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26. Robert Downey Jr teases a big announcement in eight days

downey avengers 2 poster

Coming off of the somewhat mixed reaction to the new Avengers: Age of Ultron poster that was released yesterday, Robert Downey Jr. tweeted out an Iron Man-based poster for the film.

Additionally, he teased that a big announcement is coming in 8 days:

 

What would qualify as a big announcement here? The obvious answer would be that Spider-Man has been cast, and the announcement yesterday that Danny Elfman would be providing additional music for Avengers: Age of Ultron has some wondering if we might be seeing Spider-Man sooner than we think. For those who may not recall, Elfman composed the score for the Sam Raimi Spider-Man films. Then again, he also scored the Ang Lee Hulk, so any deduction there may be pointless.

I wouldn’t hang my hopes on it, but a post-credits scene might not be out of the question…let’s see what a week from now brings us.

3 Comments on Robert Downey Jr teases a big announcement in eight days, last added: 2/25/2015
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27. Matt Fraction and Kelly Sue DeConnick sign a deal with Universal Television

Matt and Kelly Sue

Huge news for fans of the Fraction-DeConnick household; Deadline reports that Matt Fraction and Kelly Sue DeConnick, whose creator-owned works include Sex Criminals, Bitch Planet, Pretty Deadly, Ody-C, Casanova and more, have signed a two-year pact with Universal Television to develop their properties into television series.

Additionally, the deal includes the potential for original content as well as series based on other comic creators’ IP, all of which will fall under their Milkfed Criminal Masterminds production banner.

First up on their development docket is a television adaptation of Fraction and Chip Zdarsky‘s Eisner Award winning Sex Criminals. The duo has hired former Marvel editor Lauren Sankovitch as MCM’s Managing Editor as they make the move into the world of the small screen. They’re represented by Rothman Brecher Agency and attorney Shep Rosenman.

I was just thinking about how diverse their creator-owned set of titles are, covering a wide range of genres like exploitation, 50’s era who-dunnits?, sex comedies, westerns, euro-style sci-fi, etc. It’s a tremendous base to work from in terms of a well-rounded television line-up. Excuse me while I go silent jump around for joy in our condo.

 

 

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28. The most important thing Agent Carter got right

carter

Alas, our eight weeks of Agent Carter are up, and the short series tied up most of its ends with a neat bow. The finale was satisfying enough, though fairly unsurprising – my biggest qualm was that the suspense relied heavily on the danger facing Howard Stark (and anyone who has seen Iron Man, which is basically everyone watching, knows Howard has to make it out just fine).

What surprised me most, though, was what the series didn’t do. From episode one, a huge part of the buzz and speculation around Agent Carter focused on a single idea:

Who does Peggy Carter marry?

Part of me gets the speculation; we know Carter eventually gets married based on her brief appearance in Captain America: The Winter Soldier. But it’s also a huge disservice to the character. Post-war, Carter struggles in her professional life, seen by her peers as little more than Steve Rogers’ love interest. Carter was competent in the film and fulfilled a role beyond the archetypal love interest or damsel in distress, but she’s still Captain America’s girlfriend. And now that Cap is gone, what everyone looks for next is not what she’ll do or who she’ll fight, but who she’ll kiss.

I’m not sure if it was intentional, but it almost feels like the men in Carter’s office were a proxy for audience and media reaction.

It would have not only been an easy trap to fall in, but a common one. Women in films have it pretty rough, and it’s hard to imagine it’s much better on television. Only 12% of identifiable movie protagonists in 2014 were female, according to research from the Center for the Study of Women in Television & Film. The few females that do show up in speaking roles are more likely to be identified by personal life-related roles, such as wife or mother, than males, who tend to be identified by work-related titles, such as doctor or executive.

Rather than moving Carter from Cap’s love interest to someone else’s love interest, the show runners and writers decided to let her be he an agent. Not a girlfriend. Not a wife. Sure, there were a few potential future suitors, but they were so minor, they could easily fall away and be completely removed if the series comes back for another season. In fact, the only male relationship that feels like it would require a mandatory wrap up or return in a second season is Carter’s relationship with Jarvis, which is rooted in professional respect rather than infatuation.

So basically, Agent Carter was entirely about Agent Carter. How crazy is that?

It’s not something we see in TV often, but by refusing to become a show about love triangles or Peggy Carter’s happily ever after, Agent Carter made its intentions remarkably clear.  As Carter says to Sousa at the episode’s close: “I know my value. Anyone else’s opinion doesn’t matter.”

 

 

3 Comments on The most important thing Agent Carter got right, last added: 2/26/2015
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29. The new Batman: Arkham Knight trailer centers on the Scarecrow

scarecrow arkham

Swiftly following yesterday’s news that Batman: Arkham Knight would be rated “M”, Rocksteady has released a brand new trailer that cements the overall premise of the capper to the developer’s “Arkham trilogy” (Origins doesn’t count according to them).

And yes, that is John Noble (Fringe) playing the Scarecrow.

1 Comments on The new Batman: Arkham Knight trailer centers on the Scarecrow, last added: 2/25/2015
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30. Ben Hardy to join X-Men: Apocalypse in undisclosed role

BenHardy

Bryan Singer continues to add young mutants to his ensemble cast for X-Men: Apocalypse, which currently consists of teenage versions of Cyclops (Tye Sheridan), Jean Grey (Sophie Turner), Storm (Alexandra Shipp), and Nightcrawler (Kodi Smit-McPhee); along with the adult-aged Professor Xavier (James McAvoy), Magneto (Michael Fassbender), Beast (Nicholas Hoult) and Mystique (Jennifer Lawrence).

Now The Wrap reports that Ben Hardy (EastEnders) is in talks to join in a “key, as-yet-undisclosed role” in the 1980’s set sequel to X-Men: Days of Future Past. At one point, Hardy was one of the actors in contention for Cyclops, so the fact that he would stay on Singer’s radar is a good sign.

One look at Hardy and it’s hard to imagine him playing anyone but Angel, especially given that Oscar Isaac‘s Apocalypse is the film’s antagonist. The report’s sources say that he’s been cast in an altogether different role though, so it remains to be seen.

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31. TCAF reveals festival poster by Charles Burns

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ERT ERT ERT! So awesome. In the spirit of his amazing Nitnit trilogy, Charles Burns sums up the joy of TCAF and comics with a creepy/fun image.

SO there.

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32. Community director Rob Schrab to helm The Lego Movie Sequel

batman lego

Announced today via press release, Rob Schrab will be making his feature film directorial debut on the much-anticipated sequel to last year’s smash hit The Lego Movie.

The new film will be written by Phil Lord and Christopher Miller, who are stepping out of their directing duties for The Lego Movie Sequel, but they will be staying on as producers along with Roy Lee and Dan Lin.

Lord and Miller released a joint-statement on Schrab signing aboard:

We are so excited to collaborate with Rob. He is a comedy genius, a visual savant, and we have been stalking him for years. No one works harder than Rob, and his aesthetic, combined with his sense of humor, bring a strong, unique, thoughtful, and passionately nerdy voice to this project. People who know him are slapping their foreheads today and saying, ‘Of course!’

The sequel is one of three feature films that will be spinning out of The Lego Movie along with Ninjago, which hits September 23, 2016 and and an untitled Lego Batman film due out in May 2017. Animation Supervisor for The Lego Movie, Chris McKay, was originally supposed to helm The Lego Movie Sequel, but he instead will be directing the Lego Batman feature.

No date for The Lego Movie Sequel has been announced.

1 Comments on Community director Rob Schrab to helm The Lego Movie Sequel, last added: 2/24/2015
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33. Nice Art: Sorrentino goes Marvel Exclusive, Shows off X-Men Artwork

all new x-men 38

Marvel welcomed artist Andrea Sorrentino to the Bendis-verse with Uncanny X-Men Annual #1. The penciller is continuing his work with author Brian Michael Bendis and Marvel with the upcoming All-New X-Men #38 and his exclusive Marvel contract. The comic is the fourth entry into the Black Vortex crossover with the X-Men and the Guardians of the Galaxy characters. Comics Beat recently covered the announcement that saw Sorrentino move with Bendis on the upcoming Old Man Logan #1 launching in May which takes place during Secret Wars.

“I’m very, very excited about this new chapter of my career,” said Sorrentino. “I’ve always been a huge fan of Marvel characters and I’m thrilled at what is coming in the next couple years now that I’ve joined the family full-time.”

The artist first dazzled the critics during the Big Two with I Vampire alongside author Joshua Hail Fialkov, turning the comic into a fan favorite New 52 launch title. He once again delighted the press with his run on Green Arrow with Jeff Lemire. CBR ran the press release and announced the news this afternoon.

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1 Comments on Nice Art: Sorrentino goes Marvel Exclusive, Shows off X-Men Artwork, last added: 2/24/2015
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34. Superman to appear on CBS’ Supergirl after all

superman supergirl

He’s really only alluded to in the series synopsis, but now according to a casting call listed on ProjectCasting, Superman will indeed be putting in some sort of appearance in the new CBS drama Supergirl.

The call appears thusly:

We are looking for BODY DOUBLE for a DC Comic Superhero –
You must be available for an interview this Thursday and if selected will work several day during March.
This is for a CBS pilot. You can be SAG or Non-Union.
You should be 5’11 or taller and be Square Jawed
and have a ripped physique.
You must send a bodyshot, shirtless, sizes, current contact info and your first five to ChrisBSubmissions@centralcasting.com – in the subject line write SUPERMAN




So, if any you gents out there fit the bill, apply away!

There are a number of Superman-based characters appearing in the series such as Cat Grant, Hank Henshaw, the Toyman, and Jimmy Olsen. But this report at least confirms that Kara won’t be the only Kryptonian around doing heroic deeds.

8 Comments on Superman to appear on CBS’ Supergirl after all, last added: 2/26/2015
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35. Curb Stompage, Tiger Law and More with Ryan Ferrier [Interview]

By Matt O’Keefe

Ryan Ferrier jumpstarted his comic book writing career with the self-published Tiger Lawyer in 2010. In it he playfully poked at the wide breadth of interpretations of licensed characters, both story-wise and artistically, by splitting his creator-owned comic into two parts: one goofy and broad and the other dark and gritty, but both about the same protagonist. From there, Ferrier has gone on to build a career out of comics in both the styles he introduced in Tiger Lawyer #1. He balances writing more eclectic comics like D4VE from Monkeybrain and soon in print from IDW with darker ones like Brothers James and the upcoming Curb Stomp and Sons of Anarchy for BOOM! Studios. I spoke to Ryan about his humble small-press beginnings and speedy rise to publishers like Monkeybrain, BOOM! and IDW.

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Art by Felipe Torrent.

I thought the split between the fun and the serious in Tiger Lawyer was really clever. What made you decide to go that route?

It wasn’t planned; it just kind of happened. It started as a joke. I posted the script online for the funny half and Matt McCray, the artist, really got into it and said we should make it into a comic. So we did it and it steamrolled from there. That was all unplanned. After that half of the comic was completed I decided I wanted to put out a full issue and not just an ashcan, and at the time I really wanted to work with Vic Malhotra, whose art I just love. So we paired up and took it in a different direction with the crime noir more serious half. Because it was so unplanned we didn’t feel that we had to do it all fun [like the first half] and we could just do whatever we wanted with it. It was just comics people kind of goofing off, jamming with it. It just kind of took off from there. People dug it so we kept doing it.

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Art by Brian Level.

How’d you get people to pay attention to Challenger Comics when it first started up?

It has (or had, I haven’t touched it in a while) a pretty small following, but the people who did follow it were really cool and excited about it. And I think a part of it was how everyone involved in Challenger Comics had already worked hard for years trying to “break in.” So each person that contributed kind of had their own equity in the sense that they all had people rooting for them and followers from their other work. And it can’t be understated how important social media is for creators just starting out. Twitter’s just been amazing about getting the word out and spreading links around and getting attention. So it was kind of a culmination of all those different things. And the first year that we did Challenger we put out just a ton of comics. I had several banked up from before the site had even launched, and in the first year we had over a dozen [on the site]. We hit the ground running, which is now kind of biting us in the butt because Challenger slowed down a lot. I think that’s partly because everyone involved is seeing bigger work. So it’s a lot harder for any of us to make a free short because we’re just so busy right now.

Yeah, I saw that like three people from Challenger Books have had books published Monkeybrain?

Yeah. Monkeybrain was really cool. We all kind of got on that Monkeybrain train this year and that was just a really interesting transition. And I’m even seeing now that a lot of people who were or are involved in Monkeybrain stuff are catapulting to other things like Mike Moreci, Ryan Lindsay and Paul Allor. They’re all getting big work now so I think i think Monkeybrain’s a logical next avenue for people putting all their work online and getting their work out there independently like with Challenger. But at the same time Monkeybrain has top names doing books there. Gabriel Hardman has Kinski and Joshua Williamson has Masks and Mobsters. The closest thing I can equate Monkeybrain to, and I use this comparison a lot with Challenger, is that it’s a really cool online convention for people really into making interesting comics their own way.

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Art by Fiona Staples.

D4VE is coming out from IDW as single issues, right?

Yeah, that starts in Mid-February.

Why the shift from graphic novels to single issues for a Monkeybrain book?

You know, I’m not entirely sure. I’m certainly very cool with it. I think when I first started talking with IDW we were talking under the assumption that it would go right to trade. I can’t speak for Alison [Type] or Chris [Roberson], who run Monkeybrain, or anyone at IDW but I think that D4VE has had some good feedback and I think people dig it. At least I hope that’s why they want to do it in singles. But yeah, I’m interested in seeing how it does in a different market. Although at the same time there’s not too much difference between putting out a book at Monkeybrain and putting out a book in print with the exception of page count. That’s something a little bit different in the case of D4VE because of its digital roots. Some issues run a couple pages short, some run over. So that’s really the only kind of logistical challenge, but yeah, I’m really excited to see how it all plays out.

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Art by Valentin Ramon.

How did you tackle the page count challenge?

Well, in the case of D4VE with IDW we’re doing a whole bunch of new backmatter, so every issue is going to have some really cool original stuff. I know Issue 1 has a couple pin ups but moving forward with Issues 2-5 there’s going to be a whole bunch of cool stuff that me and Valentin [Ramon, the artist] are working on right now. And we’re doing all-new covers as well. I think each issue is going to have 3-4 variants and Valentin did a whole row of covers that connect to each other. It’s pretty exciting

Do you worry if cheap digital will cannibalize the sales for the print version?

That’s a really good question. I have thought about that many times, and I honestly don’t really know what to expect because this is also my first book at a bigger publisher. It’s my first time solicited in previews and being in regular comic shops and being on the shelves and stuff like that. Up until now I’ve just been super indy swinging it on my own, so I’m really curious to see how it goes. I think we’re still in a period of feeling out digital comics and I think there’s still a really big audience that is print only and an audience that’s digital only. I’ve heard lots of people say that they’re excited to read D4VE but they’re print people so they’ll get it once a trade comes out. So I’m hoping that [the print version finds an audience]. But at the same time I’m really just happy to have anyone read it, whether it be on ComiXology or the print books. I hope they buy the print books because I want them to be successful and I just quit my day job so [laughs] I would like to keep some money and hopefully it snowballs into more work. But I’m kind of not worried too much about it. More than anything, I’m grateful to have anything out. It’ll be interesting.

CurbStomp_001_Robot6_Preview_4-625x947

Art by Devaki Neogi and Neil Lalonde.

How’d you land a miniseries at BOOM Studios?

That’s a good question. I think I’m still figuring that out [laughs] but BOOM is awesome I love BOOM very much and they have been really really good to me. I guess long story short was that I met BOOM at a convention a few years ago and just started talking to them and some of their peoples. I actually started out lettering for BOOM. I do a lot of lettering still, and that for me has been a really good way to meet people in the industry, get experience and talk to editors. I don’t want to say sneak in through the backdoor because there’s no such thing, but for me lettering stuff was a way to build a relationship with editors and other creators. So yeah, that’s more or less how it happened. I started out lettering RoboCop two years ago and they were really nice to give me work and I’ve just been pitching stuff to them for awhile now and they were really stoked about Curb Stomp. Now that’s coming out, I think, two weeks after D4VE.

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Art by Brian Level.

Curb Stomp seems to to be in a somewhat similar vein to Brothers James. Is that accurate?

I think in the sense that it’s not at all like D4VE or Tiger Lawyer you’re definitely on the right track. I think Brothers James is a little more of a genre book. I kind of hate using that term, but it’s really grindhousey pulpy. It knows what it is, it knows it’s in that cinematic, gritty world. I think that, if anything, Curb Stomp has a little more brightness to it. Which is really weird because Curb Stomp deals with more real social issues and there are a lot more messages in it than there were in Brothers James. And I think that Curb Stomp has a wider array of characters and different kinds of characters. That’s not at all to put down Brothers James because I love Brothers James. That was like my first passion project and I love what Brian and I have done with it; it was one of my favorite books to work on. But [Brothers James and Curb Stomp] are similar in that they’re really ultra violent but not in an offensive way, I hope. They’re more serious books and they’re more gritty. But Curb Stomp has a lot of humor and atmosphere and interesting and fun character stuff.

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Art by Toni Infante.

You mentioned the violence isn’t offensive in Curb Stomp and Brothers James. The violence in the Sons of Anarchy TV show is offensive to some people. How do you address that in the comic version? 

That’s a very good question. It’s very, very interesting writing Curb Stomp and Sons of Anarchy at the same time because in Curb Stomp there are a lot of my beliefs and a lot of real issues that we’re tackling. And not to fault Sons of Anarchy, but it knows what it is and it knows the kind of content that it has. So there are a lot of differences in how to approach Sons of Anarchy as opposed to Curb Stomp. Like, if I wrote the kind of violence in Sons of Anarchy that I write in Curb Stomp, it wouldn’t feel like Sons of Anarchy. But at the same time I think [Sons of Anarchy] is a modern book. It’s a really great show so there’s wiggle room there, but there’s a distinct difference in how to approach both of them. I’m about an issues into Sons and it’s been a really interesting experience. Although they’re both in the same wheelhouse as gang-related, violent, kind-of-thriller books they’re like apples and oranges in terms of what headspace I need to get into to write them.

Your career has been progressing at a steady clip. Have you been following any sort of game plan to get where you are now?

Oh, man. That’s a tough one. I think it’s very, very apt that you ask me this today, because I finally came to terms that I’m going to quit my day job in a few weeks. I’m at that point in my career when it’s really, really fucking terrifying. This is it and I’m either going to fail spectacularly or at best kind of keep my head above water. But I think the game plan… lettering’s helped out a lot, but it’s not something that you can rest on entirely, just hope writing gigs come out of it. Over the past six or seven years I’ve made a lot of sacrifices and just worked myself to the bone. That’s what you have to do; you have to work so much and for very little. You have to work and know that most of [what you’re working on] is not going to get published. You just have to kinda hope that you get good and nurture relationships. There are so many things that affect a career. There are so many different factors that go into getting a comic book series greenlit. I honestly don’t really know anything beyond that you just have to hustle. So that’s kinda what i’m going to keep doing. I’m not going to slow down now that I don’t have a day job. After taking the leap you just have to hustle ten times faster [laughs].

