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I had a work event in Orlando, Florida last week and I was able to spend a little time walking through the Disney Springs area. It's basically an outdoor shopping mall, with many of the stores owned by Disney. If it's been a while since you've been through that area, it's also gone by the names Lake Buena Vista Shopping Village, Walt Disney World Village, Disney Village Marketplace, and Downtown Disney.

In some of the shops -- most notably the Star Wars Galactic Outpost and the Super Hero Headquarters -- they had some sections set aside for comic books. Not tons of them, certainly, but enough to show that they gave some consideration to the medium. And while perhaps not terribly surprising for the Super Hero Headquarters, it was a little unexpected to see a section of the Star Wars store with them. While Marvel is the publisher of Star Wars comics now, and both are owned by Disney, comics aren't really the primary medium people know Star Wars from.

What was more surprising was that they had more space devoted to pamphlet comics than trade paperbacks or hardcover collections. The stores had unique (at least as far as I know) plexiglass displays that presented each issue in an upright fashion, showing the entire cover, with a stack of the same issue piled flat behind. A person could then slide out one of the flat issues underneath the front-facing one (the display case setup made this easy). While a few collected editions were available, they were in the distinct minority, regardless of what title you might be interested in. There was perhaps one collection title for every four or five pamphlet titles.

Given how much the comics industry as a whole has placed so much more emphasis on the trade collections, to the point where the content of the comics themselves is designed more for that format, it strikes me as curious that Disney would instead choose to focus on pamphlets. The lower price point might be a consideration... but these are things sold on Disney property. Don't people have an expectation that nothing there is going to be cheap by any measure?

But further, aren't the pamphlet comics a lower return on investment? The greater profit margin is on the collections. Particularly as it relates to store space -- not only are collections more profitable on a dollar-for-dollar basis, but they're also more profitable relative to the amount of shelf space they take up.

Disney is renown for using impeccable business acumen. So I have to believe there's a carefully considered logic behind the decision, and it was almost certainly not made on a whim. I'm just curious, given what we know about the comics industry in general, what they know, or at least believe, about comic sales within the Disney premises.
Here are this week's links to what I've had published recently...

Kleefeld on Comics: On Business: SPACE & Such
http://ift.tt/1SsZKl1

Kleefeld on Comics: On History: Which Details Are Worth It?
http://ift.tt/22rlzH5

Kleefeld on Comics: Weekly Comics Links
http://ift.tt/1T3I8yY

FreakSugar: Webcomics Wednesday: Financing
http://ift.tt/1YtxwLm

Kleefeld on Comics: On -isms: Knight on NC
http://ift.tt/1XxmHaY


Super busy with travel right now, so I'm just going to do a quick repost of Keith Knight's take on the anti-LGBT law in North Carolina...
(Also, support Knight if you can. You don't want discriminatory laws making more money than cartoonists, do you?)
I was speaking with a comics creator this past weekend who had only "discovered" Jack Kirby a couple years ago. He said he was certainly aware of Jack's work for years, but it only really "clicked" (his word) for him a year or two ago. Perhaps not so coincidentally, he'd only been drawing comics for about five years, so his appreciation might well come from getting a more visceral understanding of the comics creation process, whereas previously, he may have been stuck on the overt aesthetics.

We ended up chatting a while, and I threw out a few bits that he hadn't really been aware of. Like that Jack was writing and drawing comics professionally at age 20, doing rip-offs for the Lincoln Syndicate. And that he worked most of his career out of his home. And that he was in his 40s when started Fantastic Four and in his 50s during its peak period.

None of what I said was revelatory, really. It was new to him, certainly, but that Jack lived next door to Joe Simon is an interesting anecdote but hardly changes how you view his work on Captain America Comics. How old Jack was when he worked on any given comic isn't really a huge deal, other than perhaps how it may have come before or after some other book he worked on.

But, at the same time, there's a better sense of the whole picture.

"Wait, Jack wasn't some crazy kid throwing wild ideas out when he created Galactus -- he was 50!"

"Wait, Jack didn't go into an office every day?"

"Wait, that would explain how Jack drew 8-10-12 hours a day, but still managed time for his wife and kids!"

And what all that does is put your own work in perspective. Jack worked on comics for nearly a quarter century before he started getting to the stuff that he's best known for; maybe the five years you've been working isn't so bad after all. Sure, Jack had a tremendous output, but he didn't have to leave the house for 10-11 hours a day just to earn a living. That difference is bound to impact your output!

