What sells, and where?

It’s a couple of days old, but I found this comment at Journalista to be really interesting. It’s a very well-informed compare-and-contrast between what sells in comic shops and what sells in bookstores:

“I have a comic book shop, my girlfriend owns a bookstore. Here’s a quick list of what we’ve found:

“Naruto sells well everywhere.”

Okay, there’s a lot more, but given the big news of the day, I couldn’t resist. Anyway, go read, especially if you’re geek-ishly interested in the different audiences between the two kinds of retail outlets.

(Also, it’s kind of gruesomely fun to imagine creators rolling out comic-shop friendlier versions of work like Fun Home. I’m easily amused.)

Survey says

I got an interesting e-mail from someone involved in the development of an on-line comic shop, looking for feedback from potential customers and willing to pony up the swag to get it. According to Katherine Thoresen, Heavy Ink will feature…

“…a user interface full of innovative features, good customer reviews to help folks find material they like, and great prices. The initial version of our service will carry the full inventory of comic books from Diamond, but with in a year, we intend to start doing outreach to smaller/independent publishers that aren’t carried by Diamond or most existing stores.”

Sounds like a good idea to me, and they’ll be giving about $100 bucks worth of graphic novels to one survey participant and a buy-one-get-one-free subscription offer to everyone else who fills it out.

Shop talk

I was talking to one of the clerks at the comic shop the other day, and he mentioned that his ultimate career goal is to open and run a comic shop himself. I’m not especially parental, but I have to admit that the temptation to shake him was strong. But my parents were masterfully restrained when I would lay out various career options to them, no matter how absurd they were or how ill-suited I was for them in temperament or ability, so I kept it in check. (I’m the youngest of seven, so maybe they were just tired by that point.)

And as training grounds go, the local comic shop could be much worse. It’s clean, uncluttered, and there’s nothing on prominent display that might make people who aren’t white, straight, male and 25 to 40 years old want to turn around and vow never return. The owner is a conscientious guy, and he hires accordingly. Everyone’s friendly and helpful.

That said, the owner is a realist as well. He initially made a conscientious effort to stock stuff that you wouldn’t find at the average comic shop, including manga. But realities of competition with the chain bookstores that have opened in the area seem to have taken their toll, and the selection has progressively narrowed in ways that will probably be familiar to people who track retailer lore on the web. The manga shelves have given way to a full wall of individual 52 issues and Civil War trades, and if you’re dying for the new issue of Mome or New Tales of Old Palomar, you’d better request it.

Happily, the shop encourages that. They may not stock everything, but they’ll certainly order it for you, and the shelf of reserves suggests a clientele dedicated to independent comics (and not just independent comics in the sense of superheroes created by someone other than Marvel or DC), shôjo and yaoi, and lots of other niche stuff. It seems like a perfectly reasonable, economically sustainable compromise: stock the stuff that sells to your base, but make sure people who don’t care about super-hero comics know that the store is a resource for them as well. And while I might wish that I had an Alternate Reality or Laughing Ogre or Beguiling nearby, I don’t begrudge the owner his decision to stay in business according to the demands of the local market.

Adventures in consumerism

If you hold up the checkout line at the comic shop to denounce Patrick Stewart for his disrespect for Star Trek fandom, concluding loftily that you’d even rather have lunch with William Shatner, who’s crazy, then I will be forced to make fun of you after you leave. I’m not made of stone. I’ll also be forced to defend Stewart based on his impeccable Shakespearean background and smoking hotness.

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My irony detector must be on the fritz, because it’s taken me forever to snicker at the spectacle of Marvel actually turning its characters into shambling, cannibalistic, soulless corpses in pursuit of profit. It’s so meta that it’s almost daring.

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I was chatting with a friend, and we decided that there are certain instant indicators that let us know if we’ll enjoy our comic shop experience. If there are all-ages comics, collections of strips, and art books up front, all’s clear. If merchandise like that Emma Frost bust is anywhere up front, it’s “Think of England” time. It just seems smarter to go wide at the point of entrance and keep the more esoteric, potentially off-putting, fannish behind a few layers of innocuousness.

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On the subject of that bust, we couldn’t reach any conclusion as to what purpose those scraps of fabric were supposed to serve. My friend wondered if Frost practiced telekinesis in addition to telepathy, as she could think of any other way that they’d stay up. I thought they might be surgical dressing following a breast lift.

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The local library has started to carry graphic novels, though they shelve them according to the Dewey Decimal System, upstairs in the non-fiction stacks. That would explain why all of those volumes of Fruits Basket are so pristine, though not why Castle Waiting has been read within an inch of its life. Maybe somebody donated it after they’d read it to pieces and then bought themselves a new copy. That seems reasonable.

Anyway, it’s not a great selection, but it’s a start. The current holdings are a mix of popular manga, classics and stuff that they probably got for free.

