Tilting #257 is UP: BookScan 2016!
/http://www.comicsbeat.com/tilting-at-windmills-257-looking-at-bookscan-2016-more-than-10-million-sold/ I mean, go comment on it over at Heidi's site, so she can have the hits, but it's up, it's up!
-B
BookScan 2015 is FINALLY up at CBR!
/Took them nearly three weeks to post it, I almost forgot about it! If you have thoughts or comments, feel free to post 'em here.
-B
BookScan 2015 is up!
/Comic Book Resources has it up -- go read!! http://www.comicbookresources.com/article/bookscan-numbers-show-big-book-market-growth-for-comics-in-2014
Tilting #230 is live: BookScan 2013
/Yay, the longest thing I write every year. Man, I didn't AT ALL have the time to write this one, either.
Go read it, then let me know what you think......
-B
Hey, internet? Help me research?
/So I just got the 2013 BookScan data, but for me the biggest hole is ALWAYS "stuff that didn't get categorized correctly" -- supposed to be coded as "comics", but, instead, it is listed as something else. This happens the most frequently with "Memoir" books -- I have to manually request things like Maus and Persepolis every year, because they're not natively on the "Comics" list. Usually, I spend a few days combing through the previous year's invoices, hoping to spot something obvious, but this year, with the second store, I barely have time to write the BookScan column at all, let alone being fussy about trying to find those 1-2 books that are worth reporting on, but got missed.
SO: below the cut is a list of titles released in 2013 that BookScan has listed NOT COUNTING any books from Boom, Dark Horse, DC, Dynamite, IDW, Image, Kodansha, Marvel, Valiant, Viz, and Yen (essentially because those 11 pubs never seem to get miscoded, and it cuts the length of the list by about half!) -- see if you can think of a 2013 release that you don't see on this list, THAT MIGHT ALSO be one of the Top 1000 best-selling GNs through bookstores -- figure about 2500 or so copies might be the right cut off.
I understand that there are some 1400 items below the cut, and the real likelihood of the crowdsourcing on this is likely to be low, but I figured it was a worth a shot. What do you have for me, Internet?
Thanks for any help you can provide!
| TITLE | AUTHOR | PUBLISHERS | FORMAT | PRICE |
| #03 THE RED RUBY | JAKOBSEN LARS | GRAPHIC UNIVERSE | TP | 695 |
| #04 THE SECRET MUMMY | JAKOBSEN LARS | GRAPHIC UNIVERSE | TP | 695 |
| #06 GOING, GOING, DRAGON! | VENABLE COLLEEN A. F. | GRAPHIC UNIVERSE | LB | 2793 |
| #07 THE GRT SPACE CASE | BEAUREGARD LYNDA | GRAPHIC UNIVERSE | TP | 695 |
| #08 A MATCH MADE IN HEAVEN | ROBBINS TRINA | GRAPHIC UNIVERSE | TP | 995 |
| #08 YUCKY DUCK RESCUE | BEAUREGARD LYNDA | GRAPHIC UNIVERSE | TP | 695 |
| #1 WELCOME TO THE TRIBE! | GRIMALDI | GRAPHIC UNIVERSE | LB | 2660 |
| #1 YOUR PAJAMAS ARE SHOWING! | SCHMITT MICHEL-YVES | GRAPHIC UNIVERSE | TP | 695 |
| #1 YOUR PAJAMAS ARE SHOWING! | SCHMITT MICHEL-YVES | GRAPHIC UNIVERSE | LB | 2526 |
| 05 THE STAR SNATCHERS PLANET | BARICHELLA THOMAS | GRAPHIC UNIVERSE | TP | 795 |
| 06 THE PLANET OF THE NIGHT GLO | GONNARD CHRISTEL | GRAPHIC UNIVERSE | TP | 795 |
| 07 THE PLANET OF THE OVERHEARE | CAPPOCCIA HELOISE | GRAPHIC UNIVERSE | TP | 795 |
| 08 THE PLANET OF THE TORTOISE | BENEDETTI HERVE | GRAPHIC UNIVERSE | TP | 795 |
| 10TH MUSE V 1 THE IMAGE COMICS | WOLFMAN MARV | ARCANA STUDIO | TP | 1495 |
| 3 NEW STORIES | SHAW DASH | FANTAGRAPHICS BOOKS | TP | 399 |
| 3 OF A KIND | GAMBEDOTTI ATTILIO | NANTIER BEALL MINOUSTCHINE PUB | TP | 1199 |
| 39 MINUTES V 1 HC | HARMS WILLIAM | TOP COW PRODUCTIONS | TC | 1999 |
| 47 RONIN A GRAPHIC NOVEL | WILSON SEAN MICHAEL | SHAMBHALA PUBLICATIONS | TP | 1495 |
| 5 THE MISSING CUCKOO CLOCK | BEAUREGARD LYNDA | GRAPHIC UNIVERSE | TP | 695 |
| 50 GIRLS 50 & OTHER STORIES | WILLIAMSON AL | FANTAGRAPHICS BOOKS | TC | 2899 |
| 7 MILES A SECOND | WOJNAROWICZ DAVID | FANTAGRAPHICS BOOKS | TC | 1999 |
| 99 DENTIST FLANTOONS CO UK 99 | FLANAGAN MIKE | CREATESPACE | TP | 538 |
| 99 HOSPITAL FLANTOONS CO UK 99 | FLANAGAN MIKE | CREATESPACE | TP | 538 |
| 99 NURSE FLANTOONS CO UK 99 GR | FLANAGAN CARTOONIST MIKE | CREATESPACE | TP | 538 |
| 99 SURGERY FLANTOONS CO UK 99 | FLANAGAN MIKE | CREATESPACE | TP | 538 |
| 99 TRAVEL FLANTOONS CO UK 99 G | FLANAGAN MIKE | CREATESPACE | TP | 538 |
| A CENTAURS LIFE VOL 1 | MURAYAMA KEI | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| A MOLE IN D C LADY S VOL 4 | VAN HAMME JEAN | CINEBOOK LTD | TP | 1195 |
| A PRINCE OF SINNERS | OPPENHEIM E. PHILLIPS | CREATESPACE | TP | 1399 |
| A TAIL OF TWO CHEETAHS A CHILD | DAMONE MRS MELISSA | CREATESPACE | TP | 1987 |
| A TISSUE FOR THE CRYING CONSCI | JARRARD MATTHEW | BOOKSTAND | TC | 1899 |
| A TREASURY OF MURDER SET INCLU | GEARY RICK | NANTIER BEALL MINOUSTCHINE PUB | TP | 2699 |
| A TREASURY OF VICTORIAN MURDER | GEARY RICK | NANTIER BEALL MINOUSTCHINE PUB | TC | 2499 |
| A USERS GDE TO NEGLECTFUL PARE | DELISLE GUY | DRAWN & QUARTERLY | TP | 1295 |
| A1 ANNUAL | ELLIOTT DAVE | TITAN COMICS | TC | 2299 |
| ABRAHAM LINCOLN BIRTH OF A NEW | HELFAND LEWIS | CAMPFIRE | TP | 1299 |
| ABSOLUTE MONARCH SYNDROME V 1 | IWASHITA SHIGEYUKI | PROJECT-H LLC | TP | 1795 |
| ADVENTURE TIME V 1 PLAYING W/ | CORSETTO DANIELLE | TURTLEBACK BOOKS | PB | 2330 |
| ADVENTURES OF A COMIC CON GIRL | SPRADLIN MATT | ANTARCTIC PRESS | TP | 999 |
| ADVENTURES OF A JAPANESE BUSIN | DOMINGO JOSE | NOBROW PRESS | TC | 2999 |
| ADVENTURES OF JODELLE | PEELLAERT GUY | FANTAGRAPHICS BOOKS | TC | 4500 |
| ADVENTURES OF LOUPIO V3 | KIEFFER JEAN-FRANCOIS | IGNATIUS PRESS | TP | 699 |
| AESOPS FABLES | VINCENT ERIC | PAPERCUTZ | TC | 999 |
| AGENT GATES & THE SECRET ADVEN | SUBHIYAH CAMAREN | ANDREWS MCMEEL PUBLISHING | TP | 1499 |
| AI NO KUSABI THE SPACE BETWEEN | YOSHIHARA REIKO | DIGITAL MANGA PUBLISHING | TP | 995 |
| AIRBORNE ASSAULT THREE OF THE | LAIRD CALUM | CARLTON BOOKS UK | TP | 995 |
| AKISSI FELINE INVASION | ABOUET MARGUERITE | NOBROW PRESS | TC | 1495 |
| ALEX TOTHS ZORRO THE COMP DELL | TOTH ALEX | HERMES PRESS | TC | 4999 |
| ALICE IN THE COUNTRY OF CLOVER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| ALICE IN THE COUNTRY OF CLOVER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| ALICE IN THE COUNTRY OF CLOVER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| ALICE IN THE COUNTRY OF CLOVER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| ALICE IN THE COUNTRY OF CLOVER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| ALICE IN THE COUNTRY OF HEARTS | QUINROSE | SEVEN SEAS | TP | 1399 |
| ALICE IN THE COUNTRY OF HEARTS | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| ALICE IN THE COUNTRY OF JOKER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| ALICE IN THE COUNTRY OF JOKER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| ALICE IN THE COUNTRY OF JOKER | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| ALICE LOVE FABLES TOY BOX | QUINROSE | SEVEN SEAS | TP | 1399 |
| ALL MY FRIENDS ARE ZOMBIES | SEBERT BY MATTHEW | LULU.COM | TP | 1499 |
| ALL STAR FUTURE SHOCKS | GAIMAN NEIL | 2000 AD | TP | 1999 |
| ALPHA & OMEGA CRY WOLF | BRIGGS PATRICIA | BERKLEY BOOKS | TC | 2495 |
| AMAZING AGENT LUNA VOL 9 | DEFILIPPIS NUNZIO | SEVEN SEAS ENTERTAINMENT | TP | 1199 |
| AMAZING ENLIGHTENING & ABSOLUT | DEITCH KIM | FANTAGRAPHICS BOOKS | TC | 2999 |
| AMAZING FACTS & BEYOND | HUIZENGA KEVIN | UNCIVILIZED BOOKS | TC | 2495 |
| AMBEDKAR THE FIGHT FOR JUSTICE | NATARAJAN SRIVIDYA | TATE PUBLISHING & ENTERPRISES | TC | 2750 |
| AMBROSIA | MAK DARYLLE | DOG EAR PUBLISHING | TP | 950 |
| AMERICAN COMIC BOOK CHRONICLES | DALLAS KEITH | TWO MORROWS PUBLISHING | TC | 4195 |
| AMERICAN COMIC BOOK CHRONICLES | WELLS JOHN | TWO MORROWS PUBLISHING | TC | 3995 |
| AMULET BOXSET BOOKS 1 3 | KIBUISHI KAZU | SCHOLASTIC INC. | TP | 3897 |
| AMY FOSTER | CONRAD JOSEPH | CREATESPACE | TP | 599 |
| AN AMAZING WORLD OF HORSES V 2 | COVINGTON SAMANTHA | CREATESPACE | TP | 538 |
| AN ENCHANTMENT | DURIEUX CHRISTIAN | NANTIER BEALL MINOUSTCHINE PUB | TC | 1999 |
| ANGEL FALLING GN | KAUFMAN JEFF | ZENESCOPE ENTERTAINMENT | TP | 999 |
| ANIMALS A Z POEMS FOR EARLY RE | GOLDBERG EDS GAIL C. | AUTHORHOUSE | TP | 2499 |
| ANIMALS W/ SHARPIES | DUMONTIER MICHAEL | DRAWN & QUARTERLY | TC | 1695 |
| ANNA & FROGA I DUNNO WHAT DO Y | RICARD ANOUK | DRAWN & QUARTERLY | TC | 1495 |
| ANNOYING ORANGE 2 ORANGE YOU G | SALICRUP JIM | PAPERCUTZ | TP | 699 |
| ANNOYING ORANGE 3 PULPED FICTI | SHAW! SCOTT | PAPERCUTZ | TP | 799 |
| ANNOYING ORANGE 3 PULPED FICTI | SHAW! SCOTT | PAPERCUTZ | TC | 1199 |
| ANNOYING ORANGE GRAPHIC NOVELS | SHAW! SCOTT | PAPERCUTZ | TC | 1099 |
| ANOMALOUS TOO | CLAUS S. | CREATESPACE | TP | 800 |
| ANYA DAVIDSON SCHOOL SPIRITS | DAVIDSON ANYA | PICTUREBOX | TC | 1995 |
| APHRODITE GODDESS OF LOVE | O'CONNOR GEORGE | FIRST SECOND | TP | 999 |
| APHRODITE GODDESS OF LOVE | O'CONNOR GEORGE | FIRST SECOND | TC | 1699 |
| ARCHIE 1000 PAGE COMICS DIGEST | ARCHIE SUPERSTARS | ARCHIE COMIC PUBLICATIONS | TP | 1499 |
| ARCHIE 1000 PAGE COMICS EXTRAV | DOYLE FRANK | ARCHIE COMIC PUBLICATIONS | TP | 1499 |
| ARCHIE 1000 PAGE COMICS JAMBOR | ARCHIE COMIC PUBLICATIONS INC | ARCHIE COMIC PUBLICATIONS | TP | 1499 |
| ARCHIE COMICS SPECTACULAR ITS | ARCHIE COMICS | ARCHIE COMIC PUBLICATIONS | TP | 599 |
| ARCHIE COMICS SPECTACULAR SCHO | ARCHIE COMIC PUBLICATIONS INC | ARCHIE COMIC PUBLICATIONS | TP | 599 |
| ARCHIE MEETS GLEE | AGUIRRE-SACASA ROBERTO | ARCHIE COMIC PUBLICATIONS | TP | 1299 |
| ARCHIE THE MARRIED LIFE BK 3 | KUPPERBERG PAUL | ARCHIE COMIC PUBLICATIONS | TP | 1999 |
| ARCHIE THE MARRIED LIFE BK 4 | KUPPERBERG PAUL | ARCHIE COMIC PUBLICATIONS | TP | 1999 |
| ARIOL 1 JUST A DONKEY LIKE YOU | GUIBERT EMMANUEL | PAPERCUTZ | TP | 1299 |
| ARIOL 2 THE KNIGHTLY HORSE | GUIBERT EMMANUEL | PAPERCUTZ | TP | 1299 |
