We Be Geeks Interview

We-Be-Geeks

I sat down and recorded a pretty extensive interview with the trio at We Be Geeks. We cover Wayward, Baldur’s Gate, samurai Jack, Figment, and a whole lot more. The interview starts at the 44 minute mark of the podcast. Give it a listen!

Forces of Geek Interview: Conan, SK, and D&D

ForcesOfGeek

The gang at Forces of Geek asked me all about Conan Red Sonja, Skullkickers, and Dungeons & Dragons: Legends of Baldur’s Gate, so we talk fantasy fun.

Don’t Forget a Towel Interview

Don'tForgetATowel

Casey Bowker at Don’t Forget A Towel talks to me about Wayward, Japanese lore, and putting together our creative team. Click on through to check it out.

Creator-Owned Economics: The Changing Market

It’s been two and half years since I posted up my ‘Reality of Mainstream Creator-Owned Comics’ article that kicked off a furious online discussion about where money goes in the retail market and what creators are paid on small print run creator-owned comics. There’s rarely a week that goes by where someone isn’t linking to that article, tweeting at me about it, or otherwise asking for clarification about ‘how things work’.

Even when some people pointed to that article as ‘proof’ that Image Comics wasn’t all it was cracked up to be, Image stuck with me, kept publishing Skullkickers, and continued to make incredible strides in expanding the market for creator-owned comics. I’ve always been thrilled to have my creator-owned books published by Image because I knew why the company was formed and how it’s always worked: Creators are in complete control of their comics and they’re compensated based on its success.

The comic industry in 2015 is a very, very different place and a big part of that is thanks to Image Comics’s tireless efforts to show retailers and readers the strength of new ideas and new stories.

Skullkickers_01_1stprint_AWayward01-CoverB-FRONT
SKULLKICKERS #1 (September 2010) and WAYWARD #1 (August 2014).

The Image model has always been about investing in yourself and reaping the benefits of that investment if sales are strong. I knew that going in with Skullkickers back in 2010 and, even when our sales were borderline unprofitable, I stuck with the series as a way to establish myself as a writer and show people our team could produce a high quality comic month after month. Now, four and a half years later, I’m seeing the benefits of that consistency and the growing creator-owned market with my new Image series called Wayward.

How much of a benefit? Well, let me show you…

ComparativeSalesFull

Wayward’s first five print issues have sold more than two and a half times as many as Skullkickers did over the same period 4 years earlier. As you might imagine, that’s an impressive jump and I think there are a bunch of reasons for that climb:

• Improved Visibility for Comics: Comics sales are growing in print and online, graphic novels are the buzz-worthy darlings of the book market, and comic-related movie and TV shows are more mainstream than ever. The ripple effect of that is a greater acceptance of comics from the general public and a more diverse fanbase looking for new stories.

• Image’s Success and Subsequent Growth: The success of the Walking Dead, Saga, Sex Criminals, and a host of other incredible titles have increased visibility and market share for Image. This is especially true with launch titles as readers and retailers look to these new series with excitement, hoping they’ll be on the ground floor for something special.

• My Career Growth: In 2010 I was practically an unknown creator in the mainstream comic market. Four years later I have quite a few other comic titles under my belt – Samurai Jack, Figment, Legends of the Dark Knight, Pathfinder, and a bunch of others. I’m not an industry powerhouse by any means, but the readers from those series seemed curious about what my next creator-owned title would be and jumped on board Wayward to check it out.

• Retailer Outreach: I’ve also done a ton of retailer outreach over the past four years. Having well regarded work is wonderful but only if retailers feel confident they can sell the books. As we headed towards the launch of Wayward, the crew at Image and I did a lot of communicating with retailers about the series, showing them exclusive artwork and previews, doing everything we could to prove to them that this was a series they could confidently sell to their customers. That lead to several comic shop and convention-exclusive variant covers for Wayward #1, bolstering our launch numbers by thousands of copies while creating extra interest in the series.

• Press Outreach: In the same vein, it’s a heck of a lot easier to get press coverage when you’re more established and we (Image’s PR crew and I) did a lot of press outreach as well to make sure Wayward was visible on every comic news and review site we could muster. The last couple months before the launch of issue one was a dizzying promotional tour of interviews, podcasts, exclusive sneak peeks, and more.

• The Series: Wayward is a very different series than Skullkickers. I love them both, but I’d be foolish not to note that Wayward as a concept is more inclusive and taps into a much larger potential readership than Skullkickers does. Cute supernatural teenage girls (surrounded by cats) kicking the shit out of monsters on the street of Tokyo plays to a bigger audience than a bro-centric slapstick violent D&D tale, especially in 2014-2015.