Conscientious objectors

You would think that little could stand up in the face of the combined Direct Market power of the terms “Civil War” and “X-Men,” but a certain orphan and her passel of cursed friends and acquaintances managed it, with Fruits Basket Vol. 16 (Tokyopop) trumping some of the masses of Marvel event trades that compose most of the top 10 graphic novels for April.

Another group of orphans are hot on Tohru’s heels, however, as the seventh collection of Marvel’s Runaways comes in 9th place. In fact, two of Marvel’s digest-sized books cracked the top 100, the second being the eighth volume of the much-admired but almost-always-nearly-canceled Spider-Girl, landing in 67th place. These books are similar in size and price point to, say, Viz’s Shonen Jump Books, though they’re printed in full color. Runaways is, I believe, the last survivor of Marvel’s vaguely manga-influenced Tsunami line, and Spider-Girl pretty much lives in its own little world, continuity wise. (I wish more regular and complete bookstore figures were readily available, as I suspect both titles do pretty well there.)

I had wondered about last month’s somewhat lackluster performance of the 12th volume of Fullmetal Alchemist (Viz). It’s back this month, slightly higher in rank that it placed last month, but well below the 13th volume, which earns a more customary placement on the list (23rd in GNs overall, 4th in manga). Frequency of publication doesn’t seem to be hurting Death Note, with the 11th volume coming in 2nd in manga and 15th in graphic novels overall, compared to last month’s 2nd in manga and 7th in graphic novels overall. (Last month didn’t present quite so many Civil War trades.)

It’s another happy month for yaoi in the Direct Market, with three Juné titles making the top 100. When Dark Horse does manage to ship titles like Oh My Goddess, they do well in this market, with vol. 26 placing fifth in the manga pack and leading the rest of Dark Horse’s releases. And Del Rey has an unusually good Direct Market month, with three titles making the top one hundred. Genshiken isn’t surprising, but School Rumble? Who knew?

Oh, and kudos to not-safe-for-work Icarus for landing three titles on the top 300 comics list. How often can a manga publisher say that?

April showers

Newsarama has the Direct Market graphic novel figures for the month of April, and 32 manga titles made the top 100. That’s about 10 more than usual. More on the list later, but for now, here are the manga entries (and a couple of interesting digest-sized successes from Marvel) after the cut.

Graphic Novel Rank — Manga Rank — Title — Publisher

6 – 1 -FRUITS BASKET VOL 16 GN (Of 20) – TKP
9 – NA – RUNAWAYS VOL 7 LIVE FAST DIGEST TP – MAR
15 – 2 – DEATH NOTE VOL 11 TP – VIZ
20 – 3 – BLEACH VOL 18 TP – VIZ
23 – 4 – FULLMETAL ALCHEMIST VOL 13 TP – VIZ
32 – 5 – OH MY GODDESS VOL 26 TP – DAR
35 – 6 – PATH O/THE ASSASSIN VOL 6 TP (MR) – DAR
41 – 7 – BATTLE VIXENS VOL 11 GN (Of 11) (MR) – TKP
45 – 8 – INU YASHA VOL 29 TP – VIZ
51 – 9 – FULLMETAL ALCHEMIST VOL 12 TP – VIZ
52 – 10 – NEON GENESIS EVANGELION VOL 10 TP – VIZ
56 – 11 – ONE PIECE VOL 14 TP – VIZ
57 – 12 – CHIBI VAMPIRE VOL 4 GN (Of 9) (MR) – TKP
61 – 13 – SAIYUKI RELOAD VOL 7 GN (Of 7) (MR) – TKP
63 – 14 – GENSHIKEN VOL 8 GN (MR) – RAN
67 – NA – SPIDER-GIRL VOL 8 DUTY CALLS DIGEST TP – MAR
71 – 15 – TENJHO TENGE VOL 13 – DC
72 – 16 – LOVEHOLIC VOL 1 GN – DIG
74 – 17 – VAMPIRE KNIGHT VOL 2 TP – VIZ
75 – 18 – ROZEN MAIDEN VOL 4 GN (Of 7) – TKP
81 – 19 – HIKARU NO GO VOL 9 TP – VIZ
82 – 20 – BLACK CAT VOL 8 TP – VIZ
83 – 21 – FAKE FUR VOL 1 GN – DIG
84 – 22 – MILLENNIUM SNOW VOL 1 TP – VIZ
85 – 23 – RIN VOL 3 GN – DIG
87 – 24 – RG VEDA VOL 9 GN (Of 10) – TKP
88 – 25 – HANA KIMI VOL 17 GN – VIZ
89 – 26 – OLD BOY VOL 5 TP (MR) – DAR
90 – 27 – D GRAY MAN VOL 5 GN – VIZ
91 – 28 – SHAMAN KING VOL 12 TP – VIZ
92 – 29 – WALLFLOWER VOL 11 GN (MR) – RAN
93 – 30 – IS VOL 13 GN – VIZ
98 – 31 – SCHOOL RUMBLE VOL 5 GN (MR) – RAN
100 – 32 – YUBISAKI MILK TEA VOL 4 GN (Of 7) (MR) – TKP

