Chasing Gentrification

Nothing has really inspired me to want to write comics reviews the last couple of weeks, and it's really appalling for me to not have content for my own blog, so I want to write a bit about my neighborhood. This isn't, in any kind of direct way, about comics; and it's only really loosely about "retailing" like I categorized it, so maybe you won't care about any of this, and I'm going to put the rest below the jump....

I also think this is going to be a good deal more rambly than usual, for what that's worth -- I haven't outlined it or anything, but I've wanted to make a post about this for the last few months. See, a Chase bank recently moved in, displacing a number of small retail businesses.

Well, maybe I need to start somewhere way earlier than that.

(you might want to go open google maps and street view and look around the block, maybe, to make this easier to follow along? Maybe not, I don't know)

(Oh, and to start the earliest note here, Comix Experience has been in the same location since the day we opened, April 1, 1989 -- 23 years ago this writing)

So, the commercial corridor I'm on is Divisadero St., which, essentially, runs from Haight St (where Divisadero makes a small turn and becomes Castro st.), all the way down to Sacramento St., basically a 20 block stretch. Now, the Divisadero Merchant's association says that the neighborhood actually is Haight to Geary (14 blocks), but that seems unfair to the UCSF-side retailers.

The bottom end of this corridor, Haight, puts us between two neighborhoods -- the "Upper Haight" is like where Haight/Ashbury and all of the Hippie shit is/was, and there's a separate commercial corridor up there, six blocks on Haight from Central to Stanyan. At this point, the "Upper Haight" is nearly exclusively  "hip" clothing shops, restaurants, and Head Shops. And lots of street kids.

There's also the "Lower Haight" which is pretty much Scott to Webster (five blocks), but except right there at Haight and Fillmore, I'd say is not a "bustling" shopping street.

So, if you're looking at the map, I guess you can see that Divisadero is really between two neighborhoods, and part of neither?  There's also the notion that Divis is a major transportation through-street, being 4 lanes wide.

OK, so down at the bottom end of the commercial bits Divis, the first block is kind of strangely zoned/used -- the eastern side of the street is all shops (Head Shop, cafe, pizza, boutique clothing, flower shop, sandwich shop, copy shop, yoga studio, mexican restaurant, bar), but the western side really only has a single store front, which once upon a time was a magic/occult store (we still get people asking "where'd they go?!?!" a decade later!), and right now is empty. There's a church on the western side of the first block, and a space that's zoned commercial, but has never been used, and down on the Page side corner the little convenience store, but if you're walking on that side of the street, your brain isn't saying "stores!"

On MY block, from Page to Oak most of the "stores" are on the West side, with the East side being a lot less so (they run: Hair Salon, Thai restaurant, dry cleaner, orthopedic supply, pet food, gym, paint store) -- on my side, it's produce store, ME, upscale pizza, hotel, yoga, facial place, consignment store, game store, used cooking supply shop, boutique clothing, dry cleaner, cafe. Frankly, I think that Gamescape and I anchor the block, but I would think that, wouldn't I?

The next block along (Oak to Fell) is utter retail wasteland. Right now, it's three gas stations and now a Chase bank. Oak and Fell are the major east-west traffic paths to/from downtown and 101 -- each are one way streets with four lanes each (one goes east, the other west), hence the THREE gas stations! These are relatively safe, traffic-light intersections, but they carry a ton of east-west traffic, and, from my POV put a pretty big barrier for making Divis a truly good retail walking street.

On the other side of Fell, retail thickens back up again, but, up until a few years ago, this wasn't exactly a stretch of street that was too exciting -- for a good long time the Popeye Chicken's (the only other chain on the entire Divis strip) was the most commercial element of that section. That side of the neighborhood was heavily urban black, with a ton of government housing.

But, of course, with housing being scarce in San Francisco (we've never built the kind of dense rental housing towers that you'll see in a New York or a Chicago), and Silicon Valley minting millionaire after millionaire, of course here comes the gentrification.

It's been moving in that direction a good long time, of course, but I think it really solidified when NOPA opened in 2006 -- a really delicious, pretty upscale restaurant.  "NoPa" means "North of the Panhandle", though, if you look at a map, they really are much more "East" (2 east, 1 north), but "EoPa" doesn't sound very good.