You can find Ryan Ferrier on Twitter and Tumblr. D4VE #1 just went on sale last week and Curb Stomp #1 comes out tomorrow 2/25. 

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36. Preview: Russian Olive to Red King by Kathryn Immonen and Stuart Immonen is gorgeous

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Kathryn and Stuart Immonen are of course well known for their stellar superhero work, but in their “spare time” they turn out some more personal work which though smalelr and quiter, has an even greater scope. 2010’s Moving Pictures was a thoughtful and tense exploration of the relationship between a museum curator in Nazi occupied France, and a German officer set against the backdrop of World War II’s art pillaging.

Now they’re back with the collection of Russian Olive to Red King a very long in the making story about a woman whose lover dies. It’s described as “a tortured love story” featuring “petroglyphs and plane crashes and bad dogs and angry people.”

After being promised for several years, AdHouse is publishing the book in May. And here’s a preview. As you can see, it looks amazing.

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Ordering info:

Russian Olive to Red King
by Kathryn Immonen and Stuart Immonen.
Published by AdHouse Books

When your lover may be dead, how long can you hold on to what remains? To whatever is left of you? A plane crash, a package, her dog, her voice. A notebook, his writer’s block, and heat-distorted summer memories of a search for Jumbo the Elephant and an absent father.

details:
176 4C pages
7 ” x 10.5″HC
$24.95 US funds
ISBN 978-1-935233-34-3
Shipping May 2015
Diamond Order Code: MAR15 0857





2 Comments on Preview: Russian Olive to Red King by Kathryn Immonen and Stuart Immonen is gorgeous, last added: 2/25/2015
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37. Rumor: Could Shazam get bumped up on WB’s release calendar?

black adam new 52

Shazam!, one of the 2019 entries in Warner Bros’ DC Cinematic Universe slate, has had a tentative date of April 5, 2019 attached to it for a few months now. It seemed like an awfully long time away to have Dwayne Johnson tied up into something that won’t see release for years.

While nothing has officially changed on that front, Johnson himself hinted to MTV that perhaps we may see Shazam! sooner than we think:

Well, you know, it may happen a little earlier than what has been predicted. The script is coming in, it’s great, the support from the studio has been great, and it’s just a great opportunity especially with Black Adam where you can take a guy who starts off as a bad guy, turns into an anti-hero, we can make him vicious, a little bit of winking charm.

Given that Superman v Batman: Dawn of Justice and Suicide Squad are both locked in, and Wonder Woman begins shooting this Fall, it’s doubtful that Shazam! can get moved up too far ahead. This goes doubly so for 2017 with both Wonder Woman and Justice League Part 1 headed for release that year. I wouldn’t be surprised to see Shazam! take over The Flash‘s spot in the 2018 schedule though. With not even a screenwriter announced for the latter as of yet, that might be the most likely development.

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38. Batman: Arkham Knight Gets Rated…

One of the year’s most anticipated games is the conclusion to Rocksteady’s epic Arkham trilogy, Batman: Arkham Knight. Today the ESRB announced the game has earned an “M” for mature rating. Previous entries Arkham Asylum and Arkham City both earned T for teen ratings. The news came as a surprise to game director Sefton Hill because it wasn’t the studio’s aim to make an M rated game.

In a statement from the company, the studio acknowledged that the rating would cause some younger players to miss out on the experience but ultimately the choice was made to avoid diluting the story Rocksteady wanted to tell. “It would have been wrong to water down the game and deliver a story we didn’t believe in to keep the game ‘mass market’ or enable it for more people. We feel that’s the wrong way to go about it. We said we love the story and we don’t want to jepoardize that.”

Both of the studios previous Batman titles were regarded as some of the generations best games. While the level of violence and language could have been seen as excessive for a conservative mass market, the games never jumped the lines that a Grand Theft Auto or Mortal Kombat did to get their M ratings.

One has to wonder and maybe get a little more excited for what we’ll see when the game releases on PS4 and Xbox One in June.

2 Comments on Batman: Arkham Knight Gets Rated…, last added: 2/24/2015
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39. Interview: JP Ahonen on drawing bears, Sing no Evil and the Finnish comics scene

by Alex Dueben

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Finnish cartoonist JP Ahonen made a splash last year with his energetic graphic novel Sing No Evil (co-written by KP Alare), about a rock band that has to struggle not only with rival musicians but a supernatural invasion of their home town. Originally published in Finland, Abrams brought out the English edition. Here he talks about making the book, sequel plans and what comics are like in his native land.

sing no evilI know you from your work in the “Flight” anthologies and I know you make weekly comics in Finland. Have you been interested in making longform comics?

When I first started doing comics, they were all longer stories. At the time I was interested in Jeff Smith’s “Bone” and so Sing No Evil felt like getting back to my roots and my own way of storytelling. I’ve never felt quite at home with doing weekly strips. I was given the opportunity to do one and I thought it would be really good practice and having the need to actually push something on a weekly basis and keep it going. It’s worked out really nicely. At first I tried doing the weekly stuff as this sort of basic one liner gag comic, but at some point I realized that I was allowed to do other stuff as well. It’s changed more into this weekly sitcom, in a way. There’s an ongoing storyline but the strips work as individual gags or scenes. When I collect the strips into a book I feel it reads a lot better. There’s more storytelling and more layers when you read them collected.

Those weekly strips of yours have a more traditional layout and in “See No Evil,” right from the beginning, you throw that out of the window.

I like to make good use of the medium. When it’s down to Earth–just people chatting or whatever–I feel the conversation should be easy to read and easy on the eye. For contrast when there’s a gig or an action scene, you’re free to go completely nuts. For me it’s something that feels natural and I hope it translates to the reader as well.

epilator

If the dialogue is the focus, you just use a grid.

The dialogue is one thing but I also want the reader to be able to focus on how the characters behave. Acting and directing and all that stuff is really important. One of my favorite scenes in the book is where Aksel sees a glimpse of Lily and his toes go like this. His body language shifts and I feel that keeping the same point of view so you can actually compare them side by side works the best, instead of spinning the camera all around, having closeups and have everything jumping around. That’s confusing and unnecessary.

Is the idea of making good use of the medium one reason you have a character like Bear, because there’s no real reason he’s an animal.

The other bands have animals as drummers as well.

True, but it’s not like there are a lot of animals in the book.

No. Bear is there firstly just for the sake of it. [laughs]

belfie

You like drawing bears?

Actually, no. [laughs] It was pretty difficult at the beginning, but I’ve gotten a lot better, I think. It also sets a baseline through the whole story that from the beginning the reader knows this is not really serious stuff and something unexpected might happen. I hope it works in that sense. Plus KP–my co-writer–and I are both guitarists and admire drummers. To us, they’re like animals. How can you use all your limbs and that choreography of knowing where everything is and keep up the tempo? There’s a symbolic value as well.

As you say, it’s a cue for when the story takes turns and becomes more fantastic, it’s not completely out of the blue.

There are other elements backing that up along the way. We were actually discussing it a lot with my Finnish editor but we all agreed that it works. On a second reading you can enjoy all the different clues and hints that you might have missed the first time. It also emphasizes the idea that the rival band’s leader notices that the pieces have been there all the time, but he hasn’t seen it. It depends, of course, on the reader whether you like it or not.

ikea2

The two of you spent a lot of time working out the structure?

Yes we’ve been really meticulous and anal about it. Especially me since, like I said, I really like to make good use of everything.

The more fantastic elements are something that wouldn’t fit in your weekly strips. If it was just a drummer and his girlfriend and the band, it could have fit there.

I missed doing action scenes, huge spreads and splash pages and really going crazy with the pacing and composition and trying out different techniques with the storytelling. Longer storylines might work in daily strips, but in the weeklies it’s difficult for the readers to keep track of what’s happening, what occurred last week and so forth. It just breaks up the pacing.

You mentioned before that you were working on a sequel. Had you always planned to do more than one book?

KP and I both felt there was more to this, so we kept some parts of the story back–but designed the first book as a standalone so it would work if only 15 people picked up the book and said, meh. [laughs] But I’m glad we get to do a sequel and hopefully other books as well.

sing_no_evil_2

How many books do you envision?

It’s either four or five books depending on how we’ll structure the material, but at this hour we have a synopsis for five books.

Do you want to say anything about the next book you’re working on?

What I can say is the band goes on tour and we venture more into Lily’s past. What we’d like to do is shed more light on each of the band members with each book. That’s why I want to keep it as five books.

There’s that scene where Lily had a very interesting response when Aksel asked her about her parents.

Yes. [laughs] That’s the direction we’re heading in.

sing_no_evil_3

Was it a challenge for you to draw the concert scenes and draw music?

I think the main challenge was making up my mind and trying to figure out which sort of approach would fit the best for each of the concert scenes. That’s what I gave a lot of thought to. The hardest part was trying to make up my mind in how to approach the concert scenes. When I had those locked down it was fairly easy–and super fun–to do the graphics and just go nuts with the layouts and energy.

Did you and KP actually write songs?

Yes. There are some lyrics that are borrowed from actual bands just to give the readers the opportunity to venture into what has inspired us and what the band’s sound might be like, but all Perkeros’s lyrics are mine.

You also translated the book from Finnish into English.

I hope it works. I got a lot of help from the Abrams staff and I think we found a way to rework all the Finnish puns. The Finnish version has a lot of wordplay with the terminology and the slang of music, brain chemistry and spells that’s been worked into the dialogue. I noticed that some of those just don’t translate. I got a lot of help and I hope we managed to get a text that is almost as rich as the original.

sing_no_evil_1

What is the Finnish market like? I know a lot of comics are published in Finnish.

Yes, it’s a small market. We’re only about six million people. There’s not the same kind of comics reading culture as in France, for example. The people who are making a living out of comics in Finland are the ones who have a daily strip which are then collected and then they have merchandize. Then there are guys like me who are somewhere in between. I hope I can continue making these so I don’t have to find other work.

It will be interesting to see what the reception is in, for example, Italy and Spain and Germany, where this has just come out. I feel like what I heard from my French publisher was that the feedback and the reviews have been good, but I think it’ll take a few more volumes to get our names out there. Let’s face it, we’re nobodies. [laughs] I understand we’re not your first choice in picking something up.

In Finland, is the model more Franco-Belgian albums or is it like Germany or Italy and places where it varies more.

It varies a lot. The majority is small press artsy stuff, I think. And then there’s a huge manga fanbase. I’m interested to see how that transposes later on and how that talent will transform into their own styles. Right now they’re copying their heroes, but some of it is mind-blowing. I’m really looking forward to that.

Who are the big artists in Finland that we should be reading?

The current best-seller is Pertti Jarla (http://fingerpori.org), who’s currently the biggest name in Finland, I guess. He works on “Fingerpori”, a daily strip that’s published almost in every newspaper of the country.

Tommi Musturi (http://boingbeing.wordpress.com) is versatile and very active in running his own publishing company Huuda Huuda (http://huudahuuda.com). He’s focused more on indie and small press stuff. There’s Ville Tietäväinen (http://linjamiehet.fi/villetietavainen/omatteoksetauthor/) whose insanely gorgeous graphic novel “Näkymättömät kädet” (Invisible Hands) tells about a Moroccan illegal immigrant that leaps over to Spain in search for work and money for his family. The story runs almost like a documentary, shedding light on the gruesome life of illegal aliens.

There are a lot of authors I expect big things from, including Tuuli Hypén, (http://www.tuulihypen.com) who’s been working on “Nanna”, a daily comic strip for years, and has now made her first children’s book. Her art is beautiful and I’m looking forward to what she has in store. Emmi Nieminen (http://mobile-emmi.tumblr.com) is super good, and her artwork is on par with all the pros I look up to. So far she’s been working on short stories, but I’m really expecting something big from her. Tea Tauriainen (http://madteaparty.sarjakuvablogit.com) is known for her trippy semi-autobiographical webcomics, which she’s collected in two volumes so far. I guess her random stories, quirky humor and crazy attitude just appeals to me.

So the comic books that are big tend to be collections of comic strips and not as many graphic novels?

It’s really a tough climate to do graphic novels. I feel that it’s also partly why there aren’t more Finnish books translated.

Yeah I’m not sure how well comic strip collections do well here, but we get almost none from abroad.

Yeah I’ve understood that there’s not a place for strips in France–and not much anymore here, either. I had to work double shifts in 2011 and take all the freelance gigs I could, just to get enough of a financial buffer–and by the time I got to “Sing No Evil” I was burned out. [laughs] It also ended up taking way more time than I had budgeted. It’s hard, but I hope that other Finnish artists get to do longer stories because I think their work is on par with the foreign market. It’s just a shame that only 800 people end up reading it.

You went to school at the University of Lapland, which is where you met KP, is that right?

Yeah, we both went to university there. I had something completely different in mind when I finished high school, though.

Is that up in the far North of the country?

You’d be surprised. It’s maybe halfway-ish. The Arctic Circle lies maybe ten kilometers from the city center. Even I was surprised when I was living there to look at the map and see, wow, the country goes on and on from here. I think it was a good thing that I ended up there instead of Helsinki. Pretty much all the other students came to that city from elsewhere as well so we ended up making a really tight bunch. We were really active in organizing events, parties, doing an anthology and so forth. It was like we were all in the same boat that floated somewhere in the tundra stuck in the ice. [laughs] I remember my first day meeting my fellow classmates and ending up in a bar together on a Monday. We hit it off. That was partly where the inspiration for my weekly comic strip came from. A lot of that was worked into that strip. It was a fun place.

 

1 Comments on Interview: JP Ahonen on drawing bears, Sing no Evil and the Finnish comics scene, last added: 2/25/2015
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40. Secret Wars Answers the Question “Zombies or Robots?”

Marvel’s buffet of Secret Wars tie-ins just got weird. That’s really saying something when you consider the already announced titles that will be revisiting the publisher’s history or spotlighting obscure characters. Today over on EW, Marvel announced a new series that sounds like it came from Axel Alonso playing with his action figures, Age of Ultron vs Marvel Zombies.

The series, debuting this June, is by the recent All-New Invaders team of James Robinson and Steve Pugh, and will feature one of that book’s stars, Jimm Hammond, the original Human Torch. Taking place on the No Man’s Land part of the patchwork Battleworld planet, Ultron vs Zombies will see how the area becomes a prison of sorts for misfit continuities and battle rule breakers. Robinson described the off-the-wall premise of the story as, “Ultron sees his world as the epitome of perfection and the Zombies are the antithesis of that, so no they don’t get along at all,” says Robinson. “They war for whatever humanity they can find, with Ultron wishing to either control it or kill it and the zombies wanting to eat it.  They’re definitely at war.”

It’s shaping up as though Battleworld will be a place with severe consequences for the losers. Age of Ultron vs Marvel Zombies could potentially be the most fun Secret Wars tie-in to read. Readers will get a book that feels like it has weight in the event while seeing repercussions that may get overlooked in the main line. The series is set to debut on June 3 and was announced as an ongoing title. Although as of late in the Marvel Universe, ongoing just means it’ll get more than six issues.

In addition to the cover, a three page preview was also shown and you can see it all below.

ULTRON-VS-ZOMBIES-COVER ULTRON-VS-ZOMBIES-01 ULTRON-VS-ZOMBIES-02 ULTRON-VS-ZOMBIES-03

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41. The Avengers: Age of Ultron poster, that’s a lot of characters!

Thanks to the film’s official Facebook page, here’s a look at the new poster for Avengers: Age of Ultron.

age of ultron poster

 

I admire the talent of the designer that was able to get all ten Avengers in there, including Paul Bettany‘s Vision up top.

That first Infinity War poster will look like a Where’s Wally/Waldo? book if this keeps up!

1 Comments on The Avengers: Age of Ultron poster, that’s a lot of characters!, last added: 2/24/2015
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42. Comics Portal Hiveworks announces 12 million users in January

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According to a news blast they just sent out, Hiveworks, a digital comics portal, had 12,000,000 users in January—last year it had a total of 65,000,000, so it’s on track for a lot of growth. But what kind of growth? According to their about page, “Hiveworks is a creator owned publisher and studio that helps webcomic and online media creators turn their creative endeavors into sustainable businesses. We serve as mentors and as a home for many comics.”

Atomic_Robo_Page.png

Basically it’s a portal where you can browse and buy digital editions of various webcomics. In January they started offering digital editions of the popular Atomic Robo comic (above), which helped out.

“Things have gone pretty great the last few years,” said CEO Joseph Stillwell in a statement, “While the online comic sector has proven rough for others I believe [the online comic sector] is moving into a much healthier position than it was when we started. Having such quality and diverse content allows us to help readers find more comics to read and enjoy. By marketing any one comic within the network we’re ultimately helping those new readers find other comics. Ultimately, we wind up with happier fans and happier creators.”

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Titles credited for helping with the rise in pageviews include Blindsprings, Stand Still. Stay Silent, Parallax. amd additions Atomic Robo (http://www.atomic-robo.com/), SMBC, Der-Shing.

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43. Who made the Oscars look so great? Designer Henry Hobson

guardians-of-the-galaxy-vfx.png

It’s not often you come away from an awards show thinking “Man those title cards were amazing!” but that’s exactly what I thought while watching the Oscars on Sunday. Everything about the graphics used to introduce the nominees was spot on — from the gorgeously curated objects used for the Production Design nominees to the lovely photos morphing into line drawings used for the in memoriam.

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I wasn’t alone in my admiration. And Deadline has a profile of the man behind it: commercial director and Oscar design vet Henry Hobson who is about to make his feature film directing debut. Hobson worked with a variety of talented producers and production houses to introduce a bracingly modern and startlingly stylish look too something that people see for literally five seconds.

Those title cards showing the 3D elements of the visual effects category? The makeup swipes that transformed the actors to their characters? The Best Picture montage from Birdman‘s silhouette fluttering away to the voting ballot from Selma that turned from white to black? It was Hobson, visual producer Lee Lodge and design/production house Elastic who brought it all to life. (How lucky is Maggie‘s financier Lotus Entertainment and its distribs Lionsgate and Roadside Attractions to be able to tap Hobson’s talent for the film’s marketing materials?)

Hobson is quick to give credit all around. “The charge from (producers) Craig (Zadan) and Neil (Meron) was to make each category stand out and as much as possible and not to rely on clips because the audience gets turned off after awhile,” he said. “This year, I wanted to mix it up a bit, so I worked with Elastic for the first time. We had 23 out of 24 categories this year, and we wanted to showcase the uniqueness of each event.” He worked closely with Jennifer Sofio Hall, a producer at Elastic.

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Hobson also worked with production designer Derek McLane with Hobson, Lodge and Elastic to recreate the Edmond Pettus bridge set where Common and John Legend sang “Glory,” which had almost everyone watching it in tears.

Here’s a video montage of Hobson’s designs for the title cards for the eight Best Picture nominees. Call it post Saul Bass/Milton Glaser.

Best Picture Oscar Nomination Title Sequence – 2015 from henry hobson directing & design on Vimeo.

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Hobson has gotten a ton of attention for his work, including a fascintating interview on Slate where he reveals he such an Alan turing fan that he had reserved alanturing.com back in the 90s.

Sadly I can’t find any large images of his title cards, but you can get an idea of his fusion of classic and modern design sensibilities.

