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1. The Asbury Park Comicon was a hit

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Whew so many events going on it is hard to keep track. Last weekend’s Asbury Park Comicon seems to have been a cracking good time, based on all the blog and FB posts we’ve seen about it. We’ve been hoping to go to the show every year, but this time two cons in a row left The Beat conned out. I believe Torsten is working on his own report, but co-show runner Cliff Galbraith was kind enough to send along some photos and talk about the show’s move to a new venue AND two days. Would it hold up? What do you think? Take it away, Cliff.

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It was a really incredible weekend. We had the the first nice weekend at the beach — the comic gods were smiling on us once again.  In fact, it kind of blew my mind and it’s got us really pumped up about our show 6/14 (the New York Comic Fest in Westchester). At times we had ticket lines around the block and had to add people to help keep things moving. The fans were really great and it was cool how they were able to talk to a lot of the creators we had, like J.H. Williams and Steranko. Chris Claremont was holding court and being really terrific with the people there to see him. Were we nervous about going to two days? Of course — there’s a lot more moving parts. But we’re glad we did it because it really worked out all the way around and it really sets us up for June when we have the show with Steranko, Sienkiewiecz, Denny O’Neil, Scott Snyder and Mark Waid.

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One thing that caught me off guard, in a good way, was that Claremont originally was just supposed to be there on Saturday. But that night we had a dinner that was secretly in honor of Denis Kitchen, who we wanted to thank for everything he’s done for the creative community and comics in general. We had a whole bunch of people there and I guess Chris had a good time because he decided to stay a second day! So there he was Sunday, with more fans out the door. Also, J.H. Williams III blogged last week that Asbury Park might be his only show of the year.

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And that dinner was a hit. Jon B. Cooke presented Denis with the award and he was completely taken by surprise. It was really lively with Steranko, Mark Schultz, Annie Nocenti, Don McGregor, Peter Bagge, my partners Robert Bruce and Dan Greenfield, Ming Chen, Michael Zapcic. All there. I don’t want to leave anyone out but Dean Haspiel, Gregory Benton and Christa Cassano were there from Hang Dai Studio in Brooklyn. Bob Camp, David Spurlock, Robert Sikoryak. John Holmstrom showed up. Jim Salicrup, Ellen Abramowitz, Tim Truman, Todd Klein, John Workman, Carl and Nancy Gropper, too. 

At the same time, we had Kathleen Hannah’s The Julie Ruin and Screaming Females show over at the Asbury Lanes, so guys like JH Williams and Box Brown were over there at our after-party. We had a lot going on and I think we’re moving towards being a much larger festival with bands and other activities — maybe like a mini SXSW of comics. We leased the park across from the hotel and filled it with food trucks and cars like the Batmobile and Ghost Busters Ecto 1, but next year I see the addition of a ferris wheel and a stage for bands. I want to involve the whole City of Asbury Park. 

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And the best part was the mood was fantastic over the two days — everyone was stoked. We had packed panels with Claremont and Steranko, Williams was a hit, plus Robert Sikoryak’s Carousel got a lot of people talking. The Comic Book Men panel was standing room only. The dealers said they did really well and the artists and writers were getting a lot of shmoozing and commissions in. The cosplay contest was way bigger than last year. And we were pleasantly surprised when Dan DiDio showed up quietly on Sunday afternoon!

Even though we’re called a comicon, I really see this as Rob and I are throwing a party. We choose to invite the people we want to spend the weekend with. That’s how this started a few years ago and it’s how we’re going to keep it. It’s for people we enjoy being around and those we’d like to get to know. I remember when cons were a lot more fun and a lot less crowded — Asbury Park is a reset to a more sane time in con history. I was really starting to feel bad for kids who never got to experience the cons we got to go to. I’m not trying to change the con business, I’m just offering an alternative. The big cons are like Hollywood blockbusters, we’re more like the quirky little indie film that’ll touch your heart. 

Next up for the Crucial folks is the New York Comic Fest June 14th in White Plains, and in 2015, the East Coast Comicon at the Meadowlands(!).

Next year for sure.

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3 Comments on The Asbury Park Comicon was a hit, last added: 4/17/2014
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2. The finalists for the 2014 Ruth and Sylvia Schwartz Children's Book Awards...

Sorrow's knot...have been announced.

The middle grade/YA list is:

The Unlikely Hero of Room 13B, by Teresa Toten

Ultra, by David Carroll

Little Red Lies, by Julie Johnston

Jane, the Fox and Me, by Fanny Britt of Montreal

Sorrow's Knot, by Erin Bow

Click on through for the picture book nominees, and also be sure to take a look at who decides on the winners: pretty cool, huh?

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3. A conversation with Craig Panner, Associate Editorial Director of Medicine Books

Few fields develop as rapidly as medicine, with new breakthroughs in research, tools, and techniques happening everyday. This presents an interesting challenge for many medical publishers — trying to get the latest information to students, practitioners, and researchers as quickly and accurately as possible. So we are delighted to present a Q&A with Associate Editorial Director of Medicine Books, Craig Panner. Craig began his career at Oxford University Press eight years ago, and currently works across Oxford University Press’s medicine titles. In the interview below, Craig talks not only about his role, but also the medical publishing landscape in general, both past and future.

Could you tell us about your position as Associate Editorial Director?

My role is something of an interdepartmental liaison between the Medicine UK office and the psychology and social work group here at Oxford University Press. Collectively, we all work very closely together and when you have departments on both sides of the Atlantic, I think it is imperative to maintain and promote open lines of communication which is what I strive to do on a daily basis. Additionally, as Associate Editorial Director, I am also the commissioning editor for neurology and neuroscience, a role which I not only love, but I think helps keep me connected to, and informed about, what the other commissioning editors encounter on a daily basis.

In your experience, what are some of the challenges of transitioning medical books to an online environment?

Work in the computer lab by MCPearson CC-BY-SA-3.0 via Wikimedia Commons.

Work in the computer lab by MCPearson. CC-BY-SA-3.0 via Wikimedia Commons.

I think one of the biggest challenges is that everyone has ideas of what they want, what functionality they expect, and how to be able to use that material. But like many things, we can’t please everyone so it becomes a matter of identifying the greatest common need and how to meet those requirements. Another large challenge is that the online environment is a constantly moving target, if you will: new functionalities are introduced, the “it” product is rolled out, and other similar bells and whistles are discovered and customers often want that too. But when we’re talking about a platform product like Oxford Medicine Online and the huge amount of data that is available, it’s often too difficult to demonstrate why instant changes can’t be incorporated.

What was the state of medical publishing when you began your career vs. how it is done now?

When I started in the publishing world (as a proofreader) back in 1992, everything was print. I remember when the company received its first apple computer: it was kept in an open office and you had to sign up to book time to use it. And, oddly, it was never in use: everyone was more comfortable using the mimeograph machine and the typewriters by their desk. But, in about the next five or six years, the online explosion happened and journals suddenly became available electronically, first via consortia only, then as individual subscriptions, and then individual articles.

Could you discuss Oxford’s relationship with the Mayo Clinic, and how it has grown or changed over the years?

Mayo Clinic is the largest integrated, not-for-profit group practice in the world, with nearly 4000 physicians and scientists at their three primary sites in Minnesota, Florida, and Arizona. And given that Oxford University Press is the largest and oldest university press in the world, it seemed like a natural fit for the two organizations to work together. For almost five years now, Mayo Clinic and Oxford University Press have continued to work together to create, prepare, and disseminate medical reference works that any practicing clinician, anywhere in the world, would find useful for their continued professional development. When we first began working together, the Mayo Clinic Scientific Press series of books was predominantly print. But with the launch of Oxford Medicine Online, and the subsequent development of the Oxford eLearning Platform, the Mayo titles now have the added functionality of utilizing the questions and answers that accompany many of the Mayo Clinic Board Review books for a truly interactive experience that more fully prepares doctors preparing to take their board exam, as well as doctors maintaining their certification, in a real time environment.

What are some of the greatest challenges of medical publishing?

Everyone is busy and everyone works more than a 40-hour week. Finding the time to develop and undertake, much less publish, a medical text is a real juggling act. Thankfully, with the history of Oxford University Press and the quality publications that we produce, we are a trusted publishing house where authors and editors can go with confidence. Another challenge in medical publishing is the time that it takes to produce a work. Not only does it take a fair amount of time to develop, to write or collate chapters, and to deliver the work, but in the old days, it would take a year to publish a book. Medical research and techniques move far more quickly than that time-frame would permit which is why the Medicine group now publishes works between 3.5 months to 5.5 months from receipt. All to better meet the needs of our readers.

Where do you think medical publishing is headed in the future?

I wish I knew! The electronic environment will obviously play a huge role for the rest of my career but given that it, literally, changes daily and the needs and expectations of our readers changes with it, it is impossible to guess where things are going. And that’s what makes publishing so much fun. I can say that I think that immediate access to point of care information, along with suggested secondary and tertiary information will become second nature. The online environment won’t do the thinking for the clinician, but it will certainly supplement their decision making and knowledge base far more completely than anything that we’ve had previously.

How has the process of actually doing medical research changed over the years? In other words, how are people accessing the content then vs. now?

Medical research has definitely changed over the years. When I first started out, clinicians and researchers had offices lined with books and journals, filing cabinets filled with journal reprints, and personal databases (for the electronically savvy) of key articles. Much of that is gone now and when you speak with a junior doc they will often say that everything they need is available to them electronically. Searching the web is obviously faster but the ability to utilize the web to link journals, books, databases, and the like has expanded the available knowledge base of today’s clinician, no matter where in the world they are located. And because of how we do research and how we follow up with patients, a doctor can now check up on, and advise upon, a patient from anywhere that they are traveling to. Geographic boundaries really no longer exist.

How have extra online features, like multimedia, changed the way medical research is done?

The various additional features that the online environment facilitates are amazingly useful in this busy world we live in. Not only do these extra features teach the reader on their own schedule, but these features can help facilitate the decision making process. If we are talking about videos that show two different, but somewhat similar, symptoms the multimedia material can help show, literally, how the two disorders are different. Likewise, being able to quickly reference additional material via a third party database–let’s say genotypes, for instance–you negate the need to stop what you’re doing, go to a book, a journal, or even the library but, instead, go directly to the source, find what you need, make the judgment and continue with your work. Medical research really is nothing like it was five years ago and will not be the same five years from now.

Craig Panner is the Associate Editorial Director of Medicine Books, and works in Oxford’s New York office.

Oxford Medicine Online is an interconnected collection of over 500 online medical resources which cover every stage in a medical career. Our aim is to ensure that the site delivers the highest quality Oxford content whilst meeting the requirements of the busy student, doctor, or health professional working in a digital world.

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The post A conversation with Craig Panner, Associate Editorial Director of Medicine Books appeared first on OUPblog.

0 Comments on A conversation with Craig Panner, Associate Editorial Director of Medicine Books as of 4/17/2014 10:59:00 AM
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4. Warren Ellis to revamp Dynamite’s Superpowers Universe

Well well, Dynamite is putting together quite a collection of creators, aren’t they? Here’s a big one: Warren Ellis will take over the Project Superpowers universe later this year. Just what that means isn’t entirely clear, but according to senior editor Joe Rybandt, Ellis will be given “carte blanche to reimagine these characters and this world.” A reboot revamp then.

Project Superpower, you may recall, is a relaunch of a bunch of public domain Golden Age superheroes originally revamped (in 2008) by Alex Ross and Jim Krueger. Among the heroes, the Black Terror, The Owl, the original Daredevil The F-Troops and so on. Dynamite has been publishing various mini-series since then, but this would seem to be a clean break from the last version.

Just imagine Warren Ellis writing something called The Black Terror—the possibilities are endless.

In a statement, Ellis wrote, “I’ve long been fascinated by the period in comics that produced these characters, and I’m very much looking forward to working out the strange, atmospheric take on the weird thriller that they inspired.  Also, it’s going to be a pleasure to finally do a job through the good offices of my old friend Nick Barrucci.”  

”I’ve wanted to work with Warren for many years, and have approached him more than a few times,” Dynamite CEO / Publisher Nick Barrucci added. “I can honestly say that when his schedule allowed for us to work together, I was speechless.  We’ve been waiting for the right creative vision to bring back Dynamite’s Superpowers Universe, and I can’t think of anyone better than Warren to do so.  I was elated that both came together.  He will make this series his own and will bring a larger audience to Dynamite’s Super Powers universe.  This is truly an honor to be working with him, as Warren elevates Dynamite to a new level.”

If you’ve been following Ellis’s mailing list, he’s been gallivanting all over the world on a bunch of secret projects, some of hem seemingly showbiz related. His novel Gun Machine is being developed for television, and his Wildstorm mini RED formed the basis of two films. Plus he has a new image series, Trees, coming out later this year, drawn by Jason Howard.

Dynamite sent along some art by Ross, Jae Lee and Steve Sadowski from previous versions of Project Superpowers.

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4 Comments on Warren Ellis to revamp Dynamite’s Superpowers Universe, last added: 4/17/2014
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5. A gentle reminder about a fabulous author.

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6. Marvel Month-to-Month Sales: March 2014 — the two types of All-New Marvel Now #1s

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By Jason Enright

Another month of All-New Marvel Now releases is upon us. Some books end, some books relaunch, some new heroes arrive on the scene. Let’s see what the numbers are telling us. First up a bit of a breakdown:

10 new #1s (not counting #1s from miniseries like Revolutionary War)
8 Avengers titles
7 X-Men titles (9 if you count X-Force and X-Factor)
10 titles that double-shipped.

Now before we get deep into the numbers, I want to point out a trend that I’ve been noticing, and would love to hear your thoughts on in the comments below.

So there are two types of All-New Marvel Now #1s. The first is something like Black Widow or She-Hulk, where the new #1 is a new series featuring a new or returning character and a new creative team, so basically a new book. The other is what I call the soft relaunch. They take an ongoing series with falling sales and they give it a new #1, but not much else changes, same creative team or if maybe the artists changes, the writer stays, and maybe a slight tweak on the storyline or premise. Examples of this are Secret Avengers or X-Factor.

Now the trend I have been noticing is that these soft relaunches might see the issue #1 get a big sales boost but then sales fall down very close to where it was before the reboot in the next few months. So I ask all of you fans, retailers, etc. who read this, what do you think is going on? Is the relaunch just not a big enough deal to catch reader interest? Is there not enough of a shakeup or new direction? Is this just relaunch fatigue? There have been a lot of Marvel Now relaunches. Is there just more focus and excitement on the new titles like Silver Surfer, Ms. Marvel and Moon Knight? 

So keep those thoughts and question in mind, and let’s dive in to the numbers.

Thanks as always to Milton Griepp and ICV2.com for their permission to use these figures.