(The "panhandle" is that eight block bit that juts off from Golden Gate Park, that's totally obvious when you look at a map)

NOPA, the restaurant, was successful enough that real estate agents, those paragons of fair naming, renamed the entire neighborhood "NoPa", which is how people refer to it today, though old timers like I just kind of giggle at the idea. BUT, the neighborhood really is kind of actively not urban and black like it was when I opened in '89. In fact, "Old Man Joe" (I never knew his last name), who used to hang out on the corner of Page street with his buddies, drinking beer and just generally watching over the neighborhood, died last week. I was pretty genuinely bummed when I heard. He was an awesome old guy.

So, the "NoPa-ization" (which, like I noted, really WAS in motion before NOPA moved in, but it's a convenient marker) of this neighborhood has also gotten a number of the landlords to think greedy thoughts. For example, we used to have a great vinyl record store across the street -- Open Mind Music -- who got booted when the landlord raised the rent way way up. Now Black Nose (A pet food place) is in the space, and while I hope they are doing enough business, we don't get the kind of crossover walking traffic from them that we used to from the Comics/Game store/Record store trifecta, that's for sure. Plus, we used to also have a medical marijuana place (it's now the gym) that I don't think hurt business at all.

Maybe the most visible examples of "landlord greed" was the NW corner of Oak and Divis which is now where a Chase is. The space they're in used to be three separate retail store fronts -- a Cheese Shop which had been there for, like, ever, and a coffee/truffle joint that never actually really looked like a viable business to me, but they were paying the rent I guess. There was also a corner space that used to be the dry cleaners that moved onto our block, after they had their rent raised to the ceiling.

The corner space then sat open for at least two years... maybe it was 3 or 4? God, it was an ugly blight on the neighborhood, but the landlord wanted more rent than anyone other than a chain was willing to pay.

For a couple of weeks it looked as though a "Batteries plus" would go in -- a store that sells nothing but batteries... and my god doesn't that sound a lot like the  Saturday Night Live sketch about the mall store that sells nothing but scotch tape? But I guess a few people in the neighborhood complained (SF *is* NIMBY-ville), and the franchise-ee got cold feet and pulled out, leaving the blight for another year, and then finally Chase bank wanted the space.

Except, in order for Chase to make it a bank, out had to go the cheese shop and the truffle place. Too bad, so sad!

(Plus, understand, we have a Bank of America a block away, and a Wells Fargo ATM station right there as well, so it isn't like there's a paucity of banking options...)

See, the thing for me is that I'm not exactly sure what the thinking might be to enter into (what I imagine must be) a long-term lease for a physical banking space when it would certainly appear that more and more people are shifting to online banking... and when you have TWO other Chase branches within a half mile -- one is nine blocks away, the other is 10 -- well, it makes way way even less sense to me.

When Chase went in, there was a brief "Occupy" set of protests there, but it never really amounted to anything -- just a day or two of 2-3 cats standing on the street with signs.

Here's the thing, though, I think that the neighborhood kind of HAS responded, because whenever I walk by the branch, I never ever ever see any customers in there. Ever. All I see is 3-4 tellers milling about, talking to one another. Meanwhile, I go to the BofA around the corner at almost anytime, and there are people waiting in line there.

I've seen people in Chase's ATM foyer thingy, but not once in the bank itself. I'm fairly certain that someone MUST be going in eventually, but never in any hour that I've personally witnessed -- I walk past 3-4 times a week, maybe? Now, I don't know how commercial banks rate the viability of what they do, but, from my point of view as a retailer, they've got to be losing thousands of dollars a month in that location as it looks like very few people are using it.

So, this is what kills me: not only did Chase help to hurt the neighborhood by evicting (even if THEY didn't Do the Deed) two local businesses, and the potential for a third (if the landlord wasn't unreasonable), but they did it on a block that NEEDED retail in order to connect OUR block to the rest of "NoPa" -- now we've got this block long no man's land there where at least we had a trickle of people shopping at cheese and truffles.

Seriously, though, walk-by is the lifeblood of any retail business, and we need to be encouraging retail that brings more walk-by for everyone. I'm dreading what's going to go in at the old magic store, kinda... because I'm suspecting that Swankety Swank disappeared they way they did because the Rent Was too Damn High.

