Agreed. Fewer books certainly give the possibility of higher quality, but it is by no means a given.
I wouldn't be surprised if this was partly a result of the cutbacks to DC imposed by WB/Time Warner, which also hit the editorial side. We know they already have issues with the managing of some titles (the mess with the art over on the current Wonder Woman run is one example), and fewer editors means they likely would have needed to cut titles in any case, if they wanted to keep a consistent quality.
What I'm really worried about is that in the process of cutting titles, they won't lessen the workload they place on people like Bendis or King or Snyder, but instead will let go of emerging or mid-tier creators. That will hurt DC long-term. Especially since I'm fairly sure that the creators they will let go will be women or PoC to a disproportionate extent.
I know from experience that writing (and art) benefits very much from having time to plan, polish, and perhaps most of all reflect. So if they wanted to increase quality, the best spot would be to lighten the workload for their top writers, and move the writers of their cancelled titles onto the newly freed books.
Not all writers benefit from that, of course. And there are writers who can keep up a high consistent quality with a very high output, but they are rare.
«Speaking generally, it is because of the desire of the tragic poets for the marvellous that so varied and inconsistent an account of Medea has been given out» (Diodorus Siculus, The Library of History [4.56.1])
This idea of cutting titles to increase quality (I guess DiDio means the overall quality of the line because cutting Nightwing won't help Superman) might be the reason why Green Arrow was recently canceled.
I'm sure it'll be relaunched, but I'd be willing to bet when it comes back, it'll be with "power talent" rather than the relative no-names that were writing it.
Maybe there'll be room for new talent in those seasonal Holiday giants, but I'm guessing DC wants to move to "all-power-talent-all-the-time." I know Scott Lobdell has an in with Bob Harras, but if I'm right, his days could be numbered. Not that he's terrible (although I haven't read his DC stuff, and his X-Men never felt more than wannabe Claremont), but he's not a draw. Others in his league might be shown the door, as well.
From a comics retailer on Twitter on what they've been allowed to share regarding the cancellations from the meeting:
-The 10-15% cut has already happened/is happening in the form of the recent cancellations
-The cut was to make room in DC's publishing for the Zoom/Ink graphic novels and the 100-page giants
-The Wal-Mart books will be ending to be replaced with a new line of 100-page giants available at multiple stores. They will continue the format of reprints with new material.
-The amount of collected editions will be reduced. (Oh boy, am I worried now for DC's upcoming Hitman reprints)
In the replies, someone also asked if there was any news on new Milestone books, and predictably the answer was no.
Last edited by Hilden B. Lade; 02-23-2019 at 11:41 AM.
I agree as well. My support is that comics are produced to sell, or for quality. Usually it's a mix of the two. But with fewer books, the needs for those to pull in numbers increases. A company may be less likely to publish a low-selling critically acclaimed book.
Speculation, of course, but it sounds logical to me.
If DC are really smart about it, and has the needed marketing research, they could target slow-moving books that are primarily bought by multi-customers. So if they have two candidates for cancellation with similar sales, but one is primarily bought by readers who also buy titles X, Y, and Z, and the other is primarily bought by readers who only buy that title, then cancel the first one.
First, because the first group of readers is more likely to pick up another book to replace the canceled one, and two is more likely to stick around buying stuff. While cancelling the second title would lead to the readers not reading any DC stuff at all, and the total loss of readers.
(Of course, reader demographics matter here too. It would be insane to cancel titles that prove to sell well to teens, even if they were not popular among DC's "core" demographic.)
«Speaking generally, it is because of the desire of the tragic poets for the marvellous that so varied and inconsistent an account of Medea has been given out» (Diodorus Siculus, The Library of History [4.56.1])
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Marvel | Spider-Man | X-Men | NEW!! DC Comics | Batman | Superman | Wonder Woman
I think since Pam Lifford took over, she's got them rethinking how they do business, and I don't think it's a bad thing.
The truth is not EVERYTHING needs to be in trades. In many local comics shops, they have shelves and shelves of trades that just sit there collecting dust. Batman trades sell. Deadpool trades sell. For most other characters, it's more hit and miss. Some characters don't sell trades at all in the long run. Whatever copies are left over after the first week or two will likely never sell.
I also like the idea of putting publishing effort into new formats and new markets like DC Ink and DC Zoom. There needs to be a way for kids to get into comics because they ARE going to the movies, and they ARE watching the TV Shows and cartoons, but they DON'T walk into a comics store, and I would guess that most DON'T want to have to memorize 80 years of backstory and "7 Crises" in order to read a story.
DC and and DC Zoom will be in book format probably similar to "Diary of a Wimpy Kid" or "Captain Underpants" and target that market who will read pictorial fiction, but not in a comics magazine format. I think this is a great idea and a great way to introduce the characters and the world of DC to readers without making them take a doctoral thesis in DC history. Given all the entertainment choices available to kids today, you have to provide an easy gateway to the DC Universe of characters. DC Ink/Zoom sounds like a great way to do just that.
It does seem that with these books and the Wal-Mart line, DC is trying to get its product visible beyond the comics store ghetto with stories that are instantly understandable and accessible. This is a smart idea and should have been done long ago.
Bloody hell. So much of that clarification of what's happening not only soothes my fears about DC right now but actually suggested that they may be moving in a good direction (trying to find a foothold beyond the direct market is crucial for the future), only to have it dashed by the news of cutting back on collections. For years now, one of the best non-direct-market markets for comics were bookstores in the form of graphic novels - a format that, not so incidentally, is designed to have greater staying power than the monthly periodical - so which genius decided that cutting back on DC's graphic novel line would be a good thing? It's always one step forward, two steps back with these people!
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That was my knee jerk reaction- I myself always prefer stories that are collected in trades and its usually what I come back to to read over again. But then I started thinking about it and reconsidered. Not every story is so good that it merits future trades and rereading. Take Ric for example.
It's the Dynamic Duo! Batman and Robin!... and Red Robin and Red Hood and Nightwing and Batwoman and Batgirl and Orphan and Spoiler and Bluebird and Lark and Gotham Girl and Talon and Batwing and Huntress and Azreal and Flamebird and Batcow?
Since when could just anybody do what we trained to do? It makes it all dumb instead of special. Like it doesn't matter anymore.
-Dick Grayson (Batman Inc.)
Well, the DC Zoom/Ink lines indicate they're not entirely cutting back on graphic novels, but I am also apprehensive about them cutting back on collections in general if it means they never collect older, underrated, stuff and just keep re-printing all the usual suspects.