| ARIOL 3 HAPPY AS A PIG | GUIBERT EMMANUEL | PAPERCUTZ | TP | 1299 |
| ARMY OF GOD JOSEPH KONYS WAR I | AXE DAVID | PUBLICAFFAIRS | TP | 1499 |
| AROUND THE WORLD IN 80 DAYS TH | VERNE JULES | BEARMANOR MEDIA | TP | 1995 |
| AROUND THE WORLD IN EIGHTY DAY | SRIDEVI | CREATESPACE | TP | 1000 |
| ARROW HEAD THE PAST & THE FUTU | KHOTINSKIY GENNADIY | CREATESPACE | TP | 538 |
| ART OF ASSASSINS CREED IV BLAC | DAVIES PAUL | TITAN BOOKS (UK) | TC | 3495 |
| ARTEMIS FOWL 3 ETERNITY CODE | COLFER EOIN | DISNEY PRESS | TP | 999 |
| ARTIFACTS V 5 | MARZ RON | TOP COW PRODUCTIONS | TP | 1699 |
| ASSASSINS CREED HAWK | CORBEYRAN ERIC | TITAN BOOKS (UK) | TC | 999 |
| ASSASSINS CREED THE ANKH OF IS | CORBEYRAN | TITAN BOOKS (UK) | TC | 2495 |
| ASTERIX & THE PICTS ALBUM 35 | FERRI JEAN-YVES | ORION | TC | 1495 |
| ASTERIX 600 STICKERS | HACHETTE LIVRE | ORION | TP | 1295 |
| ASTERIX AND THE PECHTS | YVES-FERRI JEAN | ITCHY COO | TP | 1500 |
| ASTERIX IN BRITAIN | GOSCINNY RENE | ORION | TP | 1095 |
| ASTERIX OMNIBUS 5 INCLUDES AST | GOSCINNY RENE | ORION | TP | 1995 |
| ASTERIX OMNIBUS 6 INCLUDES AST | GOSCINNY RENE | ORION | TP | 1995 |
| ASTERIX OMNIBUS 7 | GOSCINNY RENE | ORION | TC | 2795 |
| ASTRONAUT ACADEMY REENTRY | ROMAN DAVE | FIRST SECOND | TP | 999 |
| ATOMIC ROBO V 7 FLYING SHE DEV | CLEVINGER BRIAN | RED 5 COMICS | TP | 1895 |
| AURA V 1 | ROBINSON LAMONT | CREATESPACE | TP | 799 |
| AVALON CHRONICLES V 2 HC | DEFILIPPIS NUNZIO | ONI PRESS | TC | 1999 |
| AWKWARD SILENCE VOL 3 | TAKANAGA HINAKO | SUBLIME | TP | 1299 |
| AWKWARD SILENCE VOL 4 | TAKANAGA HINAKO | SUBLIME | TP | 1299 |
| AYA LOVE IN YOP CITY | ABOUET MARGUERITE | DRAWN & QUARTERLY | TP | 2495 |
| AYAKO | TEZUKA OSAMU | VERTICAL | TP | 2495 |
| BABYMOUSE 17 EXTREME BABYMOUSE | HOLM JENNIFER L. | RANDOM HOUSE BOOKS FOR YOUNG R | LB | 1299 |
| BACON & FRIENDS | BUSQUET JOSEP | KETTLEDRUMMER BOOKS | TC | 1995 |
| BAD MACHINERY V 1 THE CASE OF | ALLISON JOHN | ONI PRESS | TP | 1999 |
| BAD MEDICINE V 1 | DEFILIPPIS NUNZIO | ONI PRESS | TP | 1999 |
| BALLOON TOONS MY FRIEND FRED T | CLEARY DANIEL | BLUE APPLE BOOKS | TC | 1199 |
| BALLOON TOONS THE RADICALLY AW | NAUJOKAITIS PRANAS T. | BLUE APPLE BOOKS | TC | 1199 |
| BAND OF BROTHERS BANDS OF BROT | CHEN WEI DONG | J R COMICS | TP | 999 |
| BARK IN SPACE | ROBBINS TRINA | GRAPHIC UNIVERSE | TP | 695 |
| BARRYS BEST BUDDY | FRENCH RENEE | TOON BOOKS | TC | 1295 |
| BAT PAT #01 TESORO DEL CEMENTE | PAVANELLO ROBERTO | MONTENA | TP | 795 |
| BAT PAT #02 BRUJAS A MEDIANOCH | PAVANELLO ROBERTO | MONTENA | TP | 795 |
| BAT PAT #03 ABUELA DE TUTANKAM | PAVANELLO ROBERTO | MONTENA | TP | 795 |
| BATMAN VS CATWOMAN | BRIGHT J. E. | CAPSTONE PUBLISHERS (MN) | TC | 2532 |
| BATMAN: THE BLACK MIRROR | SNYDER SCOTT | TURTLEBACK BOOKS | PB | 2940 |
| BATTLING BOY | POPE PAUL | FIRST SECOND | TP | 1599 |
| BATTLING BOY | POPE PAUL | FIRST SECOND | TC | 2499 |
| BAZOOKA JOE & HIS GANG | LYNCH JAY | ABRAMS COMICARTS | TC | 1995 |
| BEAN DOG & NUGGET THE BALL | HARPER CHARISE MERICLE | ALFRED A. KNOPF BOOKS FOR YOUN | TP | 499 |
| BEAN DOG & NUGGET THE BALL | HARPER CHARISE MERICLE | ALFRED A. KNOPF BOOKS FOR YOUN | LB | 1299 |
| BEAN DOG & NUGGET THE COOKIE | HARPER CHARISE MERICLE | ALFRED A. KNOPF BOOKS FOR YOUN | TP | 499 |
| BEAN DOG & NUGGET THE COOKIE | HARPER CHARISE MERICLE | ALFRED A. KNOPF BOOKS FOR YOUN | LB | 1299 |
| BECAUSE IM A MAID VOL 1 BECAUS | SAKAI SAYURI | CREATESPACE | TP | 999 |
| BECOMING | BURGESS BROOKE | ARCANA STUDIO | TP | 1495 |
| BEDLAM A BABY BLUES 30 | KIRKMAN RICK | ANDREWS MCMEEL PUBLISHING | TP | 1899 |
| BEFORE THE INCAL CLASSIC COLLE | JODOROWSKY ALEXANDRO | HUMANOIDS, INC. | TC | 4495 |
| BEGINNING PEARLS TURTLEBACK SC | PASTIS STEPHAN | TURTLEBACK BOOKS | PB | 2085 |
| BEHIND ENEMY LINES THREE OF TH | LAIRD CALUM | CARLTON BOOKS UK | TP | 995 |
| BENJAMIN BEAR IN FUZZY THINKIN | COUDRAY PHILIPPE | TOON BOOKS | TP | 499 |
| BENNY & PENNY IN JUST PRETEND | HAYES GEOFFREY | TOON BOOKS | TP | 499 |
| BENNY & PENNY IN THE TOY BREAK | HAYES GEOFFREY | TOON BOOKS | TP | 499 |
| BENNY BREAKIRON 1 THE RED TAX | PEYO | PAPERCUTZ | TC | 1199 |
| BENNY BREAKIRON 2 MADAME ADOLP | PEYO | PAPERCUTZ | TC | 1199 |
| BEST AMERICAN COMICS 2013 | SMITH JEFF | HOUGHTON MIFFLIN HARCOURT (HMH | TC | 2500 |
| BEST OF ARCHIE COMICS 3 | ARCHIE SUPERSTARS | ARCHIE COMIC PUBLICATIONS | TP | 999 |
| BEST OF SONIC THE HEDGEHOG | FLYNN IAN | ARCHIE COMIC PUBLICATIONS | TP | 1499 |
| BEST OF SONIC THE HEDGEHOG 2 V | SONIC SCRIBES | ARCHIE COMIC PUBLICATIONS | TC | 2499 |
| BETA TESTING THE APOCALYPSE | KACZYNSKI TOM | FANTAGRAPHICS BOOKS | TP | 1999 |
| BETTY & VERONICAS PRINCESS STO | PARENT DAN | ARCHIE COMIC PUBLICATIONS | TP | 999 |
| BETTY BLUES | DILLIES RENAUD | COMICSLIT | TC | 1899 |
| BETTY VERONICA PROM PRINCESSES | PARENT DAN | ARCHIE COMIC PUBLICATIONS | TP | 999 |
| BIG IS BETTER | SONG | BRUNO GMUNDER VERLAG GMBH | TP | 3199 |
| BIG JIM | MCCONVILLE RORY | O'BRIEN PRESS | TP | 1995 |
| BIG LOADS - THE CLASS COMIC ST | FILLION PATRICK | BRUNO GMUNDER VERLAG GMBH | TC | 6499 |
| BIG NATE GAME ON | PEIRCE LINCOLN | ANDREWS MCMEEL PUBLISHING | TP | 999 |
| BIG NATE GENIUS MODE | PEIRCE LINCOLN | HARPER | TP | 999 |
| BIG NATE I CANT TAKE IT | PEIRCE LINCOLN | ANDREWS MCMEEL PUBLISHING | TP | 999 |
| BIG NATE TRIPLE PLAY BOX SET | PEIRCE LINCOLN | HARPER | BX | 1699 |
| BIG NATE TURTLEBACK SCHOOL & L | PEIRCE LINCOLN | TURTLEBACK BOOKS | PB | 2085 |
| BIG TOP OTTO | SLAVIN BILL | KIDS CAN PRESS | TP | 795 |
| BIG TOP OTTO | SLAVIN BILL | KIDS CAN PRESS | TC | 1695 |
| BILLY & MONSTER THE SUPERHERO | CHUKA DAVID | CREATESPACE | TP | 977 |
| BINKY: LICENSE TO SCRATCH | SPIRES ASHLEY | KIDS CAN PRESS | TP | 895 |
| BINKY: LICENSE TO SCRATCH | SPIRES ASHLEY | KIDS CAN PRESS | TC | 1695 |
| BIOGRAFIKTION | EDITION BIOGRAFIKTION | NOBROW PRESS | TP | 2900 |
| BIRDS OF THE MASTER VALERIAN V | MEZIERES JEAN-CLAUDE | CINEBOOK LTD | TP | 1195 |
| BIRDS VS BUNNIES TURTLEBACK SC | EATON MAXWELL III | TURTLEBACK BOOKS | PB | 1720 |
| BIRTH OF CANIS GET FUZZY COLL | CONLEY DARBY | ANDREWS MCMEEL PUBLISHING | TP | 1299 |
| BITES | FONOLLOSA JOSE | KETTLEDRUMMER BOOKS | TP | 1395 |
| BK | HENDRIX ERIK | ARCANA STUDIO | TP | 1495 |
| BLACK ANGEL | ERICKSON STONE | DELPHINE P | TP | 1300 |
| BLACK BARD | SAZANAMI ICHIYA | ONE PEACE BOOKS | TP | 1895 |
| BLACK IS THE COLOR | GFRORER JULIA | FANTAGRAPHICS BOOKS | TP | 1499 |
| BLACK LIST | PANE SALVATORE | ARCANA STUDIO | TP | 1495 |
| BLACK ORCHID | GAIMAN NEIL | TURTLEBACK BOOKS | PB | 2940 |
| BLACK PATHS | B DAVID | SELFMADEHERO | TC | 2495 |
| BLACK VIPER | BALLARD DANIEL R. | CREATESPACE | TP | 599 |
| BLACK WADE | FRANZE & ANDRLE | BRUNO GMUNDER VERLAG GMBH | TP | 2999 |
| BLADE OF THE NORTH WIND VOL 1 | YANG J | CREATOR'S | TP | 1299 |
| BLOOD & HONOR BLOOD & HONOR | CHEN WEI DONG | J R COMICS | TP | 999 |
| BLOOD DRENCHED CREATURE DOUBLE | SMITH MATTHEW D. | ALTERNA COMICS | TP | 999 |
| BLOODY DREADFUL BK ONE | SANE JUSTIN | SLG PUBLIS | TP | 695 |
| BLOODY DREADFUL BK TWO | SANE JUSTIN | SLG PUBLISHING | TP | 695 |
| BLUE BLOODS THE GRAPHIC NOVEL | DE LA CRUZ MELISSA | DISNEY PRESS | TP | 1199 |
| BLUE BLOODS THE GRAPHIC NOVEL | DE LA CRUZ MELISSA | DISNEY PRESS | TC | 1999 |
| BLUE IS THE WARMEST COLOR | MAROH JULIE | ARSENAL PULP PRESS | TP | 1995 |
| BLUE MORNING V2 | HIDAKA SHOUKO | SUBLIME | TP | 1299 |
| BLUE MORNING VOL 1 | HIDAKA SHOUKO | SUBLIME | TP | 1299 |
| BLUE MORNING VOL 3 | HIDAKA SHOKO | SUBLIME | TP | 1299 |
| BLUFFTON MY SUMMER W/ BUSTER K | PHELAN MATT | CANDLEWICK PRESS (MA) | TC | 2299 |
| BLUTCH SO LONG SILVER SCREEN | BLUTCH | PICTUREBOX, INC. | TC | 2295 |
| BOMBING NAZI GERMANY | VANSANT WAYNE | ZENITH PRESS | TP | 1999 |
| BOND OF DREAMS BOND OF LOVE VO | SAKURAGI YAYA | SUBLIME | TP | 1299 |
| BOND OF DREAMS BOND OF LOVE VO | SAKURAGI YAYA | SUBLIME | TP | 1299 |
| BOOK SIX THE TOWER OF SHADOWS | NYKKO | GRAPHIC UNIVERSE | TP | 695 |
| BOXERS | YANG GENE LUEN | FIRST SECOND | TP | 1899 |
| BOXERS SAINTS BOXED SET | YANG GENE LUEN | FIRST SECOND | BX | 3499 |
| BOXERS TURTLEBACK SCHOOL & LIB | YANG GENE LUEN | TURTLEBACK BOOKS | PB | 3180 |
| BOY & A GIRL | RICH JAMIE S. | ONI PRESS | TP | 1999 |
| BOYD MCCLOYD & THE ATOMIC BABY | GIRDNER RANDALL P. | CREATESPACE | TP | 999 |
| BRAND OF THE EXILES THORGA V12 | HAMME VAN | CINEBOOK LTD | TP | 1195 |
| BRANDON GRAHAM WALRUS BRANDON | GRAHAM BRANDON | PICTUREBOX, INC. | TP | 1995 |
| BREAD & WINE AN EROTIC TALE OF | DELANY SAMUEL R. | FANTAGRAPHICS BOOKS | TC | 1499 |
| BREASTS OF TEMPTATION | KOTOYOSHI YUMISUKE | PROJECT-H LLC | TP | 1795 |
| BREATHER | BASE GRAEME | ARCANA STUDIO | TP | 695 |
| BRIAN CHIPPENDALE PUKE FORCE | CHIPPENDALE BRIAN | PICTUREBOX, INC. | TC | 2695 |
| BRIONY HATCH | SKINNER PENELOPE | LIMEHOUSE BOOKS | TP | 1995 |
| BRONCO BENNY THE BLUECOATS 6 | CAUVIN RAOUL | CINEBOOK LTD | TP | 1195 |
| BROOKLYN QUESADILLAS | HUCHETTE ANTONY | CONUNDRUM INTERNATIONAL IMPRIN | TP | 1500 |
| BUCK ROGERS IN THE 25TH CENTUR | TRUST DILLE FAMILY | HERMES PRESS | TC | 4999 |
| BUCK ROGERS IN THE 25TH CENTUR | LAWRENCE JIM | HERMES PRESS | TC | 4999 |
| BUCK ROGERS IN THE 25TH CENTUR | NEWMAN PAUL S. | HERMES PRESS | TC | 4999 |
| BUCK ROGERS IN THE 25TH CENTUR | NOLAN PHILIP K. | HERMES PRESS | TC | 4999 |
| BUCKLE UP W/ OFF THE WALL PAUL | MARKLAND PAUL | TATE PUBLISHING & ENTERPRISES | TP | 999 |
| BUTCHER STREET | ROBINSON JUSTIN | ARCANA STUDIO | TP | 1995 |
| BUTTON MAN GET HARRY EX | WAGNER JOHN | 2000 AD | TP | 2999 |
| BUZZ | PANAGARIYA ANANTH | ONI PRESS | TP | 1999 |
| CADAVER A BITTERSWEET LOVE STO | ANSELL JONAH D. | ACADEMY CHICAGO PUBLISHERS | TP | 1995 |
| CAGE | VAUGHN-JAMES MARTIN | COACH HOUSE | TP | 2295 |
| CALIGULA V 2 TPB HEART OF ROME | LAPHAM DAVID | AVATAR PRESS | TP | 1999 |
| CALL OF WONDERLAND | WICKLINE DAN | ZENESCOPE ENTERTAINMENT | TP | 1299 |