Okay, sale numbers are spiffy but how does that translate into relative profitability? Wait ‘til you see this…

ComparativeProfitsFull

I know you’re looking at that bar chart and can’t fathom how 2.5 times the sales magically turns into 7.5 times the profit. Trust me, I’ll explain.

Here’s the real beauty of the Image model when it’s running at full steam and, as far as I know, it’s something no other creator-owned publisher can match: Image has a flat administrative fee for soliciting and releasing each issue of a series. That amount does not change no matter how much the issue sells. On a relatively low selling comic (like back in 2010 with Skullkickers #1) that base fee can eat up most of what’s left over after the printer, distributor, and retailer take their cut but, on a strong selling comic that amount stays the same and the issue becomes a lot more profitable. A lot.

This is why that pie chart from my original retail post doesn’t scale well to different print runs and doesn’t perfectly sync up with the Image model. A 5000 copy comic has a very, very different money breakdown than one that sells 10k or more. Printing large quantities of something vastly decreases the cost per copy. The “price per unit” drops and the profitability per copy increases, but Image’s base fee doesn’t change.

Each issue and cover breaks down differently in terms of percentages/costs, but here is an approximate rundown of how our best one fared, WAYWARD #1 Cover A:
PieChart

As you can see, it’s a seismic difference from the chart I posted in 2012 based on a much lower print run/lower sales.

Skullkickers #1 went through three printings, but each one was a small run, which made the “per unit” cost quite high on each issue. Wayward #1’s first printing was a much, much larger run done all at once and, in turn, the profitability of that first issue was geometrically larger. A lot more copies printed, a lot more sold, and each one cost a lot less to produce, making us a lot more money when it was all said and done.

Cranking up that profitability even further, Image has been able to leverage their increased market share and larger print runs to aggressively keep their printing and shipping costs low even as their sales increase, leaving even more money for creators after the fees are covered.

You might look at that chart and imagine Steve Cummings (the artist and co-creator of Wayward) and I pelting each other with giant wads of cash, but it’s not like that. What those numbers mean is that we’re thankfully in the black right from our first issue, which is obviously where we want to be. Steve gets to make drawing Wayward his full time job (I’m still teaching at a local art college and freelance writing), and the color flatter, colorist, and letterer all get paid without me having to dig into my personal savings (like I do on Skullkickers). On top of that I can finally put some money into my “war chest” for convention travel and future creator-owned projects. If sales continue strongly I’ll make extra payments on my mortgage so I can be debt free that much faster.

It’s a solid start and miles ahead of where I was in 2010, but that doesn’t mean we can rest on our laurels. Strong launch numbers are one thing, but finding a loyal sustained readership is our long term goal and that requires a lot of work. By the time our first arc ended, Wayward seemed to be settling into a reasonable sales bracket, now we have to do everything we can to try and stay in that stable sales range over the long haul.

Image is bolstering our chances by releasing Wayward Vol. 1: String Theory on March 25th as a value-priced $9.99 trade paperback. We’ll make less money per copy on that first volume, but it’s a very smart way to increase our readership as retailers up their orders, new readers give the series a shot at a sweet price point, and current readers ideally pick up the collection for themselves or buy it as a gift for their friends (Pssst~ Have you pre-ordered your copy yet?).

WaywardVol01Cover-FRONTWaywardVol01Cover-FRONT-HC
Our standard TPB cover and the Emerald City Comicon exclusive hardcover.

We’re also releasing Wayward #6, the first issue of our second story arc, on the same day as our volume 1 trade paperback as a way to create extra sales synergy. Savvy retailers can bundle both together to get readers on board the new storyline, hopefully leading to additional subscriptions for their pull files.

On top of that, Steve suggested we create a series of connecting covers for our second story arc and I happily went along with the idea (leaving the logistics of that artistic monstrosity to him and Tamra, our kick ass colorist). We’re hoping fans will want to keep buying the single issues to create a sweeping 5 issue cover panorama. Here’s how the first three covers (issues #6-8) look when they’re connected together:

Wayward06-08Combined

Quality, consistency, and outreach. With a bit of luck those three things will convince retailers and readers to stick with us.

At the same time, Skullkickers is heading into its final story arc. Financially it’s always been a bit rocky but it’s proving robust with a long tail of digital and collection sales and has a strong audience online as a serialized webcomic. It’s the project that pushed my comic writing career to the next level and I’m incredibly proud of the work we’ve done. Nothing else I’ve worked on since then would have happened without it.