5,7. SUPERIOR SPIDER-MAN
03/04  Am Spi #505   –  83,612
03/09  Am Spi #588   -	 61,325
03/11  Am Spi #656   -	 59,626
03/12  Am Spi #681   -  52,143
---
03/13  Superior #5  -  94,224  (  -1.7%)
03/13  Superior #6  -  86,614  (  -8.1%)
03/13  S. S-M #6AU  -  85,807  (  -0.9%)
04/13  Superior #7  -  87,945  (  +2.5%)
04/13  Superior #8  -  85,671  (  -2.6%)
05/13  Superior #9  -  93,656  (  +9.3%)
05/13  Superior #10 -  85,346  (  -8.9%)
06/13  Superior #11 -  84,219  (  -1.3%)
06/13  Superior #12 -  82,338  (  -2.2%)
07/13  Superior #13 -  81,678  (  -0.8%)
07/13  Superior #14 -  80,839  (  -1.0%)
08/13  Superior #15 -  78,636  (  -2.7%)
08/13  Superior #16 -  78,087  (  -0.7%)
09/13  Superior #17 -  89,118  ( +14.1%)
09/13  Superior #18 -  80,178  ( -10.0%)
10/13  Superior #19 -  83,671  (  +4.4%)
10/13  Superior #20 -  85,309  (  +2.0%)
11/13  Superior #21 -  74,940  ( -12.2%)
11/13  Superior #22 -  81,250  (  +8.4%)
12/13  Superior #23 -  77,105  (  -5.1%)
12/13  Superior #24 -  76,131  (  -1.3%)
01/14  Superior #25 -  77,311  (   1.5%)
01/14  Superior #26 -  72,591  (  -6.1%)
02/14  Supr #27.Now -  86,405  (  19.0%)
02/14  Superior #28 -  75,477  ( -12.6%)
03/14  Superior #29 -  76,568  (   1.4%)
03/14  Superior #30 -  75,431  (  -1.5%)
---
6 mnth  ( -14.1%)
1 year  ( -18.7%)
2 year  (  47.0%)
3 year  (  28.4%)
5 year  (  24.9%)
10 year (  -8.4%)

Superior Spider-Man stays really strong as it heads towards its conclusion and the return of Peter Parker. The final issue should actually see a sales increase, and then rumor has it that the orders on Amazing #1 are going to be huge, like in the 500,000 range. It will be really interesting to see how much of that is hype and how much second and consecutive drop off after that. Stay tuned as we’ll be watching this series very closely.

6. DAREDEVIL
03/04  Daredevil v2 #58 - 54,399
03/09  Daredevil v2 #116- 41,255 
03/11  DD Reborn    #3  - 27,231 
03/12  Daredevil v3 #10 - 38,137 
---
03/13  Daredevil v3 #24 - 37,231  ( +0.2%)
04/13  Daredevil v3 #25 - 39,678  ( +6.6%)
05/13  Daredevil v3 #26 - 39,788  ( +0.3%)
06/13  Daredevil v3 #27 - 35,834  ( -9.9%)
07/13  Daredevil v3 #28 - 35,364  ( -1.3%)
07/13  Daredevil v3 #29 - 34,915  ( -1.3%)
08/13  Daredevil v3 #30 - 35,240  ( +0.9%)
09/13  Daredevil v3 #31 - 36,666  ( +4.0%)
10/13  Daredevil v3 #32 - 34,957  ( -4.7%)
11/13  Daredevil v3 #33 - 32,966  ( -5.7%)
12/13  Daredevil v3 #34 - 32,331  ( -1.9%)
01/14  Daredevil v3 #35 - 32,067  ( -0.8%)
02/14  Daredevil v3 #36 – 31,494  ( -1.8%)
03/14  Daredevil v4 #1  - 76,006  (141.3%)
---
6 Mnth  ( 107.3%)
1 Year  ( 104.1%)
2 Year  (  99.0%)
3 Year  ( 179.1%)
5 Year  (  84.2%)
10 Year (  39.7%)

Very strong issue 1 sales numbers for Daredevil, backed up by 5 variant covers. This book has always been a critical hit and while its sales were very steady, they were never HUGE. Hopefully this soft relaunch gives readers a good jumping on point for what is one of the best creative and best books in comics right now. We’ll be watching to see how much of this sales bump the book is able to hold on to for future issues.

8. SILVER SURFER
03/04  Silver Surfer v5 #7 -  26,454  
03/11  Silver Surfer v6 #2 -  23,484  
---
03/14  Silver Surfer v7 #1 -  64,919  (  --- )
---
3 year  (176.4%)
10 year (145.4%)

Been a while since there has been a Silver Surfer solo series, but with the success of Guardians of the Galaxy, it seems time to bring in more of the cosmic characters. This is a pretty good debut and likely has a lot to do with the strong creative team behind this book. Again we’ll be watching to see how issue 2 -4 do. Hopefully, it will only see small drops and a lot of re-order activity.

10, 20. UNCANNY X-MEN
03/04  Uncanny X-Men #441   –  86,430
03/09  Uncanny X-Men #507   –  77,945
03/11  Uncanny X-Men #534   -  55,731
03/12  Uncanny X-Men v2 #8  -  57,568
---
03/13  Uncanny X-Men v3 #3  -  85,775  (  -9.3%)
04/13  Uncanny X-Men v3 #4  -  80,047  (  -6.7%)
04/13  Uncanny X-Men v3 #5  -  78,919  (  -1.4%)
05/13  Uncanny X-Men v3 #6  -  73,621  (  -6.7%)
06/13  Uncanny X-Men v3 #7  -  73,719  (  +0.1%)
07/13  Uncanny X-Men v3 #8  -  70,274  (  -4.7%)
07/13  Uncanny X-Men v3 #9  -  67,338  (  -4.2%)
08/13  Uncanny X-Men v3 #10 -  70,903  (  +5.3%)
08/13  Uncanny X-Men v3 #11 -  65,700  (  -7.3%)
09/13  Uncanny X-Men v3 #12 -  76,790  ( +16.9%)
10/13  Uncanny X-Men v3 #13 -  75,202  (  -2.1%)
11/13  Uncanny X-Men v3 #14 -  65,655  ( -12.7%)
12/13  Uncanny #15.INH      -  62,692  (  -4.5%)
01/14  Uncanny X-Men v3 #16 -  58,676  (  -6.4%)
02/14  Uncanny X-Men v3 #17 –  56,163  (  -4.3%)
03/14  Uncanny X-Men v3 #18 -  54,902  (  -2.2%)
03/14  U X-Men #19.NOW      -  64,514  (  17.5%)
---
6 mnth  ( -16.0%)
1 year  ( -24.8%)
2 year  (  12.0%)
3 year  (  15.8%)
5 year  ( -17.2%)
10 year ( -25.4%)

A nice bump for the .NOW issue and its 3 variants, but the thing to watch for is if the series holds onto those sales or drops right back down to where it was for the next issue.

12. ALL-NEW X-MEN
---
03/13  All-New X-Men #8  -  90,990  ( +6.8%)
03/13  All-New X-Men #9  -  81,692  (-10.2%)
04/13  All-New X-Men #10 -  84,760  ( +3.8%)
05/13  All-New X-Men #11 -  80,582  ( -4.9%)
06/13  All-New X-Men #12 -  82,178  ( +2.0%)
06/13  All-New X-Men #13 -  77,656  ( -5.5%)
07/13  All-New X-Men #14 -  74,848  ( -3.6%)
08/13  All-New X-Men #15 -  73,035  ( -2.4%)
09/13  All-New X-Men #16 -  84,218  (+15.3%)
10/13  All-New X-Men #17 -  82,843  ( -1.6%)
11/13  All-New X-Men #18 -  82,365  ( -0.6%)
11/13  All-New X-Men #19 -  71,044  (-13.7%)
12/13  All-New X-Men #20 -  68,189  ( -4.0%)
01/14  All-New X-Men #21 -  62,876  ( -7.8%)
01/14  All-New #22.NOW   -  76,565  (+21.8%)
02/14  All-New X-Men #23 -  64,625  (-15.6%)
03/14  All-New X-Men #24 -  63,739  ( -1.4%)
---
6 mnth  ( -24.3%)
1 year  ( -29.9%)

Final issue of the crossover with Guardians of the Galaxy sees only a slight drop from the previous issue. All said this series is still going pretty strong and the crossover did help boost its sales.

13. UNCANNY AVENGERS
---
03/13  Uncanny Avengers #5  - 84,382  ( -3.6%)
04/13  Uncanny Avengers #6  - 80,863  ( -4.2%)
04/13  Uncanny Avengers #7  - 77,027  ( -4.7%)
05/13  Uncanny Avengers #8  - 75,655  ( -1.8%)
05/13  Uncanny Av. #8AU     - 72,514  ( -4.2%)
06/13  Uncanny Avengers #9  - 71,842  ( -0.9%)
07/13  Uncanny Avengers #10 - 68,768  ( -4.3%)
08/13  Uncanny Avengers #11 - 65,447  ( -4.8%)
09/13  Uncanny Avengers #12 - 73,357  (+12.1%)
10/13  Uncanny Avengers #13 - 60,597  (-17.4%)
11/13  Uncanny Avengers #14 - 60,750  ( +0.3%)
12/13  Uncanny Avengers #15 - 57,035  ( -6.1%)
01/14  Uncanny Avengers #16 - 54,670  ( -4.1%)
02/14  Uncanny Avengers #17 – 53,181  ( -2.7%)
03/14  U Avengers #18.NOW   - 63,516  ( 19.4%)
---
6 mnth  ( -13.4%)
1 year  ( -27.4%)

Uncanny Avengers gets a nice 10k bump from the .NOW and its 4 variant covers. Again we will have to wait until next month to see if it holds on to any of these sales.

15. SUPERIOR SPIDER-MAN ANNUAL
---
02/14  Su Spider-Man Annual #2 – 59,278

Really nice numbers for the Spider-man annual coming in only 15k under the main series.

16. MOON KNIGHT
03/09  Moon Knight v3 #28 -  20,883  
03/12  Moon Knight v4 #11 -  21,581  
---
02/14  Moon Knight v5 #1  -  58,022 (  --- )
---
2 year  (169.0%)
10 year (177.8%)

This is a nice number for the new Ellis/Shalvey/Bellaire Moon Knight book. Goes to show you that putting a strong creative team behind a lesser known character really helps drive sales numbers and build confidence in the book.

17. GUARDIANS OF THE GALAXY
03/09  Guardians v2 #11 -  27,411
---
03/13  Guardians v3 #1  - 217,993  (+171.3%)
04/13  Guardians v3 #2  -  88,184  ( -59.5%)
05/13  ---
06/13  Guardians v3 #3  -  75,633  ( -14.2%)
06/13  Guardians v3 #4  -  71,575  (  -5.4%)
07/13  Guardians v3 #5  - 110,372  ( +54.2%)
08/13  ---
09/13  Guardians v3 #6  -  69,030  ( -37.5%)
10/13  Guardians v3 #7  -  68,647  (  -0.6%)
10/13  Guardians v3 #8  -  63,494  (  -7.5%)
11/13  ---
12/13  Guardians v3 #9  -  57,665  (  -9.2%)
12/13  Guardians v3 #10 -  53,527  (  -7.2%)
01/14  Guardian #11.NOW -  61,111  (  14.7%) [63,420]
02/14  Guardians v3 #12 -  55,454  (  -9.3%)
03/14  Guardians v3 #13 -  56,764  (   2.4%)
---
6 mnth  ( -17.8%)
1 year  ( -74.0%)
2 year  (   --- )
3 year  (   --- )
5 year  ( 107.1%)
10 year (   --- ) 

Just like All-New X-Men, this series sees some growth due to the crossover, and should get another nice boost from the ‘100th’ issue special next month. I wonder if many X-men fans discovered Guardians through this crossover or vice versa, maybe this will help both books gain some new readers.

19. Magneto
---
02/14  Magneto #1 – 55,337

Nice debut for the Master of Magnetism. Again, we’ll have to see how steeply it drops in future months and how many reorders it gets.

21, 27. WOLVERINE & THE X-MEN
03/12  Wolverine/X-Men #7  - 54,559  
---
03/13  Wolverine/X-Men #26 - 42,019  ( -6.7%)
03/13  Wolverine/X-Men #27 - 41,960  ( -0.1%)
04/13  Wolv & X-Men #27AU  - 47,055  (+12.1%)
04/13  Wolverine/X-Men #28 - 42,718  ( -9.2%)
05/13  Wolverine/X-Men #29 - 40,451  ( -5.3%)
05/13  Wolverine/X-Men #30 - 40,019  ( -1.1%)
06/13  Wolverine/X-Men #31 - 41,661  ( +4.1%)
06/13  Wolverine/X-Men #32 - 39,790  ( -4.5%)
07/13  Wolverine/X-Men #33 - 42,269  ( +6.2%)
08/13  Wolverine/X-Men #34 - 38,473  ( -9.0%)
08/13  Wolverine/X-Men #35 - 38,046  ( -1.1%)
09/13  Wolverine/X-Men #36 - 59,684  (+56.9%)
10/13  Wolverine/X-Men #37 - 57,434  ( -3.8%)
11/13  Wolverine/X-Men #38 - 39,098  (-31.9%)
12/13  Wolverine/X-Men #39 - 39,063  ( -0.1%)
01/14  Wolverine/X-Men #40 - 36,855  ( -5.7%)
02/14  Wolverine/X-Men #41 – 35,800  ( -2.9%)
02/14  Wolverine/X-Men #42 – 35,392  ( -1.1%)
03/14  Wolver/X-Men v2 #1  - 54,675  ( 54.5%)
03/14  Wolver/X-Men v2 #2  - 40,386  (-26.1%)
---
6 Mnth  (  -8.4%)
1 Year  (  30.1%)
2 Year  (   0.0%)

So this is the first comic in an interesting trend we’re starting with some of the Marvel Now relaunches. Books that aren’t new series but simply renumbering of existing series seem to have a strong debut issue but then immediately start to drop back down to their previous numbers. Before this soft relaunch, this title was selling around 35k, now on its second issue of the relaunch it is back down to 40k already. So what is going on here? Has the bloom come off the All-New Marvel Now rose? Or is this relaunch just not enough of a shakeup, sure it is a different creative team, but is still a very similar premise. You have to wonder if instead of helping the book find new readers, did the relaunch just give some people a reason to drop the book from their pull lists? Could this relaunch actually result in lower sales than it was doing before the new #1?

23. AVENGERS
03/04  Avengers v3 #80 –  55,533
03/11  Avengers v4 #11 -  66,618
03/12  Avengers v4 #24 -  52,242
---
03/13  Avengers v5 #7  -  78,278  (  -7.8%)
03/13  Avengers v5 #8  -  82,691  (  +5.6%)
04/13  Avengers v5 #9  -  77,780  (  -5.9%)
04/13  Avengers v5 #10 -  78,905  (  +1.4%)
05/13  Avengers v5 #11 -  70,687  ( -10.4%)
05/13  Avengers v5 #12 -  74,978  (  +6.1%)
06/13  Avengers v5 #13 -  68,624  (  -8.5%)
06/13  Avengers v5 #14 -  74,846  (  +9.1%)
07/13  Avengers v5 #15 -  68,472  (  -8.5%)
07/13  Avengers v5 #16 -  72,842  (  +6.4%)
08/13  Avengers v5 #17 -  68,962  (  -5.3%)
08/13  Avengers v5 #18 -  74,697  (  +8.3%)
09/13  Avengers v5 #19 -  92,489  ( +23.8%)
09/13  Avengers v5 #20 -  74,388  ( -19.6%)
10/13  Avengers v5 #21 -  71,751  (  -3.5%)
10/13  Avengers v5 #22 -  70,735  (  -1.4%)
11/13  Avengers v5 #23 -  66,501  (  -6.0%)
12/13  Avengers#24.NOW - 127,466  ( +91.7%)
01/14  Avengers v5 #25 -  65,591  ( -48.5%)
02/14  Avengers v5 #26 –  59,775  (  -8.9%)
03/14  Avengers v5 #27 -  53,966  (  -9.7%)
---
6 mnth  ( -41.7%)
1 year  ( -31.1%)
2 year  (   3.0%)
3 year  ( -19.0%)
5 year  (   --- )
10 year (  -2.8%)

The .NOW issue gave a great sales bump but since that issue, numbers have been dropping even more rapidly than before. Although, historically the Avengers seem to live in the 50k range the last couple years, so maybe it is getting close to leveling out.