| CALLING DR LAURA A GRAPHIC MEM | GEORGES NICOLE J. | MARINER BOOKS | TP | 1695 |
| CANINE COMICS | WHITE JAMIE | HOUGHTON MIFFLIN HARCOURT (HMH | TC | 999 |
| CAPOTE IN KS | PARKS ANDE | ONI PRESS | TC | 1999 |
| CARAS BK ABOUT GRANDMOTHERS | FAIRCLOTH MARY LOU | BOOKSTAND PUBLISHING | TP | 1195 |
| CARAS BK ABOUT GRANDMOTHERS | FAIRCLOTH MARY LOU | BOOKSTAND PUBLISHING | TC | 1995 |
| CASE OF CHARLES DEXTER WARD | LOVECRAFT H. P. | SELFMADEHERO | TP | 1995 |
| CASTLE | JAROMIR 99 | SELFMADEHERO | TP | 1995 |
| CASTLE WAITING | MEDLEY LINDA | FANTAGRAPHICS BOOKS | TP | 2499 |
| CASTLE WAITING VOL 2 THE DEFIN | MEDLEY LINDA | FANTAGRAPHICS BOOKS | TC | 2999 |
| CAT CRAZY A MUTTS TREASURY | MCDONNELL PATRICK | ANDREWS MCMEEL PUBLISHING | TP | 1999 |
| CATCH CATWOMAN TURTLEBACK SCHO | WRECKS BILLY | TURTLEBACK BOOKS | PB | 1355 |
| CAVE IN | RALPH BRIAN | DRAWN & QUARTERLY | TP | 1495 |
| CERTAIN SCIENTIFIC RAILGUN V7 | KAMACHI KAZUMA | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| CERTAIN SCIENTIFIC RAILGUN V8 | KAMACHI KAZUMA | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| CHARLEYS WAR VOL 10 THE END | MILLS PAT | TITAN BOOKS (UK) | TC | 1995 |
| CHICKENHARE | GRINE CHRIS | GRAPHIX | TP | 1099 |
| CHILD OF TOMORROW & OTHER STOR | FELDSTEIN AL | FANTAGRAPHICS BOOKS | TC | 2899 |
| CHILDREN OF PALOMAR | HERNANDEZ GILBERT | FANTAGRAPHICS BOOKS | TC | 2299 |
| CINDY THE DEMON HUNTER | MANN MATHIAS | ARCANA STUDIO | TP | 1495 |
| CITY OF LIGHT CITY OF DARK | AVI | GRAPHIX | TP | 1099 |
| CITY OF LIGHT CITY OF DARK | AVI | GRAPHIX | TC | 1999 |
| CLAN APIS | HOSLER JAY | CREATESPACE | TP | 2500 |
| CLASSICS ILLUSTRATED 17 THE SE | SNYDER JOHN K. | PAPERCUTZ | TC | 999 |
| CLASSICS ILLUSTRATED DELUXE 10 | POE EDGAR ALLAN | PAPERCUTZ | TC | 1799 |
| CLASSICS ILLUSTRATED DELUXE 10 | POE EDGAR ALLAN | PAPERCUTZ | TP | 1399 |
| CLAY COUNTY | BROWN BRUCE | ARCANA STUDIO | TP | 1495 |
| CLOCKWORK PRINCE GRAPHIC NOVEL | CLARE CASSANDRA | TURTLEBACK BOOKS | PB | 2455 |
| CO MIX A RETROSPECTIVE OF COMI | SPIEGELMAN ART | DRAWN & QUARTERLY | TC | 3995 |
| COLORFUL DREAMS (HENTAI MANGA) | RYOUZOH | 801 MEDIA | TP | 1795 |
| COMICAL ROBOTIC DIVORCE THIS G | MARTINS MR R. | CREATESPACE | TP | 1295 |
| COMICS SECOND CITY THE GATEWAY | PHOENIX MIKE | CREATESPACE | TP | 2700 |
| COMP OMAHA THE CAT DANCER V8 | WORLEY KATE | NANTIER BEALL MINOUSTCHINE PUB | TP | 1599 |
| COMP CRUMB COMICS VOL 17 CAVE | CRUMB R. | FANTAGRAPHICS BOOKS | TP | 1999 |
| COMP CRUMB COMICS VOL 6 ON THE | CRUMB R. | FANTAGRAPHICS BOOKS | TP | 1999 |
| COMP DON QUIXOTE | DE CERVANTES SAAVEDRA MIGUEL | SELFMADEHERO | TC | 2750 |
| COMPLEX V1 WAYS OF LIFE | MALKIN MICHAEL | ALTERNA COMICS | TP | 1199 |
| COUCH TAG | REKLAW JESSE | FANTAGRAPHICS BOOKS | TC | 2699 |
| COURTNEY CRUMRIN V 3 THE TWILI | NAIFEH TED | ONI PRESS | TC | 2499 |
| COURTNEY CRUMRIN V 4 MONSTROUS | NAIFEH TED | ONI PRESS | TC | 2499 |
| CRATER XV | CANNON KEVIN | TOP SHELF PRODUCTIONS | TC | 1995 |
| CRAWLING SKY | LANSDALE JOE R. | ANTARCTIC PRESS | TP | 1299 |
| CRAYON SHINCHAN VOLUME 4 | USUI YOSHITO | ONE PEACE BOOKS | TP | 1295 |
| CRESCENT CITY MAGICK WELCOME T | PETERS MICHAEL L. | CREATESPACE | TP | 1195 |
| CRIMSON EMPIRE CIRCUMSTANCES T | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| CRIMSON EMPIRE VOL 2 CIRCUMSTA | QUINROSE | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| CRIMSON EMPIRE VOL 3 CIRCUMSTA | QUINROSE | SEVEN SEAS | TP | 1399 |
| CRIMSON SPELL VOL 1 | YAMANE AYANO | SUBLIME | TP | 1299 |
| CROODS PREQUEL | HANKINS JIM | APE ENTERTAINMENT | TP | 699 |
| CROSSED V 5 | LAPHAM DAVID | AVATAR PRESS | TP | 2499 |
| CROSSED V 5 HARDCOVER | LAPHAM DAVID | AVATAR PRESS | TC | 3299 |
| CROSSED V 6 BADLANDS | ENNIS GARTH | AVATAR PRESS | TP | 2499 |
| CROSSED WISH YOU WERE HERE VOL | SPURRIER SIMON | AVATAR PRESS | TP | 1999 |
| CTHULHU 2 COMICS & STORIES OF | PASCUAL LORENZO | KETTLEDRUMMER BOOKS | TP | 1195 |
| CUPCAKE GRAFFITI V ONE | RODRIGUEZ CARLA | CREATESPACE | TP | 2300 |
| CURSES FOILED AGAIN | YOLEN JANE | FIRST SECOND | TP | 1599 |
| CUTE GIRL NETWORK | MEANS GREG | FIRST SECOND | TP | 1799 |
| DAEMONOLOGY | UHER BRETT | P2 MANGA PUBLISHING | TP | 999 |
| DAN SPIEGLE A LIFE IN COMIC AR | COATES JOHN | TWO MORROWS PUBLISHING | TP | 1795 |
| DAN THE UNHARMABLE V 1 | LAPHAM DAVID | AVATAR PRESS | TP | 1999 |
| DAN THE UNHARMABLE V 2 TPB | LAPHAM DAVID | AVATAR PRESS | TP | 1999 |
| DANCE CLASS 4 A FUNNY THING HA | BEKA | PAPERCUTZ | TC | 1099 |
| DANCE CLASS 5 TO RUSSIA W/ LOV | BEKA | PAPERCUTZ | TC | 1099 |
| DANCE CLASS 6 A MERRY OLDE CHR | BEKA | PAPERCUTZ | TC | 1099 |
| DANCE IN THE VAMPIRE BUND OMNI | TAMAKI NOZOMU | SEVEN SEAS ENTERTAINMENT | TP | 1999 |
| DANCE IN THE VAMPIRE BUND OMNI | TAMAKI NOZOMU | SEVEN SEAS ENTERTAINMENT | TP | 1999 |
| DANCE IN THE VAMPIRE BUND OMNI | TAMAKI NOZOMU | SEVEN SEAS ENTERTAINMENT | TP | 1999 |
| DANCE IN THE VAMPIRE BUND THE | TAMAKI NOZOMU | SEVEN SEAS | TP | 1399 |
| DANCE IN THE VAMPIRE BUND VOL | TAMAKI NOZOMU | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| DARWIN A GRAPHIC BIOGRAPHY | BYRNE EUGENE | SMITHSONIAN BOOKS | TP | 995 |
| DAS DEUTSCHE HAUS | KURTZ PAULINE | WESTBOW PRESS | TP | 1395 |
| DAY THE WORLD TREMBLED | LEVIN LEE R. | TODAY'S YOUNG GRANDPARENT | TP | 1695 |
| DAYBREAK | RALPH BRIAN | DRAWN & QUARTERLY | TP | 1695 |
| DC SUPER PETS CHARACTER ENCYCL | KORTAE STEVEN | PICTURE WINDOW BOOKS | TP | 795 |
| DEAD SPACE | JOHNSTON ANTONY | TITAN BOOKS (UK) | TP | 1799 |
| DEAD SPACE LIBERATION | EDGINTON IAN | TITAN BOOKS (UK) | TC | 1999 |
| DEAD SPACE SALVAGE | JOHNSTON ANTONY | TITAN BOOKS (UK) | TP | 1499 |
| DEADHORSE BK ONE DEAD BIRDS | GRISSOM ERIC S. | FRANKENSTEIN'S DAUGHTER | TP | 1999 |
| DEAR BELOVED STRANGER | PAI DINO | TOP SHELF PRODUCTIONS | TP | 1995 |
| DEATH RIDES A DARK HORSE | KILLEBREW LUCY | FRIESENPRESS | TP | 1799 |
| DEATHFAIRY | ARROZAL A. L. | P2 MANGA PUBLISHING | TP | 1199 |
| DELILAH DIRK & THE TURKISH LIE | CLIFF TONY | FIRST SECOND | TP | 1599 |
| DELPHINE | SALA RICHARD | FANTAGRAPHICS BOOKS | TC | 2499 |
| DELUSIONAL THE GRAPHIC & SEQUE | DALRYMPLE FAREL | ADHOUSE BOOKS | TC | 2495 |
| DENISE & JOHN | WELLS D. J. | CREATESPACE | TP | 1999 |
| DEVIL MAY CRY | GUILLAUME DORISON AKA IZU | TITAN COMICS | TC | 999 |
| DIARY OF A WIMPY KID BOX 1-4 | KINNEY JEFF | AMULET BOOKS | TC | 5600 |
| DIARY OF A WIMPY KID BOX 1-7 | KINNEY JEFF | ABRAMS | TC | 12200 |
| DIARY OF A WIMPY KID BOX 5-7 | KINNEY JEFF | ABRAMS | BX | 5500 |
| DICE THE QUEEN OF MURDER | LANAE NISHA | NISHA LANAE | TP | 1000 |
| DICTATORIAL GRIMOIRE CINDERELL | KANOU AYUMI | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
| DIM SUM WARRIORS V 1 | GOH COLIN | YUMCHA STUDIOS, LLC | TP | 1299 |
| DISCOVERY CHANNELS MEGALODON & | BRUSHA JOE | ZENESCOPE ENTERTAINMENT | TP | 999 |
| DISGAEA 3 SCHOOL OF DEVILS V 1 | SASAKI SHIN | UDON ENTERTAINMENT | TP | 1395 |
| DISGAEA 3 SCHOOL OF DEVILS V 2 | SASAKI SHIN | UDON ENTERTAINMENT | TP | 1495 |
| DISNEY FAIRIES GRAPHIC NOVEL 1 | ORSI TEA | PAPERCUTZ | TP | 799 |
| DISNEY FAIRIES GRAPHIC NOVEL 1 | ORSI TEA | PAPERCUTZ | TC | 1199 |
| DISNEY FAIRIES GRAPHIC NOVEL 1 | ORSI TEA | PAPERCUTZ | TP | 799 |
| DISNEY FAIRIES GRAPHIC NOVEL 1 | ORSI TEA | PAPERCUTZ | TC | 1199 |
| DISNEY FAIRIES GRAPHIC NOVELS | ORSI TEA | PAPERCUTZ | TP | 799 |
| DISNEY FAIRIES GRAPHIC NOVELS | PANARO CARLO | PAPERCUTZ | TC | 1199 |
| DISPLACEMENT | MURPHY SHAWN PADRAIC | PADRAIC PRODUCTIONS | TP | 999 |
| DITZABLED PRINCESS A COMICAL D | KATS JEWEL | MARVELOUS | TP | 1495 |
| DIVE DARK WATER | NEWTON WALKER | CREATESPACE | TP | 1199 |
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| DNA FAILURE BRITISH WEAPON COM | CHANDLER JON | PICTUREBOX, INC. | TP | 1400 |
| DO NOT SNIFF THE BEES TWO LUMP | HYNES MEL | CREATESPACE | TP | 1395 |
| DOC DOXEYS ELIXIR LUCKY LUKE V | MORRIS 1923-2001 | CINEBOOK LTD | TP | 1195 |
| DOCTOR WHO BETROTHAL OF SONTAR | TOMLINSON JOHN | PANINI UK LTD | TP | 2499 |
| DOCTOR WHO THE CHILD OF TIMES | MORRIS JONATHAN | PANINI UK LTD | TP | 2499 |
| DOCTOR WHO THE IRON LEGION | MILLS PAT | PANINI UK LTD | TP | 2495 |
| DOES THE AFTERLIFE HAVE SKITTL | BELL DARRIN | LULU.COM | TP | 1595 |
| DOGS OF WAR | KEENAN SHEILA | GRAPHIX | TP | 1299 |
| DOGS OF WAR | KEENAN SHEILA | GRAPHIX | TC | 2299 |
| DONARR THE UNYIELDING | HANKINS JIM | APE ENTERTAINMENT | TP | 799 |
| DORK DIARIES BOX SET BOOKS 4 6 | RUSSELL RACHEL RENEE | ALADDIN PAPERBACKS | TC | 4199 |
| DORK DIARIES OMG ALL ABOUT ME | RUSSELL RACHEL RENEE | ALADDIN PAPERBACKS | TC | 1299 |
| DOUBLE FINE ACTION COMICS V 1 | C SCOTT | ONI PRESS | TP | 1999 |
| DOUBLE FINE ACTION COMICS V 2 | C SCOTT | ONI PRESS | TP | 1999 |
| DOUBLE JUMPERS | DWONCH DAVE | ACTION LAB ENTERTAINMENT INCOR | TP | 1495 |
| DR CULA O ROMANCE DO CONDE A L | G CATIA COURELA | CREATESPACE | TP | 2300 |
| DR SPOT & THE MOON QUEEN | POWELL JO | CREATESPACE | TP | 699 |
| DRACULA EVERLASTING VOL 3 | DEFILIPPIS NUNZIO | SEVEN SEAS | TP | 1199 |
| DRAGON BALL Z ITS OVER 9 000 | PADULA DEREK | DEREK PADULA | TP | 999 |
| DRAUPADI FIRE BORN PRINCESS CA | NAGPAL SARASWATI | CAMPFIRE | TP | 1299 |
| DUAL NATURE DARWINS DIARIES VO | RUNBERG SYLVAIN | CINEBOOK LTD | TP | 1395 |
| EERIE TALES OF CRIME HORROR TH | WOOD WALLACE | VANGUARD PRODUCTIONS (NJ) | TC | 3995 |
| EERIE TALES OF CRIME HORROR TH | WOOD WALLACE | VANGUARD PRODUCTIONS (NJ) | TP | 2495 |
| ELDRITCH V 1 | ALEXOVICH AARON | SLG PUBLISHING | TP | 1795 |
| ELIXER | CHIU JASON | ARCANA STUDIO | TP | 999 |
| EMBRACING LOVE VOL 1 | NITTA YOUKA | SUBLIME | TP | 1699 |
| END OF THE FUCKING WORLD | FORSMAN CHUCK | FANTAGRAPHICS BOOKS | TP | 1999 |
| ENDLESS GAME | TAGAME GENGOROH | BRUNO GMUNDER VERLAG GMBH | MM | 3499 |
| EPISODE 3 ANTARES VOL 3 | LEO | CINEBOOK LTD | TP | 1195 |
| EPISODE 4 ANTARES VOL 4 | LEO | CINEBOOK LTD | TP | 1195 |
