Tag: retrospectiva

Comics en 2019

Momentos selectos de una vida en los comics.

Círculos viciosos

El comic comercial contemporáneo es víctima de comportamientos nocivos que saturan de inventario sin valor a los detallistas, persiguiendo el volumen de ventas por encima de la calidad del producto final y abogando al completismo empedernido de la vieja guardia para la subsistencia en el corto plazo. La economía de las tiendas especializadas se ve amenazado constantemente, poniéndolas en peligro de extinción.

“When Marvel talks about comic book sales numbers, they refer to copies of comics sold to retailers, and the House of Ideas has spent the last two decades embracing ways to increase those without actually increasing readership, often relying on gimmicks like number one issue relaunches, loot crate giveaways, super-mega-crossover event tie-ins, and incentive variant covers to convince retailers to order more copies of comics than they can actually sell, often resulting in comics sitting unsold on shelves while retailers make their money back by selling the rare variants for higher profits. It looks good on Marvel’s bottom line, but if the comics don’t actually end up in the hands of actual readers, what purpose do they serve?”
— Rich Johnston.

Comics en 2018

Momentos selectos de una vida en los comics.


Se visualiza una fractura muy evidente en las tendencias del mercado comercial. La llamada “novela seriada” de los superhéroes de Marvel y DC se mantiene por períodos cortos—un volumen completo publicado cada 12 meses—y comenzando de nuevo al primer síntoma de bajas ventas. La realidad del autor de comics es una de supervivencia constante a medida que las editoriales explotan a los tomos #1 como el barómetro del éxito a corto plazo.

“Issue 1s obsess many writers for various reasons, both good, bad and necessary. Part of it is simply because anyone working in a serial comics in the Anglophone American pamphlet model have more experience in writing issue 1s than any other issue number (“Last issue” isn’t an issue number, pedants). So you spend more time proportionally working on them and thinking about them. Perhaps most tellingly, in the present Direct Market, your sales of the first issue are what establish the sales of the latter issues. If you can launch stronger, you have longer until the standard erosion of sales makes the book commercially unviable in singles (and so also gives longer to gain a trade readership which means that doesn’t matter). “How effective the first issue is” isn’t the only thing which effects sales, but it doesn’t for hurt.”
— Kieron Gillen.

Comics en 2017

Momentos selectos de una vida en los comics.


El creciente sentido de apertura amenaza con diluir la influencia del Mercado Directo de los comics comerciales. El ambiente democratizado y diverso es anatema a un aparato conservador, provocando un choque generacional que rechaza a la diversidad y que obliga a las publicadoras a tratar de satisfacer la demanda de dos mercados completamente diferentes uno del otro.

“It’s harder to pop artists these days. There is no apparatus out there. There is no Wizard Magazine out there that told you who the hot top 10 were. We don’t have that anymore. We can hype our artists all we want, but I don’t know if we know how many artists, besides maybe (Steve) McNiven and (Olivier) Coipel, absolutely move the needle on anything to be drawn.
What we heard was that people didn’t want any more diversity. They didn’t want female characters out there. That’s what we heard, whether we believe that or not. I don’t know that that’s really true, but that’s what we saw in sales.
We saw the sales of any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up against. That was difficult for us because we had a lot of fresh, new, exciting ideas that we were trying to get out and nothing new really worked.
[…] Our new heroes are not going anywhere! We are proud and excited to keep introducing unique characters that reflect new voices and new experiences into the Marvel Universe and pair them with our iconic heroes.
We have also been hearing from stores that welcome and champion our new characters and titles and want more! They’ve invigorated their own customer base and helped them grow their stores because of it. So we’re getting both sides of the story and the only upcoming change we’re making is to ensure we don’t lose focus of our core heroes.”
— David Gabriel, Vice Presidente Senior de Ventas y Marketing de Marvel Comics.

Comics en 2016

Momentos selectos de una vida en los comics.


Un ambiente de amplia competencia empieza a permear sobre el comic comercial, en donde el comic underground, el comic de licencia, la obra de autor y el mainstream luchan palmo a palmo por las preferencias del público. Las micro-transacciones del comic online se vuelven un mercado prometedor, y la Novela Gráfica alcanza un grado de madurez importante.

“The comic market is jam-packed with product. There’s a cornucopia of choices for readers every week, with more titles fighting for shelf space and a sense that grabbing market share requires constant reboots, renumbering, and controversy in order to move the needle.
Keeping a creator-owned title consistent and making it successful without the marketing muscle or global movie icon status Marvel or DC have is tough.”
— Jim Zub.

Comics en 2015

Momentos selectos de una vida en los comics.


Se empieza a trazar un punto de quiebre en la industria. Las redes sociales representan un escaparate inmediato que democratiza a la narrativa gráfica, dejando al descubierto a verdaderos talentos con una voz autoral única y con mucho que decir, derribando a los modelos y estilos clásicos para ofrecer algo nuevo.

“The vast majority of graphic novels today are drawn with studied banality. There is a lack of ambition and verve to their visual artistry. Comic-book authors have settled into a slick style of drawing that stays within dull limits. Where are the real artists in graphic fiction?
The work of many graphic novelists looks as if they took the same college drawing course; all have learned that good graphic art communicates information. In a comic, this advances the story, but such a functional approach undermines true art. A real comic artist is someone who uses drawing as self-expression instead of as a narrative machine. Only the artist who puts meaning and feeling into each line can elevate the art of comics into something beautiful or deep.
Graphic fiction can be great art. Unfortunately, it is becoming both pretentious and simplistic. Time to go back to the sketchpad.”
— Jonathan Jones; “When did the comic-book universe become so banal?”, publicado en The Guardian el 16 de febrero de 2015.