25. ORIGIN II
09/01  Origin #1 of 6    - 135,561 
10/01  Origin #2 of 6    - 131,582
10/01  Origin #3 of 6    - 128,978
12/01  Origin #4 of 6    - 168,460
01/02  Origin #5 of 6    - 178,231
02/02  Origin #6 of 6    - 179,251
---
12/13  Origin II #1 of 5 - 131,724
01/14  Origin II #2 of 5 -  64,631  (-50.9%)
02/14  Origin II #3 of 5 -  53,640  (-17.0%)
03/14  Origin II #4 of 5 -  50,210  ( -6.4%)

Seems to be leveling out and the series will probably end at 45 to 50k. They didn’t quite catch the same zeitgeist as the original series, but this would probably still be considered a success, and will likely do well in a collected format.

26. ALL NEW GHOST RIDER
03/09  Ghost Rider v6 #33 -  21,344  
03/12  Ghost Rider v7 #9  -  13,716  
---
02/14  All-new Ghost Rider #1  -  50,072 (  --- )
---
2 year  (265.0%)
10 year (134.6%)

When you compare this to Ghost Rider’s sales historically this is a very strong debut issue. The real test for this series will be how long it can hold on to these numbers and where it will end up stabilizing. It seems like reviews and general internet chatter have been good for this series, so I hope it finds its audience and sticks around for a while.

27, 33. DEADPOOL
03/09  Deadpool v3 #8  -  47,967  
03/11  Deadpool v3 #34 -  30,299  
03/12  Deadpool v3 #52 -  27,990  
---
03/13  Deadpool v4 #6  -  57,095  (  -0.4%)
04/13  Deadpool v4 #7  -  57,016  (  -0.1%)
04/13  Deadpool v4 #8  -  52,851  (  -7.3%)
05/13  Deadpool v4 #9  -  51,296  (  -2.9%)
05/13  Deadpool v4 #10 -  50,461  (  -1.6%)
06/13  Deadpool v4 #11 -  54,110  (  +7.2%)
06/13  Deadpool v4 #12 -  48,315  ( -10.7%)
07/13  Deadpool v4 #13 -  47,006  (  -2.7%)
08/13  Deadpool v4 #14 -  45,870  (  -2.4%)
08/13  Deadpool v4 #15 -  46,169  (  +0.7%)
09/13  Deadpool v4 #16 -  45,675  (  -1.1%)
09/13  Deadpool v4 #17 -  45,348  (  -0.7%)
10/13  Deadpool v4 #18 -  47,096  (  +3.9%)
11/13  Deadpool v4 #19 -  44,184  (  -6.2%)
12/13  Deadpool v4 #20 -  43,653  (  -1.2%)
12/13  Deadpool v4 #21 -  43,066  (  -1.3%)
01/14  Deadpool v4 #22 -  41,765  (  -3.0%)
02/14  Deadpool v4 #23 -  41,204  (  -1.3%)
02/14  Deadpool v4 #24 -  41,130  (  -0.2%)
03/14  D'pool #25.NOW  -  48,775  (  18.6%)
03/14  Deadpool v4 #26 -  44,141  (  -9.5%)
---
6 mnth  (   6.8%)
1 year  ( -14.6%)
2 year  (  74.0%)
3 year  (  61.0%)
5 year  (   1.7%)

Deadpool is coming off the .NOW issue high, and seems to have held onto a good number of those readers. With the wedding issue coming up it will likely see another sales bump and continue to hold steady in the 40-45k range for some time.

28, 29. NEW AVENGERS
03/09  New Avengers v1 #51 -  95,326  
03/11  New Avengers v2 #10 -  59,929  
03/12  New Avengers v2 #23 -  51,697  
---
03/13  New Avengers v3 #4  -  65,150  (  -9.7%)
04/13  New Avengers v3 #5  -  63,423  (  -2.7%)
05/13  New Avengers v3 #6  -  59,362  (  -6.4%)
06/13  New Avengers v3 #7  -  60,138  (  +1.3%)
07/13  New Avengers v3 #8  -  58,044  (  -3.5%)
08/13  New Avengers v3 #9  -  60,534  (  +4.3%)
09/13  New Avengers v3 #10 -  60,682  (  +0.2%)
10/13  New Avengers v3 #11 -  63,231  (  +4.2%)
11/13  New Avengers v3 #12 -  58,807  (  -7.0%)
12/13  N Avengers #13.INH  -  56,624  (  -3.7%)
01/14  ---
02/14  New Avengers v3 #14 -  50,668  ( -10.5%)
03/14  New Avengers v3 #15 -  47,178  (  -6.9%)
03/14  N Avengers #16.NOW  -  48,731  (   0.0%)
---
6 mnth  ( -19.7%)
1 year  ( -25.2%)
2 year  (   -6.0)
3 year  ( -18.7%)
5 year  ( -48.9%)

This .NOW issue does not get a very big sales bump, and if the trend from other series is any indication, the next issue will actually see a decent decline.

30. AMAZING X-MEN
03/12  Astonishing X-Men #48 -  34,182  
---
03/13  Astonishing X-Men #60 -  27,683  ( +14.4%)
04/13  Astonishing X-Men #61 -  27,090  (  -2.1%)
05/13  Astonishing X-Men #62 -  24,121  ( -11.0%)
06/13  Astonishing X-Men #63 -  23,326  (  -3.3%)
07/13  Astonishing X-Men #64 -  22,649  (  -2.9%)
08/13  Astonishing X-Men #65 -  22,010  (  -2.8%)
08/13  Astonishing X-Men #66 -  21,757  (  -1.1%)
09/13  Astonishing X-Men #67 -  21,044  (  -3.3%)
10/13  Astonishing X-Men #68 -  21,023  (  -0.0%)
11/13  Amazing X-Men v2 #1   - 112,337  (+434.4%)
12/13  Amazing X-Men v2 #2   -  60,870  ( -45.8%)
01/14  Amazing X-Men v2 #3   -  51,431  ( -15.5%)
02/14  Amazing X-Men v2 #4   -  48,161  (  -6.4%)
03/14  Amazing X-Men v2 #5   -  46,242  (  -4.0%)
---
6 mnth  ( 119.7%)
1 year  (  67.0%)
2 year  (  35.0%)

This series was seeing big drops early on but for now seems like it might be leveling out a bit. Hopefully, it will find a nice home around 40k.

32. CAPTAIN MARVEL
03/09  Ms. Marvel        #37 - 25,049  
---
03/13  Captain Marvel v6 #11 - 17,743  ( -3.4%)
04/13  Captain Marvel v6 #12 - 18,344  ( +3.4%)
05/13  Enemy Within          - 34,205  (+86.5%)
06/13  Captain Marvel v6 #13 - 19,673  (-42.5%)
07/13  Captain Marvel v6 #14 - 19,320  ( -1.8%)
08/13  Captain Marvel v6 #15 - 23,511  (+21.7%)
09/13  Captain Marvel v6 #16 - 22,845  ( -2.8%)
10/13  ---
11/13  Captain Marvel v6 #17 - 18,173  (-20.5%)
12/13  ---
01/14  ---
02/14  ---
03/14  Captain Marvel v7 #1  - 44,248  
---
6 mnth  (  93.7%)
1 year  ( 149.4%)
5 year  (  76.6%)

This series is an odd duck when it comes to sales numbers. It has a very vocal and passionate fan base, but it never does great in terms of sales. You would think that this new issue might perform like Daredevil and pull in big numbers as it gives all the curious readers a new jumping on point and yet looking at these numbers that didn’t happen. Which makes me wonder if we aren’t seeing the full picture here? And by that I mean digital sales. Perhaps the passionate fan base of readers are buying this book digitally? I also will be interested to see its re-order numbers or if there is a second printing, which may indicate its performance was underestimated in the initial orders. Still this book is a bit of a conundrum and I’ll be interested to watch the variation in sales over the next couple of months.

34. X-MEN
03/11  X-Men v3 #9  -  51,179  
03/12  X-Men v3 #26 -  35,833  
---
03/13  ---
04/13  ---
05/13  X-Men v4 #1  - 183,297  (+464.2%)
06/13  X-Men v4 #2  -  73,542  ( -59.9%)
07/13  X-Men v4 #3  -  65,270  ( -11.2%)
08/13  X-Men v4 #4  -  64,010  (  -1.9%)
09/13  X-Men v4 #5  -  73,357  ( +14.6%)
10/13  X-Men v4 #6  -  71,990  (  -1.9%)
11/13  X-Men v4 #7  -  56,968  ( -20.9%)
12/13  X-Men v4 #8  -  53,201  (  -6.6%)
01/14  X-Men v4 #9  -  49,412  (  -7.1%)
02/14  X-M  #10.Now -  52,486  (   6.2%)
02/14  X-Men v4 #11 -  47,498  (  -9.5%)
03/14  X-Men v4 #12 -  44,135  (  -7.1%)
---
6 mnth  ( -39.8%)
2 year  (  23.0%)
3 year  ( -13.8%)

This book continues to slide down little by little, but those drops seem to be getting smaller, which may indicate that it will start to level out between 35 and 40k.

35, 71. IRON MAN
03/04  Iron Man v3 #78  - 29,680
03/09 Inv Iron Man #11  - 52,157
03/11 Inv Iron Man #502 - 43,899
03/12 Inv Iron Man #514 - 31,424
---
03/13  Iron Man v6 #7   - 44,040  (  -4.7%)
04/13  Iron Man v6 #8   - 43,974  (  -0.1%)
05/13  Iron Man v6 #9   - 78,006  ( +77.4%)
05/13  Iron Man v6 #10  - 45,424  ( -41.8%)
06/13  Iron Man v6 #11  - 44,409  (  -2.2%)
07/13  Iron Man v6 #12  - 40,405  (  -9.0%)
07/13  Iron Man v6 #13  - 39,534  (  -2.2%)
08/13  Iron Man v6 #14  - 38,137  (  -3.5%)
09/13  Iron Man v6 #15  - 36,346  (  -4.7%)
10/13  Iron Man v6 #16  - 35,924  (  -1.2%)
10/13  Iron Man v6 #17  - 39,047  (  +8.7%)
11/13  Iron Man v6 #18  - 36,135  (  -7.5%)
12/13  Iron Man v6 #19  - 32,537  ( -10.0%)
01/14  Iron Man v6 #20  - 30,533  (  -6.2%)
01/14  Iron #20.INH     - 30,512  (  -0.1%)
02/14  Iron Man v6 #21  – 29,546  (  -3.2%)
03/14  Iron Man v6 #22  - 29,017  (  -1.8%) 
03/14  Ir. Man #23.NOW  - 43,912  (  51.3%)
---
6 Mnth  (  20.8%)
1 Year  (  -0.3%)
2 Year  (  40.0%)
3 Year  (   0.0%)
5 Year  ( -15.8%)
10 Year (  48.0%)

The .NOW issue sees a very big increase which leads to the big question: will this series hold onto any of those new sales or drop right back down to where it was around 29k?

39. WOLVERINE
03/04  Wolverine v3 #12 –  69,815
03/09  Wolverine v3 #71 –  86,033  
03/11  Wolverine v4 #7	 -  47,337	 
03/12	 Wolverine #303	 -  36,368	 
---	
03/13  Wolverine v5 #1  - 117,669  (+242.4%)
04/13  Wolverine v5 #2  -  57,165  ( -51.4%)
05/13  Wolverine v5 #3  -  49,629  ( -13.2%)
06/13  Wolverine v5 #4  -  46,784  (  -5.7%)
06/13  Wolverine v5 #5  -  43,694  (  -6.6%)
07/13  Wolverine v5 #6  -  40,593  (  -7.1%)
07/13  Wolverine v5 #7  -  38,605  (  -4.9%)
08/13  Wolverine v5 #8  -  39,830  (  -3.2%)
09/13  Wolverine v5 #9  -  35,920  (  -9.8%)
10/13  Wolverine v5 #10 -  34,651  (  -3.5%)
11/13  Wolverine v5 #11 -  35,394  (  +2.1%)
12/13  Wolverine v5 #12 -  32,274  (  -8.8%)
01/14  Wolverine v5 #13 -  31,164  (  -3.4%)
02/14  Wolverine v6 #1  -  88,923  ( 185.3%) [93,143]
02/14  Wolverine v6 #2  -  47,339  ( -46.8%)
03/14  Wolverine v6 #3  -  40,735  ( -14.0%)
---
6 mnth  (  13.4%)
1 year  ( -65.4%)
2 year  (  12.0%)
3 year  ( -13.9%)
5 year  ( -52.7%)
10 year ( -41.7%)

So issue #1 saw some good re-order activity (see that second # in brackets, that is the orders including re-orders). However, this is another one of those Marvel Now relaunches where very soon after launch we see it starting to sink back to pre-relaunch levels. If the old series was at 31k, and new series is at 40k for issue 3, then how successful was the relaunch? Is this Wolverine fatigue or relaunch fatigue? Hopefully those re-order numbers mean that we might see a sales increase for issue 4 or 5 as more readers discover this series.

41.  NIGHT OF THE LIVING DEADPOOL
01/14  Night #1 of 4 - 47,596
01/14  Night #2 of 4 - 40,241  ( -15.5%) [42,333]
02/14  Night #3 of 4 – 37,974  (  -5.6%)
03/14  Night #4 of 4 – 38,457  (   1.3%)

This mini-series ends on very solid footing with an increase in sales for issue 4 and extra re-orders of issue 1. Deadpool is a very solid franchise for Marvel these days.

42. Ms. Marvel
02/14  Ms. Marvel #1 -  50,286 [57,249] (  --- ) 
03/14  Ms. Marvel #2 -  38,357  (-23.7%)

So almost 6k in re-orders for issue 1 and only a 23% drop for issue 2. I think we may actually see an increase in sales by the time we get to issue 4 or 5 as more readers discover this book and stores restock the early issues. Not to mention this book is said to have done very well digitally, which sadly we don’t see numbers for. All of these indicators seem to point to this new series being a big win for Marvel.

43. THOR: GOD OF THUNDER
03/04  Thor v2 #75 - 31,531  
03/11  Thor   #621 - 42,104  
03/12  Thor v4 #12 - 33,967 
---
03/13  Thor v5 #6  - 50,481  ( -2.7%)
04/13  Thor v5 #7  - 51,526  ( +2.1%)
05/13  Thor v5 #8  - 48,622  ( -5.6%)
06/13  Thor v5 #9  - 49,125  ( +1.0%)
07/13  Thor v5 #10 - 46,204  ( -5.9%)
08/13  Thor v5 #11 - 45,397  ( -1.7%)
08/13  Thor v5 #12 - 44,865  ( -1.2%)
09/13  Thor v5 #13 - 48,007  ( +7.0%)
10/13  Thor v5 #14 - 46,008  ( -4.2%)
11/13  Thor v5 #15 - 41,259  (-10.3%)
12/13  Thor v5 #16 - 39,597  ( -4.0%)
01/14  Thor v5 #17 - 38,913  ( -1.7%)
01/14  Thor v5 #18 - 38,190  ( -1.9%)
02/14  Thor #19.Now– 42,034  ( 10.1%)
03/14  Thor v5 #20 – 37,895  ( -9.8%)
---
6 mnth  ( -21.1%)
1 year  ( -24.9%)
2 year  (  12.0%)
3 year  ( -10.0%)
10 year (  20.2%)

Another series that doesn’t hold on to the sales boost from its .NOW issue, and instead drops back to below its previous sales numbers.