Hobson’s first film, Maggie, starring Arnold Schwarzenegger and Abigail Breslin, comes out in the Spring. While the casting may make you think it’s a “Professional” riff, t’s an offbeat zombie story about a father who stays by the side of a girl who’s been infected. Pretty sure it will look amazing.

maggie-arnold-schwarzenegger-abigail-breslin.jpg

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44. DC Comics Month-to Month Sales: December 2014 – A Darwyn Cooke Overture

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By David Carter

Greetings, sales charts fans! It’s time once again to look at DC’s sales figures.

December was a good news/bad news month for DC. The good news is that they had the #1 comic for December (Batman) and they won the unit market share, based mostly on the fact that they pushed out a ton of product. (December was a five week month but most other publishers treated it like a four week month.) The bad news is that sales were down month-to-month across most of the DCU titles, both as a line average and on most of the individual titles as well. (The release of an issue of Sandman Overture kept the average of DC as a whole from going down.)

Looking at all of this month’s numbers after last month’s lends some credence to there having been some sort of small LEGO cover boost in November that is being corrected for in December’s numbers. Which seeing as (imho) the December Darwyn Cooke covers were much more interesting than the LEGO covers is a bit disappointing. But hey, LEGO is a known quantity to people outside of the comics club and retailers may have been banking on a few extra sales of the LEGO covers outside of their regular clientele. Or maybe I’m just imagining things in the data that aren’t really there.

Just before this column went to press, DC announced their post-Convergence plans for the DCU. (This is what I get for being so late this month!) I revised some of the entries below in light of the new information, but I’ll have much more to say about what it all means next month.

For the past couple of months I’ve been promising to talk about Vertigo.

Vertigo is in trouble. This should be obvious to even the casual observer. Aside from Sandman Overture, which is a limited series and is coming out rather sporadically, sales are not good. The top-selling non-Sandman title from Vertigo in December was the first issue of Wolf Moon at about 16K (which if it follows standard sales patterns will be down to half that in a month or two…) Fables (13K) and Fairest (10K) are ending soon, which will leave Astro City (12K) their best-selling ongoing title that comes out regularly. (American Vampire has been hovering around the 15K range, but has been coming out rather sporadically, with only two issues in the back half of 2014.) None of their recent launches are above 8K, and recently there have been several months where one or more Vertigo titles don’t break the top 300.

The problem seems to be that Vertigo has lost its purpose. Historically Vertigo served twin functions: As an imprint for “Mature Readers” versions of their corporate properties (Swamp Thing, Sandman, Animal Man, Doom Patrol, Hellblazer etc.); and as a place for creator-owned works (Fables, iZombie, etc.–where ‘creator-owned’ usually means something other than purely creator-owned depending on one’s contract).

With the advent of the New 52, the corporate properties were ‘reclaimed’ for the regular DCU. Swamp Thing, Constantine and Animal Man all made the switch. There has not been much success there; Animal Man was cancelled, Swamp Thing won’t survive the Convergence Purge, and Constantine is struggling.

As mentioned above Vertigo’s current slate of ‘creator-owned’ books are struggling. They have been unable to successfully launch anything for several years. They have had a hard time attracting high-profile talent to the imprint, as creators with books that look like traditional Vertigo-type books deciding to take them to other publishers, usually Image where the terms for creators are presumably better, especially in the area of other-media exploitation. Yes, Vertigo will pay a page rate while Image doesn’t, but if your comic is a success you’ll make more on the back-end at Image and they wont’ want a piece of any TV or movie deals. (Everyone wants to be the next Walking Dead.) So especially for established creators image now looks like the better deal.

Most telling is that recently creators traditionally associated with DC are taking their new creator-owned projects to Image, e.g. Scott Snyder & Jock with Wytches; and Grant Morrison & Chris Burnham with Nameless. Years ago these and other books (e.g. Saga) would have been very comfortable at Vertigo. Now Image is the place where top creators bring their works to see and be seen.

And before anyone starts talking trade sales: No. Aside from Sandman, Fables and maybe American Vampire, there’s no evidence that anything from Vertigo has been a strong seller in the trade collections arena for many a while. Not in the direct market nor in the bookstore market. Yes Sandman Overture will be a huge seller when it is eventually complete and collected; that will keep Vertigo afloat for quite some time. And Fables will likely be a decent backlist item for years to come. But historically we know that the best-sellers in trade are the same titles that sell well as individual issues, and there’s been very little of that at the imprint these days.

In fact, I’d say that Vertigo’s trade collection policy is working against them. At one point it likely made sense to release trade collections as soon as possible and to bargain price the first volume to entice new readers. But now? Why buy a story that’s obviously written for the trade as monthly $3 comics, when you know that said trade will be out the month after the story ends for a fraction of the cost? So if a reader sees a new Vertigo eerie stat they think they might be interested in, they’re likely to decide to wait for the trade; but when that trade finally comes out, they’ve either forgotten about it or lost interest.

So what is the remedy? I have no idea. DC’s corporate bosses at Warner see the comic company as a place to develop IP that they can exploit across other media. But that lies at odds with what I think that Vertigo needs to do to resurrect itself, which is to improve their creator-ownership terms to compete with Image.

One path forward may be to concentrate on anthologies. Vertigo has had some success as of late (creatively if not financially) with their Vertigo Quarterly series, certainly enough to go for a second year of that and also introduce a new Strange Sports Stories title. A reader can pick up an issue and not be concerned that they’re just getting a part of a long narrate written for a trade, encouraging sales of individual issues. Creators get an outlet for shorter works, a niche that isn’t being met elsewhere (outside of Dark Horse Presents and a few Kickstarter-funded anthologies). It can also be a way to bring new talent into the Vertigo fold, as an eight-page story is a lesser commitment than a limited or full series or an OGN.

But enough of my ramblingwhat do you think about the future of Vertigo?

Warning: The commentary below may contain reasoned analysis, speculation (unfounded and otherwise), opinion, and/or snark. Those looking for a more straightforward analysis are directed to John Jackson Miller’s excellent Comichron analysis, posted earlier this month right here at The Beat!

Please consider the fine print at the end of the column. Thanks to Milton Griepp and ICv2.com for the permission to use their figures. An overview of ICv2.com’s estimates can be found here.

(Note that the percentage comparisons are now done with total orders including reorder activity, as opposed to initial orders as was the practice of this column under the previous administration.)

1 - BATMAN ($3.99)

12/2004: Batman #635 — 60,898 [63,067]
12/2009: Batman #694 — 65,908
12/2010: Batman #705 — 63,262
12/2011: Batman #4 — 133,781 [144,777]
12/2012: Batman #15 — 151,568
——————————-
12/2013: Batman #26 — 119,443 (- 4.9%)
01/2014: Batman #27 — 115,492 (- 1.7%) [117,395]
02/2014: Batman #28 — 114,089 (- 1.3%) [115,891]
03/2014: Batman #29 — 116,926 (+ 0.9%)
04/2014: Batman #30 — 108,998 (- 6.8%)
05/2014: Batman #31 — 107,499 (+ 0.2%) [109,170]
06/2014: Batman #32 — 130,077 (+ 19.2%)
07/2014: Batman #33 — 117,996 (- 9.3%)
08/2014: Batman #34 — 112,186 (- 4.9%)
09/2014: Futures End #1 — 142,980 (+ 27.4%)
10/2014: Batman #35 — 118,860 (- 16.9%)
11/2014: Batman #36 — 115,183 (- 3.1%)
12/2014: Batman #37 — 113,255 (- 1.7%)
—————–
6 months: – 12.9%
1 year : – 5.2%
2 years : – 25.3%
5 years : + 71.8%
10 years: + 79.6%
Since #1: – 49.3%
























4 - BATMAN ANNUAL ($4.99)

04/2012: Batman Annual #1 — 101,394 [105,754]
07/2013: Batman Annual #2 — 101,726 (- 3.8%)
12/2014: Batman Annual #3 — 81,396 (- 20.0%)
—————–
Since #1: – 23.0%



Batman takes the #1 & #4 spots on the sales chart this month (split by Amazing Spider-Man and SHIELD) as interest in the “Endgame” story remains fairly strong

6 - JUSTICE LEAGUE ($3.99)

12/2004: JLA #109 — 63,791 [64,747]
12/2009: JL of America #40 — 68,672
12/2010: JL of America #52 — 48,501
12/2011: Justice League #4 — 149,314 [152,340]
12/2012: Justice League #15 — 115,074
—————————————
12/2013: Justice League #25 — 94,004 (- 4.6%)
12/2013: Justice League #26 — 90,592 (- 3.6%)
01/2014: Justice League #27 — 84,674 (- 6.5%)
02/2014: Justice League #28 — 80,901 (- 4.5%)
03/2014: —
04/2014: Justice League #29 — 78,912 (- 2.5%)
05/2014: Justice League #30 — 77,456 (- 1.8%)
06/2014: Justice League #31 — 75,803 (- 2.1%)
07/2014: Justice League #32 — 88,179 (+ 16.3%)
08/2014: —
09/2014: Justice League #33 — 79,447 (- 9.9%)
09/2014: Futures End #1 — 104,246 (+ 31.2%)
10/2014: Justice League #34 — 75,400 (- 27.7%)
10/2014: Justice League #35 — 75,264 (- 0.2%)
11/2014: Justice League #36 — 74,796 (- 0.6%)
12/2014: Justice League #37 — 72,081 (- 3.6%)
—————–
6 months: – 4.9%
1 year : – 21.9%
2 years : – 37.4%
5 years : + 5.0%
10 years: + 11.3%
Since #1: – 73.4%



























After a couple of issues of nearly imperceptible drops, Justice League returns to a standard attrition drop.

11 - HARLEY QUINN ($2.99)

12/2013: Harley Quinn #1 — 92,153 (- 10.8%) [120,312]
01/2014: Harley Quinn #2 — 66,363 (- 26.9%) [ 82,031]
02/2014: Harley Quinn #3 — 63,967 (- 18.6%) [ 72,820]
03/2014: Harley Quinn #4 — 63,120 (- 5.5%)
04/2014: Harley Quinn #5 — 63,155 (+ 0.1%)
05/2014: Harley Quinn #6 — 62,467 (- 1.1%)
06/2014: Harley Quinn #7 — 93,266 (+ 49.3%)
07/2014: Harley Quinn #8 — 76,827 (- 17.6%)
08/2014: Harley Quinn #9 — 71,522 (- 6.9%)
08/2014: Harley Quinn #10 — 58,500 (- 18.2%)
09/2014: Futures End #1 — 119,180 (+103.7%)
10/2014: Harley Quinn #11 — 68,557 (- 42.5%)
11/2014: Harley Quinn #12 — 71,245 (+ 3.9%)
12/2014: Harley Quinn #13 — 68,102 (- 4.4%)
—————–
6 months: – 27.0%
1 year : – 43.4%
Since #0: – 51.9%
















13 - HARLEY QUINN INVADES COMIC CON #1 ($4.99)

07/2014: Harley Quinn Comic Con #1 — 64,978
12/2014: Harley Quinn Holiday Sp #1 — 63,465 (- 2.3%)

The Holiday Special comes in pretty close to the mother title (and had a freely-orderable variant as well, though not drawn by Cooke).

16 - SANDMAN OVERTURE (Vertigo) ($3.99)

12/2013: —
01/2014: —
02/2014: —
03/2014: Sandman Overture #2 — 89,711 (- 14.9%) [91,839]
04/2014: —
05/2014: —
06/2014: —
07/2014: Sandman Overture #3 — 72,563 (- 21.0%)
08/2014: —
09/2014: —
10/2014: —
11/2014: —
12/2014: Sandman Overture #4 — 64,508 (- 11.1%)
—————–
Since #1: – 36.4%













Returnable, so the numbers are adjusted up by 10% from the estimates. (For why this is done for returnable comics, please see the fine print at the end of this column.) Probably a wise move to make #4 returnable to help somewhat soften the blow that the long delays between issues are no doubt inflicting.

Had the mini-series held to its original bi-monthly schedule, a hardcover collection would have been out in time for the 2014 holiday shopping season. Which would have been like printing money.

17 - ROBIN RISES OMEGA #1 ($4.99)

07/2014: Robin Rises Omega #1 — 60,488
08/2014: —
09/2014: —
10/2014: —
11/2014: —
12/2014: Robin Rises Alpha #1 — 57,990 (- 4.1%)




The concluding chapter (? – I’m not really following this…) comes in relatively close to the opening salvo, and a few thousand copies more than the parent title (Batman and Robin).

19 - DETECTIVE COMICS ($3.99)

12/2004: Detective Comics #801 — 42,775
12/2009: Detective Comics #860 — 52,295
12/2010: Detective Comics #872 — 37,961
12/2011: Detective Comics #4 — 99,366
12/2012: Detective Comics #15 — 106,395
—————————————–
12/2013: Detective Comics #26 — 56,538 (- 12.2%)
01/2014: Detective Comics #27 — 88,702 (+ 59.8%) [90,335]
02/2014: Detective Comics #28 — 56,619 (- 37.3%)
03/2014: Detective Comics #29 — 55,486 (- 2.0%)
04/2014: Detective Comics #30 — 56,149 (+ 1.2%)
05/2014: Detective Comics #31 — 54,518 (- 2.9%)
06/2014: Detective Comics #32 — 72,988 (+ 33.9%)
07/2014: Detective Comics #33 — 62,856 (- 13.9%)
08/2014: Detective Comics #34 — 58,812 (- 6.4%)
09/2014: Futures End #1 — 96,081 (+ 63.4%)
10/2014: Detective Comics #35 — 57,385 (- 40.3%)
11/2014: Detective Comics #36 — 58,171 (+ 1.4%)
12/2014: Detective Comics #37 — 54,953 (- 5.5%)
—————–
6 months: – 24.7%
1 year : – 2.8%
2 years : – 48.4%
5 years : + 5.1%
10 years: + 28.5%
Since #1: – 65.2%
























A bit high of a drop, especially since this is the return of the regular creative team, but that may be in part to a post-LEGO correction.

20 - BATMAN AND ROBIN ($2.99)

12/2009: —
12/2010: Batman and Robin #18 — 68,814
12/2011: Batman and Robin #4 — 76,000
12/2012: Batman and Robin #15 — 89,878
—————————————
12/2013: and Two-Face #26 — 46,611 (- 12.7%)
01/2014: and Two-Face #27 — 45,462 (- 2.5%)
02/2014: and Two-Face #28 — 43,380 (- 4.6%)
03/2014: and Aquaman #29 — 43,295 (- 0.2%)
04/2014: and Wonder Woman #30 — 44,832 (+ 3.6%)
05/2014: and Frankenstein #31 — 42,150 (- 6.0%)
06/2014: and Ra’s al Ghul #32 — 56,311 (+ 33.6%)
07/2014: Batman and Robin #33 — 56,269 (- 0.1%)
08/2014: Batman and Robin #34 — 53,403 (- 5.1%)
09/2014: Futures End #1 — 83,783 (+ 56.9%)
10/2014: Batman and Robin #35 — 54,616 (- 34.8%)
11/2014: Batman and Robin #36 — 55,289 (+ 1.2%)
12/2014: Batman and Robin #37 — 53,543 (- 3.2%)
—————-
6 months: – 4.9%
1 year : + 14.9%
2 years : – 40.4%
5 years : n.a.
Since #1: – 53.9%






















Batman and Robin has weathered the six month drop since the introduction of the freely-orderable variants better than most titles, which is a testament to the relative popularity of the “Robin Rises” storyline.

Apparently being relaunched as Robin, Son of Batman after convergence.

24 - SUPERMAN ($3.99)

12/2004: Superman #212 — 100,244 [103,545]
12/2009: Superman #695 — 32,482
12/2010: Superman #706 — 43,027
12/2011: Superman #4 — 76,532
12/2012: Superman #15 — 51,225
——————————
12/2013: Superman #26 — 36,877 (- 6.2%)
01/2014: Superman #27 — 35,266 (- 4.4%)
02/2014: Superman #28 — 34,296 (- 2.8%)
03/2014: Superman #29 — 33,633 (- 1.9%)
04/2014: Superman #30 — 37,316 (+ 11.0%)
05/2014: Superman #31 — 40,534 (+ 8.6%)
06/2014: Superman #32 — 89,140 (+155.4%) [103,508]
07/2014: Superman #33 — 62,998 (- 39.1%)
08/2014: Superman #34 — 56,568 (- 10.2%)
09/2014: Futures End #1 — 77,949 (+ 37.8%)
10/2014: Superman #35 — 53,692 (- 31.1%)
11/2014: Superman #36 — 52,272 (- 2.6%)
12/2014: Superman #37 — 50,383 (- 3.6%)
—————–
6 months: – 51.3%
1 year : + 36.6%
2 years : – 1.6%
5 years : + 55.1%
10 years: – 51.3%
Since #1: – 66.4%
























Standard attrition. Still above where a non-Johns/Romita Superman title would be selling, but probably less than DC would want it to be. Sales are down over 50% from their debut issue, which since there was a good deal of reorder activity for the debut that it seems that readers tried it but just didn’t respond with enthusiasm to the story they’re telling.

26, 27, 28, 29, 30 - BATMAN ETERNAL ($2.99)

04/2014: Batman Eternal #1 — 105,754 [110,916]
04/2014: Batman Eternal #2 — 84,566 (- 20.2%) [ 88,468]
04/2014: Batman Eternal #3 — 79,703 (- 4.8%) [ 84,183]
04/2014: Batman Eternal #4 — 78,009 (- 1.7%) [ 82,743]
05/2014: Batman Eternal #5 — 73,475 (- 11.2%)
05/2014: Batman Eternal #6 — 70,983 (- 3.4%)
05/2014: Batman Eternal #7 — 68,251 (- 3.8%)
05/2014: Batman Eternal #8 — 68,523 (+ 0.4%)
06/2014: Batman Eternal #9 — 68,295 (- 0.3%)
06/2014: Batman Eternal #10 — 67,203 (- 1.6%)
06/2014: Batman Eternal #11 — 65,770 (- 2.1%)
06/2014: Batman Eternal #12 — 65,374 (- 0.6%)
07/2014: Batman Eternal #13 — 63,828 (- 2.4%)
07/2014: Batman Eternal #14 — 63,138 (- 1.1%)
07/2014: Batman Eternal #15 — 62,137 (- 1.6%)
07/2014: Batman Eternal #16 — 61,149 (- 1.6%)
07/2014: Batman Eternal #17 — 60,013 (- 1.9%)
08/2014: Batman Eternal #18 — 58,998 (- 1.7%)
08/2014: Batman Eternal #19 — 58,368 (- 1.1%)
08/2014: Batman Eternal #20 — 57,906 (- 0.8%)
08/2014: Batman Eternal #21 — 57,525 (- 0.7%)
09/2014: Batman Eternal #22 — 56,793 (- 1.3%)
09/2014: Batman Eternal #23 — 56,152 (- 1.1%)
09/2014: Batman Eternal #24 — 56,002 (- 0.3%)
09/2014: Batman Eternal #25 — 55,662 (- 0.6%)
10/2014: Batman Eternal #26 — 54,199 (- 2.6%)
10/2014: Batman Eternal #27 — 53,511 (- 1.3%)
10/2014: Batman Eternal #28 — 52,918 (- 1.1%)
10/2014: Batman Eternal #29 — 52,284 (- 1.2%)
10/2014: Batman Eternal #30 — 52,438 (+ 0.3%)
11/2014: Batman Eternal #31 — 51,133 (- 2.5%)
11/2014: Batman Eternal #32 — 50,709 (- 0.8%)
11/2014: Batman Eternal #33 — 50,230 (- 0.9%)
11/2014: Batman Eternal #34 — 49,748 (- 1.0%)
12/2014: Batman Eternal #35 — 48,999 (- 1.5%)
12/2014: Batman Eternal #36 — 48,683 (- 0.6%)
12/2014: Batman Eternal #37 — 48,083 (- 1.2%)
12/2014: Batman Eternal #38 — 48,035 (- 0.1%)
12/2014: Batman Eternal #39 — 47,782 (- 0.5%)
—————–
6 months: – 27.5%
Since #1: – 56.9%








































Business as usual for DC’s best-selling weekly. Five issues for the five weeks in December. Ends with #52 on April 1.