| ERNEST & REBECCA 4 THE LAND OF | BIANCO GUILLAUME | PAPERCUTZ | TC | 1099 |
| EROS GONE WILD | VARIOUS WRITERS | HUMANOIDS, INC. | TC | 8995 |
| ETERNAL ZACHARYS STORY | SMITH CYNTHIA LEITICH | CANDLEWICK PRESS (MA) | TP | 1999 |
| EVERYBODY IS STUPID EXCEPT FOR | BAGGE PETER | FANTAGRAPHICS BOOKS | TC | 2499 |
| EVERYBODY LOVES TANK GIRL | MARTIN ALAN C. | TITAN BOOKS (UK) | TC | 1995 |
| EVIL TREE | HENDRIX ERIK | ARCANA STUDIO | TP | 1495 |
| EX PATRIOTS A NOVEL | CLINES PETER | BROADWAY BOOKS | TP | 1400 |
| EXIT ZERO | COHEN NEIL A. | CREATESPACE | TP | 1495 |
| EXPLORER 2 THE LOST ISLANDS | KIBUISHI KAZU | ABRAMS | TC | 1995 |
| EXPLORER 2 THE LOST ISLANDS | KIBUISHI KAZU | AMULET BOOKS | TP | 1095 |
| EXPOSE 11 | BALLISTIC | BALLISTIC PUBLICATIONS | TC | 7900 |
| EXTRA JUICY (HENTAI MANGA) | ASAMORI MIZUKI | PROJECT-H LLC | TP | 1795 |
| EXTREME BABYMOUSE | HOLM JENNIFER L. | RANDOM HOUSE BOOKS FOR YOUNG R | TP | 699 |
| EYE OF THE MAJESTIC CREATURE V | STEIN LESLIE | FANTAGRAPHICS BOOKS | TP | 1999 |
| EYE OF THE WORLD THE GRAPHIC N | JORDAN ROBERT | TOR BOOKS | TP | 1599 |
| EYE OF THE WORLD THE GRAPHIC N | JORDAN ROBERT | TOR BOOKS | TC | 2499 |
| FAILURE | STEVENS KARL | ALTERNATIVE COMICS | TP | 2195 |
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| FALL GUY FOR MURDER & OTHER ST | CRAIG JOHNNY | FANTAGRAPHICS BOOKS | TC | 2899 |
| FALLEN A GRAPHIC NOVEL | FENECH SELINA | FAIRIES AND FANTASY PTY LTD | TP | 1250 |
| FALSE MEMORIES VOL 1 | NATSUME ISAKU | SUBLIME | TP | 1299 |
| FAMILY | RIVERA DAVID A. | ARCANA STUDIO | TP | 1495 |
| FAMILY TIME | BAGLIO JUSTIN | CREATESPACE | TP | 999 |
| FANNING THE FLAMES FANNING THE | CHEN WEI DONG | J R COMICS | TP | 999 |
| FANTASTICAL FAIRY MICE: COLORI | LADIN TABITHA | CREATESPACE | TP | 895 |
| FASHION BEAST TPB | MOORE ALAN | AVATAR PRESS | TP | 2499 |
| FATA MORGANA | VERMILYEA JON | KOYAMA PRESS | TP | 1500 |
| FERALS V 1 | LAPHAM DAVID | AVATAR PRESS | TP | 1999 |
| FERALS V 1 HARDCOVER | LAPHAM DAVID | AVATAR PRESS | TC | 2799 |
| FERALS V 2 | LAPHAM DAVID | AVATAR PRESS | TP | 1999 |
| FESTIVAL FRENZY | PLATTS KYLE | NOBROW PRESS | TC | 2475 |
| FETISH GRAB BAG | MANABE JOJI | PROJECT-H LLC | TP | 1795 |
| FEYNMAN | OTTAVIANI JIM | FIRST SECOND | TP | 1999 |
| FIGHT THE POWER | WILSON SEAN MICHAEL | SEVEN STORIES PRESS | TP | 1995 |
| FIGHTING SPICY WESTERN | NORTON TOM | PULPVILLE PRESS | TP | 1500 |
| FINDING GOSSAMYR V1 | RODRIGUEZ DAVID A. | TH3RD WORLD STUDIOS | TC | 2495 |
| FINGERS LUCKY LUKE VOL 37 | BANDA LO HARTOG | CINEBOOK LTD | TP | 1195 |
| FINN & THE MAGIC CHEST 3 1 BK | MCDONALD BARRY J. | CREATESPACE | TP | 1599 |
| FIRST KINGDOM VOL 1 THE BIRTH | KATZ JACK | TITAN COMICS | TC | 2499 |
| FIX | ADEN JEFF | ARCANA STUDIO | TP | 1495 |
| FLASH GORDON THE FALL OF MING | RAYMOND ALEX | TITAN BOOKS (UK) | TC | 3995 |
| FLEE | MORAN RAPHAEL | ARCANA STUDIO | TP | 1495 |
| FLOWERS OF EVIL V 4 | OSHIMI SHUZO | VERTICAL | TP | 1095 |
| FLOWERS OF EVIL V 5 | OSHIMI SHUZO | VERTICAL | TP | 1095 |
| FLOWERS OF EVIL V 6 | OSHIMI SHUZO | VERTICAL | TP | 1095 |
| FLOWERS OF EVIL V 7 | OSHIMI SHUZO | VERTICAL | TP | 1095 |
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| FRAN | WOODRING JIM | FANTAGRAPHICS BOOKS | TC | 1999 |
| FRANK FRAZETTA ART & REMEMBRAN | FRAZETTA JR FRANK | HERMES PRESS | TC | 4999 |
| FRANK N BEANS | LEMKE AMY J. | CAPSTONE PRESS(MN) | TC | 795 |
| FRANK N BEANS | LEMKE AMY J. | CAPSTONE PUBLISHING | LB | 2399 |
| FRANK SANTORO POMPEII | SANTORO FRANK | PICTUREBOX, INC. | TP | 1995 |
| FREAKSHOW V2 | JAYME CRYSTAL | P2 MANGA PUBLISHING | TP | 1199 |
| FRED BASSET YEARBOOK 2013 | GRAHAM ALEX | SUMMERSDALE PUBLISHERS | TP | 1095 |
| FREUD | MAIER CORRINE | NOBROW PRESS | TC | 1975 |
| FROM HELL COMPANION | MOORE ALAN | TOP SHELF PRODUCTIONS | TP | 2995 |
| FROM THE NEW WORLD V 1 | KISHI YUSUKE | VERTICAL | TP | 1095 |
| FROSTY TWAS THE NIGHT BEFORE T | WILLMAN DENNIS M. | CREATESPACE | TP | 1995 |
| FUBAR V2 EMPIRE OF THE RISING | MCCOMSEY JEFFREY W. | ALTERNA COMICS | TP | 1495 |
| FUBAR V3 | MCCOMSEY JEFF | ALTERNA COMICS | TP | 1695 |
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| GAME OF THRONES THE GRAPHIC NO | MARTIN GEORGE R. R. | BANTAM | TC | 2500 |
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| GARFIELD & CO 8 SECRET AGENT X | DAVIS JIM | PAPERCUTZ | TC | 799 |
| GARFIELD CAUTION WIDE LOAD HIS | DAVIS JIM | BALLANTINE BOOKS | TP | 1400 |
| GARFIELD FAT CAT 3 PACK 16 | DAVIS JIM | BALLANTINE BOOKS | TP | 1700 |
| GARFIELD HITS THE BIG TIME HIS | DAVIS JIM | BALLANTINE BOOKS | TP | 1400 |
| GARFIELD SINGS FOR HIS SUPPER | DAVIS JIM | BALLANTINE BOOKS | TP | 1400 |
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| GETTYSBURG A GRAPHIC HIST OF A | VANSANT WAYNE | ZENITH PRESS | TP | 1999 |
| GETTYSBURG ADDRESS A GRAPHIC | HENNESSEY JONATHAN | WILLIAM MORROW & COMPANY | TP | 1599 |
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| GIRL GENIUS V 12 AGATHA HETERO | FOGLIO PHIL | STUDIO FOGLIO | TP | 2500 |
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| GODDESS OF THE GLASS V 1 | ASAMORI MIZUKI | PROJECT-H LLC | TP | 1795 |
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| GOOD DOG | CHAFFEE GRAHAM | FANTAGRAPHICS BOOKS | TC | 1699 |
| GOOD DOG WHISKEY | KOBI K. | CREATESPACE | TP | 999 |
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| GRAPHIC CANON VOL 3 FROM HEART | KICK RUSS | SEVEN STORIES PRESS | TP | 4495 |
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| GRIMM FAIRY TALES PRESENTS VAM | SHAND PATRICK | ZENESCOPE ENTERTAINMENT | TP | 1599 |
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| GRIMM FAIRY TALES ROBYN HOOD | SHAND PATRICK | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| GRIMM FAIRY TALES V 13 TP | MILLER MARK L. | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| GRIMM FAIRY TALES V 14 | BROWNFIELD TROY | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| GRIMM MYTHS & LEGENDS V 5 TP | GREGORY RAVEN | ZENESCOPE ENTERTAINMENT | TP | 1999 |
| GRIMM UNIVERSE V 1 | SHAND PATRICK | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| GRIS GRIMLYS FRANKENSTEIN | GRIMLY GRIS | BALZER & BRAY/HARPERTEEN | TC | 2499 |
| GROWING UP GHETTO | DAVIS TOBY T. | CREATESPACE | TP | 1800 |
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| GTO 14 DAYS IN SHONAN V 7 | FUJISAWA TOHRU | VERTICAL | TP | 1095 |
| GTO 14 DAYS IN SHONAN V 8 | FUJISAWA TORU | VERTICAL | TP | 1095 |
| GTO 14 DAYS IN SHONAN V 9 | FUJISAWA TORU | VERTICAL | TP | 1095 |
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| GUN STREET GIRL V 1 | LIEN BARB | BEDAZZLED INK PUBLISHING COMPA | TP | 1195 |
| GUNSLINGER GIRL FINALE | AIDA YU | SEVEN SEAS ENTERTAINMENT | TP | 1199 |
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| HAND DRYING IN AMERICA & OTHER | KATCHOR BEN | PANTHEON BOOKS | TC | 2995 |
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| HAPPYLOO FLYING COLORS | MARIANO MARK | CREATESPACE | TP | 999 |
| HATTER M V 4 ZEN OF WONDER HAR | BEDDOR FRANK | AUTOMATIC PICTURES | TC | 2499 |
| HATTER M V 4 ZEN OF WONDER SOF | BEDDOR FRANK | AUTOMATIC PICTURES | TP | 1495 |
| HAUNTED ARMOR 50 WORD STORIES | DENVER N | HELLO BOOK | TP | 1700 |
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| HE LOVES ME, HE LOVES ME NOT | MAYHALL ROBIN | GRAPHIC UNIVERSE | LB | 2927 |
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| HOODLUM UNDER THE THUMB | GOLDSTEIN HIL | ALTERNA COMICS | TP | 999 |
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| HOW TO SEE | JACKSON KEVIN | PALLAS ATHENE (UK) | TP | 995 |
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| ID V 4 | BREEDEN JENNIE | CREATESPACE | TP | 1500 |
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| JEFFREY JONES THE DEFINITIVE R | MARIS EMANUAL | VANGUARD PRODUCTIONS (NJ) | TC | 3995 |
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| LE GANG IS BACK | CITEBEUR | BRUNO GMUNDER VERLAG GMBH | TC | 3599 |
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| LOST BOY | RUTH GREG | GRAPHIX | TP | 1299 |
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| MICHAEL T DESINGS ARMY ANTS RO | DESING MICHAEL T. | CREATESPACE | TP | 1495 |
| MICHAEL T DESINGS ARMY ANTS V | DESING MICHAEL T. | CREATESPACE | TP | 1495 |
| MICHAEL TURNERS FATHOM THE DEF | VARIOUS | ASPEN MLT, INC. | TC | 9999 |
| MICHAELUNA | LEIGH HEAVEN | CREATESPACE | TP | 1600 |
| MICKEY SPILLANES FROM THE FILE | SPILLANE MICKEY | HERMES PRESS | TC | 4999 |
| MIDNIGHT TO DAYLIGHT | FOLEY RYAN | ARCANA STUDIO | TP | 1995 |
| MILES AWAY GN | EASTON BRANDON | ANTARCTIC PRESS | TP | 1495 |
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| MILESTONES OF ART PABLO PICASS | BLOB WILLI | BLUEWATER PRODUCTIONS | TP | 799 |
| MILESTONES OF ART SALVADOR DAL | BLOB WILLI | BLUEWATER PRODUCTIONS | TP | 799 |
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| MISADVENTURES OF SALEM HYDE BK | CAMMUSO FRANK | ABRAMS | TP | 695 |
| MISADVENTURES OF SALEM HYDE BK | CAMMUSO FRANK | AMULET BOOKS | TC | 1495 |
| MO & JO FIGHTING TOGETHER FORE | HASPIEL DEAN | TOON BOOKS | TP | 499 |
| MOBILE SUIT GUNDAM THE ORIG V1 | YASUHIKO YOSHIKAZU | VERTICAL | TC | 2995 |
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| MONKEY KING V11 FIGHT TO THE | CHEN WEI DONG | J R COMICS | TP | 999 |
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| MONSTER MASSACRE VOL 1 | TITAN COMICS | TITAN COMICS | TC | 2299 |
| MONSTER MUSUME VOL 1 | OKAYADO | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
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| MOONRISE DARKNESS BEFORE DAWN | MITCHUM MEGAN P. | CREATESPACE | TP | 1700 |
| MOTHER TERESA SAINT OF THE SLU | HELFAND LEWIS | CAMPFIRE | TP | 1199 |
| MOTHMAN RETURNS A GRAPHIC NOVE | HOLSCLAW II EDWARD A. | FAITHFUL LIFE PUBLISHERS | TP | 999 |