44. FANTASTIC FOUR
03/04  Fantastic Four #510   – 50,089
03/09  Fantastic Four #565   - 48,371
03/12  Fantastic Four #604   - 42,126
---
03/13  Fantastic Four v5 #5  - 42,590  (  -5.4%)
03/13  Fantastic Four #5AU   - 45,756  (  +7.4%)
04/13  Fantastic Four v5 #6  - 41,291  (  -4.8%)
04/13  Fantastic Four v5 #7  - 39,314  (  -4.8%)
05/13  Fantastic Four v5 #8  - 37,309  (  -5.1%)
06/13  Fantastic Four v5 #9  - 37,071  (  -0.6%)
07/13  Fantastic Four v5 #10 - 34,018  (  -8.2%)
08/13  Fantastic Four v5 #11 - 32,665  (  -4.0%)
09/13  Fantastic Four v5 #12 - 31,426  (  -3.8%)
10/13  Fantastic Four v5 #13 - 31,561  (  +0.4%)
11/13  Fantastic Four v5 #14 - 28,679  (  -9.1%)
12/13  Fantastic Four v5 #15 - 27,610  (  -3.7%)
01/14  Fantastic Four v5 #16 - 28,045  (   1.6%)
02/14  Fantastic Four v6 #1  - 65,775  ( 134.5%)
03/14  Fantastic Four v6 #2  - 37,569  ( -42.9%)
---
6 mnth  (  19.5%)
1 year  ( -11.8%)
2 year  ( -11.0%)
5 year  ( -22.3%)
10 year ( -25.0%)

Another Marvel Now soft relaunch that doesn’t earn much from its relaunch. On issue 2 it is only 10k above where it was before the relaunch, which is not very promising.

48, 50. HAWKEYE
03/13  ---
04/13  Hawkeye v4 #9  - 39,678  ( +7.5%)
05/13  Hawkeye v4 #10 - 42,090  ( +6.1%)
06/13  Hawkeye v4 #11 - 40,510  ( -3.8%)
06/13  Hawkeye v4 #12 - 40,837  ( +0.8%)
07/13  ---
08/13  ---
09/13  ---
10/13  Hawkeye v4 #13 - 40,476  ( -0.9%)
11/13  Hawkeye v4 #14 - 39,863  ( -1.5%)
11/13  Hawkeye v4 #15 – 39,546  ( -0.8%)
12/13  ---
01/14  Hawkeye v4 #16 - 37,074  ( -6.3%)
02/14  ---
03/14  Hawkeye v4 #17 – 35,545  ( -4.1%)
03/14  Hawkeye v4 #18 – 35,045  ( -1.4%)
---
6 mnth  ( -13.0%)
1 year  (  -3.7%)

Hawkeye is very stable in the 35k range, despite an erratic shipping schedule.

39.  AVENGERS WORLD
01/14  Avengers World #1 - 86,727
01/14  Avengers World #2 - 53,693  (-38.1%)
02/14  Avengers World #3 – 39,999  (-25.5%)
03/14  Avengers World #4 – 34,397  (-14.0%)

I am honestly very surprised that this book is dropping so much. Even if there are a lot of Avengers books, this is so closely tied to the core Avengers book that I’d think it should have captured more of that book’s readership.

56. SECRET AVENGERS
03/11  Secret Avengers    #11 - 51,353
03/12  Secret Avengers    #24 - 18,965
---
03/13  Secret Avengers v2 #2  - 46,419  ( -45.6%)
04/13  Secret Avengers v2 #3  - 38,676  ( -16.7%)
05/13  Secret Avengers v2 #4  - 33,428  ( -13.6%)
06/13  Secret Avengers v2 #5  - 31,437  (  -6.0%)
07/13  Secret Avengers v2 #6  - 28,908  (  -8.0%)
08/13  Secret Avengers v2 #7  - 27,222  (  -5.8%)
08/13  Secret Avengers v2 #8  - 26,150  (  -3.9%)
09/13  Secret Avengers v2 #9  - 24,870  (  -4.9%)
10/13  Secret Avengers v2 #10 - 29,134  ( +17.1%)
11/13  Secret Avengers v2 #11 - 25,326  ( -13.1%)
12/13  Secret Avengers v2 #12 - 23,863  (  -5.8%)
12/13  Secret Avengers v2 #13 - 23,172  (  -2.9%)
01/14  Secret Avengers v2 #14 - 21,372  (  -7.8%)
02/14  Secret Avengers v2 #15 – 20,059  (  -6.1%)
02/14  Secret Avengers v2 #16 – 20,022  (  -0.2%)
03/14  Secret Avengers v3 #1  - 34,036  (  70.0%)
---
6 Mnth  (  36.9%)
1 Year  ( -26.7%)
2 Year  (  79.0%)
3 Year  ( -33.7%)

This is not a very strong debut issue at all. Whereas other books double or triple their numbers with a enw #1 this book gets a boost of 75%. If it drops 30 to 40% like other books do for their second issue then it will go right back to where it was before the new #1. I think stores and readers are starting to lose confidence in Marvel with these faux relaunches.

58. CAPTAIN AMERICA
03/04  Captain America v4 #24 - 39,168  
03/09  Captain America v5 #48 – 62,099  
03/11  Captain America    #616- 44,394  
03/12  Captain America v6 #9  - 41,631  
---
03/13  Captain America v7 #5  - 49,186  (  -7.4%)
04/13  Captain America v7 #6  - 47,802  (  -2.8%)
05/13  Captain America v7 #7  - 44,024  (  -7.9%)
06/13  Captain America v7 #8  - 43,791  (  -0.5%)
07/13  Captain America v7 #9  - 40,796  (  -6.8%)
08/13  Captain America v7 #10 - 39,356  (  -3.5%)
09/13  Captain America v7 #11 - 38,521  (  -2.1%)
10/13  Captain America v7 #12 - 38,684  (  +0.4%)
11/13  Captain America v7 #13 - 36,147  (  -6.6%)
12/13  Captain America v7 #14 - 34,532  (  -4.5%)
01/14  Captain America v7 #15 - 33,433  (  -3.2%)
02/14  Capt AmericaV7 #16.Now – 36,534  (   9.3%)
02/14  Captain America v7 #17 – 33,312  (  -8.8%)
03/14  Captain America v7 #18 – 33,642  (   1.0%)
---
6 Mnth  ( -12.7%)
1 Year  ( -31.6%)
2 Year  ( -19.0%)
3 Year  ( -24.2%)
5 Year  ( -45.8%)
10 Year ( -14.1%)

Issue 18 had two variants so perhaps that accounts for the slight increase of 300 copies sold. Perhaps also retailers ordered a few more to have when the movie came out. Still it is somewhat disappointing that the film has made 160 million dollars yet the comic can’t sell more than 35,000 copies.

62. X-FORCE
03/09  X-Force v3 #13 - 51,789  
03/11  X-Force v4 #6  - 51,248  
03/12  X-Force v4 #23 - 48,867  
---
03/13  X-Force v5 #3  - 51,721  ( -8.8%)
04/13  ---
05/13  X-Force v5 #4  - 47,727  ( -7.7%)
05/13  X-Force v5 #5  - 45,674  ( -4.3%)
06/13  X-Force v5 #6  - 42,496  ( -7.0%)
06/13  X-Force v5 #7  - 40,380  ( -5.0%)
07/13  X-Force v5 #8  - 37,781  ( -6.4%)
07/13  X-Force v5 #9  - 36,978  ( -2.1%)
08/13  X-Force v5 #10 - 35,329  ( -4.5%)
09/13  X-Force v5 #11 - 36,186  ( +2.4%)
10/13  X-Force v5 #12 - 32,559  (-10.0%)
10/13  X-Force v5 #13 - 30,567  ( -6.1%)
11/13  X-Force v5 #14 - 28,885  ( -5.5%)
12/13  X-Force v5 #15 - 27,567  ( -4.6%)
01/14  X-Force v5 #16 - 27,701  (  0.5%)
01/14  X-Force v5 #17 - 27,319  ( -1.4%)
02/14  X-Force v6 #1  - 47,427  ( 73.6%)
03/14  X-Force v6 #2  - 33,079  (-30.3%)
---
6 mnth  (  -8.6%)
1 year  ( -36.0%)
2 year  ( -32.0%)
3 year  ( -35.5%)
5 year  ( -36.1%)

Two issues in and only 6000 copies above where it was before the relaunch. I don’t think readers are buying that direction is very all-new.

63. AVENGERS ARENA
03/11  Avengers Academy #10  - 23,708  
03/12  Avengers Academy #27  - 21,830  
---
03/13  Avengers Arena #6  - 31,617  ( -2.9%)
04/13  Avengers Arena #7  - 29,784  ( -5.8%)
04/13  Avengers Arena #8  - 27,900  ( -6.3%)
05/13  Avengers Arena #9  - 26,873  ( -3.7%)
06/13  Avengers Arena #10 - 25,277  ( -5.9%)
06/13  Avengers Arena #11 - 24,487  ( -3.1%)
07/13  Avengers Arena #12 - 23,969  ( -2.1%)
08/13  Avengers Arean #13 - 22,955  ( -4.2%)
08/13  Avengers Arena #14 - 23,204  ( +1.1%)
09/13  Avengers Arena #15 - 22,180  ( -4.4%)
10/13  Avengers Arena #16 - 22,179  ( -0.0%)
11/13  Avengers Arena #17 - 20,744  ( -6.5%)
11/13  Avengers Arena #18 - 20,712  ( -0.2%)
12/13  ---
01/14  ---
02/14  ---
03/14  Avengers Undrcvr #1- 31,936
---
6 mnth  (  44.0%)
1 year  (   0.7%)
2 year  (  46.0%)
3 year  (  34.7%)

So Undercover is the new series that follows the teen Avengers from Avengers Academy as well as some other Marvel teen characters. It only gets a 50% boost above where it’s previous iteration ended, but historically these books have always sold between 20 and 30k, so I guess this is on course. Maybe this time it will hold onto some more readers.

64. Iron Patriot
03/09  Iron Man 2.0 #2 -  24,600
03/11  War Machine #4  -  32,688
---
02/14  Iron Patriot #1 -  31,773  (  --- )
---
3 year  (  29.2%)
5 year  (  -2.8%)

Historically the last couple of War Machine/Iron Patriot/ Iron Man 2.0 books have sold right in this range of 20k – 30k, so again this series seems to be doing just what is expected of it and no more.

67. INDESTRUCTIBLE HULK
03/04  Incred Hulk v3 #67  - 46,137
03/11  Incred Hulks  #622  - 32,066
03/12  Incred Hulk v4 #5   - 40,522
---
03/13  Indestructible #5   - 54,967  (  -2.2%)
04/13  Indestructible #6   - 55,470  (  +0.9%)
05/13  Indestructible #7   - 49,956  (  -9.9%)
05/13  Indestructible #8   - 48,866  (  -2.2%)
06/13  Indestructible #9   - 49,427  (  +1.1%)
07/13  Indestructible #10  - 45,531  (  -7.9%)
07/13  Indestructible #11  - 45,241  (  -0.6%)
08/13  Indestructible #12  - 43,673  (  -3.5%)
09/13  Indestructible #13  - 41,805  (  -4.3%)
10/13  Indestructible #14  - 40,963  (  -2.0%)
11/13  Indestructible #15  - 37,025  (  -9.6%)
11/13  Indestructible #16  - 35,871  (  -3.1%)
12/13  Hulk #17.INH        - 35,679  (  -0.5%)
01/14  Hulk #18.INH        - 33,056  (  -7.4%)
02/14  Indestructible #19  - 31,192  (  -5.6%)
03/14  Indestructible #20  - 30,042  (  -3.7%)
---
6 Mnth  ( -28.1%)
1 Year  ( -45.3%)
2 Year  ( -26.0%)
3 Year  (  -6.3%)
10 Year ( -34.9%)

Hulk is leveling out a bit before its soft relaunch. Will it fall prey to the same trend that we’ve been seeing with other recent Marvel now relaunches or will it see a big sales boost like Waid’s other book Daredevil has? We’ll have to wait and see.

69. PUNISHER
03/04  Punisher v7 #4  – 47,096
03/09  Punisher v8 #3  – 37,564
03/12  Punisher v9 #9  - 22,318
---
09/13  Trial #1 of 2   - 22,626
10/13  Trial #2 of 2   - 20,143  (-11.0%)
11/13  ---
12/13  ---
01/14  ---
02/14  Punisher v10 #1 – 54,558  (   --- )
02/14  Punisher v10 #2 – 31,709  ( -41.9%)
03/14  Punisher v10 #3 – 29,636  (  -5.6%)
---
2 year  (  34.0%)
5 year  ( -20.3%)
10 year ( -36.4%)

A drop of 5% might mean this series will start to level out around 25-27k, which would be a decent number for Punisher historically.

73. CATACLYSM
07/13  Hunger #1 of 4    - 70,835
08/13  Hunger #2 of 4    - 44,929  (-36.6%)
09/13  ---
10/13  Hunger #3 of 4    - 39,915  (-11.2%)
10/13  Hunger #4 of 4    - 36,775  ( -7.9%)
10/13  Cataclysm #0.1    - 37,589  ( +2.2%)
11/13  Cataclysm #1 of 5 - 42,109  (+12.0%)
12/13  Cataclysm #2 of 5 - 33,348  (-20.8%)
01/14  Cataclysm #3 of 5 - 29,566  (-11.3%
01/14  Cataclysm #4 of 5 - 26,363  (-10.8%)
02/14  Cataclysm #5 of 5 – 25,752  ( -2.3%)
03/14  Survive (One-Shot)- 28,782  ( 11.8%)

Survive is the epilogue to the Cataclysm and bridges the gap between the new Ultimate universe books coming next month. Hopefully, more people will be reading those then picked up Survive.

70. Loki
03/11  Loki #4 -  12,055  
---
02/14  Loki #1 -  41,921  (  --- ) [44,259]
03/14  Loki #2 -  27,968  ( -33.3)
---
3 year  (132.0%)

I’ll be keeping an eye on this. Issue 2 sees a drop in orders but issue 1 had some strong re-order activity so we may see this book’s sales grow or at least start to level out. Still it is doing much better than the last Loki series.

78. BLACK WIDOW
01/14  Black Widow #1 - 53,879
01/14  Black Widow #2 - 31,260  ( -42.0%)[33,603]
02/14  Black Widow #3 – 28,127  ( -10.0%)[30,187]
03/14  Black Widow #4 – 27,378  (  -2.7%)

Very small drop this month plus good re-order activity is promising for this series. I wonder if we’ll either see it flatten out more, or even get an increase in sales. This series isn’t that far off in sales from other Avengers movie stars like Cap, Hawkeye, Thor, and Iron man, so maybe a solid 30k is really good for solo Avengers books.

79. ALL-NEW X-FACTOR
03/09  X-Factor #40    - 31,883  
03/11  X-Factor #215   - 25,256  
03/12  X-Factor #231   - 23,840  
---
03/13  X-Factor #253   - 20,835  ( -0.4%)
04/13  X-Factor #254   - 20,579  ( -1.2%)
05/13  X-Factor #255   - 20,442  ( -0.7%)
05/13  X-Factor #256   - 20,602  ( +0.8%)
06/13  X-Factor #257   - 20,264  ( -1.6%)
06/13  X-Factor #258   - 20,154  ( -0.5%)
07/13  X-Factor #259   - 20,065  ( -0.4%)
08/13  X-Factor #260   - 19,982  ( -0.4%)
08/13  X-Factor #261   - 19,781  ( -1.0%)
09/13  X-Factor #262   - 20,382  ( +3.0%)
10/13  ---
11/13  ---
12/13  ---
01/14  X-Factor v4 #1  - 45,727  (
01/14  X-Factor v4 #2  - 32,228  ( -29.5%)
02/14  X-Factor v4 #3  - 29,915  (  -3.2%)
03/14  X-Factor v4 #4  - 27,337  (  -8.6%)
03/14  X-Factor v4 #5  - 26,656  (  -2.5%)
---
6 Mnth  (  34.1%)
1 Year  (  30.6%)
2 Year  (  15.0%)
3 Year  (   8.2%)
5 Year  ( -14.3%)

Adding to the trend I’ve been mentioning. Here is another series that is already getting very close to where it was pre-relaunch. The good news is that each month its sales drops are getting smaller, but it still seems on track to fall right down to where it was pre-relaunch before long. This leads me to think that if you were reading X-factor, you kept reading it, but if you weren’t reading it, the new direction didn’t really draw you in and keep you interested.

