THR’s and Nikki Finke with some of the details of the deal.

Details include a cash payment from WB to Fox and the latter having gross participation in the film. But Fox won’t distribute the film, nor will its logo appear on it.

Frankly, this really was the only possible outcome, and all the drama can be forgotten.

The only thing that’s even a little worrisome is that Fox got as part of the deal a stake in any spinoffs or sequels — neither of which I think any fan of the book really wants to see.

Comic du jour: Space: 1999 #6 (Sept. 1976)

I realize this is the second John Byrne comics I’ve picked for this feature in a week, but I just came across this one and couldn’t resist for a number of reasons.

First, I loved the “Space: 1999” TV show when it was first on the air back in 1976 or 1977. It aired on ITV in Edmonton in the afternoons on Tuesday and Thursday, while “Star Trek” filled the same slot the rest of the week — making it perfect after-school viewing for a space fan in those pre-“Star Wars” days. The show seemed much cooler than it really was — especially now that I’ve revisited it on DVD — but the visual effects were terrific for the times, the Eagle was one of the coolest space ship designs ever, and this show had a great opening title sequence and theme.

Second, I bought this Charlton Comic off the stands when it came out and loved it for having all the action that the show promised but never really delived. The story is simple — an alien warrior whose ship is the size of an apple and more powerful than a small star slams into an Eagle on patrol and splits it in half. Commander Koenig, in the middle of the ship when this happens, is sucked out into space. There’s this great sequence where Koenig’s holding his breath as he twists and turns in zero gravity to try to reach his helmet. Byrne, who wrote and drew this tale, presents a great double page spread of 10 vertical panels of Koenig reaching for the helmet, counting down to the moment when Koenig’s lungs will burst. He grabs the helmet, of course, and manages to turn the back half of the Eagle into a flaring pinwheel that alerts his fellow Alphans to their location and they’re soon rescued. Simple, but cool.

Byrne’s art is the reason this whole thing works. All the elements that would in short order make him the most popular artist in the industry are here — in the inventive design of the alien, the detailed technology of the alien ship and the clean, sharp look of the Alphans’ ship and base.

It was about eight or nine years after this that I had returned to comics as a teenager and learned that Byrne was living just down the road in Calgary when he did this issue — a fact that surely would have impressed me to no end at the time I first read it.

The TV series remains a guilty pleasure for me — I own every episode from both seasons on DVD — but this comic remains my favorite Space: 1999 story and one of my favorite Byrne comics.

Comic(s) du jour: City of Dust #1-3 (Oct.-Dec. 2008)

Writer Steve Niles throws a pretty good twist into this five-issue series from Radical Comics. This starts off following the footsteps of Ray Bradbury’s classic “Fahrenheit 451,” introducing future copper Philip Khrome patrolling a future in which stories, religion and books are all banned. Khrome’s a dutiful cop, doing his duty by the book. But the twist — the twist! — comes out of left field (at the end of the second issue, no less) and really makes you sit up and notice. Perhaps given Niles’ track record as the creator of “30 Days of Night” (the comic rocks, even though the movie definitely does not), it shouldn’t have surprised me, but it did.

The art on the first two issues of this are by the mono-named Zid, with Brandon Chng and a few others chipping in. It follows the Radical style, which is rapidly becoming a house style. It’s a generally attractive, fully painted look that is dark and moody and looks in some way heavily processed. It reminds me of the look of the film “Beowulf,” which was dank and murky. That film also had detail, which is something that some more traditional comic line art could add.

I don’t know how much life this has beyond this initial five issues, but for now it’s a nice injection of coolness into the comic scene.

Comic du jour: Fantastic Four #562 (Feb. 2009)

I don’t know why the run by Mark Millar and Bryan Hitch on this title is not getting more attention, because it’s one of the most polished, pretty and interesting superhero comics out there right now.