I don't mind if the neighborhood is, y'know, safe to walk at night (well, relatively... there's been a rash of grab-and-dash celphone robberies going on in the hood), but I fear that gentrification will eventually boot me out, as well. I have what I think is a very good relationship with my landlord, but with commercial space, at any moment I could have my rent tripled or just be flat out booted out, and there would be very little I could do about it. We're successful, yes, but mostly because the rent is affordable -- if I have to pay "NoPa" rents, I'm going to be in trouble, because there simply isn't enough daytime walk-by to justify THAT kind of expense.

And, y'know, I deeply miss the Church of Saint John Coltrane that used to be on our block, and were the first victims, I think, of being rent-increased out off the block. (They used to be at 351 Divisadero)

At the end of the day, I think neighborhoods depend on neighborhood businesses to give them character -- I despair when I go out of SF and hit one mini-mall after another, going from chain formula retailer to chain formula retailer. How gross! Do you guys even know what it is you've lost in most of this country? And, in San Francisco specifically, I worry deeply about the loss of the working class -- home prices in my neighborhood have gone up like 200% in the last 12 years, which is nice for my equity, I suppose, but not good for people trying to live here without tech stock options.

I worry about these things.

Anyway, thanks for reading this far!

 

-B

CEO #199 available

Comix Experience ONOMATOPOEIA #199 -- In full color, until August 12, 2012, follow the bouncing links: For CEO:

https://www.yousendit.com/download/ TEhVUGhlUzcwZ2swTWRVag

 

For the associated Sub Form: https://www.yousendit.com/download/TEhVUGhlUzdQb0pvZE1UQw

Next month? Issue #200, and (in theory) new feature articles by Graeme and Jeff!

 

-B

Get those kids off my lawn!: A tribute to one of my favorite old guys

Word escaped today that Bob Wayne is celebrating 25 years at DC Comics today.  Yowsa. Allow me to entirely take over the front page today in praise of the old bastard.

So, let me first say this: the Direct Market has never ever had a better friend, ever, than Bob Wayne. More than any other person I can think of, Bob understands the strength and the power of fans selling directly to other fans.  He also, and I think this is at least as important, most of the dangers and pitfalls of the same, and he's done a stellar job of navigating those two shores

A lot of lot of words have been expended about Paul Levitz's DC comics (I think we can all see VERY clearly how much and how fast DC's corporate culture has changed since he was forced out), but I think that Bob is at least as important to the company.

Bob, you see, is very much like the DC characters he sells -- well, at least their pre-New52 versions -- he has a pretty unshakable moral sense of doing the right thing, and of protecting all people under his charge equally. That's a rare thing. Especially in marketing.

Bob's got a great staff, too, don't get me wrong -- I know he's not the only smart, caring guy up there, but I'm going to be a sad panda when Bob eventually retires (which is probably going to be pretty soon, I figure -- his 58th birthday was this year), because Bob knows how to fight the fights, and where the bodies are all buried.

Y'know, I was arguing with another retailer a week or two ago and he said something like "You are listened to too much by the industry", and I immediately flashed to Bob and laughed -- I think I have maybe a 1-in-3 Win record with Bob, and I have the decades of bruises to show for it. But that's fine: Bob's smarter and always better informed than me, and the fact that I was able to win a third of our battles makes me feel like a better fighter over all.

What I love about Bob is how he'll remember every mistake you've ever made, but he won't actually hold it over you. Most people play every card they have, but Bob likes to keep his. The acerbic bastard.

And while he'll tell you exactly what he thinks (often more bluntly than people want to hear) -- he won't tell you anything you're not allowed to know. Comics is sometimes very loose lips-y, but Bob, never Bob.

Someday, I remain hopeful, Bob will write a book of his experiences at DC, and in the geek business, because I tell you now, I'm going to be the first person in line to read that baby, yes.

But until then, there's been 25 important years that Bob has protected and nurtured and grown our business, and, because I intend to still be here (I'm a smidge younger than Bob) I kind of hope he'll have 25 more.

I'm not cruel enough to wish it, but I still hope it nonetheless.

Happy Anniversary, Bob!

 

-B

If you're at San Diego...