80. ALL-NEW INVADERS
---
01/14  All-New Invaders  #1 - 55,167
02/14  All-New Invaders  #2 – 32,293  (-41.5%)
03/14  All-New Invaders  #3 – 27,329  (-15.4%)
---
6 Mnth  (   --- )
1 Year  ( 116.8%)
2 Year  ( -33.0%)

Still dropping but slowing down some.

82. She-Hulk
03/04  She-Hulk v1 #1   -  34,499  
02/13  Red She-Hulk#63  -  15,941  
---
02/14  She-Hulk    #1   -  41,921  (  --- )
03/14  She-Hulk    #2   -  26,675  (-36.3%)
---
1  Year  ( 67.3%)
10 Year  (-22.7%)

Now I didn’t see any re-order activity on this series, but it did get a second printing of issue 1. Maybe we’ll get more numbers and some re-orders next month to get a better idea if these numbers are on track. If they are, this series isn’t doing as well as some of the other new offerings like Ms. Marvel and Black Widow.

85. New Warriors
03/09  New Warriors #20 -  15,081
---
02/14  New Warriors #1  -  45,765  (  --- )
03/14  New Warriors #1  -  26,006  (-43.2%)
---
5 year  ( 72.4%)

That is a pretty big drop. I’ve heard good things about this series, but the numbers seem to suggest that retailers aren’t buying it and without a lot of re-orders it doesn’t seem like there is a lot of reader demand either.

90. MIGHTY AVENGERS
03/09  Mighty Avengers   #21 -  71,322  
---
09/13  Mighty Avengers v2 #1 - 101,921
10/13  Mighty Avengers v2 #2 -  54,862  (-46.2%)
11/13  Mighty Avengers v2 #3 -  42,210  (-23.1%)
12/13  Mighty Avengers v2 #4 -  35,740  (-15.3%)
01/14  Mighty Avengers#5.INH -  30,251  (-15.4%)
02/14  Mighty Avengers v2 #6 -  27,195  (-10.1%)
02/14  Mighty Avengers v2 #7 -  26,512  ( -2.5%)
03/14  Mighty Avengers v2 #8 -  24,933  ( -6.0%)
---
6 Mnth  ( -75.5%)
5 Year  ( -65.0%)

This book continues to drop and will probably slip under 20k shortly which is historically where Marvel either relaunches or cancels a series.

91. Winter Soldier Bitter March
03/12  Winter Soldier #3  - 34,923
02/13  Winter Soldier #16 – 20,973
---
02/14  W. Soldier BM  #1  - 31,137  (  --- )
03/14  W. Soldier BM  #2  - 24,831  (-20.3%)
---
1 Year  (  18.4%)
2 Year  ( -29.0%)

I’m not really sure what they were going for with this series. It is a Winter Soldier story timed to come out at the same time of the movie but doesn’t star the Winter Soldier or Captain America. It doesn’t seem like retailer quite knew what to do with it either.

93. SAVAGE WOLVERINE
03/13  Savage Wolverine #3  -  50,310  (-13.6%)
04/13  Savage Wolverine #4  -  45,933  ( -8.7%)
05/13  Savage Wolverine #5  -  42,328  ( -7.8%)
06/13  Savage Wolverine #6  -  59,410  (+40.4%)
07/13  Savage Wolverine #7  -  40,946  (-31.1%)
08/13  ---
09/13  Savage Wolverine #8  -  38,208  ( -6.7%)
10/13  Savage Wolverine #9  -  36,451  ( -4.6%)
10/13  Savage Wolverine #10 -  33,627  ( -7.7%)
11/13  Savage Wolverine #11 -  30,338  ( -9.8%)
11/13  Savage Wolverine #12 -  29,739  ( -2.0%)
12/13  Savage Wolverine #13 -  27,490  ( -7.6%)
01/14  Savage #14.NOW       -  30,370  ( 10.5%)
02/14  Savage Wolverine #15 -  25,190  (-17.1%)
03/14  Savage Wolverine #16 -  24,008  ( -4.7%)
---
6 Mnth  ( -37.2%)
1 Year  ( -52.3%)

Continues to drift downward even with this issue having a variant cover.

96. MIRACLEMAN
01/14  Miracleman #1 - 52,313
01/14  Miracleman #2 - 36,927  ( -29.4%)
02/14  Miracleman #3 – 25,970  ( -32.6%)  
03/14  Miracleman #4 – 23,557  (  -9.3%)

Okay issue 4 seems to be leveling out a bit which is good. Maybe Miracleman will just be a steady 20k book, which maybe is good a recolored rerelease of an older book.

97, 98. NOVA
03/09  Nova v4 #22 - 26,409
---
03/13  Nova v5 #2  - 46,725  (-42.2%)
04/13  Nova v5 #3  - 40,548  (-13.2%)
05/13  Nova v5 #4  - 38,151  ( -5.9%)
06/13  Nova v5 #5  - 36,545  ( -4.2%)
07/13  Nova v5 #6  - 34,234  ( -6.3%)
08/13  Nova v5 #7  - 31,937  ( -6.7%)
09/13  Nova v5 #8  - 37,767  (+18.3%)
10/13  Nova v5 #9  - 32,323  (-14.4%)
11/13  Nova v5 #10 - 32,716  ( +1.2%)
12/13  Nova v5 #11 - 27,982  (-14.5%)
01/14  Nova v5 #12 - 25,043  ( -10.5%)
02/14  Nova#13.Now – 26,147  (   4.4%)
03/14  Nova v5 #14 – 23,459  ( -10.3%)
03/14  Nova v5 #15 – 22,996  (  -2.0%)
---
6 Mnth  ( -37.9%)
1 Year  ( -49.8%)
5 Year  ( -11.2%)

Nova is getting awfully close to dropping below 20k. Perhaps a reboot is in store for this title soon?

101. THUNDERBOLTS
03/09  Thunderbolts  #130  - 45,803  
03/11  Thunderbolts  #154  - 25,455  
03/12  Thunderbolts  #171  - 19,073 
---
03/13  Thunderbolts v2 #6  - 39,293  ( -5.7%)
03/13  Thunderbolts v2 #7  - 38,553  ( -1.9%)
04/13  Thunderbolts v2 #8  - 36,979  ( -4.1%)
05/13  Thunderbolts v2 #9  - 32,855  (-11.2%)
06/13  Thunderbolts v2 #10 - 32,682  ( -0.5%)
06/13  Thunderbolts v2 #11 - 30,618  ( -6.3%)
07/13  Thunderbolts v2 #12 - 29,081  ( -5.0%)
07/13  Thunderbolts v2 #13 - 28,528  ( -1.9%)
08/13  Thunderbolts v2 #14 - 30,620  ( +7.3%)
09/13  Thunderbolts v2 #15 - 29,703  ( -3.0%)
10/13  Thunderbolts v2 #16 - 29,334  ( -1.2%)
10/13  Thunderbolts v2 #17 - 28,324  ( -3.4%)
11/13  Thunderbolts v2 #18 - 26,502  ( -6.4%)
12/13  Thunderbolts v2 #19 - 24,959  ( -5.8%)
01/14  Thunderblts #20.NOW - 28,994  ( 16.2%)
01/14  Thunderbolts v2 #21 - 24,293  (-16.2%)
02/14  Thunderbolts v2 #22 – 23,629  ( -2.7%)
03/14  Thunderbolts v2 #23 – 22,701  ( -3.9%)
---
6 Mnth  ( -23.6%)
1 Year  ( -42.2%)
2 Year  (  19.0%)
3 Year  ( -10.8%)
5 Year  ( -50.4%)

The numbers on this aren’t great and are trending towards cancellation or relaunch, but it is getting a new writing team with issue 27, so maybe that will help give it a boost.

103. X-MEN LEGACY
03/09  X-Men Legacy  #222 -  55,598
03/11  X-Men Legacy  #246 -  47,893
03/12  X-Men Legacy  #263 -  35,999
---
03/13  X-Men Legacy v2 #7 -  29,231  ( -5.9%)
03/13  X-Men Legacy v2 #8 -  28,174  ( -3.6%)
04/13  X-Men Legacy v2 #9 -  28,405  ( +0.8%)
05/13  X-Men Legacy v2 #10 - 25,911  ( -8.8%)
05/13  X-Men Legacy v2 #11 - 25,048  ( -3.3%)
06/13  X-Men Legacy v2 #12 - 23,996  ( -4.2%)
07/13  X-Men Legacy v2 #13 - 23,146  ( -3.5%)
07/13  X-Men Legacy v2 #14 - 22,119  ( -4.4%)
08/13  X-Men Legacy v2 #15 - 21,599  ( -2.4%)
09/13  X-Men Legacy v2 #16 - 20,995  ( -2.8%)
09/13  X-Men Legacy v2 #17 - 20,382  ( -2.9%)
10/13  X-Men Legacy v2 #18 - 19,767  ( -3.0%)
11/13  X-Men Legacy v2 #19 - 19,149  ( -3.1%)
11/13  X-Men Legacy v2 #20 - 18,754  ( -2.1%)
12/13  X-Men Legacy v2 #21 - 18,754  (  n/c )
01/14  X-Men Legacy v2 #22 - 17,868  ( -4.7%)
01/14  X-Men Legacy v2 #23 - 17,636  ( -1.3%)
02/14  X-Men Legacy v2 #24 – 17,307  ( -1.9%)
03/14  X-Men Legacy #300   - 22,422  ( 29.6%)
---
6 Mnth  (   6.8%)
1 Year  ( -23.3%)
2 Year  ( -38.0%)
3 Year  ( -53.2%)
5 Year  ( -59.7%)

Final issue (for now, no word on a possible relaunch) sees a bit of a sales bump.

108. SUPERIOR SPIDER-MAN TEAM-UP
03/12  Avenging #5         - 40,877 
---
03/13  Avenging #18        - 31,657  (  +2.8%)
04/13  Avenging #19        - 28,740  (  -9.2%)
05/13  Avenging #20        - 27,609  (  -3.9%)
05/13  Avenging #21        - 27,251  (  -1.3%)
06/13  Avenging #22        - 26,799  (  -1.7%)
07/13  Superior Team-Up #1 - 76,959  (+187.2%)
08/13  Superior Team-Up #2 - 41,155  ( -46.5%)
09/13  Superior Team-Up #3 - 37,363  (  -9.2%)
10/13  Superior Team-Up #4 - 36,296  (  -3.6%)
10/13  Superior Team-Up #5 - 30,424  ( -16.2%)
11/13  Superior Team-Up #6 - 27,189  ( -10.6%)
12/13  Sup. Team-up #7.NOW - 25,514  (  -6.2%)
12/13  Superior Team-Up #8 - 24,296  (  -4.8%)
01/14  Superior Team-Up #9 - 23,071  (  -5.0%)
02/14  Superior Team-Up #10- 22,124  (  -4.1%)
03/14  Superior Team-Up #11- 21,091  (  -4.7%)
---
6 Mnth  ( -43.6%)
1 Year  ( -33.4%)
2 Year  ( -48.0%)

There was no solicit for this series in June, so not sure if it is totally cancelled or will be rebooted o some sort of Amazing Spider-Man team-up. The sales would indicate that it is time for some sort of change however.

114. AVENGERS ASSEMBLE
03/12  Avengers Assemble #1  - 100,833
---
03/13  Avengers Assemble #13 - 28,432  ( -3.6%)
04/13  Av. Assemble #14AU    - 35,985  (+26.6%)
05/13  Av. Assemble #15AU    - 33,183  ( -7.8%)
06/13  Avengers Assemble #16 - 27,497  (-17.1%)
07/13  Avengers Assemble #17 - 26,640  ( -3.1%)
08/13  Avengers Assemble #18 - 30,597  (+14.9%)
09/13  Avengers Assemble #19 - 29,564  ( -3.4%)
10/13  Avengers Assemble #20 - 28,886  ( -2.3%)
11/13  Avengers Assemble #21 - 24,831  (-14.0%)
12/13  Av. Assemble #22.INH  - 24,168  ( -2.7%)
01/14  Av. Assemble #23.INH  - 21,943  ( -9.2%)
02/14  Avengers Assemble #24 – 20,059  ( -8.6%)
03/14  Avengers Assemble #25 – 19,102  ( -4.8%)
---
6 Mnth  ( -35.4%)
1 Year  ( -32.8%)
2 Year  ( -81.0%)

This is the final issue on a really fun and easily accessible Avengers series that could never quite hold onto its audience.

119, 122. SUPERIOR FOES OF SPIDER-MAN
07/13  Superior Foes #1 - 61,413
08/13  Superior Foes #2 - 34,300  (-44.1%)
09/13  Superior Foes #3 - 30,081  (-12.3%)
10/13  Superior Foes #4 - 26,884  (-10.6%)
11/13  Superior Foes #5 - 23,694  (-11.9%)
11/13  Superior Foes #6 - 21,367  ( -9.8%)
12/13  Superior Foes #7 - 20,858  ( -2.4%)
01/14  ---
02/14  Superior Foes #8 – 19,193  ( -8.0%)
03/14  Superior Foes #9 – 18,620  ( -3.0%)
03/14  Superior Foes #10- 18,437  ( -1.0%
---
6 Mnth  ( -38.1%)

This series is solicited through June, even with Amazing Spider-Man replacing Superior. It is relatively stable even if its sales aren’t great.

128. A+X
03/13  A+X #5  - 37,250  (-22.5%)
03/13  A+X #6  - 34,434  ( -7.6%)
04/13  A+X #7  - 31,183  ( -9.4%)
05/13  A+X #8  - 26,967  (-13.5%)
06/13  A+X #9  - 25,803  ( -4.3%)
07/13  A+X #10 - 24,371  ( -5.5%)
08/13  A+X #11 - 23,222  ( -4.7%)
09/13  A+X #12 - 21,282  ( -8.4%)
10/13  A+X #13 - 20,908  ( -1.8%)
11/13  A+X #14 - 19,318  ( -7.6%)
12/13  A+X #15 - 18,648  ( -3.5%)
01/14  A+X #16 - 17,913  ( -3.9%)
02/14  A+X #17 – 17,075  ( -4.7%)
03/14  A+X #18 – 16,428  ( -3.8%)
---
6 Mnth  ( -22.8%)
1 Year  ( -55.9%)

Final issue.

131. GEORGE ROMERO EMPIRE OF THE DEAD: ACT ONE
01/14  Act One #1 of 5 - 24,515
02/14  Act One #2 of 5 – 17,624 ( -28.1%)
03/14  Act One #3 of 5 – 15,720 ( -10.8%)

The drops are slowing down a bit.

132. AVENGERS A.I. 
07/13  Avengers A.I. #1 - 68,130
08/13  Avengers A.I. #2 - 37,079  (-45.6%)
09/13  Avengers A.I. #3 - 29,776  (-19.7%)
10/13  Avengers A.I. #4 - 25,770  (-13.5%)
10/13  Avengers A.I. #5 - 23,146  (-10.2%)
11/13  Avengers A.I. #6 - 20,037  (-13.4%)
12/13  Avengers A.I. #7 - 19,879  ( -0.8%)
01/14  A.I. #8.NOW      - 20,084  (  1.0%)
02/14  Avengers A.I. #9 – 16,906  (-15.8%)
03/14  Avengers A.I. #10- 15,616  ( -7.6%)
---
6 Mnth  ( -47.6%)

Looks like April’s issue #12 will be the last issue of Avengers A.I. with no relaunch in sight.

80. Captain America Homecoming
02/14  CA Homecoming #1 – 15,379

Not a lot of orders for this miniseries featuring Captain America. Not sure what Marvel was going for with this series, but retailers didn’t order it, and I don’t recall seeing any press about it.