Quote of the day

In preparation for Free Comic Book Day, George Gene Gustines introduces New York Times readers to some of the finer comic shops in Manhattan and environs. It’s particularly noteworthy for this awesome passage:

“Chuck McKinney, 41, a voice-over actor and Web cartoonist, loves Midtown Comics. ‘The store is big, clean, well stocked and organized; and everyone gets a discount,’ he wrote in an e-mail message. ‘And best of all there are lots of hot, ethnic straight guys to check out while I’m buying my comics.’”

While I love Midtown’s Pottery Barn aesthetic and fine selection, I must confess that I’ve never noticed the eye candy during the few visits I’ve made.

Happy trails

I’m back from a quick trip to visit family in Columbus, and I just have to say (again) how great The Laughing Ogre is. It has such a terrific selection of everything — manga, super-heroes, art comics, comics for kids and young adults, comic-strip collections, and everything else — that it takes a great deal of restraint to escape without spending too much. It’s clean, airy, organized well, and has a really helpful staff.

And I finally tracked down a copy of the third volume of The Kurosagi Corpse Delivery Service! And they had copies of the first two volumes on the shelf! I think this will be my new criteria for what constitutes a good comic shop. Well, one of them, at least.

Shop talk

Johanna Draper Carlson mentioned the Will Eisner Spirit of Comics Retailer Award the other day, so I swung by the San Diego Comic-Con site to see which shops had won previously. Two of my favorites have never won, so I might have to gather sufficient motivation to nominate them.

The first is Alternative Reality Comics in Las Vegas, which has apparently been nominated twice. For a relatively small space, it’s got a great selection of books and even shelves some titles by genre, which is a nice touch. Its manga selection isn’t as large as some other shops I’ve visited, but it’s one the most interesting I’ve seen with lots of books I don’t usually find on the shelves. The staff has also been friendly and helpful every time I’ve visited. The shop doesn’t seem to have a web site, but here’s an interview with owner Ralph Mathieu at Sequential Tart. I’m not much of a gambler, so I always try and minimize my losses when I go to Vegas, as it’s the best outcome I can hope for. It’s nice to have Alternative Reality as a reason to hold some cash in reserve that might otherwise be lost forever to a slot machine.

The second is The Laughing Ogre in Columbus, Ohio. On my first trip to the store, it was in the middle of a renovation, and it was still one of the best comic shops I’ve ever visited. Now that the renovation is complete, it’s a clean, well-organized, attractive space with a great selection. Their manga section is easily as large as any of the chain bookstores, and the selection is more diverse. The staff is helpful as well. They were in the middle of inventory the first time I stopped by, and they still made time to check in and see if I needed anything, helped me find books, and offered to special-order stuff that wasn’t in stock (or was packed away during the remodel). It wasn’t really practical, since I don’t live in Columbus, but the gesture was appreciated. Plus, Amy Unbounded is a staff favorite, which is probably an excellent litmus test for whether or not I’ll enjoy a comic shopping experience.

Whither and yon

A Comics Journal reader stops by the magazine’s message board to ask:

“[D]oes anybody else find it disheartening that Michael Dean’s opening shot (in which he discussed the possible futures of comics in general and the Journal in particular) failed to even hint that manga exists? Michael talked a lot about the pros and cons of covering super-hero comics, and even promised a new super-hero column, but there was at best, only a single, oblique reference to shoujo and its (relatively) enormous audience.”

Dirk Deppey first suggests that the reason TCJ’s manga coverage hasn’t expanded since the shoujo issue isn’t due to a lack of interest on the magazine’s part, but owes instead to finding writers who combine ability, knowledge, and availability. But he comes back to point out another conundrum for some comics pundits: that manga often manages to be both commercially and creatively successful:

“The contradiction that writers will need to overcome is the fact that the better manga are simultaneously populist yet still well-constructed and even literate. We’re conditioned by American comics history to assume that most genre comics are created (at best) under assembly-line conditions by creators using comics as a way station until better, more legitimate work comes along, or (at worst) hacks with low standards who genuinely think they’re the soul of the medium. This isn’t true in Japan — its better creators approach genre work as the fulfillment of their worth as creators, strive hard to be worthy of such fulfillment, and it often shows.”

It’s an interesting thread, and a nice palate cleanser for another recent conversation in that forum.

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And speaking of commercially successful (at least in the context of comics specialty shops), Brigid sifts through ICv2’s November graphic novel sales figures for the manga and finds the usual suspects: comics for boys and young men, and comics about boys and young men falling in love with each other. Not that those two categories suggest mutually exclusive audiences, obviously.