31 - THE MULTIVERSITY ($4.99)

08/2014: The Multiversity #1 — 90,551
09/2014: SoS-H: CotC-W #1 — 65,022 (- 28.2%)
10/2014: The Just #1 — 53,301 (- 18.0%)
11/2014: Pax Americana #1 — 51,490 (- 3.4%)
12/2014: Thunderworld #1 — 47,714 (- 7.3%)
—————–
Since #1: – 47.3%





Sales for Thunderworld slide below the 50K mark.

33 - BATGIRL ($2.99)

12/2004: Batgirl #59 — 31,028 [32,423]
12/2009: Batgirl #5 — 32,482
12/2010: Batgirl #16 — 25,225
12/2011: Batgirl #4 — 59,972
12/2012: Batgirl #15 — 75,341
———————————-
12/2013: Batgirl #26 — 34,885 (- 14.4%)
01/2014: Batgirl #27 — 37,226 (+ 6.7%)
02/2014: Batgirl #28 — 34,567 (- 7.1%)
03/2014: Batgirl #29 — 33,223 (- 3.9%)
04/2014: Batgirl #30 — 32,698 (- 1.6%)
05/2014: Batgirl #31 — 31,522 (- 3.6%)
06/2014: Batgirl #32 — 47,304 (+ 50.1%)
07/2014: Batgirl #33 — 37,186 (- 21.4%)
08/2014: Batgirl #34 — 34,590 (- 7.0%)
09/2014: Futures End #1 — 67,933 (+ 96.4%)
10/2014: Batgirl #35 — 62,644 (- 7.8%)
11/2014: Batgirl #36 — 50,247 (- 19.8%)
12/2014: Batgirl #37 — 45,060 (- 10.3%)
—————–
6 months: – 4.7%
1 year : + 29.2%
2 years : – 40.2%
5 years : + 38.7%
10 years: + 39.0%
Since #1: – 57.9%
























A 10% is exactly in line with what one would expect for a third issue.

34 - BATMAN/SUPERMAN ($3.99)

12/2004: Superman/Batman #15 — 119,926 [123,273]
12/2004: Superman/Batman #16 — 115,657 [120,927]
12/2009: Superman/Batman #67 — 49,650
12/2010: Superman/Batman #79 — 30,586
—————————————
12/2013: Batman/Superman #6 — 68,857 (- 10.8%)
01/2014: Batman/Superman #7 — 61,074 (- 11.3%)
02/2014: Batman/Superman #8 — 59,138 (- 3.2%)
03/2014: —
04/2014: Batman/Superman #9 — 56,223 (- 4.9%)
05/2014: Batman/Superman #10 — 54,844 (- 4.9%)
05/2014: Batman/Superman #11 — 53,504 (- 4.9%)
06/2014: —
07/2014: Batman/Superman #12 — 68,345 (+ 27.7%)
08/2014: Batman/Superman #13 — 55,954 (- 18.1%)
09/2014: Futures End #1 — 87,339 (+ 56.1%)
10/2014: Batman/Superman #14 — 52,270 (- 40.2%)
10/2014: Batman/Superman #15 — 50,226 (- 3.9%)
11/2014: Batman/Superman #16 — 48,581 (- 3.3%)
12/2014: Batman/Superman #17 — 44,714 (- 8.0%)
—————–
6 months: n.a.
1 year : – 35.1%
5 years : – 9.9%
10 years: – 63.4%
Since #1: – 70.4%
























That’s an unusually high percentage drop in the middle of a storyline for no apparent reason.

36 - SECRET SIX ($2.99)

12/2009: Secret Six #16 — 22,638
12/2010: Secret Six #28 — 19,587
—————————————
08/2011: Secret Six #36 — 19,104


12/2014: Secret Six #1 — 44,065 (+130.7%)
—————–
5 years : + 94.7%







The good news: The return of Secret Six debuts at a level more than twice where the pre-New 52 version ended, and even higher than where that previous series debuted. It also debuts higher than the recent Gotham by Gaslight; much higher than headed-for-quick-cancellation titles Infinity Man, Trinity of Sin and Star-Spangled War Stories; and about on par with Gotham Academy.

The bad news: Issue #1 came out on December 3, but issue #2 has been delayed so that (as of this writing) it isn’t due out until February 11. That’s more than a two month gap for a comic that is supposed to be monthly, and a bad sign coming out of the gate. It could kill any momentum and have an adverse effect down the line.

38 - GREEN LANTERN ($2.99)

12/2004: GL: Rebirth #3 — 106,523 [126,654]
12/2009: Green Lantern #49 — 97,285
12/2010: Green Lantern #60 — 76,360
12/2011: Green Lantern #4 — 104,199
12/2012: Green Lantern #15 — 74,363
————————————–
12/2013: Green Lantern #26 — 51,420 (- 5.0%)
01/2014: Green Lantern #27 — 48,831 (- 5.0%)
02/2014: GL/Red Lanterns#28 — 49,200 (+ 5.6%) [51,548]
03/2014: Green Lantern #29 — 45,797 (- 11.2%)
04/2014: Green Lantern #30 — 44,483 (- 2.9%)
05/2014: Green Lantern #31 — 43,769 (- 1.6%)
06/2014: Green Lantern #32 — 56,315 (+ 28.7%)
07/2014: Green Lantern #33 — 47,279 (- 16.0%)
08/2014: Green Lantern #34 — 43,846 (- 7.3%)
09/2014: Futures End #1 — 77,372 (+ 76.5%)
10/2014: Green Lantern #35 — 45,893 (- 40.7%)
11/2014: Green Lantern #36 — 46,157 (+ 0.6%)
12/2014: Green Lantern #37 — 44,033 (- 4.6%)
—————–
6 months: – 21.8%
1 year : – 14.4%
2 years : – 40.8%
5 years : – 54.7%
10 years: – 65.2%
Since #1: – 74.0%
























Sales take a bit of a dip for the final month of the line-wide crossover.

42 - WONDER WOMAN ($2.99)

12/2004: Wonder Woman #211 — 24,828
12/2009: Wonder Woman #39 — 26,152
12/2010: Wonder Woman #605 — 35,495
12/2011: Wonder Woman #4 — 57,675
12/2012: Wonder Woman #15 — 41,641
————————————-
12/2013: Wonder Woman #26 — 32,773 (- 2.3%)
01/2014: Wonder Woman #27 — 32,035 (- 2.3%)
02/2014: Wonder Woman #28 — 31,464 (- 1.8%)
03/2014: Wonder Woman #29 — 30,989 (- 1.5%)
04/2014: Wonder Woman #30 — 31,094 (+ 0.3%)
05/2014: Wonder Woman #31 — 30,655 (- 1.4%)
06/2014: Wonder Woman #32 — 48,235 (+ 57.3%)
07/2014: Wonder Woman #33 — 37,431 (- 22.4%)
08/2014: —
09/2014: Futures End #1 — 69,497 (+ 85.7%)
10/2014: Wonder Woman #34 — 35,774 (- 48.5%)
10/2014: Wonder Woman #35 — 35,968 (+ 0.5%)
11/2014: Wonder Woman #36 — 58,965 (+ 63.9%)
12/2014: Wonder Woman #37 — 43,066 (- 27.0%)
—————–
6 months: – 10.7%
1 year : + 31.4%
2 years : + 3.4%
5 years : + 64.7%
10 years: + 73.5%
Since #1: – 55.1%

























The second issue for the new creative team sees a very typical second issue drop.

43 - GRAYSON ($2.99)

12/2004: Nightwing #100 — 40,022
12/2011: Nightwing #4 — 57,409
12/2012: Nightwing #15 — 74,407
——————————
12/2013: Nightwing #26 — 38,452 (- 12.7%)
01/2014: Nightwing #27 — 38,325 (- 0.3%)
02/2014: Nightwing #28 — 36,940 (- 3.6%)
03/2014: Nightwing #29 — 36,814 (- 0.3%)
04/2014: —
05/2014: Nightwing #30 — 43,923 (+ 19.3%)
06/2014: —
07/2014: Grayson #1 — 81,433 (+ 85.4%)
08/2014: Grayson #2 — 56,486 (- 30.6%)
09/2014: Futures End #1 — 76,551 (+ 52.7%)
10/2014: Grayson #3 — 52,849 (- 31.0%)
11/2014: Grayson #4 — 47,590 (- 10.0%)
12/2014: Grayson #5 — 42,611 (- 10.5%)
—————–
6 months: n.a.
1 year : + 10.8%
2 years : – 42.7%
10 years: + 6.5%
Since #1: – 47.7%





















A ten percent drop is a bit on the high side for this point in a series. It’s looking more and more like Grayson will end up leveling off in the same area that its predecessor (Nightwing) did, in the upper thirties/low forties range.

45 - SUPERMAN/WONDER WOMAN ($3.99)

12/2013: Superman/Wonder Woman #3 — 51,357 (- 14.7%)
01/2014: Superman/Wonder Woman #4 — 47,350 (- 7.8%)
02/2014: Superman/Wonder Woman #5 — 44,847 (- 5.3%)
03/2014: Superman/Wonder Woman #6 — 43,308 (- 3.4%)
04/2014: Superman/Wonder Woman #7 — 45,157 (+ 4.3%)
05/2014: Superman/Wonder Woman #8 — 47,803 (+ 5.9%)
06/2014: Superman/Wonder Woman #9 — 62,659 (+ 31.1%)
07/2014: Superman/Wonder Woman #10 — 50,254 (- 19.8%)
08/2014: Superman/Wonder Woman #11 — 50,550 (+ 0.6%)
09/2014: Futures End #1 — 77,169 (+ 52.7%)
10/2014: Superman/Wonder Woman #12 — 47,885 (- 37.9%)
11/2014: Superman/Wonder Woman #13 — 44,013 (- 8.1%)
12/2014: Superman/Wonder Woman #14 — 41,231 (- 6.3%)
—————–
6 months: – 34.2%
1 year : – 19.7%
Since #1: – 56.5%















49 - ACTION COMICS ($3.99)

12/2004: Action Comics #822 — 38,110
12/2009: Action Comics #884 — 31,873
12/2010: Action Comics #896 — 32,357
12/2011: Action Comics #4 — 112,839
12/2012: Action Comics #15 — 61,298
————————————–
12/2013: Action Comics #26 — 37,489 (- 19.5%)
01/2014: Action Comics #27 — 36,042 (- 3.9%)
02/2014: Action Comics #28 — 35,305 (- 2.0%)
03/2014: Action Comics #29 — 34,231 (- 3.0%)
04/2014: Action Comics #30 — 37,809 (+ 10.5%)
05/2014: Action Comics #31 — 41,081 (+ 8.7%)
06/2014: Action Comics #32 — 55,400 (+ 34.9%)
07/2014: Action Comics #33 — 49,457 (- 10.7%)
08/2014: Action Comics #34 — 46,746 (- 5.5%)
09/2014: Futures End #1 — 74,497 (+ 59.4%)
10/2014: Action Comics #35 — 45,152 (- 39.4%)
11/2014: Action Comics #36 — 41,835 (- 7.3%)
12/2014: Action Comics #37 — 39,168 (- 6.4%)
—————–
6 months: – 29.3%
1 year : + 4.5%
2 years : – 36.1%
5 years : + 22.9%
10 years: + 2.8%
Since #1: – 80.5%
























Two titles with similar percentage drops, still looking for their post-“Doomed” levels.

52 - FLASH ($2.99)

12/2004: —
12/2009: —
12/2010: Flash #7 — 56,304
12/2010: Flash #8 — 53,975
12/2011: Flash #4 — 77,336
12/2012: Flash #15 — 45,925
———————————–
12/2013: Flash #26 — 36,601 (- 12.5%)
01/2014: Flash #27 — 34,902 (- 4.6%)
02/2014: Flash #28 — 33,853 (- 3.0%)
03/2014: Flash #29 — 33,241 (- 1.8%)
04/2014: Flash #30 — 33,300 (+ 5.8%) [35,157]
05/2014: Flash #31 — 34,240 (- 2.6%)
06/2014: Flash #32 — 47,188 (+ 37.8%)
07/2014: Flash #33 — 39,669 (- 15.9%)
08/2014: Flash #34 — 37,109 (- 6.5%)
09/2014: Futures End #1 — 70,368 (+ 89.6%)
10/2014: Flash #35 — 37,484 (- 46.7%)
11/2014: Flash #36 — 38,145 (+ 1.8%)
12/2014: Flash #37 — 37,026 (- 2.9%)
—————–
6 months: – 21.5%
1 year : + 1.2%
2 years : – 19.4%
5 years : n.a.
10 years: n.a.
Since #1: – 75.0%

























Back to standard attrition.

59 - GREEN LANTERN ANNUAL ($4.99)

08/2012: Green Lantern Ann. #1 — 67,648
10/2013: Green Lantern Ann. #2 — 47,861 (- 29.2%)
12/2014: Green Lantern Ann. #3 — 34,278 (- 28.4%)
—————–
Since #1: – 49.3%



The finale of “Godhead” comes in under the parent title but above the other entries in the line-wide crossover.

60 - TEEN TITANS ($2.99)

12/2004: Teen Titans #19 — 62,585 [66,290]
12/2009: Teen Titans #78 — 43,400
12/2010: Teen Titans #90 — 25,997
12/2011: Teen Titans #4 — 54,929
12/2012: Teen Titans #15 — 68,707
———————————–
12/2013: Teen Titans #26 — 29,149 (- 10.0%)
01/2014: Teen Titans #27 — 27,558 (- 5.5%)
02/2014: Teen Titans #28 — 26,732 (- 3.0%)
03/2014: Teen Titans #29 — 25,969 (- 2.9%)
04/2014: Teen Titans #30 — 25,709 (- 1.0%)
05/2014: —
06/2014: —
07/2014: Teen Titans #1 — 52,358 (+103.7%)
08/2014: Teen Titans #2 — 40,687 (- 22.3%)
09/2014: Futures End #1 — 62,915 (+ 54.6%)
10/2014: Teen Titans #3 — 39,198 (- 37.7%)
11/2014: Teen Titans #4 — 36,364 (- 7.2%)
12/2014: Teen Titans #5 — 34,101 (- 6.2%)
—————–
6 months: n.a.
1 year : + 17.0%
2 years : – 50.4%
5 years : – 21.4%
10 years: – 48.6%
Since #1: – 34.9%
























Still looking for its level in the relaunched version.

61 - DEATHSTROKE ($2.99)

12/2011: Deathstroke #4 — 26,367
12/2012: Deathstroke #15 — 13,528
—————————————-
10/2014: Deathstroke #1 — 54,059 (+359.4%)
11/2014: Deathstroke #2 — 36,356 (- 32.7%)
12/2014: Deathstroke #3 — 34,010 (- 6.5%)
—————–
2 years : +151.4%
Since #1: – 37.1%







After last month’s slightly-higher-than-normal second issue drop, this month sees a slightly-lower-than-normal third issue drop. So I guess it all balances out then. Issue #3 of the previous series sold 33,754.

Also of note is that DC shipped a second printing of #1 in early February, so there’s still stronger than expected demand in some quarters.

62, 75 - SINESTRO ($2.99)

04/2014: Sinestro #1 — 46,480
05/2014: Sinestro #2 — 34,640 (- 25.5%)
06/2014: Sinestro #3 — 30,422 (- 12.2%)
07/2014: Sinestro #4 — 28,095 (- 7.6%)
08/2014: Sinestro #5 — 26,867 (- 4.4%)
09/2014: Futures End #1 — 60,761 (+126.2%)
10/2014: Sinestro #6 — 33,621 (- 44.7%)
11/2014: —
12/2014: Sinestro #7 — 33,549 (- 0.2%)
12/2014: Sinestro #8 — 31,509 (- 6.1%)
—————–
6 months: + 6.9%
Since #1: – 32.2%











Two issues in December as #7 slipped from November. Both were “Godhead” crossovers, but #7 had a LEGO variant while #8 had a Cooke variant.

65, 66, 71, 70, 73 - THE NEW 52  FUTURES END ($2.99)

05/2014: Futures End #0 — ??????
05/2014: Futures End #1 — 77,867
05/2014: Futures End #2 — 62,862 (- 19.3%)
05/2014: Futures End #3 — 59,148 (- 5.9%)
05/2014: Futures End #4 — 58,496 (- 1.1%)
06/2014: Futures End #5 — 53,645 (- 8.3%)
06/2014: Futures End #6 — 51,543 (- 3.9%)
06/2014: Futures End #7 — 50,266 (- 2.5%)
06/2014: Futures End #8 — 49,138 (- 2.2%)
07/2014: Futures End #9 — 52,083 (+ 6.0%)
07/2014: Futures End #10 — 46,001 (- 11.7%)
07/2014: Futures End #11 — 45,222 (- 1.7%)
07/2014: Futures End #12 — 43,228 (- 4.4%)
07/2014: Futures End #13 — 42,803 (- 1.0%)
08/2014: Futures End #14 — 41,185 (- 3.8%)
08/2014: Futures End #15 — 40,541 (- 1.6%)
08/2014: Futures End #16 — 40,077 (- 1.1%)
08/2014: Futures End #17 — 39,750 (- 0.8%)
09/2014: Futures End #18 — 38,778 (- 2.4%)
09/2014: Futures End #19 — 38,377 (- 1.0%)
09/2014: Futures End #20 — 37,990 (- 1.0%)
09/2014: Futures End #21 — 37,861 (- 0.3%)
10/2014: Futures End #22 — 36,468 (- 3.7%)
10/2014: Futures End #23 — 36,120 (- 1.0%)
10/2014: Futures End #24 — 35,937 (- 0.5%)
10/2014: Futures End #25 — 35,585 (- 1.0%)
10/2014: Futures End #26 — 35,452 (- 0.4%)
11/2014: Futures End #27 — 34,692 (- 2.1%)
11/2014: Futures End #28 — 34,601 (- 0.3%)
11/2014: Futures End #29 — 34,202 (- 1.2%)
11/2014: Futures End #30 — 33,942 (- 0.8%)
12/2014: Futures End #31 — 33,025 (- 2.7%)
12/2014: Futures End #32 — 32,878 (- 0.4%)
12/2014: Futures End #33 — 32,409 (- 1.4%)
12/2014: Futures End #34 — 32,414 (+ 0.0%)
12/2014: Futures End #35 — 32,233 (- 0.6%)
—————–
6 months: – 36.3%
Since #1: – 58.6%





































The only odd thing here are the five more copies that #34 registered over #33.