| MR CAT & THE END OF THE WORLD | ISAAC LOWELL | AUTHORHOUS | TP | 2099 |
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| NEW CRUSADERS LEGACY | DITKO STEVE | RED CIRCLE | TP | 1699 |
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| NIGHT WANDERER A GRAPHIC NOVEL | TAYLOR DREW HAYDEN | ANNICK PRESS | TP | 1495 |
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| OPERATION & PREVENTIVE MAINTEN | DEPARTMENT OF THE ARMY | SKYHORSE PUBLISHING | TC | 1295 |
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| OTHER STORIES & THE HORSE YOU | MCFADZEAN DAKOTA | CONUNDRUM PRESS | TP | 1800 |
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| OTTOS ORANGE DAY TOON BOOKS LE | CAMMUSO FRANK | TOON BOOKS | TP | 499 |
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| P CRAIG RUSSELLS OPERA ADAPTAT | RUSSELL P. CRAIG | NANTIER BEALL MINOUSTCHINE PUB | TC | 5999 |
| P I P E JUICE PEOPLES INTIMATE | BROWNSTONE MIKEY | PENSICK PUBLISHING | TP | 1395 |
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| SMURFS 16 THE AEROSMURF | PEYO | PAPERCUTZ | TP | 599 |
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| SNOOPY COWABUNGA | SCHULZ CHARLES M. | ANDREWS MCMEEL PUBLISHING | TP | 999 |
| SNOWBALL TRUCE | SCHMITT MICHEL-YVES | GRAPHIC UNIVERSE | TP | 695 |
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| SON OF MERLIN V 1 | NAPTON ROBERT PLACE | TOP COW PRODUCTIONS | TP | 1999 |
| SONIC SAGA SERIES 2 ORDER FROM | SONIC SCRIBES | ARCHIE COMIC PUBLICATIONS | TP | 1199 |
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| SUPERHERO ORIGINS WHAT MAKES S | ROSENBERG PH. D. ROBIN S. | CREATESPACE | TP | 1399 |
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| SUPERMAG | RUGG JIM | ADHOUSE BOOKS | TP | 995 |
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| SYBIL THE BACKPACK FAIRY 4 PRI | RODRIGUE MICHEL | PAPERCUTZ | TC | 1099 |
| TABLEAU NUMERO 20 | EM EST | SUBLIME | TP | 1299 |
| TAINT THE MEAT ITS THE HUMANIT | DAVIS JACK | FANTAGRAPHICS BOOKS | TC | 2899 |
| TALE OF BRIN & BENT & MINNO MA | THORNTON RAVI | SOFT SKULL PRESS | TP | 2295 |
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| TANK ATTACK THREE OF THE BEST | LAIRD CALUM | CARLTON PUBLISHING GROUP | TP | 995 |
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| TEENS AT PLAY: END OF INNOCENC | REBECCA | EROS COMIX | TP | 999 |
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| TESLA A CHILD OF LIGHT | HOWELL THOMAS LEE | CREATESPACE | TP | 999 |
| THE ADVENTURES OF NIKKI HARRIS | ALLEN CARTER | CANDLE LIGHT PRESS | TP | 1495 |
| THE ADVENTURES OF SCARYGIRL | JUREVICIUS NATHAN | ALLEN & UNWIN AUSTRALIA | TP | 1399 |
| THE ALLIANCE OF THE CURIOUS | RICHE PHILIPPE | HUMANOIDS, INC. | TC | 2995 |
| THE ANGELS SHADOW THE SCORPION | DESBERG STEPHEN | CINEBOOK LTD | TP | 1195 |
| THE BATTLE OF BLOOD & INK A FA | AXELROD JARED | TOR BOOKS | TP | 1499 |
| THE BATTLE OF RED CLIFFS THE B | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE BEST OF THE THREE STOOGES | MAURER NORMAN | PAPERCUTZ | TC | 1999 |
| THE BIG HUNGRY HAIRY GREEN MON | SMITH PATTY | PATRICIA SMITH | TP | 1150 |
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| THE BLACK COMMANDOS WARRIORS F | JACKSON JOSEPH D. | JULIAN JACKSON AND COMMANDO PU | TP | 1395 |
| THE BLACK INCAL | JODOROWSKY ALEXANDRO | HUMANOIDS, INC. | TC | 7995 |
| THE BROTHERHOOD RESTORED THE B | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE CARTOON GUIDEBOOK TO ABSOL | CRADDOCK ERIK | SLG PUBLISHING | TP | 695 |
| THE CARTOON INTRODUCTION TO ST | KLEIN GRADY | HILL & WANG | TP | 1795 |
| THE CARTOON INTRODUCTION TO ST | KLEIN GRADY | HILL & WANG | TC | 3000 |
| THE COMP OMAHA THE CAT DANCE | WALLER REED | NANTIER BEALL MINOUSTCHINE PUB | TP | 8999 |
| THE DAILY STAR LUCKY LUKE VOL | FAUCHE XAVIER | CINEBOOK LTD | TP | 1195 |
| THE DC COMICS GDE TO CREATING | POTTS CARL | TURTLEBACK BOOKS | PB | 3915 |
| THE DEVILS ORGAN YOKO TSUNO VO | LELOUP ROGER | CINEBOOK LTD | TP | 1195 |
| THE DIARY OF MOLLY FREDRICKSON | CLARKE CORNNELL | AMEROTICA | TP | 1199 |
| THE DIARY OF PANDA POLAR BEAR | WEI MS LOUISE | CREATESPACE | TP | 2700 |
| THE DOUBLE LIFE OF MR ALFRED B | OPPENHEIM E. PHILLIPS | CREATESPACE | TP | 1199 |
| THE DOUBLE TRAITOR | OPPENHEIM E. PHILLIPS | CREATESPACE | TP | 1199 |
| THE DUEL THE DUAL | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE END | NILSEN ANDERS | FANTAGRAPHICS BOOKS | TC | 1999 |
| THE ETERNITY CODE GRAPHIC NOVE | COLFER EOIN | DISNEY PRESS | TC | 1999 |
| THE EYE OF THE WORLD THE GRAPH | JORDAN ROBERT | TOR BOOKS | TC | 2499 |
| THE FED 2 HE BURIES THE TRUTH | BOURNE TONY | CREATESPACE | TP | 1500 |
| THE FLOUNDERING TIME | WESELCOUCH KATEY | SLG PUBLISHING | TP | 1495 |
| THE FLYING BEAVER BROTHERS & T | EATON MAXWELL III | ALFRED A. KNOPF BOOKS FOR YOUN | TP | 699 |
| THE FLYING BEAVER BROTHERS & T | EATON MAXWELL III | ALFRED A. KNOPF BOOKS FOR YOUN | LB | 1299 |
| THE FLYING BEAVER BROTHERS BIR | EATON MAXWELL III | ALFRED A. KNOPF BOOKS FOR YOUN | TP | 699 |
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| THE FORTUNATE SONS THE FORTUNA | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE GARFIELD SHOW 1 UNFAIR WEA | DAVIS JIM | PAPERCUTZ | TP | 799 |
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| THE GARY SHIPMAN SKETCHBOOK V | SHIPMAN GARY | LAMP POST INC. | TP | 1500 |
| THE GOLDEN TEMPLE THE GOLDEN T | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE GOOD THE BAD & THE MONKEYS | SONNEBORN SCOTT | CAPSTONE PUBLISHING | TC | 795 |
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| THE HEDGE KNIGHT JET CITY EDIT | MARTIN GEORGE R. R. | JET CITY COMICS | TP | 1495 |
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| THE INCONCEIVABLE ADVENTURES O | LONDON STEVEN | FRIESENPRESS | TP | 1199 |
| THE IRISH VERSION XIII 17 | GIRAUD JEAN | CINEBOOK LTD | TP | 1195 |
| THE JOAN COMICS THE LIFE OF JO | SWANSON PETER JOSEPH | CREATESPACE | TP | 995 |
| THE JOURNEY ENDS THE JOURNEY E | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE LENGTHS | HARDIMAN HOWARD | SOARING PENGUIN PRESS | TC | 2799 |
| THE LESSER EVIL OMNIBUS GRAPHI | SMITH SHANE W. | ZETABELLA PUBLISHING | TP | 1499 |
| THE LOST ART OF MATT BAKER VOL | BAKER MATT | PICTURE THIS PRESS | TP | 1495 |
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| THE MAGICAL CAT GHEE VOL 1 BRA | NISHIHARA DAITARO | CREATESPACE | TP | 999 |
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| THE MASSIVE ADVENTURES OF MASS | ZIMMERMAN DAVID NEWTON | CREATESPACE | TP | 999 |
| THE MERGER | SMITH LINDA K. | CREATESPAC | TP | 1099 |
| THE MISSING CUCKOO CLOCK: A MY | BEAUREGARD LYNDA | GRAPHIC UNIVERSE | LB | 2927 |
| THE MISSION WAYNE SHELTON VOL | VAN HAMME JEAN | CINEBOOK LTD | TP | 1395 |
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| THE NIGHT BEFORE CHRISTMAS AT | EIKE DONALD | CREATESPACE | TP | 1398 |
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| THE PHANTOM DIARY 2014 HC | VARIOUS | MALLON PUBLISHING PTY LTD | TC | 1899 |
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| THE PLANET OF LIBRIS | BIDAUD AGNES | GRAPHIC UNIVERSE | TP | 795 |
| THE PLANET OF LUDOKAA | CONSTANTINE CLELIA | GRAPHIC UNIVERSE | TP | 795 |
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| THE PROPERTY | MODAN RUTU | DRAWN & QUARTERLY | TC | 2495 |
| THE PYRITE WAR | PETIT BLAKE M. | CREATESPAC | TP | 1399 |
| THE RECRUIT THE GRAPHIC NOVEL | EDGINTON IAN | HODDER & STOUGHTON | TP | 1299 |
| THE SACRED BLACKSMITH VOL 2 | MIURA ISAO | SEVEN SEAS ENTERTAINMENT | TP | 1399 |
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| THE SAGA OF PANDORA ZWIEBACK A | ROMAN STEVEN A. | STARWARP CONCEPTS | TP | 799 |
| THE SANDWALK ADVENTURES | HOSLER JAY | CREATESPACE | TP | 2000 |
| THE SECRET OF HEART MANSION | LUND J. | CREATESPACE | TP | 677 |
| THE SECRET OF THE SWORDFISH PA | JACOBS EDGAR P. | CINEBOOK LTD | TP | 1595 |
| THE SEVEN SISTERS THE SEVEN SI | CHEN WEI DONG | J R COMICS | TP | 999 |
| THE SMURFS 14 THE BABY SMURF | PEYO | PAPERCUTZ | TP | 599 |
| THE SMURFS 14 THE BABY SMURF | PEYO | PAPERCUTZ | TC | 1099 |
| THE SMURFS 15 THE SMURFLINGS | PEYO | PAPERCUTZ | TP | 599 |
| THE SMURFS 15 THE SMURFLINGS | PEYO | PAPERCUTZ | TC | 1099 |
| THE SMURFS ANTHOLOGY 1 | PEYO | PAPERCUTZ | TC | 1999 |
| THE SMURFS CHRISTMAS | PEYO | PAPERCUTZ | TP | 599 |
| THE SMURFS CHRISTMAS | PEYO | PAPERCUTZ | TC | 1099 |
| THE SMURFS GRAPHIC NOVELS BOXE | PEYO | PAPERCUTZ | BX | 1799 |
| THE SOUL TALKERS | MAKAMA FUNOM THEOPHILUS | FEEDAREAD.COM | TP | 1495 |
| THE SPHINX | WEIGEL JEFF | CREATESPAC | TP | 899 |
| THE STRANGER & THE TIME MACHIN | SCRIMA PHIL | CREATESPACE | TP | 995 |
| THE STUFF OF LEGEND BOOK 4: TH | RAICHT MIKE | TH3RD WORLD STUDIOS | TP | 1695 |
| THE THREE KINGDOMS THE THREE K | LIANG XIAO LONG | J R COMICS | TP | 999 |
| THE THREE LITTLE PIGS & OTHER | MURPHY MARTIN R. | MURFEUS | TP | 1095 |
| THE THREE LITTLE PIGS & OTHER | MURPHY MARTIN R. | MURFEUS | TC | 2995 |
| THE TOWER OF SHADOWS BOOK 6 | NYKKO | GRAPHIC UNIVERSE | LB | 2793 |
| THE UNKINDNESS OF RAVENS | TORRES J. | KIDS CAN PRESS | TP | 995 |
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| THE VENGEANCE OF SLEEPY HOLLOW | AKERS JR BOBBY RAY | CREATESPACE | TP | 999 |
| THE WAY & THE VIRTUE LARGO WIN | FRANCQ PHILIPPE | CINEBOOK LTD | TP | 1195 |
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| THEA STILTON 1 THE SECRET OF W | STILTON THEA | PAPERCUTZ | TC | 999 |
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| THODI HANSI MAZAK THIS IS A LI | PATEL MR JAYANTIBHAI | CREATESPACE | TP | 900 |
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| TIMMY FAILURE MISTAKES WERE MA | PASTIS STEPHAN | CANDLEWICK PRESS (MA) | TC | 10000 |
| TINSEL TOWN V 1 ASHCAN BLUES A | FREDER | CREATESPACE | TP | 1599 |
| TITANS CURSE PERCY JACKSON & T | RIORDAN RICK | DISNEY EDITIONS | TP | 1299 |