This particular issue is a good example, even though it’s an issue that bridges the previous “Death of the Invisible Woman” arc and whatever comes up next. The bridging issue is the sort of thing we used to see a lot of in the 1980s (which for many of us was the last time we could keep track of Marvel continuity without a scorecard), especially in books like The Uncanny X-Men. Perhaps I’m just nostalgic, but it speaks to a certain degree of continuity that has been lacking in superhero comics, which these days tend to lurch from arc to arc, with dramatic shifts in tone and style coming every time the creative team changes.

Bryan Hitch shows why he’s so great on this book, delivering an art job that delivers in storytelling, design, emotion and realism. His portrayals of the FF team have been incredibly consistent, and no one since Kirby (OK, maybe Byrne at his best) has been able to create settings as perfectly suited to the cosmic tone of the title. These settings look like set designs — you can see the movie practically unfold before you. Lots of artists attempt this, but Hitch here is as close to cinematic as I’ve seen in a long time.

And Millar is no slouch either. The guts of this tale involve the funeral for the Invisible Woman (I won’t spoil it with an explanation — go get the back issues or the hardcover if you want to find out what’s going on) and a conversation between Dr. Doom and Reed Richards that is cool, in character and a lot of fun to read.

So, yeah, the first big complaint is going to be that this comic doesn’t come out on time, every time. But it’s worth the extra time and is, at least so far, nowhere near as late as Ultimates and Ultimates 2 became. It’s also completely self-contained and is exactly the sort of thing that I would love to see more of from Marvel and DC.

Globe win makes Ledger the man to beat for Oscar

I didn’t watch the Golden Globes telecast last night, just like I also don’t drink Drano, walk barefoot across broken glass or pour salt in my wounds. But Heath Ledger won the supporting actor award for his performance as The Joker in “The Dark Knight.” I think at this point, it’s a near certainty that he will be nominated and be the favorite to win the same honor at the Oscars. It also raises the overall Oscar profile of “The Dark Knight,” which is gaining ground in the Oscar race and I think stands a very good chance of becoming the first-ever comic book movie to get a Best Picture nom. It won’t win, but as they say, it’s nice to be nominated ….

Wizard World kills Texas show, postpones L.A.

Wizard announced today it is postponing its Wizard World L.A. show, originally set for March 13-15, and is canceling Wizard World Texas in November. That leaves the magazine publisher/con organizer with two shows: Chicago and Philadelphia.

I can’t say this is surprising news, considering the struggles indicated by the paring down of the Wizard staff. The magazine, which truly was the bible of comics reading and collecting in the early to mid-1990s, has seen its stature as the source for news, info, comedy and data about the comics industry migrate to the internet. The last Wizard World L.A. show was a decent but unexciting event. My one year at the Texas show was enjoyable, but the show was quite small compared to other Wizard shows and to events like San Diego and New York.

The problem with Wizard’s shows has always been their limited scope. While shows like WonderCon, NY Comic-Con and Heroes Con are inclusive of all kinds of fans, Wizard shows have always focused far too much on just superhero comics fans. While other shows put a lot of effort into thoughtful and compelling programming that covered a lot of territory, the Wizard programming was pretty much limited to cheerleader marketing sessions for Marvel, DC and whatever Hollywood properties the show could reel in. (Essentially, what you get in the magazine.) There wasn’t enough there to warrant more than a single day’s visit. In short, it failed to tap into the wider interest in things like anime, manga, indie comics and the wider worlds of cool TV, movies and animation that give shows like Comic-Con their wide appeal.

They also could have helped themselves with better marketing. I know comic shop regulars who are always surprised to hear a Wizard show is coming up or has just passed. And this show needs a better locale — the L.A. Convention Center is scaled for huge mega-events and Wizard World, taking up last year just a small corner of one of the massive halls, was lost in there. A decent hotel, or even the original Long Beach site, would be far better suited and more comfortable for a mid-size comics con. And maybe that’s what we’ll get — assuming the show is rescheduled.