...and you see something cool that's been released at the show, I'd like to encourage you to take a moment and think of your local comic book store who stocks what you want to buy the other fifty-one weeks of the year. Remember that said comic book store buys their comics non-returnable, and may in fact be stocking (fill in the item) with YOU in mind. If you're lucky enough to have a store that supports and stocks things like LOVE & ROCKETS or the new PARKER book or Kate Beaton products, seriously consider rewarding your store for that support by NOT buying the book at the con and waiting for it until you get home.

(If your local store sucks, go nuts)

 

-B

Comix Experience Best Sellers Comics: The First Half of 2012

Same thing, just looking at comics!

This list is actually pretty awesome, I think, and marks a distinct shift from the last New-52-centric chart

(as usual, "Quarter Books" "Generic Back Issue" and "Dollar comics" are the *actual* #1-3 items, but I think that confuses people)

Look at that AMAZING performance by SAGA!

 

1 SAGA #1
2 SAGA #2
3 AVENGERS VS X-MEN #1 (OF 12)
4 PROPHET #21
5 SAGA #3
6 ACTION COMICS #5
7 AVENGERS VS X-MEN #2 (OF 12)
8 AVENGERS VS X-MEN #0 (OF 12)
JUSTICE LEAGUE #6
10 BATMAN #5
BATMAN #6
12 JUSTICE LEAGUE #5
13 AVENGERS VS X-MEN #3 (OF 12)
14 BATMAN #7
FATALE #1
PROPHET #22
17 ACTION COMICS #6
BATMAN #8
19 AVENGERS VS X-MEN #5 (OF 12)
20 ACTION COMICS #7
21 ACTION COMICS #9
AVENGERS VS X-MEN #4 (OF 12)
23 ACTION COMICS #8
WALKING DEAD #94
WALKING DEAD #95
WALKING DEAD #97
27 JUSTICE LEAGUE #7
28 BATMAN #9
SAGA #4
30 FATALE #2
31 BATWOMAN #5
WALKING DEAD #93
34 BATMAN INCORPORATED #1
JUSTICE LEAGUE #8
WALKING DEAD #96
36 ANIMAL MAN #5
37 BATMAN ANNUAL #1
DIAL H #1
39 ANIMAL MAN #6
EARTH 2 #1
JUSTICE LEAGUE #9
PROPHET #23
WONDER WOMAN #5
44 BATWOMAN #6
45 FATALE #3
46 ACTION COMICS #10
FATALE #4
48 BATWOMAN #7
DETECTIVE COMICS #5
DETECTIVE COMICS #6
MANHATTAN PROJECTS #1
WALKING DEAD #98
53 AVX VS #1 (OF 6)
BATMAN #1
BATMAN #10
WONDER WOMAN #6
57 FAIREST #1
GREEN LANTERN #5
PROPHET #24
60 ADVENTURE TIME #1
ANIMAL MAN #7
AVENGERS VS X-MEN #6 (OF 12)
WONDER WOMAN #7
64 BATMAN THE DARK KNIGHT #5
WALKING DEAD #99
66 ADVENTURE TIME #2
ANIMAL MAN #8
AQUAMAN #5
BTVS SEASON 9 FREEFALL #5
BTVS SEASON 9 FREEFALL #7
PROPHET #25
WONDER WOMAN #9
73 DETECTIVE COMICS #7
EARTH 2 #2
75 BATMAN #4
BATWOMAN #8
SWAMP THING #5
WONDER WOMAN #8
79 BEFORE WATCHMEN MINUTEMEN #1 (OF 6)
FABLES #113
FABLES #114
FATALE #5
SECRET #1
84 BATGIRL #5
BATMAN AND ROBIN #5
BATWOMAN #9
BTVS SEASON 9 FREEFALL #6
GARTH ENNIS JENNIFER BLOOD #8
MANHATTAN PROJECTS #2
SWAMP THING #7
THIEF OF THIEVES #1
93 ANIMAL MAN #10
ANIMAL MAN ANNUAL #1
BTVS SEASON 9 FREEFALL #8
DAREDEVIL #11 OMEGA
DIAL H #2
GLORY #23 CAMPBELL CVR
LOBSTER JOHNSON THE BURNING HAND #1 (OF 5)
MANHATTAN PROJECTS #3
SUPERCROOKS #1
SWAMP THING #6
WOLVERINE AND X-MEN #4 XREGG

 

 

 

 

 

 

Comix Experience Best Sellers Books: The First Half of 2012

From Jan 1 to Jun 30, here's what's selling at Comix Experience.