147. MARVEL KNIGHTS: X-MEN
11/13  X-Men #1 of 5 - 30,214
12/13  X-Men #2 of 5 - 22,549  (-25.4%)
01/14  X-Men #3 of 5 - 16,581  (-26.5%)
02/14  X-Men #4 of 5 – 15,014  ( -9.5%)
03/14  X-Men #5 of 5 – 13,294  (-11.5%)

Hopefully, these Marvel Knights book will do better in trade than they did as floppies.

166. MARVEL KNIGHTS: HULK
12/13  Hulk #1 of 4 - 22,169
01/14  Hulk #2 of 4 - 14,568  (-34.3%)
02/14  Hulk #3 of 4 – 12,305  (-15.5%)
03/14  Hulk #4 of 4 – 11,363  ( -7.7%)

See above.

172. DEXTER
07/13  Dexter #1 of 5    - 20,540
08/13  Dexter #2 of 5    - 17,304  (-15.8%)
09/13  Dexter #3 of 5     - 17,586  ( +1.6%)
10/13  Dexter #4 of 5     - 14,920  (-15.2%)
11/13  Dexter #5 of 5     - 13,439  (-10.0%)
12/13  ---
01/14  ---
02/14  Down Under #1 of 5 – 13,203  ( -1.8%)
03/14  Down Under #2 of 5 – 10,664  (-19.2%)
---
6 Mnth  (-39.4%)

Dropping pretty steeply.

186, 195, 197. REVOLUTIONARY WAR
01/14  Alpha                - 16,788
01/14  Dark Angel           - 14,083
01/14  Knights of Pendragon - 13,440
02/14  Death's Head II      - 11,310 
02/14  Supersoldiers        - 10,310 
03/14  Motormouth           -  9,355
03/14  Warheads             -  9,249
03/14  Omega                -  9,820

Again, we don’t see the whole picture for these Marvel UK books, since we don’t get the UK sales numbers, but the sales for the US weren’t great.

199. Brilliant
02/14  Brilliant #5 – 9,239

This oft-delayed book pops back up with numbers that are low for Marvel, but standard for an indie title.

222. DISNEY KINGDOMS: SEEKERS OF THE WEIRD
01/14  Seekers #1 of 5 - 24,910
02/14  Seekers #2 of 5 –  9,182  ( -63.1%)
03/14  Seekers #3 of 5 -  7,887  ( -14.1%)

This Disney marvel crossover is dropping down fast.

6-Month Comparisons
---

119.7%	AMAZING X-MEN #5
107.3%	DAREDEVIL #1
93.7%		CAPTAIN MARVEL #1
44.0%		AVENGERS UNDERCOVER #1
36.9%		SECRET AVENGERS #1
34.1%		ALL NEW X-FACTOR #4
30.8%		ALL NEW X-FACTOR #5
20.8%		IRON MAN #23.NOW
19.5%		FANTASTIC FOUR #2
13.4%		WOLVERINE #3
6.8%		X-MEN LEGACY #300
6.8%		DEADPOOL #25.NOW
-3.4%		DEADPOOL #26
-8.4%		WOLVERINE AND X-MEN #1
-8.6%		X-FORCE #2
-12.7%	CAPTAIN AMERICA #18
-13.0%	HAWKEYE #17
-13.4%	UNCANNY AVENGERS #18.NOW
-14.1%	SUPERIOR SPIDER-MAN #29
-14.2%	HAWKEYE #18
-15.4%	SUPERIOR SPIDER-MAN #30
-16.0%	UNCANNY X-MEN #19.NOW
-17.8%	GUARDIANS OF GALAXY #13
-19.7%	NEW AVENGERS #16.NOW
-20.2%	IRON MAN #22
-21.1%	THOR GOD OF THUNDER #20
-22.3%	NEW AVENGERS #15
-22.8%	A PLUS X #18
-23.6%	THUNDERBOLTS #23
-24.3%	ALL NEW X-MEN #24
-28.1%	INDESTRUCTIBLE HULK #20
-28.5%	UNCANNY X-MEN #18
-32.3%	WOLVERINE AND X-MEN #2
-35.4%	AVENGERS ASSEMBLE #25
-37.2%	SAVAGE WOLVERINE #16
-37.9%	NOVA #14
-38.1%	SUPERIOR FOES OF SPIDER-MAN #9
-38.7%	SUPERIOR FOES OF SPIDER-MAN #10
-39.1%	NOVA #15
-39.4%	DEXTER DOWN UNDER #2
-39.8%	X-MEN #12
-41.7%	AVENGERS #27
-43.6%	SUPERIOR SPIDER-MAN TEAM UP #11
-47.6%	AVENGERS AI #10
-75.5%	MIGHTY AVENGERS #8

1 Year Comparisons
---

149.4%	CAPTAIN MARVEL #1
104.1%	DAREDEVIL #1
67.3%		SHE-HULK #2
67.0%		AMAZING X-MEN #5
30.6%		ALL NEW X-FACTOR #4
30.1%		WOLVERINE AND X-MEN #1
27.4%		ALL NEW X-FACTOR #5
18.4%		WINTER SOLDIER BITTER MARCH #2
0.7%		AVENGERS UNDERCOVER #1
-0.3%		IRON MAN #23.NOW
-3.7%		HAWKEYE #17
-3.9%		WOLVERINE AND X-MEN #2
-5.0%		HAWKEYE #18
-11.8%	FANTASTIC FOUR #2
-14.6%	DEADPOOL #25.NOW
-18.7%	SUPERIOR SPIDER-MAN #29
-19.9%	SUPERIOR SPIDER-MAN #30
-22.7%	DEADPOOL #26
-23.3%	X-MEN LEGACY #300
-24.8%	UNCANNY X-MEN #19.NOW
-24.9%	THOR GOD OF THUNDER #20
-25.2%	NEW AVENGERS #16.NOW
-26.7%	SECRET AVENGERS #1
-27.4%	UNCANNY AVENGERS #18.NOW
-27.6%	NEW AVENGERS #15
-29.9%	ALL NEW X-MEN #24
-31.1%	AVENGERS #27
-31.6%	CAPTAIN AMERICA #18
-32.8%	AVENGERS ASSEMBLE #25
-33.4%	SUPERIOR SPIDER-MAN TEAM UP #11
-34.1%	IRON MAN #22
-36.0%	UNCANNY X-MEN #18
-36.0%	X-FORCE #2
-42.2%	THUNDERBOLTS #23
-45.3%	INDESTRUCTIBLE HULK #20
-49.8%	NOVA #14
-50.8%	NOVA #15
-52.3%	SAVAGE WOLVERINE #16
-55.9%	A PLUS X #18
-65.4%	WOLVERINE #3
-74.0%	GUARDIANS OF GALAXY #13

2 Year Comparisons
---

265%		ALL NEW GHOST RIDER #1
48%		SILVER SURFER #1
169%		MOON KNIGHT #1
99%		DAREDEVIL #1
79%		SECRET AVENGERS #1
74%		DEADPOOL #25.NOW
58%		DEADPOOL #26
47%		SUPERIOR SPIDER-MAN #29
46%		AVENGERS UNDERCOVER #1
45%		SUPERIOR SPIDER-MAN #30
40%		IRON MAN #23.NOW
35%		AMAZING X-MEN #5
34%		PUNISHER #3
23%		X-MEN #12
19%		THUNDERBOLTS #23
15%		ALL NEW X-FACTOR #4
12%		UNCANNY X-MEN #19.NOW
12%		WOLVERINE #3
12%		ALL NEW X-FACTOR #5
12%		THOR GOD OF THUNDER #20
3%		AVENGERS #27
0%		WOLVERINE AND X-MEN #1
-5%		UNCANNY X-MEN #18
-6%		NEW AVENGERS #16.NOW
-8%		IRON MAN #22
-9%		NEW AVENGERS #15
-11%		FANTASTIC FOUR #2
-19%		CAPTAIN AMERICA #18
-26%		INDESTRUCTIBLE HULK #20
-26%		WOLVERINE AND X-MEN #2
-29%		WINTER SOLDIER BITTER MARCH #2
-32%		X-FORCE #2
-38%		X-MEN LEGACY #300
-48%		SUPERIOR SPIDER-MAN TEAM UP #11
-81%		AVENGERS ASSEMBLE #25

3 Year Comparisons
---

179.1%	DAREDEVIL #1
176.4%	SILVER SURFER #1
132.0%	LOKI AGENT OF ASGARD #2
61.0%		DEADPOOL #25.NOW
45.7%		DEADPOOL #26
34.7%		AVENGERS UNDERCOVER #1
29.2%		IRON PATRIOT #1
28.4%		SUPERIOR SPIDER-MAN #29
26.5%		SUPERIOR SPIDER-MAN #30
15.8%		UNCANNY X-MEN #19.NOW
8.2%		ALL NEW X-FACTOR #4
5.5%		ALL NEW X-FACTOR #5
0.0%		IRON MAN #23.NOW
-1.5%		UNCANNY X-MEN #18
-6.3%		INDESTRUCTIBLE HULK #20
-10.0%	THOR GOD OF THUNDER #20
-10.8%	THUNDERBOLTS #23
-13.8%	X-MEN #12
-13.9%	WOLVERINE #3
-18.7%	NEW AVENGERS #16.NOW
-19.0%	AVENGERS #27
-21.3%	NEW AVENGERS #15
-24.2%	CAPTAIN AMERICA #18
-33.7%	SECRET AVENGERS #1
-33.9%	IRON MAN #22
-35.5%	X-FORCE #2
-53.2%	X-MEN LEGACY #300

5 Year Comparisons
---

177.8%	MOON KNIGHT #1
134.6%	ALL NEW GHOST RIDER #1
107.1%	GUARDIANS OF GALAXY #13
84.2%		DAREDEVIL #1
76.6%		CAPTAIN MARVEL #1
72.4%		NEW WARRIORS #2
24.9%		SUPERIOR SPIDER-MAN #29
23.0%		SUPERIOR SPIDER-MAN #30
1.7%		DEADPOOL #25.NOW
-2.8%		IRON PATRIOT #1
-8.0%		DEADPOOL #26
-11.2%	NOVA #14
-12.9%	NOVA #15
-14.3%	ALL NEW X-FACTOR #4
-15.8%	IRON MAN #23.NOW
-16.4%	ALL NEW X-FACTOR #5
-17.2%	UNCANNY X-MEN #19.NOW
-20.3%	PUNISHER #3
-22.3%	FANTASTIC FOUR #2
-29.6%	UNCANNY X-MEN #18
-36.1%	X-FORCE #2
-44.4%	IRON MAN #22
-45.8%	CAPTAIN AMERICA #18
-48.9%	NEW AVENGERS #16.NOW
-50.4%	THUNDERBOLTS #23
-50.5%	NEW AVENGERS #15
-52.7%	WOLVERINE #3
-59.7%	X-MEN LEGACY #300
-60.8%	THOR GOD OF THUNDER #20
-65.0%	MIGHTY AVENGERS #8

10 Year Comparisons
---

145.4%	SILVER SURFER #1
48.0%		IRON MAN #23.NOW
39.7%		DAREDEVIL #1
20.2%		THOR GOD OF THUNDER #20
-2.2%		IRON MAN #22
-2.8%		AVENGERS #27
-8.4%		SUPERIOR SPIDER-MAN #29
-9.8%		SUPERIOR SPIDER-MAN #30
-14.1%	CAPTAIN AMERICA #18
-22.7%	SHE-HULK #2
-25.0%	FANTASTIC FOUR #2
-25.4%	UNCANNY X-MEN #19.NOW
-34.9%	INDESTRUCTIBLE HULK #20
-36.4%	PUNISHER #3
-36.5%	UNCANNY X-MEN #18
-41.7%	WOLVERINE #3

13 Comments on Marvel Month-to-Month Sales: March 2014 — the two types of All-New Marvel Now #1s, last added: 4/18/2014
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7. Reading Kundera in Central Europe

       At Eurozine they reprint a piece by Jonathan Bousfield from New Eastern Europe, Growing up in Kundera's Central Europe, in which he discusses how Milan Kundera's concept of Central Europe (and his writing) influenced three writers from the area -- from Czechoslovakia (Tomáš Zmeškal, "of mixed Czech and Congolese descent"), Yugoslavia (Miljenko Jergović, several of whose works have been translated into English), and the Soviet Union/Ukraine (The Moscoviad-author Yuri Andrukhovych) -- three countries that no longer have the same contours as they did when these authors were growing up, or even after the collapse of the Soviet Union.

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8. DC Confirms Earth 2 Weekly comic to launch in October

apokolipsnew11.jpg

At the ComicsPRO meeting DC announced they would be launching three weekly comics this year. Batman Eternal just debuted last week, and The New 52 Future’s End is coming on Free Comic Book Day. And now Nerdist has revealed that as expected, the third weekly will be set on Earth 2. Creators include writers Daniel H. Wilson, Tom Taylor, Paul Levitz, Marguerite Bennet, and Mike Johnson; among the artists: Eddy Barrows, Jorge Jimenez, Stephen Segovia, Paulo Siqeira, and Tyler Kirkham. DC released a promo (above) by Ben Oliver which indicated this will be another feel good, upbeat story.

Apparently Wilson, author of How to Survive a Robot Uprising and other robot bestsellers, will be the “Showrunnrer” for this particular weekly, stating “This has been a charmed opportunity to jump straight into the deep end of a gritty, complex DC Comics series. I feel incredibly lucky to work with Mike Cotton and the rest of the legendary DC team, figuring out the ultimate fates (and sometimes origins) of so many compelling Earth 2 characters in crisis. I’m having the time of my life.”

Earth-2 is a long running alternate Earth featured prominently in DC comics and as you can see from the above, it has a black Superman who is on good terms with Power Girl and a Batman with a funny looking logo that has not impeded his ability to mourn. Although many attempts have been made over the years to simplify DC continuity by nuking variant earths, the truth is, you can’t keep a good alternate world down.

The book comes out in October.

6 Comments on DC Confirms Earth 2 Weekly comic to launch in October, last added: 4/18/2014
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9. Fiona McCrae Q & A

       At Guernica Jonathan Lee has a Q & A with Graywolf Press-publisher Fiona McCrae, The Art of Independent Publishing.
       She worked at Faber during interesting times, too, and describes the pleasant surprise that was the success of Per Petterson's Out Stealing Horses.

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10. Eventbrite uses social media to examine PAXEast

Pax_East_Infographic_final.jpg

PAX East, the hugely successful Boston version of the gaming show created by Penny Arcade, wrapped up last weekend. PAX Prime is held in Seattle, and they just announced PAX South, to be held Jan. 23-25 in San Antonio, Texas. There’s also a PAX Australia—all the shows are run by ReedPOP, which also throws a bunch of comic-cons worldwide, as you may be aware.

Eventbrite is a ticketing agency that helps sell tickets for gaming events and they teamed with social media analysts Mashworks to analyze all posts from Twitter, Facebook, forums, and blogs about PAX East during the three-day convention. Eventbrite sent us the above infographic after using social media analysis to see what people were socialing about the show. Eventbrite provided the following bullet points:   

• PAX East created a bit of a social media frenzy: the event drove a whopping 193,000+ social media posts, driving 500+ more posts than PAX Prime 2013 and 25% more social volume than PAX East 2013!

• There were more women in the mix than ever: 28% of people talking about PAX East were women, up from 25% at PAX East 2013 and 26% at PAX Prime 2013, indicating that female attendance and social sharing at gaming events is steadily growing.