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| TODAY IS THE LAST DAY OF THE R | LUST ULLI | FANTAGRAPHICS BOOKS | TP | 3500 |
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| TOMMYSAURUS REX | TENNAPEL DOUG | GRAPHIX | TC | 1999 |
| TONGUE IN CHEEK | ETHEREDGE JC | BRUNO GMUNDER VERLAG GMBH | TC | 3199 |
| TOO MEAN TO DIE | VADO DAN A. | SLG PUBLISHING | TP | 995 |
| TOTALLY CAPTIVATED SIDE STORY | YOO HAJIN | NETCOMICS | TP | 1500 |
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| TOTALLY CAPTIVATED SIDE STORY | YOO HAJIN | NETCOMICS | TP | 1500 |
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| TREASURY OF MINI COMICS V ONE | DOWERS MICHAEL | FANTAGRAPHICS BOOKS | TC | 2999 |
| TRIP | GRILLO JESSE | ACTION LAB ENTERTAINMENT INCOR | TP | 1495 |
| TRIPWIRE 21ST ANNIVERSARY | MEADOWS JOEL | TRIPWIRE PUBLISHING | TP | 2499 |
| TRITON OF THE SEA V 1 MANGA | TEZUKA OSAMU | DIGITAL MANGA PUBLISHING | TP | 1995 |
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| TROPIC OF THE SEA | KON SATOSHI | VERTICAL | TP | 1495 |
| TRUST & TEMPTATION TRUST & TEM | CHEN WEI DONG | J R COMICS | TP | 999 |
| TUNDRA: BEARS IT ALL PUZZLE | CARPENTER CHAD | WILLOW CREEK PRESS | OO | 1699 |
| TUNE STILL LIFE | KIM DEREK KIRK | FIRST SECOND | TP | 1699 |
| TWIN KNIGHTS | TEZUKA OSAMU | VERTICAL | TP | 1395 |
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| UNEARTHING | MOORE ALAN | TOP SHELF PRODUCTIONS | TP | 2995 |
| UNEARTHING LTD E | MOORE ALAN | TOP SHELF PRODUCTIONS | TC | 7495 |
| UNFORGOTTEN | RIDDLE TOHBY | INKLIT | TC | 1995 |
| UNICO | TEZUKA OSAMU | DIGITAL MANGA PUBLISHING | TP | 3495 |
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| VAMPIRE CHEERLEADERS MUST DIE | ARNOLD ADAM | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
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| VIDEO GAME NINJAS | O'NEIL J. B. | CREATESPACE | TP | 999 |
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| WALT DISNEYS MICKEY MOUSE TALE | DISNEY WALT | UNIVERSE PUBLISHING(NY) | TC | 1995 |
| WALUK | RUIZ EMILIO | GRAPHIC UNIVERSE | LB | 2660 |
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| WANDERING SON V FIVE | SHIMURA TAKAKO | FANTAGRAPHICS BOOKS | TC | 2499 |
| WANDERING SON V FOUR | TAKAKO SHIMURA | FANTAGRAPHICS BOOKS | TC | 1999 |
| WAR BROTHERS THE GRAPHIC NOVEL | MCKAY SHARON | ANNICK PRESS | TP | 1895 |
| WAR BROTHERS THE GRAPHIC NOVEL | MCKAY SHARON | ANNICK PRESS | TC | 2795 |
| WAR MACHINE | GIBBONS DAVE | 2000 AD | TP | 1799 |
| WAR OF WORDS WAR OF WORDS | CHEN WEI DONG | J R COMICS | TP | 999 |
| WARREN ELLIS THE CAPTURED GHOS | MEANEY PATRICK | SEQUART RE | TP | 1299 |
| WARRIORS OF STONE TURTLEBACK S | FARSHTEY GREG | TURTLEBACK BOOKS | PB | 1720 |
| WARS IN TOYLAND | WOODARD NOLAN | ONI PRESS | TC | 1999 |
| WASTELAND THE APOCALYPTIC E V | JOHNSTON ANTONY | ONI PRESS | TC | 3999 |
| WASTELAND V 8 LOST IN THE OZON | JOHNSTON ANTONY | ONI PRESS | TP | 1499 |
| WATER ZOMBIES TALE OF THE HILL | ARCHEY ROB | OUTSKIRTS PRESS | TP | 995 |
| WE CAN FIX IT A TIME TRAVEL ME | FINK JESSICA | TOP SHELF PRODUCTIONS | TP | 1495 |
| WE WONT SEE AUSCHWITZ | DRES JRMIE | SELFMADEHERO | TP | 2295 |
| WEAPONS OF THE METABARON | JODOROWSKY ALEXANDRO | HUMANOIDS, INC. | TC | 2495 |
| WEAPONS OF VENGEANCE THREE OF | LAIRD CALUM | PRION (GB) | TP | 995 |
| WEIRD HORRORS DARING ADVENTURE | KUBERT JOE | FANTAGRAPHICS BOOKS | TC | 3999 |
| WEIRDO YEARS BY R CRUMB 1981 9 | CRUMB ROBERT | LAST GASP | TC | 2995 |
| WELCOME TO ALFLOLOL VALERIAN V | CHRISTIN PIERRE | CINEBOOK LTD | TP | 1195 |
| WELCOME TO THE TRIBE | GRIMALDI | GRAPHIC UNIVERSE | TP | 695 |
| WEREWOLF OF NEW YORK A SUPERNA | LASH BATTON | EXHIBIT A PRESS | TP | 1595 |
| WHEN DAVID LOST HIS VOICE | VANISTENDAEL JUDITH | SELFMADEHERO | TC | 2495 |
| WHEN I WAS A KID CHILDHOOD STO | BOEY CHEEMING | LAST GASP | TP | 1795 |
| WHEN THE GODDESS OF THE WESTER | MIDENKA | CREATESPACE | TP | 850 |
| WHISPERING LAKE GHOSTS | BEAUREGARD LYNDA | GRAPHIC UNIVERSE | TP | 695 |
| WHO DARES WINS THREE OF THE BE | LAIRD CALUM | PRION (GB) | TP | 995 |
| WHO IS AC | LARSON HOPE | ATHENEUM BOOKS FOR YOUNG READE | TP | 1499 |
| WHO IS AC | LARSON HOPE | ATHENEUM BOOKS FOR YOUNG READE | TC | 2199 |
| WILD HONEY YAOI | TAKENAKA SEI | DIGITAL MANGA PUBLISHING | TP | 1295 |
| WILL & WHIT | GULLEDGE LAURA LEE | AMULET BOOKS | TP | 1295 |
| WILLARD MULLINS GOLDEN AGE OF | MULLIN WILLARD | FANTAGRAPHICS BOOKS | TC | 3500 |
| WILLIAM & THE LOST SPIRIT | BONNEVAL DE GWEN | GRAPHIC UNIVERSE | TP | 995 |
| WILLIAM AND THE LOST SPIRIT | BONNEVAL GWEN DE | GRAPHIC UNIVERSE | LB | 3060 |
| WILLY NILLY V 1 | BREHM DAVID LEE | CREATESPACE | TP | 1995 |
| WITCH & WIZARD THE MANGA V 3 T | PATTERSON JAMES | TURTLEBACK BOOKS | PB | 2450 |
| WITCH BUSTER VOL 1 2 | CHO JUNG-MAN | SEVEN SEAS ENTERTAINMENT | TP | 1699 |
| WITCH BUSTER VOL 3 4 | CHO JUNG-MAN | SEVEN SEAS ENTERTAINMENT | TP | 1699 |
| WITCH BUSTER VOL 5 6 | CHO JUNG-MAN | SEVEN SEAS | TP | 1799 |
| WITCH BUSTER VOL 7 8 | CHO JUNG-MAN | SEVEN SEAS ENTERTAINMENT | TP | 1799 |
| WITCH HUNTER VOL 5 6 | CHO JUNG-MAN | SEVEN SEAS | TP | 1699 |
| WITCH HUNTER VOL 7 8 | CHO JUNG-MAN | SEVEN SEAS | TP | 1699 |
| WITCHES & FISH A PARABLE OF DR | LONG DUNCAN | CREATESPACE | TP | 2699 |
| WITH ONLY FIVE PLUMS LIFE IN T | EISELE TERRY | CREATESPACE | TP | 1000 |
| WITH ONLY FIVE PLUMS THE TIME | EISELE TERRY | CREATESPACE | TP | 1000 |
| WITH ONLY FIVE PLUMS THIS DARK | EISELE TERRY | CREATESPACE | TP | 1000 |
| WOLF | NAKAMURA SHIGE | GEN MANGA ENTERTAINMENT | TP | 1295 |
| WOLFSMUND VOL 1 | KUJI MITSUHISA | VERTICAL | TP | 1295 |
| WOLFSMUND VOL 2 | KUJI MITSUHISA | VERTICAL | TP | 1295 |
| WOMAN REBEL THE MARGARET SANGE | BAGGE PETER | DRAWN & QUARTERLY | TC | 2195 |
| WONDER WOMAN VS CIRCE | SUTTON LAURIE S. | CAPSTONE PUBLISHERS (MN) | TC | 2532 |
| WONDERFUL IMAGES OF OZ | MEINERT KEVIN E. | CREATESPAC | TP | 1795 |
| WONDERLAND DOWN THE RABBIT HOL | GREGORY RAVEN | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| WONDERLAND V 3 | GREGORY RAVEN | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| WONDERLAND V2 | GREGORY RAVEN | ZENESCOPE ENTERTAINMENT | TP | 1599 |
| WORLD WAR BLUE V1 | SHESTAKOVA ANASTASIA | SEVEN SEAS ENTERTAINMENT | TP | 1199 |
| WORLD WAR BLUE V2 | SHESTAKOVA ANASTASIA | SEVEN SEAS ENTERTAINMENT | TP | 1199 |
| WORLD WAR BLUE VOL 3 | SHESTAKOVA ANASTASIA | SEVEN SEAS ENTERTAINMENT | TP | 1299 |
| YA YA CHINESE EDITION | CHEN YAOLEE | CREATESPACE | TP | 600 |
| YAKARI IN THE RIVER OF FORGETF | JOB | CINEBOOK LTD | TP | 1195 |
| YOU ARE A CAT IN THE ZOMBIE AP | TJIA SHERWIN | CONUNDRUM PRESS | TP | 1800 |
| YOU STINK & I DONT V 1 | HUTCHINGS BEN | MILK SHADOW BOOKS | TP | 2149 |
| YOU STINK & I DONT V 2 | HUTCHINGS BEN | MILK SHADOW BOOKS | TP | 2199 |
| YOUNG LOVECRAFT V 3 | OLIVER JOSE | KETTLEDRUMMER BOOKS | TP | 1995 |
| YOUNG MISS HOLMES CASEBOOK 5 7 | SHINTANI KAORU | SEVEN SEAS ENTERTAINMENT | TP | 1999 |
| YOUR NEW JOB TITLE IS ACCOMPL | ADAMS SCOTT | ANDREWS MCMEEL PUBLISHING | TP | 1299 |
| YOURE ALL JUST JEALOUS OF MY J | GAULD TOM | DRAWN & QUARTERLY | TC | 1995 |
| YOURS IN MUSIC GRAPHIC AUTOBIO | SHANKAR RAVI | WISDOM TREE | TP | 1995 |
| YUCK NUMBER SEVEN | SLIME MR | MILK SHADOW BOOKS | TP | 1999 |
| YUICHI YOKOYAMA WORLD MAP ROOM | YOKOYAMA YUICHI | PICTUREBOX, INC. | TP | 1995 |
| YUMA LA L GENDE DUNE H RO NE | BERETTA NICOLAS | NICOLAS BERETTA | TP | 1268 |
| ZACK ZOEYS ALIEN APOCALYPSE AL | WARE MJ | CREATESPACE | TP | 698 |
| ZAMIRA & THE WORLD OF Z | WRITER HOLY GHOST | CREATESPACE | TP | 1444 |
| ZE V 7 YAOI | SHIMIZU YUKI | 801 MEDIA | TP | 1595 |
| ZEROS FAMILIAR OMNIBUS 1 3 | YAMAGUCHI NOBORU | SEVEN SEAS ENTERTAINMENT | TP | 1999 |
| ZEROS FAMILIAR OMNIBUS 4 5 | YAMAGUCHI NOBORU | SEVEN SEAS ENTERTAINMENT | TP | 1899 |
| ZITS CHILLAX | SCOTT JERRY | HARPER TEEN | TP | 999 |
| ZOMBIE AVENGERS SLAY THE ZOMBI | EDWARDS EARL | CREATESPACE | TP | 799 |
| ZOMBIE NOTEBOOK | UHL L. H. | CREATESPACE | TP | 998 |
| ZOMBIE QUEEN THE BEGINNING | NEWTON ALEX | CREATESPACE | TP | 2500 |
| ZOMBIE TRAMP | MENDOZA DAN | ACTION LAB ENTERTAINMENT | TP | 1495 |
| ZOMBIELOVE | WON ABC | PUBLIKAT VERLAGS- UND HANDELS | TC | 2995 |
| ZOMBO YOU SMELL OF CRIME & IM | EWING AL | 2000 AD | TP | 1799 |
| ZOODOTCOM | MCCRAY MATT | ARCANA STUDIO | TP | 995 |
BookScan 2012: important addendum
/It was observed to me by a third party that for a good part of 2012 Barnes & Noble was not stocking the "top 100" DC Comics, which I entirely forgot about in my BookScan 2012 report.
There are published reports that say that this ended at the end of June 2012, but there's also reports from everyone's favorite muckraker, Rich Johnston, that some/much of the books were returning to some B&N locations before 2011 even ended.
What does this actually do to the charts? I have no real idea. Typically 4th quarter is the strongest sales quarter, so, in theory, this should have impacted DC's 2011 numbers much stronger than 2012, but even that's uncertain -- how much demand was simply delayed until the books returned to stock, how much was shunted over to Amazon or indy book stores? How much unmet demand yielded no sale for DC? I have no frickin' idea, but at the very least it should have been NOTED in the column, and that's a lousy mistake for me to have made.
There was just 12k difference (701k vs 689k) in sales between DC and Image this year, so it's possible, mayyybe even likely that DC actually "would have" been the #1 western publisher, but I can only analyze the numbers that are there, rather than the ones that aren't. Still.... asterisk that analysis, I think, to be safe.
Thanks!
-B
Tilting #221 -- BookScan 2012 is live
/You can find it at Comic Book Resources. That represents like twenty hours of my life in the writing, so I hope you find some useful intelligence in it!