Comparing your work/your success/your fame/whatever against anyone else's is something of a fool's game in the first place. After all, you're not them and have a different set of talents and goals and circumstances than they do/did. But if you want to make any sort of comparisons, even if it's for superficial purposes, it helps to have some historical context so you know what exactly you're comparing yourself against!
This past weekend, I had the pleasure of getting to SPACE (Small Press & Alternative Comics Expo) for the first time. Bob Corby's been putting on the event in Columbus, Ohio for a little shy of two decades now. And, despite some difficulties with a venue last year (the hotel that had been hosting the show closed down rather unexpectedly) they've been continuing on with gusto.

The show, as the name implies, doesn't cater to the large pop culture market that like what you'd see with a Wizard World or ReedPop convention. I think the biggest 'name' creator at SPACE this year was Carol Tyler. Very talented and successful, of course, but definitely not part of what you might call mainstream comics (however you might define 'mainstream'). Most of the convention was filled with self-publishers doing whatever spoke to their particular passion. Lee Smith does comics about Ohio history, Leighton Connor does comics based on the adventures his daughter concocts with her action figures, J.R. Mounts does noir comics about a detective pickle... Plus, there are a number of students and recent graduates from the Columbus College of Art & Design and Ohio State University who are still finding their voice, and trying a variety of different ideas and directions.

Naturally, not all of it speaks to everybody. I'm sorry, but I'm just never going to be a big horror fan so it's a REALLY hard sell to get me on board with anything in that genre. And there's a wide range of talent, too -- some people have a very lush, illustrative style and others draw little more than stick figures. But that's the beauty of a convention like this: there are so many people with so many different styles and voices that something's bound to be interesting.

Saturday morning was a bit slow, thanks to a snowstorm that blew threw in the early hours before daybreak. But by Sunday, many of the exhibitors seemed happy with how their weekend went overall. I talked with Corby about half-way through the day, and he said that even the woman in the very last booth at the farthest end of the show said she was happy with how she was doing. As I said, it was my first time at SPACE so it's a little hard for me to put it in perspective, but it struck me as very successful show.

I say all this, in part, as a way to look at the convention landscape more generally. The larger shows with pop culture stars from TV shows and movies draw a lot more press generally, and the local shows you might be more familiar with frequently consist of mostly dealers selling comics out of old long boxes and action figures in plastic Ziplocks. But there's a noticeable and growing market for shows like SPACE. I think Corby was on the leading edge of that type of show, and we'll be seeing more of these in the near future. Shows where the focus is independent comics and creators. Not people selling prints of Spider-Man clinging on to a TARDIS, or Superman saving the Enterprise, or whatever. But people who want to tell a story through comics. People who have a passionate desire to relay their story in comics form.

I've wanted to go to SPACE for years. It really is a great show, I think, in part because Corby is a comics maker himself, and basically runs the type of show he'd like to attend. I get that a similar impression for CAKE (Chicago Alternative Comics Expo). Creators seem to talk about both in similar ways. Because of that attention to comics (as opposed to pop culture), regardless of genre, I think we'll be seeing more of these types of shows opening up. Can Ohio sustain more than one of these a year? Maybe. Columbus itself? I doubt it. But keep an eye out for these things across the US; I expect we'll be seeing more of these pop up and do very well for themselves in other notable-but-perhaps-not-top-of-mind areas.

Keep your eyes peeled. Both SPACE and CAKE are drawing creators from all over the country, and I expect more and more people will be taking notes on everything that they're doing right to bring back to their area.
Here are this week's links to what I've had published recently...

Kleefeld on Comics: Weekly Recap
http://ift.tt/1Y8xgRQ

Kleefeld on Comics: On Business: Frank Zappa on 'Mainstream' Comics
http://ift.tt/1RU7qiQ

FreakSugar: Fanthropology: Buisness as Usual
http://ift.tt/1S2VEzI

Jack Kirby Collector: Incidental Iconography
http://ift.tt/xLP9rc

Kleefeld on Comics: On History: Lucky Luke's Cigarette
http://ift.tt/1oygtLZ

Kleefeld on Comics: Weekly Comics Links
http://ift.tt/1SAffrE

FreakSugar: Webcomics Wednesday: Best Practices
http://ift.tt/1S2ck0n

Kleefeld on Comics: On -isms: Sincerity
http://ift.tt/1qvqICA

Kleefeld on Comics: On Strips: Reprint Collections
http://ift.tt/1NdXSes