Book #1 has only been out for five days!

 

1 LOEG III CENTURY #3 2009
2 WALKING DEAD TP VOL 15 WE FIND OURSELVES
3 MY FRIEND DAHMER SC
4 UNTERZAKHN GN
5 HARK A VAGRANT HC
WALKING DEAD TP VOL 01 DAYS GONE BYE
7 FLEX MENTALLO MAN OF MUSCLE MYSTERY DLX HC
OGLAF BOOK ONE
WALKING DEAD TP VOL 16 A LARGER WORLD
10 KING CITY TP
11 ARE YOU MY MOTHER A COMIC DRAMA HC
12 CHEW TP VOL 05 MAJOR LEAGUE CHEW
HABIBI GN
WALKING DEAD TP VOL 03 SAFETY BEHIND BARS (MR)
15 ALAN MOORE NEONOMICON TP
BATMAN YEAR ONE DELUXE SC
HELLBOY TP VOL 12 THE STORM AND THE FURY
18 NINJAGO GN VOL 01 CHALLENGE OF SAMUKAI
WALKING DEAD COMPENDIUM TP VOL 01
20 BPRD HELL ON EARTH TP VOL 02 GODS AND MONSTERS
POLLY & PIRATES TP VOL 02
WALKING DEAD TP VOL 02 MILES BEHIND US
23 DMZ TP VOL 11 FREE STATES RISING
FABLES TP VOL 16 SUPER TEAM
GONZO A GRAPHIC BIOGRAPHY OF HUNTER S THOMPSON
HARVEY PEKAR CLEVELAND HC
TRANSMETROPOLITAN TP VOL 01 BACK ON THE STREET
WALKING DEAD TP VOL 04 HEARTS DESIRE
WALKING DEAD TP VOL 11 FEAR THE HUNTERS
WATCHMEN TP
31 BONE COLOR ED SC VOL 01 OUT FROM BONEVILLE
DARTH VADER AND SON HC
LOEG III CENTURY #2 1969
NINJAGO GN VOL 02 MASK OF THE SENSEI
SANDMAN TP VOL 01 PRELUDES & NOCTURNES NEW ED
WALKING DEAD TP VOL 14 NO WAY OUT
37 AVATAR LAST AIRBENDER TP VOL 02 PROMISE PART 2
BOYS TP VOL 10 BUTCHER BAKER CANDLESTICKMAKER
CHEW TP VOL 01
CHEW TP VOL 04 FLAMBE
JERUSALEM CHRONICLES FROM THE HOLY CITY HC
SANDMAN TP VOL 04 SEASON OF MISTS NEW ED
SUPERMAN RED SON TP (NOV058130)
TRANSMETROPOLITAN TP VOL 02 LUST FOR LIFE NEW ED (MR)
UNWRITTEN TP VOL 05 ON TO GENESIS
WALKING DEAD TP VOL 12 LIFE AMONG THEM
WALKING DEAD TP VOL 13 TOO FAR GONE
WITCHFINDER TP VOL 02 LOST AND GONE FOREVER
49 100 BULLETS TP VOL 03 HANG UP ON THE HANG LOW (MAR058150)
AVATAR LAST AIRBENDER TP VOL 01 PROMISE PART 1
DAREDEVIL BY MARK WAID PREM HC VOL 01
DARK TOWER GUNSLINGER BATTLE OF TULL PREM HC
DC COMICS PRESENTS ELSEWORLDS 80 PAGE GIANT #1
FROM HELL TP
HELLBOY TP VOL 01 SEED OF DESTRUCTION
NINJAGO GN VOL 03 RISE O/T SERPENTINE
PREACHER TP VOL 01 GONE TO TEXAS NEW EDITION (MAR050489) (MR