-B
Big Numbers: Brian's Tilting... on the 2011 Bookscan Numbers at CBR
/Hey, everyone. Since Brian is off doing what Brian does best--pestering comic book publishers for hard data--(and let's face it, that isn't very pretty), he asked me to give all y'all a link to his latest Tilting at Windmills over at CBR. It's his annual review of the Bookscan numbers which I think makes it even more of a look-see than usual. This is the ninth time Hibbs has sat down and crunched numbers of the Bookscan report (the sixth time he's looked at *all* the numbers for the year) and, as always, the results are fascinating, terrifying, and stultifying all at once. This year's report runs approximately 15,000 words which is...pretty god-damned daunting, so my brain always breaks when I start thinking about what went into writing it, separate and apart from all the sorting, adding, and comparison-making.
I know in the past Bri has taken some heat from any number of crazy judgments he made in the past and I think this column may be one his least biased Bookscan reviews ever. He does present an unending stream of interesting trivia--if you ever wanted to know approximately how many copies of Walking Dead were sold through Bookscan dealers last year (a fuckton) or how many books Geoff John placed in the Top 750 titles, this is the column for you--and asks some pretty challenging questions without presuming to know the answers. Like Hibbs, I always find myself hoping someone takes him up on his challenge to sort the data themselves and see what conclusions they can draw.
And, as always, feel free to leave comments and questions here if you don't want to do it over there.
Tilting at Windmills #200: BookScan 2011
/It is now up at Comic Book Resources -- 15,103 words long! Read it, absorb it, let me know what you think.
-B
Just when I thought I was out... they pull me back in
/
I mean, if I had just waited 20 minutes to post, I could have done this in the first post, but then Tom has to go and post something from Eric Reynolds...
First off, seriously, "Bookscan Analysis as Direct Market Public Service Announcement"? Really? I feel like I've been told to get off Tom's lawn for playing too much...
Eric's comments are wonderful, but I don't really see that they have much (if anything) to do with anything that I actually WROTE, as opposed, possibly, what people might want to think that I wrote.
If someone can point me to anyplace where I've represented the BookScan numbers to be anything other than what I say they are -- that they "don’t, in any way, represent all 'book stores' selling comic book material." That "Also, remember that this analysis represents RETAIL SALES. This absolutely doesn’t include anything like Library sales, or School Sales, or things like book clubs and so on. Those are not RETAIL SALES." Or that at any place in the piece that I ever represent these numbers as anything other than "sales from the stores that report to BookScan", then I would dearly love to see it.
I've also never suggested, thought, implied, or even believe that virtually any publisher anywhere could survive or prosper without ALL channels working to sell books. Again, if anyone can cite a statement like that, please feel free.
I like Fantagraphics' output. A lot. They are clearly an important publisher in terms of the bodies of cartoonist's work they are bringing to the market, and many of the things they publish are among my best sellers.
I might be worth noting that the word "Fantagraphics" doesn't appear in this year's column whatsoever, and I make a single passing reference to one book of theirs (as noted before, intended purely as a follow-up from the '08 column), and a handful of the cartoonists they publish. The context of that statement is, at least I think, to express regret and amazement that those cartoonist's works aren't selling better, via the stores that report to BookScan, then they are.
Eric says, "I did a cursory look at a half-dozen titles from the last couple of years, and in some cases, our library/institutional sales can amount to as much as 30-50% of our overall book trade business. This is one stream that does not report to Bookscan..." which, as far as I can tell, is exactly what I said! It's also largely irrelevant -- the BookScan analysis is NOT a report on everything that sells in non-DM channels. I directly and repeatedly say that. I directly and repeatedly say that this is retail sales (repeat it with me!) "the stores that report to BookScan".
Further, BookScan is sales made to consumers -- not wholesale. Let's say, with no basis in reality, that 1000 stores that report to BookScan rack L&R #2, that could mean that there are 1000+ copies out there on the racks awaiting purchase by some sophisticated buyer with taste. Awesome. BUT THE NUMBER OF COPIES THAT SOLD TO A CONSUMER (via "the stores that report to BookScan"!) is 374 copies. If anyone, anywhere, has any evidence that this is not a factual statement, then I'd like to hear it.
That DOESN'T MEAN that FBI should abandon the bookstores, or that those are not "good" sales, or anything else that Tom or Dirk would seem like to spin as something that I am implying. I am not.
If people want to engage in arguments that *I* am not... well, I can't stop you, but there's no other possible way for me to respond except for "I never said that. I never implied that. I don't believe that. And anyone who does is, actually, not very smart, whatsoever."
Look at the numbers for what they say. Criticize me for things I actually say -- that's totally fair game. But don't criticize me for what you infer that I am saying, because that inference is on the plate of the reader, and does not bear any relationship to either what I wrote, nor what I believe. I think we'll all be much happier that way.
Eric concludes with "I don't pay attention to Bookscan too closely, but one thing I've gleaned from reading Brian's annual essays is that either he reads way too much into Bookscan numbers, or we pretty dramatically buck the conventional wisdom of what Bookscan "means" in the bigger picture."
At a guess, I suspect the latter is the case. As for the former, the only thing that I'm really "reading into" BookScan is that a work as (in my personal opinion) over-reviewed and mediocrely done as, say, Stitches, sells like 30 times better than something as transcendent, and created by cartoonists at their peak of craft and skill, as L&R.
-B
Only Nixon Can Go To China?
/
Tom Spurgeon has some excellent comments up about my BookScan Analysis, and I feel compelled to engage his commentary. This is not a Blog War, but I'm hiding most of this behind the jump for those of you who Don't Like To See The Parents Fight...
Let’s start with motivations, which works nicely as a “response” to numbered point #1 ("I know I'm grateful...It's fun to see how certain books did on the chart"). First and foremost, I'm getting the Top 750 out there, and if you don't like my analysis, in the words of the great "Scoop" Nisker, "If You Don't Like The News, Go Out And Make Some of Your Own"
The entire reason I bother to write that beast every year is because *I* want to see the bookstore data. We’ve known that data was there, but it used to be locked up in a black box. I wanted to see it, so I called in favors and got it set free, and my assumption has always been that if I want to see it, then others do as well. As long as I had it, I might as well actually write about it and expose that data to a wider number of people.
I’ve always disliked and mistrusted the few shimmering glimpses we get at the data, generally because it is coming from people with something to lose (read that specifically as “access to the data” in the main) if they get too specific about their reporting. That’s why we get ICv2 headlines that say things like “Watchmen #1 on BookScan for xth week in a row”; which I find to be more frustrating than illuminating. I mean, what does that mean in any kind of broader context, or in relationship to other things? Comparative analysis gives a much better picture of what the trends and things really are.
So, yeah, I want that information out there, and I want it out in a venue that it might attract some attention and be searchable rather than, dunno, putting it up as a torrent or something, where only people who know to look for it might have a chance of finding it.
I think that books, in general, are weird because it is very hard to get specific data about how well they’re doing – I love the existence of a site like boxofficemojo because it presents virtually any piece of information you might want to know about a film’s performance in a pretty easy to find format. I also like sites like John Jackson Miller’s Comichron because it attempts to do much the same for the comic book industry. Its major flaw, however, is that it ONLY does it for DM sources of information.
So: at my core the reason I write this every year is to give a chance for that information to be out, natively in the wild, and to be a part of the Historical Record.
I will tell you this: I’m not convinced that my analysis is really any good. I mean, if you have like 6 spare hours, go through and read all seven years of analysis, one after another, and look at how much my tone and methodology has changed. In year one, it is really about 90% Direct Market, and maybe 10% bookstore because what I was actually hoping in my heart is that someone else would actually take up the data and perform their own analysis on it, so that I wouldn’t have to.
As I came to understand, over the years, that no one was going to bother to do that, I’ve gotten closer and closer to writing something actually worth reading – the first 3 (I think?) years had entire “What about the Direct Market?!?!” sections that I ultimately abandoned as being counterproductive to the exercise.
Anyway, my motivation to release this information is simply that: I want the information released, I have a long standing and “well respected” comics industry opinion column, it seems like a good match.
But, I also have to think of what I understand about my audiences.
Primarily, I write for and to other Direct Market comic book retailers. That’s the entire point of these columns. Remember, TILTING started in the controlled circulation COMICS RETAILER magazine, only ever seen by 5000 people, maximum.
Secondarily, ever since I made the switch to the wider internet with Newsarama, and, current, Comic Book Resources, I feel like I have to spend a reasonable amount of time writing for the “lay” audience. Which is why you’ll see me over explaining things, sometimes (“What is an SKU?”, that kind of thing), because I want the layfolk to at least have a notion of what I’m talking about. More importantly, my “lay” audience is mostly comprised of folks who are really really interested in the Direct Market version of “comics”. That is to say, disproportionately interested in “mainstream” Marvel and DC superhero comics. That it to further say, I believe that 75% or better of the people who read TILTING know nothing whatsoever about the industry except whatever “common truths” they’ve managed to absorb, and repurpose to their own ends.
My tertiary audience is that of the “Decision makers”, and it’s tertiary because they have much better data than I do, have to balance the needs of a much wider range of participants, and because they’ve already made their decisions. The chances of my actually directly impacting or changing any decision made is vanishingly small. I’ve been writing columns for nearly twenty years now, I know that very very well. At absolute best, I can hope to possibly influence some potential future decision by adding to consensus (and, in fact, I think that one of my leakers gives me data for precisely that reason)
So this comes to Tom’s point #2 –- "Hibbs' qualitative analysis is so infused with this highly insistent defense of the Direct Market" -- yes, it IS a DM oriented column for a DM oriented audience written by a DM oriented participant. I literally don’t know if it is *possible* for it to not be “infused” with a pro-DM slant, given its genesis, and ongoing status. I write 11 months of the year in a DM-oriented fashion, it is extremely difficult to expect me to not do that on the 12th month.
In my “defense” (though I don’t think this is something that needs a “defense”, per se – because I think it IS extremely valid) not only do I specifically (overly?) point out my biases and directly ask for other perspectives, but I’ve made my best faith efforts over the years to become as dispassionate as I can be. Again, read the way the commentary has changed over the course of seven of them: it has gone from DM-centered to DM-“infused”. I count this as a victory!
Having said that, I have to tell you that in the Best Alternative Universe Ever, I’d rather read a 20k word essay on the Annual BookScan analysis by Tom Spurgeon, than writing this shit myself, because I think he’d do a much better job of it than I ever would in keeping Professional Distance. He’s a Reporter by nature – I am an Opinion Columnist.
Tom’s point #3, and the first of the “big, sweeping problems” is “I can't figure out who on earth holds the positions he insists on dismantling.” And I guess Tom and I just travel in different circles. Again, Tom does note people “in a difference-making position”, but, as I said before, they’re my tertiary audience. Because I hear a lot (a LOT) of misinformed, or downright wrong statements from both my primary and secondary audiences quite a bit. Now, I will grant you that “bookstores will save everything” was actually replaced in 2009 by “digital downloads will save everything”, and that my own conflation of the two may be at fault here, but anything that I wrote stemmed from something that I’ve heard recently as a continued meme.
Let me sidebar for a second and talk about my working method. Because there’s a certain amount of boilerplate that I only rewrite slightly (for instance, just about everything before I get to the actual yearly overview), and there are all of the charts that I’m just adding new rows to, I actually just open up the previous year’s column and start editing and rewriting. Typically I go into each section, add two pages of carriage returns, then start writing the new piece. After I handle a subsection of each section (say, “10 ten books over all” followed by “top 5 dollar books” and so on – though I don’t explicitly label those subsections, that’s how I write it, in order to stay sane), I’ll scroll down and see what the results were in the previous year, and add in any relevant comparisons (“such and such grew by this much/lost this much”)
So, because of this, there are sometimes things I return to simply because I talked about it last time. Example: the citation of L&R #2. So, there are a handful of things in any given report that will be “last year’s discussion follow-up” items.
Anyway, for Tom’s #3, I guess I’d say “I’m writing for a mass audience for whom a significant number still hold these views as not-debunked; and not really for the ‘intelligentsia’ or 'Decision Makers'”. It is fair to question whether that is right or wrong decision (or if I’ve over-inflated in my head the actual response) but that’s what I’m thinking.
Also, I hear similar kinds of things from new entries into the market quite a bit. I get lots and lots of blind “I’m going to be a new publisher and this is how things work!” emails, maybe more than Tom does? Admittedly, virtually all of the people who come in with those thoughts either get gutted instantly, or quickly modify their tune, but while it is true “Everyone that matters knew this years ago,” some of the people who will matter 20 years from now are likely starting their education today.
For Tom’s #4, ("Hibbs admits the numbers are untrustworthy in a lot of ways... and then compares them anyway and goes on to make sweeping statements...") I think there’s value in comparing two relative performances, even if they’re gathered by wholly different methodologies and are less-than-perfect measures in the first place, as long as you know what the limitations of that data are going in.
That is to say, looking at the number sold for Fables, Y or Sandman in Direct, and comparing as a percentage to the Vertigo Crime line, and that looking for that same number sold for Fable, Y, or Sandman via the stores that report to BookScan compared as a percentage to the Vertigo Crime line, and seeing that it follows basically the same pattern that the Minx line did before it, and drawing a conclusion from that… well that seems like a fair conclusion to make. That doesn't mean I inherently believe that either set of numbers are actually 100% accurate (or tracking the same things -- no not at ALL!), but that a trend can be perceived. Is that perception right or wrong? Dunno, that's why I put it out there, let's have a conversation on the merits of the argument itself?
So, I don’t want to necessarily disagree with Tom’s point, but to say that I think that I’ve handled it appropriately, and I’m much more eager to engage on the specific conclusions than on “Don’t cross the streams, that would be bad” as a general point.
And I think (repeat: think) that I either slather any direct comparison between channels with Weasel Words (“I would strongly suggest that this indicates”, yikes!), or I do so otherwise only in the abstract. If there are particular and specific instances anyone disagrees with, I’d be glad to discuss them. No, strike that, I would be ecstatic to do so!
Tom’s #5 ("...bookstore vs. DM argument takes over those sections even when it's not brought up. "), I appreciate his acknowledgment that it might be his personal weakness. And I think some of it is, because I’ve tried, continue to try, and will continue to try to tone it down over the years.
I like his questions, though! The answers are...
"Could this leave bookstores open to someone suggesting they have the next Watchmen in the form of some Green Lantern book?"
More willing to try something new that hasn’t ‘proven out’ in Direct first, but not so willing as to position a capey book that flops in Direct. ‘Earth-One’ would seem to be our next available test, as it was positioned as a ‘bookstore initiative’ as I read it.
"Will they favor the shelving of DC books for a while?"
Potentially, but of course, Chain bookstore shelves are ultimately For Sale, plus there’s a pretty big X-factor in ‘how many of these books are selling on Amazon, et al’, where there isn’t ‘shelving’ in the way you meant it.
"Will this make it that much harder for Marvel to kickstart their post-Disney purchase bookstore program?"
I’d think not; why would it? And those shelves are For Sale, anyway.
"Were stores stuck with Watchmen copies as the cycles worked themselves out?"