68 - GREEN LANTERN CORPS ($2.99)

12/2009: Green Lantern Corps #43 — 77,774
12/2010: Green Lantern Corps #55 — 54,387
12/2011: Green Lantern Corps #4 — 57,180
12/2012: Green Lantern Corps #15 — 47,841
——————————————
12/2013: Green Lantern Corps #26 — 32,797 (- 14.5%)
01/2014: Green Lantern Corps #27 — 31,447 (- 4.1%)
02/2014: Green Lantern Corps #28 — 29,142 (- 7.3%)
03/2014: Green Lantern Corps #29 — 27,754 (- 4.8%)
04/2014: Green Lantern Corps #30 — 26,640 (- 4.0%)
05/2014: Green Lantern Corps #31 — 28,449 (+ 6.8%)
06/2014: Green Lantern Corps #32 — 40,734 (+ 43.2%)
07/2014: Green Lantern Corps #33 — 32,877 (- 19.3%)
08/2014: Green Lantern Corps #34 — 29,471 (- 10.4%)
09/2014: Futures End #1 — 58,325 (+ 97.9%)
10/2014: Green Lantern Corps #35 — 34,222 (- 41.3%)
11/2014: Green Lantern Corps #36 — 34,109 (- 0.3%)
12/2014: Green Lantern Corps #37 — 32,860 (- 3.7%)
—————-
6 months: – 19.3%
1 year : + 0.2%
2 years : – 31.3%
5 years : – 57.7%
Since #1: – 64.0%






















Its final “Godhead” crossover issue. Final issue will be #40 in March.

69 - NEW SUICIDE SQUAD ($2.99)

12/2011: Suicide Squad #4 — 34,550
12/2012: Suicide Squad #15 — 57,132
—————————————–
12/2013: Suicide Squad #26 — 25,346 (- 6.4%)
01/2014: Suicide Squad #27 — 24,175 (- 4.6%)
02/2014: Suicide Squad #28 — 22,882 (- 5.3%)
03/2014: Suicide Squad #29 — 22,162 (- 3.1%)
04/2014: —
05/2014: Suicide Squad #30 — 22,063 (- 0.4%)
06/2014: —
07/2014: New Suicide Squad #1 — 49,260 (+123.3%)
08/2014: New Suicide Squad #2 — 38,477 (- 21.9%)
09/2014: Futures End #1 — 73,599 (+ 91.3%)
10/2014: New Suicide Squad #3 — 39,498 (- 46.3%)
11/2014: New Suicide Squad #4 — 34,920 (- 11.6%)
12/2014: New Suicide Squad #5 — 32,834 (- 6.0%)
—————–
6 months: n.a.
1 year : + 29.5%
2 years : – 42.5%
Since #1: – 33.3%



















Sill looking for its relaunch level, which will likely be in the 30K range. Issue #5 of the previous series sold 32,726.

72 - GRAYSON ANNUAL ($4.99)

10/2013: Nightwing Annual #1 — 36,108
12/2014: Grayson Annual #1 — 32,251 (- 10.7%)

The annual comes in a full 10K less than the parent title.

74 - JUSTICE LEAGUE UNITED ($3.99)

04/2014: Justice League United #0 — 68,431
05/2014: Justice League United #1 — 64,209 (- 6.2%)
06/2014: Justice League United #2 — 62,928 (- 2.0%)
07/2014: Justice League United #3 — 47,919 (- 23.9%)
08/2014: Justice League United #4 — 42,504 (- 11.3%)
09/2014: Futures End #1 — 72,839 (+ 71.4%)
10/2014: Justice League United #5 — 38,066 (- 47.7%)
11/2014: Justice League United #6 — 34,610 (- 9.1%)
12/2014: Justice League United #7 — 31,904 (- 7.8%)
—————–
6 months: – 49.3%
Since #0: – 53.4%










Still dropping at higher than the standard attrition rate. Maybe having its second arc guest-star the Legion of Super-Heroes wasn’t such a great idea; as much as I personally love the Legion, the concept seems to be poison to the New 52.

79 - AQUAMAN ($2.99)

12/2004: Aquaman #25 — 21,107
12/2011: Aquaman #4 — 64,961
12/2012: Aquaman #15 — 75,947
——————————
12/2013: Aquaman #26 — 38,841 (- 5.9%)
01/2014: Aquaman #27 — 36,610 (- 5.7%)
02/2014: Aquaman #28 — 34,939 (- 4.6%)
03/2014: Aquaman #29 — 33,907 (- 3.0%)
04/2014: Aquaman #30 — 32,859 (- 3.1%)
05/2014: Aquaman #31 — 32,076 (- 2.4%)
06/2014: Aquaman #32 — 44,853 (+ 39.8%)
07/2014: Aquaman #33 — 36,140 (- 19.4%)
08/2014: Aquaman #34 — 33,380 (- 7.6%)
09/2014: Futures End #1 — 65,212 (+ 95.4%)
10/2014: Aquaman #35 — 32,238 (- 50.6%)
11/2014: Aquaman #36 — 32,838 (+ 1.9%)
12/2014: Aquaman #37 — 31,198 (- 5.0%)
—————–
6 months: – 30.4%
1 year : – 19.7%
2 years : – 58.9%
10 years: + 47.8%
Since #1: – 71.3%





















A post-LEGO variant correction.

81 - EARTH 2 ($2.99)

12/2012: Earth 2 #7 — 54,409
——————————
12/2013: Earth 2 #18 — 37,130 (- 6.8%)
01/2014: Earth 2 #19 — 36,103 (- 2.8%)
02/2014: Earth 2 #20 — 35,732 (- 1.0%)
03/2014: Earth 2 #21 — 35,295 (- 1.2%)
04/2014: Earth 2 #22 — 34,970 (- 0.9%)
05/2014: Earth 2 #23 — 34,531 (- 1.3%)
06/2014: Earth 2 #24 — 47,277 (+ 36.9%)
07/2014: Earth 2 #25 — 39,726 (- 16.0%)
08/2014: Earth 2 #26 — 37,396 (- 5.9%)
09/2014: Futures End #1 — 65,212 (+ 73.7%)
10/2014: Earth 2 #27 — 37,925 (- 41.6%)
11/2014: Earth 2 #28 — 31,722 (- 16.4%)
12/2014: Earth 2 #29 — 30,273 (- 4.6%)
—————-
6 months: – 36.0%
1 year : – 18.5%
2 years : – 44.4%
Since #1: – 70.5%


















Relaunching post-Convergence as Earth 2: Society.

98, 104, 106, 107, 109 - EARTH 2 - WORLD'S END ($2.99)

10/2014: E2 World’s End #1 — 48,249
10/2014: E2 World’s End #2 — 40,190 (- 16.7%)
10/2014: E2 World’s End #3 — 38,496 (- 4.2%)
10/2014: E2 World’s End #4 — 37,874 (- 1.6%)
11/2014: E2 World’s End #5 — 36,395 (- 3.9%)
11/2014: E2 World’s End #6 — 31,248 (- 14.1%)
11/2014: E2 World’s End #7 — 30,378 (- 2.8%)
11/2014: E2 World’s End #8 — 29,636 (- 2.4%)
12/2014: E2 World’s End #9 — 28,204 (- 4.8%)
12/2014: E2 World’s End #10 — 27,893 (- 1.1%)
12/2014: E2 World’s End #11 — 27,297 (- 2.1%)
12/2014: E2 World’s End #12 — 27,256 (- 0.1%)
12/2014: E2 World’s End #13 — 26,942 (- 1.2%)
—————-
Since #1: – 44.2%













Returnable, so the numbers are adjusted up by 10% from the estimates. (For why this is done for returnable comics, please see the fine print at the end of this column.)

87 - ARKHAM MANOR ($2.99)

10/2014: Arkham Manor #1 — 45,922
11/2014: Arkham Manor #2 — 30,907 (- 32.7%)
12/2014: Arkham Manor #3 — 28,202 (- 8.8%)
—————-
Since #1: – 38.6%



A slightly better than normal third issue drop. Ends in March.

89 - GOTHAM BY MIDNIGHT ($2.99)

11/2014: Gotham by Midnight #1 — 38,436
12/2014: Gotham by Midnight #2 — 27,849 (- 27.5%)

On the low end of a typical second issue drop.

94 - GOTHAM ACADEMY ($2.99)

10/2014: Gotham Academy #1 — 43,338
11/2014: Gotham Academy #2 — 31,110 (- 28.2%)
12/2014: Gotham Academy #3 — 26,509 (- 14.8%)
—————-
Since #1: – 38.8%



All three of these tertiary Batman spin-offs clustering together indicates a certain level of Gotham fatigue. Despite the fact that these are three very different titles, there doesn’t seem to be much differentiating between them for those ordering. Would Gotham Academy be selling better if it wasn’t competing for attention and shelf space with Gotham by Midnight and Arkham Manor?

96 - SUPERGIRL ($2.99)

12/2009: Supergirl #48 — 28,179
12/2010: Supergirl #59 — 22,606
12/2011: Supergirl #4 — 44,180
12/2012: Supergirl #15 — 30,814
——————————
12/2013: Supergirl #26 — 22,646 (- 10.8%)
01/2014: Supergirl #27 — 21,954 (- 3.1%)
02/2014: Supergirl #28 — 23,567 (+ 7.3%)
03/2014: Supergirl #29 — 22,883 (- 2.9%)
04/2014: Supergirl #30 — 23,410 (+ 2.3%)
05/2014: Supergirl #31 — 22,783 (- 2.7%)
06/2014: Supergirl #32 — 22,481 (- 1.3%)
07/2014: Supergirl #33 — 22,802 (+ 1.4%)
08/2014: Supergirl #34 — 26,510 (+ 16.3%)
09/2014: Futures End #1 — 55,706 (+110.1%)
10/2014: Supergirl #35 — 26,371 (- 52.7%)
11/2014: Supergirl #36 — 28,373 (+ 7.6%)
12/2014: Supergirl #37 — 26,272 (- 7.4%)
—————–
6 months: + 16.9%
1 year : + 16.0%
2 years : – 14.7%
5 years : – 6.8%
Since #1: – 64.6%






















The second issue of the new creative team/direction sees sales return right back to where they were for the “Doomed” cross-over issues, but still a good 3-4K above the “Red Daughter of Krypton” levels.

Apparently not enough though to keep it from being stealth cancelled after March and not returning after Convergence, though I expect that should the proposed television series get picked up for fall there will be a Supergirl comic relaunched then as well.

99 - RED LANTERNS ($2.99)

12/2011: Red Lanterns #4 — 50,271
12/2012: Red Lanterns #15 — 39,071
———————————–
12/2013: Red Lanterns #26 — 26,242 (- 5.6%)
01/2014: Red Lanterns #27 — 24,477 (- 6.7%)
02/2014: Green Lant/RL#28 — 49,200 (+110.6%) [51,548]
03/2014: Red Lanterns #29 — 25,153 (- 51.2%)
04/2014: Red Lanterns #30 — 24,350 (- 3.2%)
05/2014: Red Lanterns #31 — 24,307 (- 0.2%)
06/2014: Red Lanterns #32 — 23,720 (- 2.4%)
07/2014: Red Lanterns #33 — 23,355 (- 1.5%)
08/2014: Red Lanterns #34 — 22,761 (- 2.5%)
09/2014: Futures End #1 — 56,030 (+146.2%)
10/2014: Red Lanterns #35 — 26,534 (- 52.6%)
11/2014: Red Lanterns #36 — 25,654 (- 3.3%)
12/2014: Red Lanterns #37 — 25,521 (- 0.5%)
—————-
6 months: + 7.6%
1 year : – 2.7%
2 years : – 34.7%
Since #1: – 71.4%



















103 - GREEN LANTERN: NEW GUARDIANS ($2.99)

12/2011: New Guardians #4 — 53,305
12/2012: New Guardians #15 — 45,136
————————————
12/2013: New Guardians #26 — 30,489 (- 4.9%)
01/2014: New Guardians #27 — 28,346 (- 7.0%)
02/2014: New Guardians #28 — 27,212 (- 4.0%)
03/2014: New Guardians #29 — 25,296 (- 7.0%)
04/2014: New Guardians #30 — 24,727 (- 2.2%)
05/2014: New Guardians #31 — 23,886 (- 3.4%)
06/2014: New Guardians #32 — 23,142 (- 3.1%)
07/2014: New Guardians #33 — 22,797 (- 1.5%)
08/2014: New Guardians #34 — 22,052 (- 3.3%)
09/2014: Futures End #1 — 55,863 (+153.3%)
10/2014: New Guardians #35 — 26,702 (- 52.2%)
11/2014: New Guardians #36 — 25,681 (- 3.8%)
12/2014: New Guardians #37 — 25,438 (- 0.9%)
—————-
6 months: + 9.9%
1 year : – 16.6%
2 years : – 43.6%
Since #1: – 73.7%



















Third and final month of the line-wide crossover. Both titles end in March.

105 - CATWOMAN ($2.99)

12/2004: Catwoman #38 — 25,108
12/2011: Catwoman #4 — 45,581
12/2012: Catwoman #15 — 35,020
——————————
12/2013: Catwoman #26 — 26,482 (- 10.1%)
01/2014: Catwoman #27 — 24,956 (- 5.8%)
02/2014: Catwoman #28 — 23,974 (- 3.9%)
03/2014: Catwoman #29 — 22,236 (- 7.2%)
04/2014: Catwoman #30 — 20,968 (- 5.7%)
05/2014: Catwoman #31 — 20,144 (- 3.9%)
06/2014: Catwoman #32 — 33,694 (+ 67.3%)
07/2014: Catwoman #33 — 18,945 (- 43.8%)
08/2014: Catwoman #34 — 23,497 (+ 24.0%)
09/2014: Futures End #1 — 56,939 (+142.3%)
10/2014: Catwoman #35 — 25,970 (- 54.4%)
11/2014: Catwoman #36 — 26,237 (+ 1.0%)
12/2014: Catwoman #36 — 25,154 (- 4.1%)
—————–
6 months: – 25.3%
1 year : – 5.0%
2 years : – 28.2%
10 years: + 0.2%
Since #1: – 66.7%





















The new direction doesn’t seem to be catching on. I suspect that the reputation this title gained in its early New 52 days is now working against it, as the people who despised it early on would likely find it much more to their liking. This is an instance where a relaunch may have helped.

111 - JUSTICE LEAGUE DARK ($3.99)

12/2011: Justice League Dark #4 — 44,750
12/2012: Justice League Dark #15 — 27,712
——————————————-
12/2013: Justice League Dark #26 — 36,353 (- 6.2%)
01/2014: Justice League Dark #27 — 32,576 (- 10.4%)
02/2014: Justice League Dark #28 — 30,519 (- 6.3%)
03/2014: Justice League Dark #29 — 29,202 (- 4.3%)
04/2014: Justice League Dark #30 — 27,695 (- 5.2%)
05/2014: Justice League Dark #31 — 25,337 (- 8.5%)
06/2014: Justice League Dark #32 — 38,219 (+ 50.8%)
07/2014: Justice League Dark #33 — 28,297 (- 26.0%)
08/2014: Justice League Dark #34 — 25,258 (- 10.7%)
09/2014: Futures End #1 — 58,529 (+131.7%)
10/2014: Justice League Dark #35 — 24,462 (- 58.2%)
11/2014: Justice League Dark #36 — 24,495 (+ 0.1%)
12/2014: Justice League Dark #37 — 23,151 (- 5.5%)
—————–
6 months: – 39.4%
1 year : – 36.3%
2 years : – 16.5%
Since #1: – 71.8%



















A correction after last month’s LEGO-enhanced variant.

To be relaunched as Dark Universe post Convergence.

125 - GREEN ARROW ($2.99)

12/2004: Green Arrow #45 — 30,997 [32,082]
12/2009: Arrow/Canary #27 — 16,904
12/2010: Green Arrow #7 — 36,835
12/2011: Green Arrow #4 — 37,116
12/2012: Green Arrow #15 — 20,672
———————————–
12/2013: Green Arrow #26 — 24,687 (- 16.6%)
01/2014: Green Arrow #27 — 23,785 (- 3.7%)
02/2014: Green Arrow #28 — 26,725 (+ 12.4%)
03/2014: Green Arrow #29 — 23,698 (- 11.3%)
04/2014: Green Arrow #30 — 23,577 (- 0.5%)
05/2014: Green Arrow #31 — 23,475 (- 0.4%)
06/2014: Green Arrow #32 — 23,602 (+ 0.5%)
07/2014: Green Arrow #33 — 23,452 (- 0.6%)
08/2014: Green Arrow #34 — 22,927 (- 2.2%)
09/2014: Futures End #1 — 61,915 (+170.1%)
10/2014: Green Arrow #35 — 23,346 (- 62.3%)
11/2014: Green Arrow #36 — 21,842 (- 6.4%)
12/2014: Green Arrow #37 — 20,904 (- 4.3%)
—————–
6 months: – 11.4%
1 year : – 15.3%
2 years : + 1.1%
5 years : + 23.7%
10 years: – 34.8%
Since #1: – 71.1%
























A bit above standard attrition levels, as the new creative team/direction is still finding its level.

127 - SECRET ORIGINS ($4.99)

04/2014: Secret Origins #1 — 38,742
05/2014: Secret Origins #2 — 32,966 (- 14.9%)
06/2014: Secret Origins #3 — 28,351 (- 14.0%)
07/2014: Secret Origins #4 — 37,181 (+ 31.1%)
08/2014: Secret Origins #5 — 24,126 (- 35.1%)
09/2004: —
10/2014: Secret Origins #6 — 24,775 (+ 2.7%)
11/2014: Secret Origins #7 — 21,377 (- 13.7%)
12/2014: Secret Origins #8 — 20,687 (- 3.2%)
—————–
6 months: – 27.0%
Since #1: – 46.6%










Ending in March.

129 - LOBO ($2.99)

11/2009: Highway to Hell #2 — 13,435
————————————-
10/2014: Lobo #1 — 39,047 (+190.6%)
11/2014: Lobo #2 — 25,881 (- 33.7%)
12/2014: Lobo #3 — 20,208 (- 21.9%)
—————–
5 years : + 50.4%
Since #1: – 48.2%






That’s a huge drop for a third issue. This is sinking fast.

135 - WORLDS' FINEST ($2.99)

12/2012: Worlds’ Finest #7 — 32,010
————————————-
12/2013: Worlds’ Finest #18 — 21,039 (- 4.0%)
01/2014: Worlds’ Finest #19 — 20,998 (- 0.2%)
02/2014: Worlds’ Finest #20 — 25,585 (+ 31.5%) [27,613]
03/2014: Worlds’ Finest #21 — 25,676 (- 7.0%)
04/2014: Worlds’ Finest #22 — 21,485 (- 16.3%)
05/2014: Worlds’ Finest #23 — 21,118 (- 1.7%)
06/2014: Worlds’ Finest #24 — 20,900 (- 1.0%)
07/2014: Worlds’ Finest #25 — 19,957 (- 4.5%)
08/2014: Worlds’ Finest #26 — 19,772 (- 0.9%)
09/2014: Futures End #1 — 55,376 (+153.3%)
10/2014: Worlds’ Finest #27 — 20,234 (- 63.5%)
11/2014: Worlds’ Finest #28 — 19,709 (- 2.6%)
12/2014: Worlds’ Finest #29 — 19,001 (- 3.6%)
—————–
6 months: – 9.1%
1 year : – 9.7%
2 years : – 40.6%
Since #1: – 72.7%


















Stays above 19K, but just barely. Ending in March.