Meanwhile, Texas is out of luck. That was a really pleasant show the one year I went. I don’t think fans there had another option when it came to a show that brought in creators and celebrities. But it was the smallest of the Wizard shows and obviously first on the chopping block should times get tight — and they have.

The current absence of an L.A. show opens up the schedule a bit and should let the organizers of WonderCon and New York Comic-Con breathe at least a little easier. Hopefully, it will give both shows more flexibility when planning their shows for 2010 and beyond.

And the big questions, still to be answered, is whether the economy will put the breaks on the runaway growth of other comics shows — most notably the summer behemoth in San Diego.

Insiders spill ‘Watchmen’ history and how the ‘Shazam!’ movie died

Two interesting comic book movie tidbits. First, an open letter purportedly from Lloyd Levin, partner of the producer at the heart of the “Watchmen” legal dispute, Larry Gordon. Llevin writes about trying to get a “Watchmen” movie made for many years and criticizes Fox’s claims as opportunistic. To wit:

From my point of view, the flashpoint of this dispute, came in late spring of 2005. Both Fox and Warner Brothers were offered the chance to make Watchmen. They were submitted the same package, at the same time. It included a cover letter describing the project and its history, budget information, a screenplay, the graphic novel, and it made mention that a top director was involved.

And it’s at this point, where the response from both parties could not have been more radically different.

The response we got from Fox was a flat “pass.” That’s it. An internal Fox email documents that executives there felt the script was one of the most unintelligible pieces of shit they had read in years. Conversely, Warner Brothers called us after having read the script and said they were interested in the movie – yes, they were unsure of the screenplay, and had many questions, but wanted to set a meeting to discuss the project, which they promptly did. Did anyone at Fox ask to meet on the movie? No. Did anyone at Fox express any interest in the movie? No. Express even the slightest interest in the movie? Or the graphic novel? No.

Then, screenwriter John August explains on his blog that the “Shazam!” movie he had been writing is dead in the water and explains from his P.O.V. how it all went down.

In retrospect, I can point to two summer Warner Bros. movies that I believe defined the real issue at hand: Speed Racer and The Dark Knight. The first flopped; the second triumphed. Given only those two examples, one can understand why a studio might wish for their movies to be more like the latter. But to do so ignores the success of Iron Man, which spent most of its running time as a comedic origin story, and the even more pertinent example of WB’s own Harry Potter series. I tried to make this case, to no avail.

Amazing Spider-Man #583 to have Obama variant cover

I swear, when was the last time anyone wanted to put a real-life president on the cover of a comic book? I don’t think it’s ever happened, but I could be wrong.

I definitely will try to snag one of these when they come out Jan. 14.

Goyer says WB has a lot of DC movies “on hold”

In an interview with IESB, writer-director David Goyer says all the DC Comics adaptations he’s working on — including “Supermax/Green Arrow” and “The Flash” — are treading water while the studio decides the best way to handle such movies:

“A lot of the DC movies at Warner Brothers are all on hold while the figure out, they’re going to come up with some new plan, methodology, things like that so everything has just been pressed pause on at the moment. It was the double header of both Iron Man and The Dark Knight coming out, so more than ever I think they’ve realized, I think DC was responsible for 15% of Warner Brother’s revenue this year, something crazy like that, so they realized that comic books, it’s become a new genre, one of the most successful genres.”

It’s gratifying to see the success of “Dark Knight” linked back to DC, but I still think this is the wrong approach for Warners to take. Developing big strategic plans like that is difficult, time consuming and tends to create more problems than it solves — if a plan agreeable to all parties is even worked out. They have to not be afraid to pull the trigger and risk making mistakes. Marvel’s already gone through that phase — “Daredevil,” “Elektra,” “Fantastic Four,” “Hulk” — and have come out on the other side better for it. I really wish that, especially with the likes of “Green Arrow” and “Flash,” that the studio would hire an up-and-coming director with a good take on the material, give him anywhere between $80 million and $100 million to make the pic, and then get out of the way.

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