Unlikely to be ‘stuck’ that significantly, because I bet you $1 that result is as much a function of expanding the number of storefronts carrying the book in the first place as it is from copies-sold-per-store, and IF anyone was carrying way way too much inventory, and if DC did sales into bookstores even remotely in parity as they did in the DM, they were taking full 100% returns on that one book, as needed.
"Are they asking for new Watchmen material?"
No clue from me. Ask Dan DiDio.
OK, that was fun, and I wish the entire post was just that!
On Tom’s #6 ("I think Hibbs vastly underplays the recession."), I am not sure how so? And in regard to “And if everything must be a market to market dick-measuring contest, it also makes perfect sense to me that a market serving relatively casual readers is going to be hit harder in the first 12-15 months of a recession than a market serving the most devoted fans.”, I have to say “huh?” Or did you not see the sentence about the DM being down FIFTEEN percent, which is a LARGER drop than the bookstores? Muh?
#7 ("I think Hibbs underplays the effect the quality of books has in a lot of comics' sub-markets."): Wait, now you’ve totally lost me. You’re positing that quality of a work is the most important reason it does or doesn’t sell? Really? That’s why nothing by, say, Urasawa, hits in the Top 750, but Naruto is #1 in manga? Is he saying that Stitches is externally and qualitatively a better book than, dunno, Optic Nerve? (*I* don't think so!) I don’t know how to engage that one at all! Quality doesn't have but the most cursory relationship to sales, look at the music, TV or film charts, if you doubt that...
#8 ("I think Hibbs overplays a manga "freefall.""): Fair enough. Actually, if you go back and look, those 3-4 paragraphs are almost completely lifted from the ’08 report, because I felt it was still pertinent, but yeah, fair enough.
I very very much look forward to any independent analysis that Tom can muster, and, like I said, that’s what I absolutely hoped would happen when I started this 7 years ago. (Not just Tom, I mean – I’m always hoping for 4-5 competing analyses!)
As for Tom's "challenge", I will forthrightly state that I don’t envision anytime in the future that I say *nothing* about the DM or my own individual experiences. That’s not why I write TILTING, and if I'm not entertaining/being relevant to my perceived audience, then I don't expect to keep it. But I will promise to at least to continue to be conscious of it, and to continue to try and tamp it down if I keep getting access to the data (which is, by no means, guaranteed)
-B
Tilting v3 #22 is up! BookScan 2009
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Ah! It is the longest thing I write every year.
WITNESS: 6 weeks of my life in the look at BookScan in 2009, in TILTING AT WINDMILLS #189
http://comicbookresources.com/?page=article&id=24818
-B
Comic Book Movies in 2009?
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I'm pretty good about doing my own research, most of the time, but as I wander through my BookScan Analysis this year (Sheesh, I'm at 12,000 words, and I still haven't touched 2 of the 4 categories!) I'm hoping I can depend on YOU to help me a bit.
What movies based on comics were released in 2009?
Watchmen, obviously. And Wolverine. Astro Boy. But then I start to blank. Name me some titles, would you?
Thanks in advance!!
-B
Flying Thompson's Gazelle of The Yard
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A final word on my 2008 report on BookScan. Under the jump for everyone who is tired of this topic (which is probably most sane and rational people)
As a prominent retailer in a prominent market, who has a long-running soapbox on the retailing of comics, I do a fairly large number (3-6-ish) of interviews any given year, whether it be for various podcasts or newspaper features or whatever about the comics industry. Pretty uniformly, “what’s the size of the market?” is one of the primary questions that rises.
We have a paucity of real, viable data in this business. Other industries appear to have whole sub-industries designed just to analyze sales data. I guess the need to categorize, to define, to find out our parameters is one of the things that make us human.
In comics, we have exactly one public source of information: Diamond’s charts. They present data in a somewhat broken fashion. eg: they don’t include Diamond UK, until recently it topped out at 100 books (and not all that long ago, it topped at 100 comics, as well), and it also favors items that arrive at the beginning of the month’s cycle over those that arrive at the end of the month. There’s probably two or three more ways they aren’t properly reflecting the real market activity as well.
We understand these limitations, and, hopefully most people when they construct premises of market activity bear those limitations in mind.
We have no public data about any other sales in comics with the last remaining exceptions of those publishers (Just Marvel and Archie, I think at this point? John Jackson Miller, correct me if I am wrong here?) who still ship via a certain US Postal Service regulation and have to provide some sketchy (and, I've been told, often made up my some intern) sales information. We will, very occasionally, get some sort of vague public statement, usually rendered anecdotaly -- most recently probably Paul Levitz's comment that WATCHMEN was in the 1 million copies sold range in 2008 -- but certainly nothing that one can construct any kind of real understanding of anything at all, based upon just that.
Seven years ago I was told about BookScan, and that there WAS data being gathered on sales outside the DM. It wasn't public though, so I pushed and I pushed and I pushed at several dozen people, and I found a few sources that were willing to leak it to me once a year. And I thought if I was interested in this, other people probably were too. Given that it generally gets more commentary than anything I write the whole rest of the year, combined, I think this is justified.
Like any information stream, it is only useful to the extent that you look at it for what it is. As I understand it, BookScan is an accurate report of what sold through at the venues which report to BookScan. Those venues are, for the most part, the large chains, the major websites, the largest of the independent bookstores (Powell's, etc.) This isn't, by any means, any place that books can be or are sold, and it doesn't include libraries, schools, book clubs, strip clubs, gas stations, residences, warehouses, farmhouses, henhouses, outhouses or doghouses.
But, within the venues that it DOES represent, it represents 100% of the sales during the year-to-date.
I believe that I have been scrupulous about stating and restating this, and I even think that I've done some damage to the readability of the article by bending over backwards to say "of those reporting to BookScan" or some variant of that over and over again.
What I believe is that if the charts say that "Love & Rockets: New Stories #1" sold 719 copies, then, yeah it is a factual statement that from the day of its release to 12/31/2008 that Borders, B&N, Amazon, et al. sold under 800 copies in those venues, during that date range. (I put it that way because, of course, as a guy who runs a POS system, mistakes get made by clerks all of the time, so there's always going to be SOME kind of unavoidable "fudge factor"; but that factor is probably under 10% of the total)
That doesn't mean that xxxx copies were not placed into the distribution channel. That does not mean that xxxx copies won't eventually sell. That does not mean that xxxx copies didn't go into non-retail channels. That does not mean any of a whole host of things. It just means that from date of release to 12/21/2008, Borders, B&N, Amazon, et al sold under 800 copies of that item. Nothing more, nothing less.
Now if you (generically "you", not specifically so) want to believe that this datum holds no/limited value, I won't try to stop you. But I will choose to disagree.
WHY do I think it has some value? Because of pundits like (as Dirk says) Balan Bavid Boane, or one-name internet trolls who lurk in threads everywhere who like to insist things similar to "The Direct Market is a dying and useless system that is no better than a cancer upon the heart of all comics everywhere"
Tom has an excellent point that "no one in a position of any importance at any company has to my knowledge ever seriously dismissed the still-crucial Direct Market as a place to sell comics." So this much, at least, is down to my failure to differentiate between the light and the heat, as it were -- but I want these memes to die the dog's death that they deserve (and lets add "If only comics were anthologies printed on cheap newsprint, the audience would come flocking back" too, please)
But, yes, I'm guilty of falling prey to the heat. C'est la guerre.
And so for that, please let me apologize.
I do think there's some conflation going to among "legitimate" pundits -- I don't buy the argument that because [whatever] is still on sale in specific channels that it moots the snapshot nature of a BookScan list; those items are also still on sale in the DM as well after all, and we'll never know the final long-term sales of any book ever until after that book is no longer in print. I don't buy the argument that we should count library sales (or whatever) on [whatever] if we're not counting the same channels for [something else] -- and since we're unlikely to ever have that kind of clarity within our lifetimes, we work with what we DO have.
But, at the end of the day, BookScan is what it is, and, as far as I can tell there's no legitimate disagreement that BookScan is what it is: "100%" of the sales, within the date range presented, to the specific venues that report to BookScan.
Each year I try to remove more of my biases, and more of my silly shit from the analysis -- no one seemed to notice that this year I didn't have the last 4-5k words be about a comparison to the DM, like the previous five years! I don't think I'll ever be able to 100% remove those biases 100% of the time, because I'm human (and I think comparisons are largely inevitable). But I'm working on it, really I am!
Whether I succeed or not, I do firmly and fundamentally agree with this statement of Tom's: "Right here, right now, additional markets aren't just desirable, they're necessary. For many people the ability to operate in multiple markets is the difference between publishing and not publishing, and has been for several years now. For some folks, every single market of any value is the difference between making a modest living and making no living at all. For certain companies and titles it's the difference between existence and extinction."
In some ways, it is like what I say about Periodicals versus Perennials in the DM -- the periodical comic books provide the cash flow; the book format perennials provide the long term profit. DM orders tend to be of great significance as an upfront thing, and they're not returnable, and they tend to pay within 30 days from the Bank of Diamond -- basically No Risk/Quick Pay. Other markets are riskier, returnable, and generally slower to pay -- but as a long term investment may be very profitable if you get that big hit.
Either way, that's where I won't quibble with Tom even a little: all markets are needed, all venues are valid, all sales are good.
Anyway, just because I'm feeling silly, here's how I felt a little earlier in the week when reading Dirk's comments:
The New Tilting is up: BookScan 2008
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You can find my look at BookScan 2008 right here.
I'd strongly suggest grabbing the chart and saving it off before Jonah gets a C&D. Tomorrow will likely be too late!
Interested in your thoughts, as always!
Edit: Tom Spurgeon has some good comments here. For the record, Tom is 100% right: look at these with a grain of salt, then a chunk of salt, then an entire salt mine, because, at best, these numbers are just the visible tip of the iceberg.
I really really tried to make this clear throughout the piece: go and count how many times I say something like "to the stores that report to BookScan" or words to that effect. I keep being afraid that I'm hurting the readability with all of the ass-covering I do!
-B
Moving the Goalposts
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For the handful of you interested in the back-and-forth over the BookScan issue, I want to point you to Heidi's post, as well as Dirk's first and second sallies.
For those of you only here for the reviews, you can stop reading now. In fact, I'd really urge you to!
If I have edited this properly, it continues after the jump:
For whatever it is worth, I agree nearly 100% with Heidi: my biases are both obvious, (and directly stated in the original piece!) -- I believe in the Direct Market (as a concept, if not, necessarily, in the specific individual on-the-ground iteration) to be a far superior method of selling comics for the simple reason that a specialist, with a specialist's passion, is more likely to be able to do a superlative job in selling a specialty product than a generalist. That would seem to me to be fairly self-evident.
(Does this mean that ALL DM stores are going to be better than selling comics than ALL bookstores? No, of course not -- there are always going to be ends of the curve in either model which out/under-perform their opposite number)
I want to believe that I've been very specific and very exacting both about my biases, as well as the usefulness of the specific numbers. Certainly I went into great detail about how the numbers could be wrong and what they do and do not measure; part of the problem may be that on the internet (and who knows, maybe in life, in general, but we can track it on the internet...) people see what they want to see.
Look, I like me some "art comics", when a new EIGHTBALL or OPTIC NERVE comes out, its usually a Top 10 book for Comix Experience, but the fandom/internet meme/hope of "if only we get into the bookstores, then they'll all suddenly buy everything I think is good" really doesn't seem to be the case. I wanted to believe it too!
But let's stay on target when we look at retail sales -- let's not conflate them with other channels, let's not take anecdote as fact, and let's try not to move the Goalposts in the middle of the game.
By way of example, I point to Dirk's latest, where all of a sudden he's pointing to prose books; what does that have to do with anything? It should be pretty obvious that the math involved for both the publisher and especially the creator is very very different between prose and comics; the breakeven point for one is certainly very different from the other. I should know, I have a prose book in print, and I was involved in setting the print run, and the costs thereof; and I've got a pretty good idea of the physical printing costs of comics, and one is a fraction of the other.
Here's what I said (that Dirk is even quoting directly!):
“Art Comics”, with the exception of a tiny handful of “anointed” books, do not appear to be selling in the bookstore environment. Remember that BookScan includes Amazon, and all major internet retailers as well.
It further seems to me that with approximately 7500 BookScan reporting venues, this indicates that most book stores aren’t even bothering to stock “Art comics” in the first place.
And this seems to be a fairly unassailable fact in relationship to what BookScan reports -- with ~7500 venues (including the majority of the internet sales picture) if you're moving under 4400 copies that means that you're either not being stocked in the first place OR that the audience there isn't especially interested in that material OR both. For the record, I strongly suspect the answer is actually #1, that IF that material was stocked and supported and racked it would probably sell better.
The Elephant in the Room, to me, is Amazon -- Amazon is "bias neutral" in my opinion; that is that each book "displayed" at Amazon is basically equivalent to each other, and that "finding" a book on their "shelves" is a trivial matter, not influenced by physical "racking" decisions. It seems to me that if there was a deep, wide-spread market crying out for "art comics" material that Amazon would be capturing those sales in a pretty significant fashion, as Amazon is "the world's largest comics store". Yet THEY DON'T APPEAR TO BE capturing these sales in any significant fashion.
I have no problem with differing conclusions about the data -- in fact, I specifically asked for it -- but, please, let's not move the goalposts by suddenly claiming that "Oh well, a small publishing house doesn't NEED to sell as many copies", as if that were even slightly relevant to matter at hand. NO ONE said anything about whether the material is PROFITABLE or not, just that it doesn't appear to be selling in significant quantities in the bookstore environment, as far as that environment can be tracked (with all of the caveats and weaknesses of the numbers inherent in that tracking), relative to other comics material. Given the extant data, that appears to be true. If there's OTHER data to show otherwise, I'm sure that everyone would be happy to see that, but since we can't, we can only analyze what we have.
There's a larger issue here, and it is one that Robert Scott has brought up several times -- without marketing and advertising and general publisher support, it is very difficult for any material of any stripe or style or form or content to find its audience without direct intervention by the sellers of the book, be they DM or "bookstores". But that's almost certainly a topic for another day.
This will, hopefully, be my last comment on this (until it is time to write about the '08 numbers)!
-B
PS: to ADD: BONE is now "art comix"?! Buh-wha--?!?
Tilting at Windmills v2 #9: BookScan 2007
/The latest Tilting at Windmills is up on Newsarama. Yeesh, more than 11k words!! Matt decided to not post the file with the actual numbers, so foo on that.
Any commentary, feel free below.
Some actual reviews coming later this afternoon...
-B
TITLTING AT WINDMILLS v2 #37: BookScan 2006 is up
/http://www.newsarama.com/Tilting2_0/Tilting37.html Its very very long.
Go read, tell me what you think!
-B
Tilting at Windmills up @Newsarama
/The newest column, on BookScan in 2005, is up at Newsarama -- alway interested in your thoughts! http://www.newsarama.com/forums/showthread.php?s=&postid=1629090#post1629090
OK, time to get ready to go to WonderCon....
-B