136 - HE-MAN: ETERNITY WAR ($2.99)

12/2012: He-Man & MotU #5 — 16,858
————————————
12/2013: He-Man & MotU #9 — 14,465 (- 4.5%)
01/2014: —
02/2014: He-Man & MotU #10 — 13,816 (- 4.5%)
03/2014: He-Man & MotU #11 — 13,090 (- 5.3%)
04/2014: He-Man & MotU #12 — 12,718 (- 2.8%)
05/2014: He-Man & MotU #13 — 12,430 (- 2.3%)
06/2014: He-Man & MotU #14 — 12,144 (- 2.3%)
07/2014: He-Man & MotU #15 — 11,905 (- 2.0%)
08/2014: He-Man & MotU #16 — 11,721 (- 1.5%)
09/2014: He-Man & MotU #17 — 11,756 (+ 0.3%)
10/2014: He-Man & MotU #18 — 11,501 (- 2.2%)
11/2014: He-Man & MotU #19 — 11,022 (- 4.2%)
12/2014: He-Man Eternity #1 — 18,884 (+71.3%)
—————-
6 months: + 55.5%
1 year : + 30.5%
2 years : + 12.0%

















The combination of a new #1 and a Cooke variant cover make He-Man the top non-DCU/non-Vertigo title of the month.

138 - RED HOOD AND THE OUTLAWS ($2.99)

12/2011: Red Hood & Outlaws #4 — 44,278
12/2012: Red Hood & Outlaws #15 — 64,103
——————————-
12/2013: Red Hood & Outlaws #26 — 25,382 (- 17.1%)
01/2014: Red Hood & Outlaws #27 — 24,813 (- 2.2%)
02/2014: Red Hood & Outlaws #28 — 23,236 (- 6.4%)
03/2014: Red Hood & Outlaws #29 — 22,316 (- 4.0%)
04/2014: Red Hood & Outlaws #30 — 21,718 (- 2.7%)
05/2014: Red Hood & Outlaws #31 — 21,257 (- 2.1%)
06/2014: Red Hood & Outlaws #32 — 33,081 (+ 55.6%)
07/2014: Red Hood & Outlaws #33 — 20,669 (- 37.5%)
08/2014: Red Hood & Outlaws #34 — 20,069 (- 2.9%)
09/2014: Futures End #1 — 54,984 (+174.0%)
10/2014: Red Hood & Outlaws #35 — 19,837 (- 63.9%)
11/2014: Red Hood & Outlaws #36 — 19,245 (- 3.0%)
12/2014: Red Hood & Outlaws #37 — 18,723 (- 2.7%)
—————-
6 months: – 43.4%
1 year : – 26.2%
2 years : – 70.8%
Since #1: – 73.3%



















Being relaunched post-Convergence as Red Hood/Arsenal and a separate Starfire series.

139 - JUSTICE LEAGUE 3000 ($2.99)

12/2013: Justice League 3K #1 — 57,726
01/2014: Justice League 3K #2 — 41,423 (-28.2%)
02/2014: Justice League 3K #3 — 33,308 (-19.6%)
03/2014: Justice League 3K #4 — 30,127 (- 9.6%)
04/2014: Justice League 3K #5 — 27,529 (- 8.6%)
05/2014: Justice League 3K #6 — 25,738 (- 6.5%)
06/2014: Justice League 3K #7 — 24,172 (- 6.1%)
07/2014: Justice League 3K #8 — 22,604 (- 6.5%)
08/2014: Justice League 3K #9 — 20,974 (- 7.2%)
09/2014: —
10/2014: Justice League 3K #10 — 19,623 (- 6.4%)
11/2014: Justice League 3K #11 — 18,642 (- 5.0%)
12/2014: Justice League 3K #12 — 18,659 (+ 0.1%)
—————–
6 months: – 22.8%
1 year : – 67.7%
Since #1: – 67.7%















The bringing in the Bwah-hah-hah era of Justice League sees a halt, at least temporarily, to the oversized decline. But is it too late? Becomes Justice League 3001 post-Convergence.

147 - CATWOMAN ANNUAL ($4.99)

05/2013: Catwoman Annual #1 — 24,228
12/2014: Catwoman Annual #2 — 17,056 (- 29.6%)

A good 8K units below the mother title. Not good.

149 - RED HOOD & THE OUTLAWS ANNUAL ($4.99)

05/2013: Red Hood & Outlaws Ann. #1 — 30,157
12/2014: Red Hood & Outlaws Ann. #2 — 16,912 (- 43.9%)

Less than 2K below the father title. But still not good.

150, 153 - INJUSTICE: YEAR THREE (Digital-First) ($2.99)

12/2013: Injustice #12 — 21,871 (- 3.7%)
01/2014: Injustice Y2 #1 — 24,700 (+12.9%)
02/2014: Injustice Y2 #2 — 22,703 (- 8.1%)
03/2014: Injustice Y2 #3 — 20,693 (- 8.9%)
04/2014: Injustice Y2 #4 — 20,310 (- 1.9%)
05/2014: Injustice Y2 #5 — 19,834 (- 2.3%)
06/2014: Injustice Y2 #6 — 19,353 (- 2.4%)
07/2014: Injustice Y2 #7 — 19,811 (+ 2.4%)
07/2014: Injustice Y2 #8 — 18,931 (- 4.4%)
08/2014: Injustice Y2 #9 — 18,397 (- 2.8%)
08/2014: Injustice Y2 #10 — 18,068 (- 1.8%)
09/2014: Injustice Y2 #11 — 18,086 (+ 0.1%)
09/2014: Injustice Y2 #12 — 17,829 (- 1.4%)
10/2014: Injustice Y3 #1 — 19,307 (+ 8.3%)
10/2014: Injustice Y3 #2 — 17,884 (- 7.4%)
11/2014: Injustice Y3 #3 — 17,243 (- 3.6%)
11/2014: Injustice Y3 #4 — 16,741 (- 2.9%)
12/2014: Injustice Y3 #5 — 16,611 (- 0.8%)
12/2014: Injustice Y3 #6 — 16,141 (- 2.8%)
—————-
6 months: – 14.3%
1 year : – 25.2%
Since #1: – 13.3%





















Drops another 600 copies over the course of this month’s two issues. It’s still DC’s best-selling digital-first title, but not at the level it was back when the game first came out. I don’t know if there’s been an announcement as to whether this is the last ‘year’ of Injustice, but I wouldn’t be surprised if they bring it naturally to a conclusion with Year Three. Likewise, I would not be surprised it they keep it going another ‘year.’

152 - SWAMP THING ($2.99)

12/2004: Swamp Thing #10 — 15,846
12/2011: Swamp Thing #4 — 44,660
12/2012: Swamp Thing #15 — 33,916
———————————-
12/2013: Swamp Thing #26 — 20,247 (- 4.2%)
01/2014: Swamp Thing #27 — 19,755 (- 2.4%)
02/2014: Swamp Thing #28 — 19,146 (- 3.1%)
03/2014: Swamp Thing #29 — 18,837 (- 1.6%)
04/2014: Swamp Thing #30 — 18,458 (- 2.0%)
05/2014: Swamp Thing #31 — 18,249 (- 1.1%)
06/2014: Swamp Thing #32 — 18,483 (+ 1.3%)
07/2014: Swamp Thing #33 — 17,905 (- 3.1%)
08/2014: Swamp Thing #34 — 17,570 (- 1.9%)
09/2014: Futures End #1 — 51,918 (+195.5%)
10/2014: Swamp Thing #35 — 17,354 (- 66.6%)
11/2014: Swamp Thing #36 — 16,840 (- 3.0%)
12/2014: Swamp Thing #37 — 16,339 (- 3.0%)
—————-
6 months: – 11.6%
1 year : – 19.3%
2 years : – 51.8%
10 years: + 3.1%
Since #1: – 77.8%





















Standard attrition. Ending in March.

164 - WOLF MOON (Vertigo) ($2.99)

12/2014: Wolf Moon #1 of 6 — 15,865

Returnable, so adjusted up 10% from the reported numbers (see the disclaimers at the end of this column for why we make this adjustment).

This month’s debut issue of a Vertigo mini-series come in at around 1800 copies higher than last month’s The Kitchen, but fewer than The Names and Bodies.

154 - CONSTANTINE ($2.99)

12/2004: Hellblazer #203 — 15,304
12/2009: Hellblazer #262 — 10,334
12/2010: Hellblazer #274 — 9,342
12/2011: Hellblazer #286 — 9,404
12/2012: Hellblazer #298 — 9,132
———————————-
12/2013: Constantine #9 — 22,403 (+ 6.8%)
01/2014: Constantine #10 — 20,729 (- 7.5%)
02/2014: Constantine #11 — 20,385 (- 1.7%)
03/2014: Constantine #12 — 20,051 (- 1.6%)
04/2014: Constantine #13 — 18,454 (- 8.0%)
05/2014: Constantine #14 — 17,422 (- 5.6%)
06/2014: Constantine #15 — 16,704 (- 4.1%)
07/2014: Constantine #16 — 16,235 (- 2.8%)
08/2014: Constantine #17 — 15,647 (- 2.8%)
09/2014: Futures End #1 — 51,990 (+232.3%)
10/2014: Constantine #18 — 15,648 (- 69.9%)
11/2014: Constantine #19 — 15,716 (+ 0.4%)
12/2014: Constantine #20 — 15,574 (- 0.9%)
—————–
6 months: – 6.8%
1 year : – 30.5%
2 years : + 70.5%
5 years : + 50.7%
10 years: + 1.8%
Since #1: – 58.5%
























Holding steady in the mid-15K range. To be relaunched post-Convergence as Constantine: The Hellblazer.

156 - BATMAN '66 (Digital-First) ($2.99)

12/2013: Batman ’66 #6 — 24,374 (- 9.0%)
01/2014: Batman ’66 #7 — 21,802 (-10.6%)
02/2014: Batman ’66 #8 — 19,795 (- 9.2%)
03/2014: Batman ’66 #9 — 18,802 (- 5.0%)
04/2014: Batman ’66 #10 — 17,917 (- 4.7%)
05/2014: Batman ’66 #11 — 18,642 (+ 4.0%)
06/2014: Batman ’66 #12 — 17,286 (- 7.3%)
07/2014: Batman ’66 #13 — 17,264 (- 0.1%)
08/2014: Batman ’66 #14 — 21,456 (+24.3%)
09/2014: Batman ’66 #15 — 16,842 (-21.5%)
10/2014: Batman ’66 #16 — 15,923 (- 5.5%)
11/2014: Batman ’66 #17 — 15,585 (- 2.1%)
12/2014: Batman ’66 #18 — 15,409 (- 1.1%)
—————–
6 months: – 10.9%
1 year : – 36.8%
Since #1: – 69.4%















Seems to have settled in at the mid-15K level.

157 - BATWOMAN ($2.99)

12/2011: Batwoman #4 — 52,757
12/2012: Batwoman #15 — 36,395
——————————
12/2013: Batwoman #26 — 23,311 (- 10.3%)
01/2014: Batwoman #27 — 22,461 (- 3.6%)
02/2014: Batwoman #28 — 20,672 (- 8.0%)
03/2014: Batwoman #29 — 19,750 (- 4.5%)
04/2014: Batwoman #30 — 19,204 (- 2.8%)
05/2014: Batwoman #31 — 18,463 (- 3.9%)
06/2014: Batwoman #32 — 33,538 (+ 81.6%)
07/2014: Batwoman #33 — 23,922 (- 28.7%)
08/2014: Batwoman #34 — 16,909 (- 29.3%)
09/2014: Futures End #1 — 50,914 (+201.1%)
10/2014: Batwoman #35 — 16,767 (- 67.1%)
11/2014: Batwoman #36 — 15,795 (- 5.8%)
12/2014: Batwoman #37 — 15,305 (- 3.1%)
—————-
6 months: – 54.4%
1 year : – 34.3%
2 years : – 57.9%
Since #1: – 82.6%



















Ending in March.

161 - AQUAMAN AND THE OTHERS ($2.99)

04/2014: Aquaman & Others #1 — 34,056
05/2014: Aquaman & Others #2 — 26,198 (- 23.1%)
06/2014: Aquaman & Others #3 — 23,109 (- 11.8%)
07/2014: Aquaman & Others #4 — 20,520 (- 11.2%)
08/2014: Aquaman & Others #5 — 18,639 (- 9.2%)
09/2014: Futures End #1 — 53,531 (+174.0%)
10/2014: Aquaman & Others #6 — 17,086 (- 68.1%)
11/2014: Aquaman & Others #7 — 15,859 (- 7.2%)
12/2014: Aquaman & Others #8 — 14,822 (- 7.2%)
—————–
6 months: – 35.9%
Since #1: – 56.5%










Ending in March.

165 - SENSATION COMICS FEAT WONDER WOMAN (Digital-First) ($3.99)

08/2014: Sensation Comics #1 — 29,640
09/2014: Sensation Comics #2 — 22,085 (- 25.5%)
10/2014: Sensation Comics #3 — 17,996 (- 18.5%)
11/2014: Sensation Comics #4 — 16,573 (- 7.9%)
12/2014: Sensation Comics #5 — 14,323 (- 13.6%)
—————-
Since #1: – 51.7%





That’s a much higher percentage drop than one wants to see at this stage in the game.

170 - FABLES (Vertigo) ($2.99)

12/2004: Fables #32 — 24,889
12/2009: Fables #91 — 20,450
12/2010: Fables #100 — 23,014
12/2011: Fables #112 — 17,602
12/2012: Fables #124 — 16,018
——————————
12/2013: Fables #136 — 14,220 (- 1.1%)
01/2014: Fables #137 — 14,172 (- 0.3%)
02/2014: Fables #138 — 14,109 (- 0.4%)
03/2014: Fables #139 — 13,936 (- 1.2%)
04/2014: —
05/2014: Fables #140 — 13,977 (+ 0.3%)
06/2014: Fables #141 — 13,997 (+ 0.1%)
07/2014: Fables #142 — 13,831 (- 1.2%)
08/2014: Fables #143 — 13,672 (- 1.1%)
09/2014: Fables #144 — 13,551 (- 0.9%)
10/2014: Fables #145 — 13,723 (+ 1.3%)
11/2014: Fables #146 — 13,412 (- 2.3%)
12/2014: Fables #147 — 13,302 (- 0.8%)
—————-
6 months: – 5.0%
1 year : – 6.5%
2 years : – 17.0%
5 years : – 35.0%
10 years: – 46.6%
Since #1: – 39.6%
























Counting down to the end in March.

176 - TRINITY OF SIN ($2.99)

10/2014: Trinity of Sin #1 — 22,683
11/2014: Trinity of Sin #2 — 15,097 (- 33.4%)
12/2014: Trinity of Sin #3 — 12,939 (- 14.3%)
—————-
Since #1: – 43.0%



Ending in March.

181 - THE FLASH: SEASON ZERO (Digital-First) ($2.99)

10/2014: Flash Season 0 #1 — 23,501
11/2014: Flash Season 0 #2 — 14,287 (- 39.2%)
12/2014: Flash Season 0 #3 — 12,247 (- 14.3%)
—————-
Since #1: – 47.9%



185 - ASTRO CITY (Vertigo) ($3.99)

12/2004: —
12/2009: —
12/2010: —
12/2011: —
12/2012: —
—————————————
12/2013: Astro City #7 — 15,360 (- 4.2%)
01/2014: Astro City #8 — 14,831 (- 3.4%)
02/2014: Astro City #9 — 14,289 (- 3.7%)
03/2014: Astro City #10 — 14,094 (- 1.4%)
04/2014: Astro City #11 — 13,909 (- 1.3%)
05/2014: Astro City #12 — 13,795 (- 0.8%)
06/2014: Astro City #13 — 13,419 (- 2.7%)
07/2014: —
08/2014: Astro City #14 — 13,069 (- 2.6%)
09/2014: Astro City #15 — 12,660 (- 3.1%)
10/2014: Astro City #16 — 12,480 (- 1.4%)
11/2014: Astro City #17 — 12,055 (- 3.4%)
12/2014: Astro City #18 — 11,985 (- 0.6%)
—————–
6 months: – 13.8%
1 year : – 22.0%
2 years : n.a.
5 years : n.a.
10 years: n.a.
Since #1: – 56.7%
























A tiny drop of just 70 copies, but enough to put it just below the 12K mark.

189 - BATMAN ESSENTIALS ($1.00)

08/2014: Dark Knight Ret. #1 — 17,518
09/2014: Batman and Son #1 — 18,188
09/2014: Gotham Central #1 — 9,252
10/2014: The Black Mirror #1 — 12,437
11/2014: Batman: Year One #1 — 12,979
12/2014: Batman: Hush #1 — 11,327




A bargain priced reprint of Batman #608 by Loeb and Lee.

190 - INFINITY MAN AND THE FOREVER PEOPLE ($2.99)

06/2014: Infinity Man & FP #1 — 24,907
07/2014: Infinity Man & FP #2 — 15,903 (- 36.2%)
08/2014: Infinity Man & FP #3 — 12,390 (- 22.1%)
09/2014: Futures End #1 — 45,586 (+267.9%)
10/2014: Infinity Man & FP #4 — 10,275 (- 77.5%)
11/2014: Infinity Man & FP #5 — 9,350 (- 9.0%)
12/2014: Infinity Man & FP #6 — 11,261 (+ 20.4%)
—————–
6 months: – 54.8%
Since #1: – 54.8%








Unlike the previous issue, #6 was actually billed as a “Godhead” crossover and gets nearly 2K more in sales for the effort. Remember kids: Label your crossover issues as such! Ending in March.

204 - FAIREST (Vertigo) ($2.99)

12/2012: Fairest #10 — 16,919
——————————
12/2013: Fairest #21 — 12,718 (- 2.2%)
01/2014: Fairest #22 — 12,434 (- 2.2%)
02/2014: Fairest #23 — 12,350 (- 0.7%)
03/2014: Fairest #24 — 11,872 (- 3.9%)
04/2014: Fairest #25 — 11,801 (- 0.6%)
05/2014: Fairest #26 — 11,493 (- 2.6%)
06/2014: —
07/2014: Fairest #27 — 11,329 (- 1.4%)
08/2014: Fairest #28 — 10,989 (- 3.0%)
09/2014: Fairest #29 — 10,772 (- 2.0%)
10/2014: Fairest #30 — 10,711 (- 0.6%)
11/2014: Fairest #31 — 10,471 (- 2.2%)
12/2014: Fairest #32 — 10,290 (- 1.7%)
—————-
6 months: n.a.
1 year : – 19.1%
2 years : – 39.2%
Since #1: – 67.6%


















Penultimate issue, still hanging out on the top side of the 10K line.