SANDMAN TP VOL 05 A GAME OF YOU NEW ED
SWEET TOOTH TP VOL 01 OUT OF THE WOODS
THE FART PARTY TP
WALKING DEAD TP VOL 05 BEST DEFENSE
WALKING DEAD TP VOL 10 WHAT WE BECOME
WALT DISNEY DONALD DUCK HC VOL 01 LOST I/T ANDES
64 ABE SAPIEN TP VOL 02 DEVIL DOES NOT JEST
BATMAN DARK KNIGHT RETURNS TP
CHI SWEET HOME GN VOL 01
CRIMINAL TP VOL 01 COWARD (MR)
DMZ TP VOL 01 ON THE GROUND (MAR060383) (MR)
DMZ TP VOL 12 THE FIVE NATIONS OF NEW YORK
EXPLORER THE MYSTERY BOXES SC
KICK-ASS TP
LOCKE & KEY TP VOL 01 WELCOME TO LOVECRAFT
MONSTERS GN
NORTHLANDERS TP VOL 06 THORS DAUGHTER
SANDMAN TP VOL 06 FABLES AND REFLECTIONS NEW ED
SERENITY THOSE LEFT BEHIND TP NEW PTG
SWEET TOOTH TP VOL 04 ENDANGERED SPECIES
UNCANNY X-FORCE TP VOL 02 DEATHLOK NATION
V FOR VENDETTA NEW EDITION TP (MR)
WALKING DEAD TP VOL 09 HERE WE REMAIN
81 A TALE OF SAND HC
ALL OVER COFFEE v2: EVERYTHING IS ITS OWN REWARD
ATHOS IN AMERICA HC
AVATAR LAST AIRBENDER LOST ADVENTURES TP VOL 01
BATMAN HUSH COMPLETE TP
BATMAN INCORPORATED DELUXE HC VOL 01
BATMAN THE KILLING JOKE SPECIAL ED HC
BATMAN THROUGH THE LOOKING GLASS HC
BEST AMERICAN COMICS HC 2011
BOOK OF GENESIS ILLUS BY ROBERT CRUMB HC
BOYS TP VOL 09 BIG RIDE
BTVS SEASON 8 TP VOL 01 LONG WAY HOME NEW PTG
BTVS SEASON 8 TP VOL 08 LAST GLEAMING
CHEW TP VOL 02 INTERNATIONAL FLAVOR
CRIMINAL TP VOL 02 LAWLESS (OCT072158) (MR)
CRIMINAL TP VOL 06 LAST OF INNOCENT
DANIEL CLOWES DEATH-RAY HC
FABLES TP VOL 15 ROSE RED
FREAKANGELS TP VOL 01
FUN HOME TP
HELLBLAZER PHANTOM PAINS TP
KINGDOM COME TP NEW EDITION
KISS & TELL GN A ROMANTIC RESUME AGES 0 TO 22
KRAMERS ERGOT HC VOL 08
LIFE & DEATH OF FRITZ THE CAT HC
LOEG III CENTURY #1 1910
LOEG VOL TWO TP (FEB058407)
MARVEL 1602 TP NEW PTG
MAUS SURVIVORS TALE COMPLETE HC
PHONOGRAM TP VOL 02 SINGLES CLUB
SANDMAN TP VOL 03 DREAM COUNTRY NEW ED
SPY VS SPY TP MASTERS OF MAYHEM
SUPERIOR PREM HC
UNCANNY X-FORCE TP VOL 01 APOCALYPSE SOLUTION
UNWRITTEN TP VOL 01 TOMMY TAYLOR AND BOGUS IDENTITY
UNWRITTEN TP VOL 04 LEVIATHAN
WALKING DEAD TP VOL 06 SORROWFUL LIFE
WARREN ELLIS CROOKED LITTLE VEIN MMPB