• Move over, Nintendo! Indie games drove big buzz: Over a third of all discussion around game announcements and demos centered on indie games — great to see new names breaking through. Conversations studied ran the gamut, and general excitement about PAX East dominated social discussion (48%), followed by chatter about gaming tournaments, like the Towerfall tournament and the 25K Infinite Crisis Event (15%). Other discussion topics included cosplay (12%), game announcements and demos (10%), Panels (9%), and parties and concerts (6%). The biggest social spike of the convention was the announcement of PAX South, driving over 5,500 posts from excited gamers.


Now why are we highlighting this press release? It seemed to have several interesting aspects, not least of which the integration of more women into the PAX culture. In the past, there were some ugly incidents, but hopefully more mixed participation will help change that.

It also seems that Eventbrite is getting more involved in the pop culture event arena — well, heck everyone is. This kind of data mining could turn out to be quite revealing.

And also, it’s a little scary how much people can figure out from social media, eh?

It grows.

2 Comments on Eventbrite uses social media to examine PAXEast, last added: 4/17/2014
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11. Boom! reveals BEE & PUPPCAT variant covers

Natasha Allegri’s BEE & PUPPYCAT cartoon is Cartoon Hangover’s latest attempt at world domination — and a highly successful attempt it has been. A Kickstart to make a full season of internet shorts raised more than $800,000, and the series has joined the cartoon mafia over at Boom Studios with a comic coming out next month. Allegri will co write with Garrett Jackson and covers illustrated by Allegri, Zac Gorman (ADVENTURE TIME), Coleman Engle (BRAVEST WARRIORS), and Becky Dreistadt (ADVENTURE TIME).

Allegri is a former Adventure Time designer, a Tumblr titan and the creator of the spinoff characters Fionna and Cake. BEE & PUPPYCAT is the most funded web series project in Kickstarter history—and its extremely kawaii tale of a harried young woman and her wacky alien animal companion is a grand slam home run for the times we live in.

Plus…PUPPYCAT. How did no one think of that before?

BEE AND PUPPYCAT #1 goes on sale on May 14th with a cover price of $3.99 under Diamond order code MAR140984. Cover A by Natasha Allegri and Cover B by Zac Gorman will ship in a 50/50 intermix. Variant covers by Coleman Engle and Becky Dreistadt will be available in limited quantities.
Bee_and_Puppycat_001_A.jpg

BEE AND PUPPYCAT #1 Cover A by Natasha Allegri

Bee_and_Puppycat_001_B.jpg


BEE AND PUPPYCAT #1 Cover B by Zac Gorman


KABOOM_Bee_And_Puppycat_001_C.jpg

BEE AND PUPPYCAT #1 Cover C by Coleman Engle


BPC_01_cvrD_Becky.jpg

BEE AND PUPPYCAT #1 Cover D by Becky Dreistadt

0 Comments on Boom! reveals BEE & PUPPCAT variant covers as of 4/16/2014 8:53:00 PM
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12. Did we already know this, or did I just picture her as I read?

5th waveFrom Screen Daily:

Chloe Grace Moretz will star in the studio’s YA adaptation The 5th Wave that Graham King and Tobey Maguire are producing.

Regardless, this news gives merit to my hypothesis that ChloMor, JLaw, and ShaiWood are currently the only actresses working in YA Hollywood.

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13. Fox and Sony cross-over in The Amazing Spider-Man 2 secret scene — SPOILERS

201404161914.jpg

It seems that Fox—which controls the X-men and Fantastic Four film franchises— and Sony—which controls Spider-Man—have come to an agreement to create their OWN variant earth-2 Marvel Cinematic Universe, starting with a cut scene at the end of AMAZING SPIDER-MAN 2. Foreign viewers are already tweeting about it. I’ve greyed out the relevant info below.

The “Amazing Spider-Man 2″ opens today overseas, and fans are already buzzing on Twitter over its end credits. The Sony Pictures release concludes with a teaser for the upcoming “X-Men: Days of Future Past,” a new sequence that has been added since “Spidey 2″ premiered in London last week.

The montage, which features a blue Jennifer Lawrence as Mystique, is meant to mimic the coda scenes that conclude the Disney and Marvel Pictures juggernauts, including “Captain America: The Winter Soldier,” which introduce new characters.

And yes, it’s a Fox-controlled X-character.

But is this REALLY the start of a titanic cross studio promotion? According to Variety a more prosaic contract detail is the cause. It seems SPIDEY director Marc Webb had a deal with Fox Searchlight, who only let him out of it to make Spidey for Sony on the condition that the movie promote the X-men for free.

So don’t expect to see Spidey in the FF any time soon. That’s ONLY for the comics, folks.

Amazing Spider-Man 2 opens on May 2.

2 Comments on Fox and Sony cross-over in The Amazing Spider-Man 2 secret scene — SPOILERS, last added: 4/17/2014
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14. Göran Malmqvist profile

       In the South China Morning Post Janice Leung invites readers to Meet Göran Malmqvist, Nobel Prize member and champion of Chinese literature -- the Chinese-speaking member of the Swedish Academy.

       The big news here is Malmqvist claiming of Border Town-author Shen Congwen that:

If he hadn't passed away, he would have got the Nobel Prize in 1988
       Stop the presses ?!??
       Was the 1988 laureate -- Naguib Mahfouz -- really second choice ?
       Well, not so fast -- Shen passed away in May of 1988; he may well have been one of the (usually five) finalists by then, but they don't settle on a winner until the fall, so there's no way of telling whether he would have prevailed over Mahfouz. Still, interesting to hear he was so close.

       Also of interest: Malmqvist's complaints:
Unfortunately, he says, there are as many poor translators as there are good writers in China.

"What makes me angry, really angry," he cries, eyes blazing, "is when an excellent piece of Chinese literature is badly translated. It's better not to translate it than have it badly translated. That is an unforgivable offence to any author. It should be stopped.

"Often translations are done by incompetent translators who happen to know English, or German, or French. But a lot of them have no interest and no competence in literature. That is a great pity."
       One exception:
David Hawkes' rendition of Cao Xueqin's epic novel The Story of the Stone, which he regards as a rare gem of translated Chinese literature.

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15. Creative ways to perform your music: tips for music students

By Scott Huntington


Many music students have difficulty finding new venues in which to perform. A lot of the time it’s because we let our school schedule our performances for us. We’ll start the semester and circle the dates on the calendars that include our concerts and recitals, and that will be it. That’s fine, and can keep you pretty busy, but I’m here to tell you to get out there and plan on your own. You’ll become much more confident and even perform better at your concerts once you get a few smaller gigs under your belt. Here’s a few tips to help you along the way:

Don’t let nerves get in the way of gigging

You’ve likely heard this from countless professors, teachers, friends, and family members, but everyone experiences nervousness. It’s the result of our animal instincts, our fight or flight response, and it’s natural. The solution is simply to gain experience. Think of each instance of nervousness as a new chance to conquer and control the sensation. After enough repetitions, nervousness will no longer seem like such a big deal, just an expected and regular part of performance. Nerves will probably never go completely away, but by the time you get to a huge concert you’ll be getting used to it.

Develop your personal brand

Whether you like it or not, self-advertising, or creating your own brand, has become more and more doable thanks to the Internet. Read up on creating a web presence. Unless you’re famous, you’re going to need to market your talents. Sites like BandCamp and SoundCloud tend to be synonymous with popular music, but this trend is slowly changing. In fact, many classical musicians are uploading recordings of their gigs to SoundCloud.

On top of the benefits of a clean, easy to navigate repository of gig recordings, having a SoundCloud is like having a deluxe portfolio. What do I mean by “deluxe”? Well, it’s like having a resume with a built in audience of employers ready to look at it 24/7. And SoundCloud isn’t just a social network; it’s a social network of people who actively create and/or listen to music.

Think outside the box when looking for gigs

But where can you look for gigs? At first glance you’re at a slight disadvantage from all the rock bands that can play cover shows at bars or parties. Somehow playing solo clarinet music at the local bar just isn’t going to go over well. So, here are a few places you may not have thought of:

1. University events

Keep tabs on ongoing events at your university. Many students and faculty would love to have their events spiced up with some “sophisticated” music. There are plenty of fundraisers and galas that are always looking for entertainment. It even gives them a bragging point to have a student performing and could lead to more donations for the school.

2. Elementary schools

Music education is an important aspect of many children’s lives, and choosing an instrument to pick up can be quite a meaningful decision, even if it may seem superfluous to us at the time. Check with local elementary schools to find out when they start their students off in band and orchestra programs. They may very well be looking for people to come in and explain and play their instruments to students. You never know when you could be the one to inspire the next great performer.

elementary school music

Children from Kaneohe Elementary School clap to the beat of one of the many jazzy songs the US Marine Corps Forces Pacific Party Band played during their performance as part of the Music in the Schools program. Photo in the public domain via Wikimedia Commons.

3.  Retirement communities

Playing at a retirement community may not be very glamorous, but it will leave you with experience and the feeling that you’ve done a good service. One of the most rewarding times of my musical career was playing at a nursing home. A deaf woman rolled her wheelchair up to my marimba and put her hand on the side to feel the vibrations. Seeing her smile is something I will never forget. To me, this small gig was right up there with playing in Orchestra Hall in Chicago.

4. Play for small businesses and company functions

A gig at a barber shop didn’t give me a huge audience, but it’s not always the size that matters. Through it I was able to meet some people from a mattress store called Dr. Snooze, and eventually led to me getting to play at one of their open houses. I met several more people through it that led to even more performance opportunities, including corporate retreats and even a wedding. I can also use them as a reference when telling others about my music. It’s amazing how one “little” gig can turn into so much more.

5. Play on the street

Now you should look into the legality of this strategy before pursuing it, but playing in the street (even for no money) can be an incredible source of publicity. Who knows who might be looking? It also helps to strategically pick your location so that people who might be more likely to need musicians may listen. Another idea you could try would be to upload recordings of your performances to YouTube to be able to show them to others.

Finnish bluegrass buskers in Helsinki, Finland. June 2006. Photo by Cory Doctorow from London, UK. Creative Commons License via Wikimedia Commons.

Finnish bluegrass buskers in Helsinki, Finland. June 2006. Photo by Cory Doctorow from London, UK. Creative Commons License via Wikimedia Commons.

All of these ideas will give you some great experience and help you become a better musician. And when you come to the bigger events, you’ll be well prepared.

 is a percussionist specializing in marimba. He’s also a writer, reporter and blogger. He lives in Pennsylvania with his wife and son and does Internet marketing for WebpageFX in Harrisburg. Scott strives to play music whenever and wherever possible. Follow him on Twitter at @SMHuntington.

Oxford Music Online is the gateway offering users the ability to access and cross-search multiple music reference resources in one location. With Grove Music Online as its cornerstone, Oxford Music Online also contains The Oxford Companion to Music, The Oxford Dictionary of Music, and The Encyclopedia of Popular Music.

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16. Review: Some Picks from the Spring Oily Bundle

Print by Antoine Cosse

Print by Antoine Cosse

It’s hard to convince me to not contribute to the growing number of small press comic subscriptions–every season there seems to be even more great material I want to get my hands onto, and it’s a rather addicting cycle of excitement whenever there’s a new package at my door. Oily has proven to be an exceptionally versatile publisher with their subscriptions—the form of their pocket-size, digestible mini-comics has parlayed a habit-forming nature in their readership that stays true to the internal logic of comics. Series like Melissa Mendes’s Lou and Charles Forsman’s TEOTFW have hooked many a fan in, including myself, allowing a sense of gratification and appreciation that hasn’t always been as accessible in indie comics. There is something quite rewarding about receiving an Oily bundle; the mini-comics are neighborly crafted and packaged to make you feel welcome from the outset.

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This season’s Spring Oily Bundle, a limited 200 count batch, featured 9 different mini-comics along with additional prints and art from the stylish roster of Oily cartoonists. Mixing a touch of the familiar and the new, this was an impressionably refreshing stack of work, demonstrating the inarguable benefits of reading comics in their printed format.

Noah Van Sciver's The Lizard Laughed

Noah Van Sciver’s The Lizard Laughed

The first of the loot is Noah Van Sciver’s new minicomic, The Lizard Laughed. Beginning with a quote from Martin Sheen’s 2012 shared memoir with son Emilio Estevez, Along the Way, Sciver sets up this father-and-son narrative, contorted through his trademark doom-and-gloom thematic craftship. While the recognizable tropes of bleakness and brooding malaise are definitely present, Sciver is able to input some very quiet and reflective moments within this short piece that make it surprisingly satisfying.

Harvey is the deadbeat, stoner dad who gets an unexpected visit from the son he abandoned so many years ago. Although supposedly complacent with his role as an absent father, Harvey endeavors to enact what he believes is fatherly action to Nathan, offering affection through engaging in conversation and artistic similarity, and even planning a joint rendezvous, the time-honored tradition of a father-and-son hike. Harvey’s tragic, cumbersome attempt to fill in a paternal guise is apparent at every moment of the two’s interaction, and the emotional machismo on display is unwieldy.

The ending is no surprise, and there’s a sense of crushing disappointment for both father and son. While Harvey is sure to continue in his cyclical inability to truly connect with another person, Nathan walks away from revenge, and in a way comes to grips with understanding, even in disconnect, why Harvey is the way he is. It would be flawed to associate this comic as another father-and-son narrative, the cringe-worthy air between Harvey and Nathan actually sheds light on Sciver’s creative ability to ride that line between empathy and ridicule. There’s not a lot of people, let alone cartoonists, who can exhibit the gnarled grace that Sciver does with a character like Harvey, someone who is incredulously unlikeable and irrationally mulish to boot.

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Sciver pacifies the overarching tension with Harvey’s meandering tales of playful, fantastical adventures with dangerous historic sites and imaginative recounts of mystical creatures. It’s in these stories that Harvey seems the most in touch with life, his childish sensibility drawn with a touch of humor. He is swallowed by the fantasy of his surroundings, and it’s never more clear how misguided and detached from reality he genuinely is, a palpable actuality that Nathan plainly sees.

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I’m unsure if Sciver meant to comment on or parody the Sheen memoir Along the Way (something tells me neither Sheen nor Estevez wouldn’t be able to connect that sad, self-deprecating psyche in quite the same way), and The Lizard Laugh is anything but a Hollywood memoir. Sciver succeeds yet again in creating a narrative that turns the focus inward; to our own shortcomings that we reject by fluffing up our own perception of wisdom, and the choice Nathan makes that allows Harvey to retain some dignity, to not be small and nothing.

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Crash Trash, an uber little comic from French cartoonist Olive Booger, is a streamlined reworking of his style’s drippy, color-saturated, hysteric scratchiness as seen in Kuš! And his graphic novel, I Like Short Songs. While superficially shrunken down to a 4” by 2.25” mini-mini-comic, Crash Trash packs a whole lot of trippy detail in the comic’s anthropologic recounting of the rise and fall of a fictional 1980s gang called the Trash Boys, along with the antics and lawlessness of their home base, the district of Crashtown.

Screen Shot 2014-04-17 at 11.59.11 AM

It’s at first a little jarring to see such a small comic flushed with a heavy hand of text—almost every panel is scrawled with as much space filled with script as it is image. There is no dialogue, only narration and a smattering of effects, thereby pacing the comic quite cinematically, as panel transitions move from pull back shots of the Trash Boys to close-ups of a fallen comb or cross-cutting to a colossal punt by enemy gang, the Mega Dogs. At first glance, it may seem Olive was restricted by size in the type of details he could use to fill in details, yet his histrionic prose amplifies the limited visual space, resisting an urge to rapidly read the comic. There’s a rhythmic cleverness in the way the comic moves, an ebbing and tiding in the momentum as well as in the elevation of dramatic moments. The story is neither bounded with innovation, so when particular key words are bolded, it aids in setting the scene because you’re most likely able to attribute certain visual cues.