Skullkickers33-FullDouble-1170x900-web

If we maintain our current production schedule on Wayward we’ll have two trade paperbacks out and be starting our third story arc in time for Christmas 2015. Skulkickers’ final arc, final trade paperback, and final deluxe hardcover will arrive before Christmas as well.

At each step we’ll be juggling solicitations 5-6 months ahead, scripting 3-4 months ahead, line art 2-3 months ahead, coloring 1-2 months ahead and letter proofing a few weeks before each issue heads to print. It’s a relentless game of “Scheduling Tetris” but, when the momentum is rolling, I actually enjoy it. There’s a constant influx of inspiration as line art and coloring samples pop into my inbox almost every morning. It reminds me that all of us on the team are working hard to create something that wouldn’t exist if it wasn’t for our efforts and the support of amazing retailers and readers like you. I love creating comics and want to keep this dream rolling as long as I can, learning more about the craft and business, year after year.

In the end, I think that’s what creator-owned comics are all about – charting your own destiny and growing creatively with each new project.

If you found this post interesting or helpful, feel free to let me know here (or on Twitter) and share the post with your friends. Please consider buying some of my comics online, from your local retailer or from me in person if you see me at a convention.

Wayward Interview on Under the Comic Covers

UTCC

I had a great audio interview with the team from Under the Comic Covers all about Wayward.

We talk at length about how the series came to be, Japanese cultural influences and creatures, storytelling, character development, and hints at where the series is heading. Click on through and check it out!

Geek Nerd Net Interview

GeekNerdNet

Chris Doucher at GeekNerdNet interviewed me about comic writing, Conan-Red Sonja, my upcoming Vertigo short story, convention season, tutorials, and more, all in 15 minutes. click on through and give it a listen.

Totoro-Inspired Wayward Variant Cover

Our pals at Third Eye Comics in Annapolis, Maryland are putting together a special event to celebrate International Tabletop Day on April 11th and I’ll be there signing and sketching up a storm. To help commemorate the event they’re also putting together a store-specific variant cover of WAYWARD #6 you can only get at their shop.

When Steve at Third Eye contacted me about the event and variant, he had a specific concept in mind – Since Wayward is focused on Japan, let’s do a playful riff on a Studio Ghibli image using Wayward. As soon as he suggested it, I knew what we should do.

TotoroPoster

The original My Neighbor Totoro poster is beautiful, iconic, and wonderfully cute. I asked Steve Cummings and Tamra Bonvillain to do up a version with Ayane and a giant cat waiting at a bus stop in the city and here’s the amazing result:

Wayward06-00-3rdEyeVariant

The Japanese on our cover loosely reads “My Neighbour Wayward”.

If you live anywhere near Annapolis, Maryland make sure you mark Tabletop Day on your calendar and come out for the big event. You can get this Ghibli-inspired special cover, meet me, and try out board games and card games aplenty. A day full of games, comics, and tons of fun!

tabletopdayflyer

And, if you’re unable to attend the event in person, you can pre-Order WAYWARD Vol. 1 from Third Eye Comics and get their Totoro variant cover for FREE!
http://www.thirdeyecomics.com/product/wayward-vol-1-string-theory-tp/

Skullkickers Interview on Dynamic Forces

The gang at Dynamic Forces interview me about the final arc of SKULLKICKERS. We talk a bit about five years of fantasy fun and what comes next.

Skullkickers_31

Samurai Jack #20 Solicitation

Arriving in May. Pre-order now!

You can read more about my thoughts on the comic series ending HERE.

SamuraiJack20-cvr

SAMURAI JACK #20
Jim Zub (w)
Andy Suriano (a & c)

FINAL ISSUE.

A scribe named Mako has heard many strange stories of the great hero known only as “Jack.” Mako’s journey to record the truth of the samurai reveals a fascinating look at his legacy and possible future: Jack the King. Jack the General. Jack the Legend.

FC • 32 pages • $3.99

Skullkickers #33 Solicitation

Arriving in May. Pre-order now!

Skullkickers33-FullDouble-1170x900-web

SKULLKICKERS #33
story: JIM ZUB
art: EDWIN HUANG & MISTY COATS
cover: EDWIN HUANG & JEFF “CHAMBA” CRUZ
MAY 27 / 32 PAGES / FC / T / $3.50

“INFINITE ICONS OF THE ENDLESS EPIC” Part Three

Double, double, toil and trouble… heroes burn and dimensions bubble!

This issue has the second of two connecting gatefold covers by Edwin Huang and Jeff “Chamba” Cruz. Get this one and the previous month’s issue to put together the ultimate Skullkickers battle panorama!