New Tilting is up!

You can read the latest right here, as I talk about FCBD, changes at DC Entertainment, Diamond's breaking street date, and some bits on digital. I'm a little behind on writing reviews (as I pretty much haven't read any comics yet this week [it's been hectic], but I expect I'll get something up BEFORE the next batch arrives, just watch me!

-B

Digital: Week 1

There's NO WAY I am going to do this each and every week, but I thought it might be instructive to look at first week digital sales here. So far, we've sold six comics.

One was to a fellow retailer, who, when contacted, said "just wanted to see what the user experience would be like, thought that was worth $4!", so I'm kind of not going to count that one.

Of the remaining five, and I find this FASCINATING, only 2 of the 5 were a book from a review (in this case, Popeye #1... which, additionally, IDW seems sold out on; or at least, there were no copies to reorder this week)

Two other sales were for Danger Club #1 (which sold terribly for me in print -- I'll be cutting my order for the next one by 2/3rds, I think), and there was also one for Manhattan Projects #1 (which sold well, and continues to sell well with a second printing, for me in print)

The five sales were to four unique customers. Going by the mailing address on their PayPal accounts, two of them are in Ohio, one is in Texas, one is in Washington (the state). That's as close as I'm willing to identify individuals to you. Three of the four live in cities that HAVE a comic book store. OBVIOUSLY, the mailing address on a PayPal account isn't necessarily factual, or takes things into account like "I travel 10 months of the year" or whatever.

But, I have to point out that I sold 6 print comics within four minutes of opening the store this morning (and Tuesdays are, generally, our worst days), and I earned a much better margin on those sales, and don't have to split them with a bunch of fellow reviewers, so this is not, as of this second, going to fund my retirement!

 

-B

Over/Under: The "Death of the DM"

Every day, in thread after thread after thread I see people declaring the DM is "dying", that "print is done" and so on and so forth. Now I, for one, don't think PRINT will every fully cease, ever, but I'm willing to entertain the possibility that the "Direct Market" might one day be done.

So, let's have your prediction of the date that... hm, how to define it? The week that Diamond ships it's last weekly comics shipment that includes periodical "floppy" (*shudder*) comic books from at least five distinct publishers, maybe?

You're so sure of yourselves, here, try to pin a date on it: "winner" gets bragging rights.

If your date comes and goes, however, you have to promise to shut up on the topic forever afterwards, OK (because I remember people saying in 1985 that there was no chance comics had more than 10 years left in them...)

So: your prediction?

 

-B

About Waid's "Print Math"

Mark Waid has a very thorough post over here on “Print Math” that I think everyone should read. I started to write this as a response in the comments thread, but then realized it would be quite a bit longer than a comments thread response should probably be, and, anyway, would almost certainly be down at response #80 or something by the time I finished writing it, so I thought it better to dance the dance over here, below the cut.

Let me say a few things up front so that there’s absolutely no confusion of any kind (though I imagine someone, somewhere will misinterpret this for the usual “Retails against digital! OOOg!”) – I absolutely and in every way think that creators should explore each and every way to bring their material to market. While I am certainly pro-DM, there is no doubt that the coverage of DM stores is nowhere near as strong as it could or should be, and that digital is certainly one of many tools that is available, and should absolutely be pursued.

Mark should be commended for getting out in front of this debate, and for trying to provide a real and solid basis of his perceptions of the market and the possibilities for the future. I strongly want to urge Mark to continue the blog posts on the subject, because more clarity can not help but be good for everyone.

(I’d also like to use this chance to apologize to Mark for being a techno weenie and running Firefox with just about everything turned off that can be turned off – I never ever see ads on the internet, for example – which includes virtually all scripts, and which I keep forgetting to turn back on when I comment at Mark’s site, which means my comments keep getting put into moderation, and he’s got to manually pull them out, which I am sure is a pain in his ass)

Mark, as I said, makes some wise points cogently, but I’m sorry to say that I think that several of the base assumptions that he makes about the market (both in function and size) are fairly drastically off.

The first place to begin, I think, is in access to the market – to any market.

I’ve been struggling with this thought for days, but I think I’ve come to the final realization that gatekeepers on a market are not inherently a bad thing. We all know Sturgeon’s Law (well, really Sturgeon’s Revelation, but that’s neither here nor there): “90% of everything is crud”, but I think that my personal Revelation is that in the absence of Gatekeeper’s trying to weed out the silk from the dross, that number really more properly becomes 99.999%. Have you read any of the horrific and mangled prose that people have out in the iBooks store? I’ve read a few, and, golly, much of what I’ve read is nowhere near professional quality.

More to my own point, as a guy who owns a comic book store I get a whole lot of samples and pitches from wannabe creators. Many of whom who have done print of demand (POD) comics and are usually trying to flog them outside of the traditional distribution system – either because they’ve been rejected, or would be rejected, by Diamond for distribution. I see a LOT of comics, and virtually all of them are NOT ready for primetime. Most of them are juvenile, poorly done, and just look or feel amateur.