What I’ve said so far shouldn’t discount Oliver’s artistic aspiration; his style is still largely tangible even when stripped down to its red and black risographed print. His previous work harkens a definite Charles Burns influence with the thick, oil paint execution and thematics resonating with the sordid darkness of a city’s underbelly. Crash Trash is situated with the aesthetics of raw, punk desperation of his preceding I Like Short Songs but the simplicity in his line work has taken a new mode, less garish and more nuanced. It’s very impressive to see his art pulsate even with the oppressively tight margins of space.

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A lot has been said about Melissa Mendes’s Lou, the seventeen issue long pillar amongst the Oily lineup. This newest addition, titled A Very Special Lou, marks a revisiting to the series which ended in August 2013, and a warm return it proves to be. Like a childhood friend or long unseen family member, A Very Special Lou is an entirely new narrative that retains its delightful, underlying spirit of kindred nostalgia.

DSC_1236

One of the reasons I really took to this particular issue was how it gently touched on the omnipresence of fandom for professional wrestling. I’ve always been comfortable broadcasting myself as a fan of comics, and more recently I’ve come clean as a fan of professional wrestling. Fans of comics and professional wrestling share a long, complex history of facing ridicule for following such a denigrated form of entertainment—wrestlers and superheroes are arguably a form of con-job, deemed “fake” by those who choose to stand by higher media forms, be it athletics or literary elitists. However, criticisms aside, fans of wrestling and comics share a distinctly unique concept of play, where we consume media in a way that extends the narrative fluidly, defying rigid roles between the identities of producers and consumers.

A Very Special Lou functions both as a piece about being an admirer of comics as well as wrestling through the domestic lens of childhood imagination. Referencing wrestlers like King Kong Bundy and Hulk Hogan through 6-year-old John’s fannish fascination and how it’s lived through his family, Mendes yet again accesses the real emotions that we feel as charismatic kids and continue to feel today. Through the entire Lou serialization, Mendes almost effortlessly lets the reader dip into points of their own life, spurring even the most dormant, forgotten affections.

oilycomics3

The Lou Series all laid out

Stay up to date with all the Oily greatness by browsing the Oily Comics website.

(Image Credits: http://melissammmendes.tumblr.com, http://snakeoily.tumblr.com)

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17. 124 entries for Nigeria Prize for Literature

       The closing date for entries for this year's Nigeria Prize for Literature was 31 March, and they've now announced (though not yet at the official site ...) that there were 124 entries; see, for example, the This Day report.
       The prize rotates through four genres, and this year it's drama; the winner will receive US $100,000.
       To "encourage literary criticism" there's also a literary criticism prize, "open to literary critics from all over the world" (as long as the criticism is of Nigerian literature). Here the prize-sum is given in the local currency -- presumably since 1,000,000 naira sounds more impressive than its US dollar equivalent (less than $6200).

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18. A Video Essay on Jim Jarmusch: "Dead Men & Ghosts, Limited"


As the silence around here indicates, I've been tremendously busy the past few weeks. One project I managed to complete was a new video essay, this one about Jim Jarmusch's films Dead Man, Ghost Dog, and The Limits of Control. It's now available at Press Play, along with a brief introduction.

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19. Prime Minister’s Questions

By Andrew Dobson


“Noisy and aggressive,” “childish,” “over the top,” “pointless.” These are just a few recent descriptions of Prime Minister’s Questions – the most watched event in the Parliamentary week.

Public dismay at PMQs has led the Speaker, John Bercow, to consult with party leaders over reform.  The Hansard Society asked focus groups what they thought of PMQs as part of its annual look at public engagement. Nearly half said the event is “too noisy and aggressive”, the same proportion as those who felt that MPs behave unprofessionally. Meanwhile, a majority of 33% to 27% reported that it put them off politics. Only 12% said it made them “proud of our Parliament”.

John Bercow. By Office of John Bercow CC-BY-SA-3.0

Both the Deputy Prime Minister Clegg and Labour leader Ed Miliband agreed that the baying and screeching gave politics and politicians a bad name, and while Prime Minister David Cameron was a little more guarded, he too thought that Mr Bercow’s ideas were interesting and worth looking at.

So would it help if politicians listened to each other little bit more and shouted at each other a little bit less? The fact that PMQs is simultaneously the most watched and the least respected Parliamentary event is significant. No doubt we watch it precisely because we enjoy the barracking and the bawling, and there is always the possibility of grudging admiration for a smart bit of wordplay by one or other of the combatants. Parliamentary sketch writers nearly always judge the winner of PMQs on the basis of which of the party leaders has bested the other in terms of quips and ripostes – and very rarely on the basis of political substance.

So it’s hardly an informative occasion. Indeed the Hansard’s respondents’ main gripes are that questions are scripted, and that there are too many planted questions and too few honest answers.

Once again, though, maybe this misses the point. Some will say that the civilised and serious political work is done behind the scenes in committee rooms, where party loyalty is less obviously on display, and where considered debate often takes place. On this account, PMQs occupy a very small amount of parliamentary time, and anyway, the sometimes angry jousting that takes place between party leaders on Wednesdays is as much a part of politics as the polite exchange of views we find in Parliamentary committees. Where would politics be without disagreement? Would it be politics at all?

But then there are different ways of disagreeing – and some ways could turn out to be exclusionary. One of the ideas floated by John Bercow was that the flight of women from the House of Commons was in part a result of the way in which debate is conducted there.

David Cameron

David Cameron. By World Economic Forum/Moritz Hager (Flickr) CC-BY-SA-2.0

And it’s a fact that although good listening is much prized in daily conversation, it’s been almost completely ignored in the form of political conversation we know as democracy. While PMQs show that politicians aren’t always very good at listening to each other, they’re not much better at listening to the public either. Politicians instinctively know that listening in a democracy is vital to legitimacy. That’s why when they’re in trouble they reach for the listening card and initiate a “Big Conversation,” like the one Tony Blair started in late 2003, not so many months after the million people march against the Iraq war.

But won’t a government that listens hard and changes its mind just be accused of that ultimate political crime, the U-turn? In 2012, the Secretary of State for Education, Michael Gove, announced some radical changes in UK secondary school education, including a return to an older style assessment regime. Then in February 2013 he suddenly announced that the changes wouldn’t take place after all. Predictably, the Opposition spokesman called this a ‘humiliating climbdown’. Equally predictably, Gove’s supporters played the listening card for it was worth, with Nick Clegg saying effusively that, “There is no point having a consultation if you’ve already made up your mind what you’re going to do at the end of it.”

So it looks as though, as far as listening goes, governments are damned if they do and damned if they don’t: accused of weakness if they change their mind and of pig-headedness and a failure to listen if they don’t. On balance, I’d rather have them listening more – both to each other and to us. John Dryzek is surely right to say that, “the most effective and insidious way to silence others in politics is a refusal to listen.”

As the ancient Greek philosopher Epictetus says: “Nature hath given men and one tongue but two ears, that we may hear from others twice as much as we speak.”

Andrew Dobson is Professor of Politics at Keele University, UK. His most recent book is Listening for Democracy: recognition, representation, reconciliation (OUP, 2014). He is a member of the England and Wales Green Party and he co-wrote the Green Party General Election Manifesto in 2010. He is a founder member of the thinktank Green House.

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Image credit: John Bercow, by Office John Bercow, CC-BY-SA-3.0 via Wikimedia Commons. (2) David Cameron, by World Economic Forum/Mortiz Hager (Flickr), CC-BY-SA-2.0 via Wikimedia Commons

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20. Cheap read(s): Daniel Pinkwater.

Young adults Young adultsFYI: A whole bunch of Daniel Pinkwater ebooks are currently available for the low, low price of $2.99, and they're free to borrow if you're a Prime member.

THE SNARKOUT BOYS. YOUNG ADULT!

I swoon.

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21. Webcomic alert: Boulet goes shopping

EN-Chic01.png

A new comic by French cartoonist Boulet is always worth noting, and this one about the horror of buying new clothes is no exception, from the dread of buying underwear from snotty sales girls to the doomed perfection of new shows.

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22. Gabriel García Márquez (1927-2014)

       The 1982 Nobel laureate, Gabriel García Márquez, has passed away.
       Only two of his titles are under review at the complete review (I read pretty much all the rest before I started the site):

       One Hundred Years of Solitude still seems to me the most significant novel of the past fifty years; get your copy -- if, incomprehensibly, you don't have one -- at Amazon.com or Amazon.co.uk.

       There has been extensive coverage (and much, much more will follow, no doubt); see, for example:        But there's tons more -- especially in the Spanish-language press.

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23. Salt Lake CIty Con expects 100,000 this weekend

201404170345.jpg

Last fall’s very first Salt Lake City Con drew what is claimed to be 80,000 people, although when I first reported on it it was 50,000 tickets sold,—and the fire marshals came outin force. With that kind of smash, they are holding another one already, nicknamed FanX. And this time they are expecting an even huger crowd. :

Organizer Dan Farr is confident that Utah can support two comic book conventions a year. He predicts this week’s convention will draw 100,000 visitors, at least 20,000 more than last fall’s event, easily breaking the record for the biggest convention in Utah.

“I’m not worried about what happens this year. But as we move into next year, that is a question we need to ask and talk to a lot of fans about,” Farr said about whether his grand experiment of two comic cons in Salt Lake City per year will work. “One thing that fights against that is we do bring in a new cast of guests, and we do change it up. If you go to one event, the next one will be new again. We’ll keep it fresh.”


I share Farr’s lack of fear where two shows are concerned — it sounds like a big market. This edition includes tons and tons of nerdlebrities including various people you would know from the bridge of the Enterprise, being eaten by zombies or patrolling Mega City. Also, comic book people.

When I see attendance numbers going up, up, up I always get a little suspicious, so if there are any Beatniks on the ground, please send in reports. They have already sold 40,000 tickets however, so expect a BIG time.

The show runs three days, but opens today. No Sunday for this con because…well it is Utah.

In case you are wondering, there is a harassment policy on the website.

[Above photo via Josh Wartena.]

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24. For a Socialism of the Skin


Richard Kim at The Nation points to one of the central problems of the big Gay Inc. organizations, especially HRC:
In 2012, the Human Rights Campaign honored Goldman Sachs with an award at its annual dinner, while naming Lloyd Blankfein as its national corporate spokesman for same-sex marriage. In an obscene form of pink-washing in which every banker, sweatshop overlord and oil baron gets a gay star, HRC’s most recent report on “corporate equality” proudly concludes that a record 304 of the nation’s largest businesses—including Chevron, Bank of America, Citigroup, JPMorgan Chase, Comcast, Google, Monsanto, Nike, Raytheon, Boeing, Target and General Electric—have a perfect rating on LGBT issues.
Kim also notes that Tony Kushner predicted this in his 1994 Nation essay, "A Socialism of the Skin", an essay I read when it was first published and that has stuck with me ever since:
[I]t’s entirely conceivable that we will one day live miserably in a thoroughly ravaged world in which lesbians and gay men can marry and serve openly in the Army and that's it. Capitalism, after all, can absorb a lot. Poverty, war, alienation, environmental destruction, colonialism, unequal development, boom/bust cycles, private property, individualism, commodity fetishism, the fetishization of the body, the fetishization of violence, guns, drugs, child abuse, underfunded and bad education (itself a form of child abuse)—these things are key to the successful functioning of the free market. Homophobia is not; the system could certainly accommodate demands for equal rights for homosexuals without danger to itself.
The Nation has made "A Socialism of the Skin" available for free as a PDF. It's 20 years old this year, and more true than ever. Gay Inc. won.

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25. What’s the secret to high scores on video games?

By Siu-Lan Tan


When playing video games, do you play better with the sound on or off? Every gamer may have an opinion, but what has research shown?

Some studies suggest that music and sound effects enhance performance. For instance, Tafalla (2007) found that male gamers scored almost twice as many points while playing the first-person shooter game DOOM with the sound on (chilling music, weaponfire, screams, and labored breathing) compared to those playing with the sound off.

On the other hand, Yamada et al. (2001) found that people had the fastest lap times in the racing game Ridge Racer V when playing with the music off. Interestingly, 10 different music tracks were tested—and the lowest scores were earned when playing with the soundtrack built into the game (Boom Boom Satellite’s “Fogbound”).

Sometimes the results are more complex. Cassidy and MacDonald (2009) tested people playing a driving game with car sounds effects alone or with car sound effects plus different kinds of music. People playing with music that had been shown to be ‘highly arousing’ (in previous research) drove the fastest—but also made the greatest number of mistakes, such as hitting barriers or knocking over road cones!

800px-Dubaj

In our own research (published 2010 and 2012), my colleagues John Baxa and Matt Spackman and I found that people playing Twilight Princess (Legend of Zelda) performed worst when playing with both music and sound effects off. This game provides the player with rich auditory cues that function as warnings, clues for access points, feedback for correct moves such as successful attacks on enemies, and more. Many of these don’t just “double” what you see on the screen.

As we progressively added more game audio, performance improved. However, surprisingly, our participants performed best when playing with background music playing on a boombox that was unrelated to the game! (This would be like playing a game with the game sound switched off—while your roommate’s music is playing in the background.)

How to boost your game play?

So how do we make sense of these findings? And do they shed light on what distinguishes the top gamers?

A closer look at the individuals in our 2010/2012 study suggested that the majority of our participants—but not all—played better with unrelated background music until they “got the hang of” the game.

We used a game that was new to everybody. As Twilight Princess is a pretty complex adventure role-playing game, the average player seemed to have to focus attention on the visual information when first navigating the game. So music and sound effects built into the game may have interfered with their concentration, as they had to “tune it out” to focus on visual cues to guide their actions at first.

800px-Dataspel

However, our top players (who concluded four days of play in our Videogame Lab with the highest scores) were different. They tended to play better with the game sound on (full music and sound effects coming from both screen and Wiimote) from the very beginning.

The best players seemed to be better at paying attention to and meaningfully integrating both audio and visual cues effectively—thus benefitting from the richest warnings/clues/feedback. While the typical player strongly favored one sense, the best players were truly playing an audio-visual game from the beginning.

So…one secret to being a successful gamer may be to sharpen your attention to audio cues (in sound effects and music) within a game. Paying more attention to and integrating cues to both ear and eye may boost your game!

More than just high scores…

I’m also reminded of what a participant in our study expressed so well: “There’s more to a game than just high scores. It’s also about being transported and immersed in another world, and music and sound effects are what bring you there.”

Indeed, the lush cinematic scores take us through the emotional highs and lows of the journey of a game. Atmospheric tracks immerse us in other worlds. Rhythmic tracks serve as an engine to drive the action, the propulsion of the music making the virtual environment appear deeper and the visual array seem to whizz by faster (motion parallax).

When you have a great soundtrack, music can be the soul of a game.

Postscript: Sonic Mayhem!

Recently I had a chance to speak with composer Sonic Mayhem (Sascha Dikiciyan) when we were both interviewed on video game music by Sami Jarroush for Consequence of Sound. Sonic Mayhem is one of the most sought-after video game music composers today. He scored Quake III Arena, Tron: Evolution, Mass Effect 2 & 3, Borderlands, Space Marine, James Bond: Tomorrow Never Dies, Mortal Kombat vs DC, and a ton of other monumental games.

Click here to view the embedded video.

 Siu-Lan Tan is Associate Professor of Psychology at Kalamazoo College in Michigan, USA. She is primary editor of The Psychology of Music in Multimedia (Oxford University Press 2013), the first book consolidating the research on the role of music in film, television, video games, and computers. A version of this article also appears on Psychology Today. Siu-Lan Tan also has her own blog, What Shapes Film? Read her previous blog posts.

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Image credits: (1) Dubaj, by Danik9000, CC-BY-SA-3.0 via Wikimedia Commons. (2) Dataspel, by Magnus Fröderberg/norden.org, CC-BY-2.5 via Wikimedia Commons.

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