208 - ARROW: SEASON 2.5 (Digital-First) ($2.99)

12/2012: Arrow #2 — 15,780
—————————————
10/2014: Arrow Season 2.5 #1 — 17,364 (+113.1%)
11/2014: Arrow Season 2.5 #2 — 11,121 (- 36.0%)
12/2014: Arrow Season 2.5 #3 — 9,862 (- 11.3%)
—————-
1 year : – 37.5%
Since #1: – 43.2%






Kind of a high percentage for a third issue drop.

214 - SMALLVILLE SEASON 11 CHAOS (Digital-First) ($3.99)

12/2012: Smallville S11 #8 — 18,633
————————————–
12/2013: Smallville Alien #1 — 13,019 (- 2.0%)
01/2014: Smallville Alien #2 — 11,768 (- 9.6%)
02/2014: Smallville Alien #3 — 11,061 (- 6.0%)
03/2014: Smallville Alien #4 — 10,570 (- 4.4%)
04/2014: Smallville Lantern #1 — 12,391 (+17.2%)
05/2014: Smallville Lantern #2 — 11,372 (- 8.2%)
06/2014: Smallville Lantern #3 — 11,401 (+ 0.3%)
07/2014: Smallville Lantern #4 — 11,243 (- 1.4%)
08/2014: Smallville Chaos #1 — 10,716 (- 4.7%)
09/2014: Smallville Chaos #2 — 9,801 (- 8.5%)
10/2014: Smallville Chaos #3 — 9,661 (- 1.4%)
11/2014: Smallville Chaos #4 — 8,841 (- 8.5%)
12/2014: S’ville Continuity #1 — 9,071 (+ 2.6%)
—————-
6 months: – 20.4%
1 year : – 30.3%
2 years : – 51.3%

















The final mini-series debuts well under the 10K mark.

223 - KLARION ($2.99)

10/2014: Klarion #1 — 20,870 (- 28.0%)
11/2014: Klarion #2 — 11,413 (- 45.3%)
12/2014: Klarion #3 — 8,418 (- 26.2%)
—————-
Since #1: – 59.7%



Double ouch. Doing even worse than The Green Team did. Ending in March.

255 - TEEN TITANS GO! (Digital-First) ($2.99)

12/2004: Teen Titans Go! #14 — 14,963
————————————–
12/2013: Teen Titans Go! #1 — 13,441 (+82.0%)
01/2014: —
02/2014: Teen Titans Go! #2 — 9,038 (-32.8%)
03/2014: —
04/2014: Teen Titans Go! #3 — 8,185 (- 9.4%)
05/2014: —
06/2014: Teen Titans Go! #4 — 8,667 (+ 5.9%)
07/2014: —
08/2014: Teen Titans Go! #5 — 8,688 (+ 0.2%)
09/2014: —
10/2014: Teen Titans Go! #6 — 8,677 (- 0.1%)
11/2014: —
12/2014: Teen Titans Go! #7 — 8,254 (- 4.9%)
—————–
6 months: – 4.8%
1 year : – 38.6%
10 years: – 44.8%
Since #1: – 38.6%


















Returnable, and adjusted accordingly.

231 - INFINITE CRISIS: FIGHT FOR THE MULTIVERSE (Digital-First) ($3.99)

07/2014: Infinite Crisis FftM #1 — 26,096
08/2014: Infinite Crisis FftM #2 — 15,340 (- 41.2%)
09/2014: Infinite Crisis FftM #3 — 13,884 (- 9.5%)
10/2014: Infinite Crisis FftM #4 — 11,348 (- 18.3%)
11/2014: Infinite Crisis FftM #5 — 8,920 (- 21.4%)
12/2014: Infinite Crisis FftM #6 — 7,809 (- 12.5%)
—————-
Since #1: – 70.1%






I don’t know how this is selling in Digital, but in print it’s pretty much a bust.

256 - BODIES (Vertigo) ($2.99)

07/2014:Bodies #1 of 8 — 17,500
08/2014:Bodies #2 of 8 — 11,283 (-33.8%)
09/2014:Bodies #3 of 8 — 9,439 (-16.3%)
10/2014:Bodies #4 of 8 — 8,828 (- 6.5%)
11/2014:Bodies #5 of 8 — 7,926 (-10.2%)
12/2014:Bodies #6 of 8 — 7,488 (- 5.5%)
—————-
Since #1: – 56.1%






No doubt Vertigo have their hopes for this set in the book trade.

243 - STAR-SPANGLED WAR STORIES FEAT GI ZOMBIE ($2.99)

07/2014: SSWS GI Zombie #1 — 18,762
08/2014: SSWS GI Zombie #2 — 11,724 (- 37.5%)
09/2014: Futures End #1 — 44,333 (+278.1%)
10/2014: SSWS GI Zombie #3 — 9,228 (- 79.2%)
11/2014: SSWS GI Zombie #4 — 7,546 (- 18.2%)
12/2014: SSWS GI Zombie #5 — 7,173 (- 4.9%)
—————–
Since #1: – 61.8%






Ending in March.

255 - THE KITCHEN (Vertigo) ($2.99)

11/2014: The Kitchen #1 of 8 — 14,066
12/2014: The Kitchen #2 of 8 — 7,403 (- 47.4%)

Returnable, and adjusted accordingly.

That’s a very sizable second issue drop. It’s highly unlikely that this will finish its limited run in the top 300.

262 - COFFIN HILL (Vertigo) ($2.99)

12/2013: Coffin Hill #3 — 12,337 (-14.8%)
01/2014: Coffin Hill #4 — 11,306 (- 8.4%)
02/2014: Coffin Hill #5 — 10,435 (- 7.7%)
03/2014: Coffin Hill #6 — 9,982 (- 4.3%)
04/2014: Coffin Hill #7 — 9,547 (- 4.4%)
05/2014: —
06/2014: Coffin Hill #8 — 8,764 (- 8.2%)
07/2014: Coffin Hill #9 — 8,396 (- 4.2%)
08/2014: Coffin Hill #10 — 7,710 (- 8.1%)
09/2014: Coffin Hill #11 — 7,422 (- 3.7%)
10/2014: Coffin Hill #12 — 7,136 (- 3.9%)
11/2014: Coffin Hill #13 — 6,752 (- 5.4%)
12/2014: Coffin Hill #14 — 6,410 (- 5.1%)
—————–
6 months: – 26.9%
1 year : – 48.0%
Since #1: – 73.4%















Still dropping.

277 - THE NAMES (Vertigo) ($2.99)

09/2014: The Names #1 of 8 — 17,266
10/2014: The Names #2 of 8 — 9,056 (- 47.6%)
11/2014: The Names #3 of 8 — 6,926 (- 23.5%)
12/2014: The Names #3 of 8 — 5,918 (- 14.6%)
—————–
Since #1: – 65.7%




The first issue that was not returnable. Another Vertigo mini that is not likely to finish its run in the Top 300.

296 - HINTERKIND (Vertigo) ($2.99)

12/2013: Hinterkind #3 — 11,659 (-16.7%)
01/2014: Hinterkind #4 — 9,693 (-16.9%)
02/2014: Hinterkind #5 — 8,948 (- 7.7%)
03/2014: Hinterkind #6 — 8,306 (- 7.2%)
04/2014: —
05/2014: Hinterkind #7 — 7,487 (- 9.9%)
06/2014: Hinterkind #8 — 7,212 (- 3.7%)
07/2014: Hinterkind #9 — 6,686 (- 7.3%)
08/2014: Hinterkind #10 — 6,283 (- 6.0%)
09/2014: Hinterkind #11 — ????? (< 6,262)
10/2014: Hinterkind #12 — ????? (< 6,298)
11/2014: Hinterkind #13 — ????? (< 5,214)
12/2014: Hinterkind #14 — 5,080
—————–
6 months: – 29.6%
1 year : – 56.4%
Since #1: – 78.4%















Returns to the Top 300 for December, mainly because the floor fell low enough this month.

+300 - DEAD BOY DETECTIVES (Vertigo) ($2.99)

12/2013: Dead Boy Detectives #1 — 21,478
01/2014: Dead Boy Detectives #2 — 12,276 (-42.8%)
02/2014: Dead Boy Detectives #3 — 9,889 (-19.4%)
03/2014: Dead Boy Detectives #4 — 8,872 (-10.3%)
04/2014: Dead Boy Detectives #5 — 7,957 (-10.3%)
05/2014: Dead Boy Detectives #6 — 7,305 (- 8.2%)
06/2014: —
07/2014: Dead Boy Detectives #7 — ????? (< 6,594)
08/2014: Dead Boy Detectives #8 — 5,968
09/2014: Dead Boy Detectives #9 — ????? (< 6,262)
10/2014: Dead Boy Detectives #10 — ????? (< 6,298)
11/2014: Dead Boy Detectives #11 — ????? (< 5,214)
12/2014: Dead Boy Detectives #12 — ????? (< 5,053)
—————–
6 months: ???%
1 year : ???%
Since #1: ???%















Apparently the final issue; AFAIK no cancellation announcement was made and no future issues have been solicited.

+300 - SCOOBY-DOO, WHERE ARE YOU? (All-Ages) ($2.99)

12/2004: Scooby-Doo #91 — 5,201
12/2009: Scooby-Doo #151 — 3,906
12/2010: Scooby-Doo Where Are You? #4 — 4,802
12/2011: Scooby-Doo Where Are You? #16 — 4,627
12/2012: Scooby-Doo Where Are You? #28 — 4,879
—————————————-
12/2013: Scooby-Doo Where Are You? #40 — 4,754
01/2014: Scooby-Doo Where Are You? #41 — 4,649 (-2.2%)
02/2014: Scooby-Doo Where Are You? #42 — 4,540 (-2.3%)
03/2014: Scooby-Doo Where Are You? #43 — 4,623 (+1.8%)
04/2014: Scooby-Doo Where Are You? #44 — 4,650 (+0.6%)
05/2014: Scooby-Doo Where Are You? #45 — 4,840 (+4.1%)
06/2014: Scooby-Doo Where Are You? #46 — ????? (< 4,560)
07/2014: Scooby-Doo Where Are You? #47 — ????? (< 6,594)
08/2014: Scooby-Doo Where Are You? #48 — ????? (< 5,357)
09/2014: Scooby-Doo Where Are You? #49 — ????? (< 6,262)
10/2014: Scooby-Doo Where Are You? #50 — ????? (< 6,298)
11/2014: Scooby-Doo Where Are You? #51 — ????? (< 5,214)
12/2014: Scooby-Doo Where Are You? #52 — ????? (< 5,053)
—————–
6 months: ???%
1 year : ???%
2 years : ???%
5 years : ???%
10 years: ???%
Since #1: ???%
























+300 - LOONEY TUNES (All-Ages) ($2.99)

12/2004: Looney Tunes #121 — 3,088
12/2009: Looney Tunes #181 — ?????
12/2010: Looney Tunes #193 — ?????
12/2011: Looney Tunes #204 — ?????
12/2012: Looney Tunes #210 — ?????
—————————————-
12/2013: Looney Tunes #216 — 2,822
01/2014: —
02/2014: Looney Tunes #217 — 2,784 (- 1.3%)
03/2014: —
04/2014: Looney Tunes #218 — ????? (< 2,823)
05/2014: —
06/2014: Looney Tunes #219 — ????? (< 4,560)
07/2014: —
08/2014: Looney Tunes #220 — ????? (< 5,357)
09/2014: —
10/2014: Looney Tunes #221 — ????? (< 6,298)
11/2014: —
12/2014: Looney Tunes #222 — ????? (< 5,053)
—————–
6 months: ????%
1 year : ????%
2 years : ????%
5 years : ????%
10 years: ????%























Two all-ages titles that are clearly being published for reasons other than selling comics in the market being serviced by Diamond-NA.

Average Periodical Sales (not counting reprints, reorders shipping after the initial month of release, and magazines)

DC COMICS

12/2004: 30,589
12/2009: 25,904
12/2010: 23,869
12/2011: 35,397
12/2012: 34,272
—————
12/2013: ??????
01/2014: 27,881
02/2014: 27,070 (- 2.9%)
03/2014: 26,776 (- 1.1%)
04/2014: 29,202 (+ 9.1%)**
05/2014: 31,764 (+ 8.8%)
06/2014: 32,834 (+ 3.4%)**
07/2014: 32,760 (+ 0.2%)**
08/2014: 28,951 (- 11.6%)**
09/2014: 46,869 (+ 61.9%)**
10/2014: 31,598 (- 32.6%)**
11/2014: 28,654 (- 9.3%)**
12/2014: 29,308 (+ 2.3%)**
—————–
6 months: – 10.7%
1 year : ????%
2 years : – 14.5%
5 years : + 13.1%
10 years: – 4.2%























DC UNIVERSE
12/2004: 36,925
12/2009: 35,473
12/2010: 30,870
12/2011: 39,390
12/2012: 36,880
—————
12/2013: ??????
01/2014: 33,120
02/2014: 33,327 (+ 0.6%)
03/2014: 32,007 (- 4.0%)
04/2014: 36,447 (+ 13.9%)
05/2014: 39,555 (+ 8.5%)
06/2014: 42,733 (+ 8.0%)
07/2014: 40,945 (- 4.2%)
08/2014: 36,645 (- 10.5%)
09/2014: 63,401 (+ 73.0%)**
10/2014: 39,978 (- 36.9%)
11/2014: 36,710 (- 8.2%)
12/2014: 34,882 (- 5.0%)
—————–
6 months: – 18.4%
1 year : ????%
2 years : – 5.4%
5 years : – 1.7%
10 years: – 5.5%
























VERTIGO
12/2004: 14,649
12/2009: 10,767
12/2010: 11,193
12/2011: 11,082
12/2012: 11,771
—————
12/2013: ??????
01/2014: 11,473
02/2014: 13,215 (+ 15.2%)
03/2014: 19,179 (+ 45.1%)
04/2014: 11,214 (- 41.5%)
05/2014: 11,778 (+ 5.0%)
06/2014: 11,372 (- 3.4%)
07/2014: 15,803 (+ 39.0%)**
08/2014: 9,082 (- 42.5%)
09/2014: 10,022 (+ 10.4%)**
10/2014: 9,066 (- 9.5%)**
11/2014: 8,511 (- 6.1%)**
12/2014: 13,937 (+ 63.8%)**
—————–
6 months: + 22.6%
1 year : ????%
2 years : + 18.4%
5 years : + 29.4%
10 years: – 4.9%
























6 month comparisons
===================

+ 55.5% – He-Man Eternity War (He-Man and the MotU)
+ 16.9% – Supergirl
+ 9.9% – Green Lantern: New Guardians
+ 7.6% – red Lanterns
+ 6.9% – Sinestro
– 4.7% – Batgirl
– 4.8% – Teen Titans Go
– 4.9% – Justice League
– 4.9% – Batman and Robin
– 5.0% – Fables
– 6.8% – Constantine
– 9.1% – Worlds’ Finest
– 10.7% – Wonder Woman
– 10.9% – Batman ’66
– 11.4% – Green Arrow
– 11.6% – Swamp Thing
– 12.9% – Batman
– 13.8% – Astro City
– 14.3% – Injustice
– 19.3% – Green Lantern Corps
– 20.4% – Smallville Season 11
– 21.5% – Flash
– 21.8% – Green Lantern
– 22.8% – Justice League 3000
– 24.7% – Detective Comics
– 25.3% – Catwoman
– 26.9% – Coffin Hill
– 27.0% – Harley Quinn
– 27.0% – Secret Origins
– 27.5% – Batman Eternal
– 29.3% – Action Comics
– 29.6% – Hinterkind
– 30.4% – Aquaman
– 34.2% – Superman/Wonder Woman
– 35.9% – Aquaman and the Others
– 36.0% – Earth 2
– 36.3% – New 52 – Futures End
– 39.4% – Justice League Dark
– 43.4% – Red Hood & Outlaws
– 49.3% – Justice League United
– 51.3% – Superman
– 54.4% – Batwoman
– 54.8% – Infinity Man and the Forever People









































1 year comparisons
===================

+ 36.6% – Superman
+ 31.4% – Wonder Woman
+ 30.5% – He-Man Eternity War (He-Man and the MotU)
+ 29.5% – New Suicide Squad (Suicide Squad)
+ 29.2% – Batgirl
+ 17.0% – Teen Titans
+ 16.0% – Supergirl
+ 14.9% – Batman and Robin
+ 10.8% – Grayson (Nightwing)
+ 4.5% – Action Comics
+ 1.2% – Flash
+ 0.2% – Green Lantern Corps
– 2.7% – Red Lanterns
– 2.8% – Detective Comics
– 5.0% – Catwoman
– 5.2% – Batman
– 6.5% – Fables
– 9.7% – Worlds’ Finest
– 14.4% – Green Lantern
– 15.3% – Green Arrow
– 16.6% – Green Lantern: New Guardians
– 18.5% – Earth 2
– 19.1% – Fairest
– 19.3% – Swamp Thing
– 19.7% – Aquaman
– 19.7% – Superman/Wonder Woman
– 21.9% – Justice League
– 22.0% – Astro City
– 25.5% – Injustice
– 26.2% – Red Hood & Outlaws
– 30.3% – Smallville Season 11
– 30.5% – Constantine
– 34.3% – Batwoman
– 35.1% – Batman/Superman
– 36.3% – Justice League Dark
– 36.8% – Batman ’66
– 37.5% – Arrow
– 38.6% – Teen Titans Go
– 43.4% – Harley Quinn
– 48.0% – Coffin Hill
– 56.4% – Hinterkind
– 67.7% – Justice League 3000








































2 year comparisons
===================

+151.4% – Deathstroke
+ 70.5% – Constantine (Hellblazer)
+ 12.0% – He-Man Eternity War (He-Man and the MotU)
+ 3.4% – Wonder Woman
+ 1.1% – Green Arrow
– 1.6% – Superman
– 14.7% – Supergirl
– 16.5% – Justice League Dark
– 17.0% – Fables
– 19.4% – Flash
– 25.3% – Batman
– 28.2% – Catwoman
– 31.3% – Green Lantern Corps
– 34.7% – Red Lanterns
– 36.1% – Action Comics
– 37.4% – Justice League
– 39.2% – Fairest
– 40.2% – Batgirl
– 40.4% – Batman and Robin
– 40.6% – Worlds’ Finest
– 40.8% – Green Lantern
– 42.5% – New Suicide Squad (Suicide Squad)
– 42.7% – Grayson (Nightwing)
– 43.6% – Green Lantern: New Guardians
– 44.4% – Earth 2
– 48.4% – Detective Comics
– 50.4% – Teen Titans
– 51.3% – Smallville Season 11
– 51.8% – Swamp Thing
– 57.9% – Batwoman
– 58.9% – Aquaman
– 70.8% – Red Hood & Outlaws






























5 year comparisons
===================

+ 94.7% – Secret Six
+ 71.8% – Batman
+ 64.7% – Wonder Woman
+ 55.1% – Superman
+ 50.7% – Constantine (Hellblazer)
+ 50.4% – Lobo
+ 38.7% – Batgirl
+ 23.7% – Green Arrow
+ 22.9% – Action Comics
+ 5.1% – Detective Comics
+ 5.0% – Justice League
– 6.8% – Supergirl
– 9.9% – Batman/Superman (Superman/Batman)
– 21.4% – Teen Titans
– 35.0% – Fables
– 54.7% – Green Lantern
– 57.7% – Green Lantern Corps















10 year comparisons
===================

+ 79.6% – Batman
+ 73.5% – Wonder Woman
+ 47.8% – Aquaman
+ 39.0% – Batgirl
+ 28.5% – Detective Comics
+ 11.3% – Justice League
+ 6.5% – Grayson
+ 3.1% – Swamp Thing
+ 2.8% – Action Comics
+ 1.8% – Constantine
+ 0.2% – Catwoman
– 34.8% – Green Arrow
– 44.8% – Teen Titans Go
– 46.6% – Fables
– 48.6% – Teen Titans
– 51.3% – Superman
– 63.4% – Batman/Superman (Superman/Batman)
– 65.2% – Green Lantern
















Sales Indices
=============

DCU: Average: 34,882. Median: 32,251.