Comics en 2014

Momentos selectos de una vida en los comics.


La cultura pop reacciona a los cambios demográficos y se adapta a las nuevas preferencias del público. Los comics no son la excepción a este cambio de aires, siendo Marvel Comics quien se lanza de lleno ofreciendo al mercado personajes e ideas que atienden a la diversidad, siendo Ms. Marvel de G. Willow Wilson y Adrian Alphona el sleeper hit.

“People love to talk about new and different. They don’t always love to buy and read new and different.
I have frankly been blown away by the amount of fan support the new Ms. Marvel has gotten. When Sana Amanat and Steve Wacker of Marvel called me up and said, “We want to create a new teenage Muslim superheroine from scratch and put her on her own book,” my first thought was, “Are they nuts? Did I hear correctly?” I would never in a million years have pitched that book myself, because I value my sanity. There was a time when I couldn’t put pen to paper without being accused of stealth jihad or perpetuating the Muslim socialist Illuminati attack on America or whatever. This just seemed like the trifecta of death: new character (doesn’t sell!), female (doesn’t sell!) and Muslim (hire an intern to open all the hate mail!).”
— G. Willow Wilson.

Comics en 2013

Momentos selectos de una vida en los comics.


Tras la bonanza del 2000-2010, los comics en el mainstream entraron en un umbral caracterizado por la experimentación limitada, pocos garbanzos de a libra y apostando a la segura.

“My fear for comics is that as everything moves to preorders (or online orders), comics will become more conservative—books go to the people who already know that they’re going to like them—it’s what they ordered off the menu. Part of what publishers and retail stores (and festivals) do is bring people things that the public might not like, but they do it anyway! Ha ha ha. Like a waiter bringing someone something unexpected, and just putting it in front of them. They didn’t ask for it. That’s difficult to do online, or in a preorder model. Anyway, I believe in them and I hope comics will have a place for them to continue to grow and make new and unusual things. Also I hope Gary Groth doesn’t die in 2014.”
— Dash Shaw.

Comics en 2012

Momentos selectos de una vida en los comics.

Before Watchmen

Lo impensado sucede. DC Comics decide publicar una serie de precuelas para Watchmen, el comic más aclamado de la historia moderna. Su autor, Alan Moore, no está de acuerdo con ello y denuncia la negligencia del medio del comic comercial para crear a los nuevos clásicos.

“I no longer have a copy of Watchmen in the house. Yes, I was proud of what we did with that book. But, all of the betrayals and the lies and the cheating that surrounds that book for me now—no, of course I don’t want a copy of it in the house. I was then offered by an increasingly frantic-sounding Dave Gibbons an unspecified but really, really large sum of money to just give my blessing for them to do these sequels and prequels.
The money would’ve been from DC. He was acting as an intermediary. He told me they were planning to do these prequels and sequels, and that he had been offered something in the region of a quarter of a million dollars to oversee the project—that it would be handled by the top talent in the industry, to which I said some quite intemperate things. I said that, as far as Watchmen was concerned, I didn’t really think that there was any talent in the mainstream comics industry. If there had have been, they presumably, sometime over the past 20 or 25 years, would have perhaps come up with something that was as good as Watchmen—or as notable or as memorable—after they’d already been shown how to do it. So yeah, I was angry and I said some things which I still stand behind. And, that was the end of it. And, that was the end of my friendship with Dave Gibbons: because he hadn’t phoned up and thanked me and he had done the one thing that I’d asked him not to. When I mentioned this in an interview, he phoned me up again to say, “Oh, thanks for that money, Alan.”
At that point, I said, “Well, it’s a bit late Dave. Let’s call it a day.”
— Alan Moore.

Comics en 2011

Momentos selectos de una vida en los comics.


DC Comics inicia la segunda década del siglo XXI reconceptualizando completamente a su línea de títulos, dando por sentado un modelo narrativo dictado por el grupo editorial en turno y poniendo de lado a lo que conocemos como “comic de autor”. Bajo el slogan de “THE NEW 52”, su catálogo de superhéroes y villanos son reinventados para atraer a audiencias casuales y aligerar el bagaje histórico de las últimas tres décadas.

“Summer, 2011. The world is ending. Not the real world. I mean, sure, the economy is collapsing, there’s a natural disaster once a week that qualifies as horrific and soul-destroying, royalty are getting married on television, diseases are flourishing, people are making up fictional drugs that then get reported on by massive news outlets, etc. etc.; but no, the real world isn’t ending right now. Maybe next year Terrence McKenna and 1999 Grant Morrison will be right and everything will end then. But right now, the real world isn’t going anywhere, no matter how many signs of revelation appear to be fulfilled every day. The world I am speaking about is a small, fictional world, that only a few thousand people even having a passing knowledge of, one currently managed by Geoff Johns and 2011 Grant Morrison, whose cells have been completely replaced since 1999 and can (maybe must?) therefore be considered a different person by the standards of Morrison comics, have been triage doctors in a disaster zone for some time, and the disaster zone is called the DC universe. It’s ending.”
— Sean Witzke.