3.2 – Batman
2.3 – Batman Annual
2.1 – Justice League
2.0 – Harley Quinn
1.8 – Harley Quinn Comic Con
1.7 – Robin Rises
1.6 – Detective Comics
1.5 – Batman and Robin
1.4 – Superman
1.4 – Batman Eternal (35)
1.4 – Batman Eternal (36)
1.4 – Batman Eternal (37)
1.4 – Batman Eternal (38)
1.4 – Batman Eternal (39)
1.4 – Multiversity Thunderworld
1.3 – Batgirl
1.3 – Batman/Superman
1.3 – Secret Six
1.3 – Green Lantern
1.2 – Wonder Woman
1.2 – Grayson
1.2 – Superman/Wonder Woman
1.1 – Action Comics
1.1 – Flash
1.0 – Green Lantern Annual
1.0 – Teen Titans
1.0 – Deathstroke
1.0 – Sinestro
0.9 – New 52 Futures End (31)
0.9 – New 52 Futures End (32)
0.9 – Green Lantern Corps
0.9 – New Suicide Squad
0.9 – New 52 Futures End (34)
0.9 – New 52 Futures End (33)
0.9 – Grayson Annual
0.9 – New 52 Futures End (35)
0.9 – Justcie League United
0.9 – Sinestro
0.9 – Aquaman
0.9 – Earth 2
0.8 – Earth 2 – World’s End (9)
0.8 – Arkham Manor
0.8 – Earth 2 – World’s End (10)
0.8 – Gotham by Midnight
0.8 – Earth 2 – World’s End (11)
0.8 – Earth 2 – World’s End (12)
0.8 – Earth 2 – World’s End (13)
0.8 – Gotham Academy
0.8 – Supergirl
0.7 – Red Lanterns
0.7 – Green Lantern New Guardians
0.7 – Catwoman
0.7 – Justice League Dark
0.6 – Green Arrow
0.6 – Secret Origins
0.6 – Lobo
0.5 – Worlds’ Finest
0.5 – Red Hood & Outlaws
0.5 – Justice League 3000
0.5 – Catwoman Annual
0.5 – Red Hood & Outlaws Annual
0.5 – Swamp Thing
0.4 – Constantine
0.4 – Batwoman
0.4 – Aquaman and the Others
0.4 – Trinity of Sin
0.3 – Infinity Man and the Forever People
0.2 – Klarion
0.2 – Star-Spangled War Stories feat. GI Zombie



































































Vertigo: Average: 13,937*. Median: 7,488*

4.6 – Sandman Overture
1.1 – Wolf Moon
1.0 – Fables
0.9 – Astro City
0.7 – Fairest
0.5 – Bodies
0.5 – The Kitchen
0.5 – Coffin Hill
0.4 – The Names
0.4 – Hinterkind *
0.4 – Dead Boy Detectives









Digital First & Other: Average: 11,353*. Median: 11,055*.

1.7 – He-Man: Eternity war
1.5 – Injustice Year Three (5)
1.4 – Injustice Year Three (6)
1.4 – Batman ’66
1.3 – Sensation Comics feat. Wonder Woman
1.1 – Flash Season Zero
0.9 – Arrow Season 2.5
0.8 – Smallville Season 11
0.7 – Teen Titans Go
0.7 – Infinite Crisis: Fight for the Multiverse
0.4 – Scooby-Doo Where Are You? *
0.2 – Looney Tunes *










The Fine Print (Disclaimers, et cetera)
The numbers above are estimates for comic-book sales in the North American direct market, as calculated by ICv2.com according to the chart and index information provided by Diamond Comic Distributors.
ICv2.com’s estimates are somewhat lower than the actual numbers, but they are consistent from month to month, so the trends they show are fairly accurate. Since it’s a “month-to-month” column, the comments, unless otherwise noted, are on the most recent month.

Bear in mind that the figures measure sales of physical comics to retailers, not customers. Also, these numbers do not include sales to bookstores, newsstands, other mass-market retail chains or the United Kingdom. Re-orders are included, so long as they either reached stores in a book’s initial calendar month of release or were strong enough to make the chart again in a subsequent month. Keep in mind that sales for some titles may include incentives to acquire variants and not every unit sold is necessarily even intended to be sold to a customer.

If additional copies of an issue did appear on the chart after a book’s initial calendar month of release, you can see the total number of copies sold in brackets behind those issues (e.g. “[36,599]”). Should more than one issue have shipped in a month which is relevant for one of the long-term comparisons, the average between them will be used.

Titles which are returnable have their numbers artificially adjusted down by Diamond. To make up for that this column increases the reported numbers for those titles by 10%. Which is likely also wrong, but it’s a different and likely less wrong kind of wrong, and experience has shown that this leads to sales figures which are more consistent.

Titles released under the All-Ages line and magazines, such as Mad, mostly sell through channels other than the direct market, so direct-market sales don’t tell us much about their performance. For most Vertigo titles, collection sales tend to be a significant factor, so the numbers for those books should be taken with a grain of salt as well. To learn (a little) more about Vertigo’s collection sales, go right here.

Please keep in mind that raw sales numbers do not tell us about how profitable a book is for a publisher or for the creators.
Above all, do not allow sales numbers to dictate your purchasing and enjoyment of a particular comic. If you enjoy reading a comic series then go right on buying and reading that comic, no matter what the sales figures say.

** Two asterisks after a given month in the average charts mean that one or more periodical release did not make the Top 300/400 chart in that month. In those cases, it’s assumed that said releases sold as many units as the No. 300/400 comic on the chart for that month for the purposes of the chart, although its actual sales are likely to be less than that.

Opinions expressed in this column are mine alone, and do not necessarily reflect those of my employer, Heidi MacDonald or anyone at The Comics Beat, The Association for Professional Basketball Research, or my former neighbor’s dog Miles.

The author of this column does weekly snapshots of Amazon comic sales charts at http://yetanothercomicsblog.blogspot.com/ and tweets about comics and related subjects on Twitter at @davereadscomics (PM me there is you need to contact me).
As always, we welcome your comments and corrections below. Please try to keep things civilized.

 

14 Comments on DC Comics Month-to Month Sales: December 2014 – A Darwyn Cooke Overture, last added: 2/25/2015
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45. Calista Flockhart joins Supergirl as Cat Grant

Calista-Flockhart-6

Former Ally McBeal star Calista Flockhart is the latest actress to jump into the comic book world, as Warner Bros and CBS have revealed that she will be playing Cat Grant in the prime-time drama Supergirl.

Created by Marv Wolfman and Jerry Ordway, Cat is a columnist for the Daily Planet and a sometimes love interest for Clark Kent. For this iteration, she’s described thusly: “a self-made media magnate and founder of CatCo, Cat Grant started her career as a reporter and has built her company into a global powerhouse. Kara (series star Melissa Benoist) works at CatCo as her assistant.”

Flockhart’s take on the character will be the fourth time Cat Grant has appeared on-screen, previously having been played by Tracy Scoggins in Lois and Clark: The New Adventures of Superman and Emilie Ullerup and Keri Lynn Pratt in the final two seasons of Smallville.

Good get!

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46. Aaron and Sprouse Extend a Secret Wars Invitation to the “Thor-cop bar”

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“This is basically me doing a cop story, but with hammers instead of guns,” exclaims Thors author Jason Aaron to Marvel.com. “This is me getting to do ‘Homicide: Life on the Street’ with lots of cosmic cops. It’s every version of Thor you can imagine, all walking beats, solving murders, getting yelled at by their commissioner and blowing off steam at their local Thor-cop bar.”

Marvel is looking to expand Secret Wars even further (10+ series have already been announced) with a new comic entitled Thors. The tale features the incredible creative team of Jason Aaron and artist Chris Sprouse. Thors follows up on some crucial plot points that have yet to be revealed in Secret Wars #2, but the cover features various characters (the new Thor, Ultimate Thor, Beta Ray Bill, Frog Thor, and more) equipped with hammers. Little regarding the plot is known except that all these different characters are investigating a murder case for the ages.

The comic ships in June, and is cited to be one of the more important titles for Secret Wars.

“I’ll just say that this book is probably more of a direct tie-in to the main SECRET WARS series than a lot of the other tie-ins you’ll see, in that the role of the Thors is something that is set-up quite extensively in SECRET WARS #2,” says Aaron.

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47. Entertainment Round-Up: Margot Robbie, James Gunn, Telltale Games, Pee-Wee comes to Netflix

james gunn

There’s snow on the ground here in Atlanta, and I can’t wait for Spring to finally arrive. Seriously.

Here are the big updates for this morning:

– This is not a big surprise, given that probably every actor that signs up for a superhero film these days has a multi-picture contract, but Suicide Squad star Margot Robbie has confirmed that she has one too. Get used to seeing lots of Harley Quinn in future DC movies, provide all goes well for the studio.

– Making the rounds yesterday was James Gunn‘s Facebook post regarding the awards-season/Birdman-birthed narrative that superhero movies are the death-knell of creativity in Hollywood, it’s pretty wonderful:

Whatever the case, the truth is, popular fare in any medium has always been snubbed by the self-appointed elite. I’ve already won more awards than I ever expected for Guardians. What bothers me slightly is that many people assume because you make big films that you put less love, care, and thought into them then people do who make independent films or who make what are considered more serious Hollywood films.

I’ve made B-movies, independent films, children’s movies, horror films, and gigantic spectacles. I find there are plenty of people everywhere making movies for a buck or to feed their own vanity. And then there are people who do what they do because they love story-telling, they love cinema, and they want to add back to the world some of the same magic they’ve taken from the works of others. In all honesty, I do no find a strikingly different percentage of those with integrity and those without working within any of these fields of film.

If you think people who make superhero movies are dumb, come out and say we’re dumb. But if you, as an independent filmmaker or a “serious” filmmaker, think you put more love into your characters than the Russo Brothers do Captain America, or Joss Whedon does the Hulk, or I do a talking raccoon, you are simply mistaken.

At this point, I have a hard time imagining that a comic-book based superhero film will ever win a live-action Best Picture Oscar (if The Dark Knight couldn’t even be nominated), but does it actually matter? Not really. Let’s just continue to hope for more Avengers, Dark Knights, Winter Soldiers and films with a nice personal stamp on them and less of the Amazing Spider-Man 2 variety.

– Telltale Games has, over the the past few years, sparked a revival of the adventure game genre with comics-based titles like The Walking Dead and Fables (along with Game of Thrones and Tales from the Borderlands). Today, Lionsgate Films and Telltale announced the former’s investment into the burgeoning game developer. What does it mean for Telltales’ output? We may see some television and video game co-development soon, particularly in terms of an original property. At the very least more Lionsgate properties will surely be headed into the development cycle.

– Former Bat-Mite voice actor Paul Reubens is bringing his famous Pee-Wee Herman character back to television, as Netflix has announced that the feature, Pee-Wee’s Big Holiday, will be coming to the streaming service. The new film is co-written by Reubens and Paul Rust (Comedy Bang Bang), with John Lee (Inside Amy Schumer) directing. Judd Apatow will produce under his Apatow Productions banner.

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48. Gabrielle Bell Art Sale!

j14.jpg

Gabrielle Bell is having an art sale on most of the July Diary that makes up jher book Truth is Fragmentary. Pages are a reasonable $100, shipping included. Bell is having the sale as a fundraiser, and while it’s neat to be able to get original art by a great cartoonist for next to nothing, it’s also telling that a cartoonist of Bell’s stature still has to sell art to makes ends meet. NYC, you’re bumming me out in a supreme fashion.

Bell also posted a new comic visible in the link.

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49. Marvel’s Isaac Perlmutter is a very generous guy

201502240432.jpg

…when it comes to charity. Marvel CEO Perlmutter and his wife Laura have donated another $9 million to the NYU Langone Medical Center and the Technion Israel Institute of Technology. This follows a previous $50 million donation to the NYU Cancer Institute which was renamed Laura and Isaac Perlmutter Cancer Center in their honor. Mrs. Perlmutter has been involved with NYU as a volunteer and president of the Tisch Hospital Auxiliary.

A third of the donation will be used to finance six joint research projects and the remaining sum will be donated to create a research facility on the Technion campus. The focus of the research will be on the metabolomics of cancer, or the relationship between cancer and metabolism and the ways understanding this can make it easier to detect and treat the disease.

Laura Perlmutter wrote in a release, “We are confident that this collaborative effort, which avoids duplication of research initiatives and creates efficiencies among marquee donors and researchers, will lead to dramatic results in the fight against this terrible disease.”


Perlmutter is a man known for being tight with a dime where business is concerned, but at least he’s helping cure cancer. In more Perlmutter news, Disney’s Robert Chapek has been named Chairman for Theme Parks, which he may be working on getting more of those Marvel characters onto Space Mountain:

In working to retool the merchandising operation, Mr. Chapek worked closely with Marvel, which continues to be run by Isaac Perlmutter, an executive known for aggressively pushing for efficiencies. How closely Mr. Chapek will remain aligned with Mr. Perlmutter in his new job was unclear, although Disney has been working to further integrate Marvel characters into its parks around the world.


And finally, the Perlmutters are also involved in a web of three lawsuits involving neighbors in Palm Beach, FL, over a tennis court. But the suits also involved defamation, mental anguish and other fol de rol, including Laura Perlmutter ostracizing the plaintiff’s wife from their social circle:

Another ongoing lawsuit, filed by Peerenboom in October 2013, outlines what he alleges is the back-story of the feud.

That lawsuit, filed against Perlmutter and 10 others, said the dispute began in 2010 when Peerenboom became active in the community affairs at Sloan’s Curve. He and others discovered Donnelly had been operating the tennis center for more than a decade without competing for the contract as required by Florida law.

Among other allegations in that lawsuit, Peerenboom said Donnelly invited nonresidents to the complex for tennis lessons and ran a real-estate business out of the tennis center. He disagreed with Perlmutter and Raphael over Donnelly running the center.


Trust me: you do not want to disagree with Ike Perlmutter.

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50. Kibbles ‘n’ Bits 2/24/15: Small press show caught in Comic-Con tidal wave

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§ SPACE, the long running small press show located in Columbus, is moving to a new venue and time frame this year: July 18 &19, 2015 at the Northland Performing Arts Center. The date is the weekend after San Diego, which is not ideal, but SPACE had no choice, as organizer Bob Corby explains in an email:

The hotel which hosted the show for the past 5 years has closed its door. This was done without any notification and less than a week after they assured us we were all set for our original contracted date. We knew the hotel was having problems and were about to sign a contract with the Northland Performing Arts Center for 2016 when the closure occurred so we contacted them about a date this year. NPAC’s next open date was July 18 &19, 2015. With the support of the vast majority of our exhibitors we accepted the date. We are sorry for any inconvenience this causes anybody especially all our exhibitors and ticket holders. The exhibitors were contacted the day after we were aware of the situation. We are refunding money to any exhibitors or ticket holders if they cannot attend on the new dates. We really appreciate the overwhelming support we have received form exhibitors and other business contacts we have advertising deals with.

On the plus side the new venue has more space and will fit more exhibitors so we have opened up sale of exhibitor tables again. Info on the new venue is at http://www.npac614.com/index.asp.

The show is still in good financial shape and the transition should not be difficult thanks to Brain Kerr NPAC’s general manager. We also like to thank all the hotel employees who were very good to us for the past 5 years and are probably real victims in this closing. We wish them the best of luck in the future.

From here out only positive news as we look forward to a new era for SPACE!


While holding any comics related show in July is problematic, we’re guessing that the Comic-Con/SPACE crossover of attendees and exhibitors is very small.
§ Speaking of small presses, just about the most daring and exciting on around is Breakdown Press which consistently puts out some of the most forward looking comics available. Matt Colgeate talks with Tom Oldham, Simon Hacking, and Joe Kessler about art and business:
Do you have anyone handling your distribution?


S: We have very good relationships with quite a lot of stores here and in the states, that we’ve generated by emailing them and meeting them at shows, which is how we do our distribution at the  moment. We are in the process of organizing more sophisticated distribution networks.

T: The big offset books get printed and we send them out to our network of shops. We’re working on getting national and international distribution. But with the risograph books it’s different depending on the artist and the project.

S: There’s obviously an economy of scale, so we print significantly more of the offset books than the risograph books, which brings the unit cost down which means we can afford for the distributor to take a bigger chunk. Some of the risograph books – in fact most of them – we couldn’t distribute because it would be too much money considering all the discounts you have to give. It astonishes me how many small publishers you speak to that don’t operate under those assumptions.

§ The nominees for the Bram Stoker Awards® 2014 have been announced and here’s the comics category:
Superior Achievement in a Graphic Novel
Emily Carroll – Through the Woods (Margaret K. McElderry Books)
Joe Hill – Locke and Key, Vol. 6 (IDW Publishing)
Joe R. Lansdale and Daniele Serra – I Tell You It’s Love (Short, Scary Tales Publications)
Jonathan Maberry – Bad Blood (Dark Horse Books)
Paul Tobin – The Witcher (Dark Horse Books)





§ Comic-Con announcedtheir fourth wave of guests:
Michael Cho, Writer/artist, Shoplifter
Tom Grummett, Artist, Fantastic Four, X-Men Forever, Teen Titans
Chip Kidd, Designer/author, Peanuts: The Art of Charles M. Schulz, Batman: Death by Design
Jen Sorenson, Editorial cartoonist
Bernie Wrightson, Artist, Swamp Thing, Frankenstein




§ A few days ago we told you about Space Goat’s new line of comics ; now they’ve announced that industry veteran Dave Olbrich joining them as Senior Vice President – Publishing & Business Affairs. Olbrich’s resume includes helping found Malibu Comics and founding publisher of Image Comics.

“Shon and I have been talking extensively about the evolution of the comics market and the changes in the readership in recent years,” Olbrich said. “The audience for the kinds of comics Space Goat will publish is growing, and I’ll be working to streamline the ways we can reach readers and retailers.”

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§ Bleacher Creatures is putting out fuzzy DC characters. Huggable Harley. Here’s the complete line-up:
 
MAY (comic book line)
Batman
Harley Quinn
Wonder Woman
Green Lantern
Nightwing
Deathstroke
 
JULY (film line)
Superman from Superman
Batman from Batman (1989 Theatrical Film)
Batman from The Dark Knight Trilogy
Superman from Man of Steel
Zod from Superman
Zod from Man of Steel
 
AUGUST (TV line)
The Arrow from Arrow
The Penguin from Gotham
The Flash from The Flash




















How Crazy Am I to Think I Know Where MH370 Is? — NYMag

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