There’s another hard truth about creative works that usually goes unspoken, and that’s that the creator is, generally, their own least reliable critic. In the comment thread linked above there’s an established creator who is lamenting what was poor sales on a particular release, and it took every single ounce of willpower I possessed to not post that the reason was actually because the work was a steaming pile of shit. That I took a chance on his comic, sold less than 10% of what I ordered because it was ludicrous, ugly, poorly plotted and motivated, and so on.

Comic book retailers really really like selling comics. It’s sort of what we do. For a living and everything. We all want to sell more comics. We all take chances on many things and try to find out what the floor and the ceiling for any individual work might be, if we think it is even REMOTELY commercial. And, if you have a comic that is sitting at issue #20 or something, and you’re only selling 5k copies, I have to tell you: that’s on you, not on the market for failing to recognize the flower of your genius.

Oh, sure, there are a few exceptions here and there, but that’s what they are: exceptions.

There was a point when Diamond, the big bad monopoly that they are, pretty much let almost any piece of crap come to market (I think mostly because they were concerned about being labeled as the monopoly), and what happened? The catalog swelled, sales collapsed, and suddenly they’re distributing hundreds of utterly unprofitable comics that simply didn’t have any commercial potential of any kind.

Even today I have to say I can easily think of at least 5 publishers who truly don’t deserve the privilege of access to the market, because in multiple years of publishing, they’ve never come close to publishing something of lasting value.

I’m not saying this to be a dick; I’m saying it because it happens to be true. (If it was to be a dick, I’d be NAMING them)

*I* think one of the biggest flaws with the current system is that Diamond done signed themselves a contract which basically says the premier publishers can do whatever the fuck they want with little to no consequences – What we really need is a distribution system that says: “new 52? Um, sure, if you feel like you must, but we’ve only got 16 catalog pages for you DC, and, frankly, we’re going to list Mr Terrific in a single line of 8 point text” – the worst thing that ever happened was Marvel and DC, et al being able to design their own catalog pages, with no real restrictions of any kind.

(Also? Diamond's only sorta a monopoly -- because DIAMOND has NO DIRECT CONTROL over roughly 85% of the volume of product it distributes. DC Comics can insist that every issue of JUSTICE LEAGUE comes packed with a literal sack of shit, and Diamond has very little option than to pack that shit. Diamond is AT LEAST as yoked by the terms of the deal as any given small publisher, believe it or not. Probably more, because they're not, AFAICT, paid enough now to offset the tightness of that particular leash.)

Anyway, I’m dropping down a rabbit hole with this, can we go back to my long held notion that you are now competing against Watchmen and Dark Knight and Kingdom Come and (insert awesome, and awesome selling work here) – being “OK” is no longer good enough (if it ever was) to get you catalog and rack space if you’re not a publisher who can FORCE your work to be carried. You really do need to be exceptional. Most of the available consumer purchasing dollars are being soaked up by the Big Two, largely through overproduction.

At the end of the day, I think barriers to gain access to a market are (if they are reasonable barriers) not at all a bad thing – and, let’s be realistic, the barriers to NATIONAL DISTRIBUTION to a NETWORK OF SPECIALIZED STORES are, realistically, EXTREMELY low in comics. It’s certainly easier to gain nationwide distribution into retail for an unknown and untested comic book, than it is for a new print book, or a music recording, or a film. Like, 1000 times easier!

Let’s talk about books, because at least the book world is a little more transparent about how things work (I’ve spent hours googling music and film, and can barely understand most of what I’ve found… which is little) – I thought this post about the realities of the book business was sobering, especially when you consider that books are RETURNABLE and comics (generally) are not… what that means is that no comics publisher ever, anywhere ever has to ship an UNPROFITABLE comic book, whereas publishing a book is an extraordinary risk, one that you don’t even know if you’ve won or lost until many months later!

Anyway, you think Waid's math is sobering? Try this:

“Here’s the reality of the book industry: in 2004, 950,000 titles out of the 1.2 million tracked by Nielsen Bookscan sold fewer than 99 copies.  Another 200,000 sold fewer than 1,000 copies.  Only 25,000 sold more than 5,000 copies.  The average book in America sells about 500 copies” (Publishers Weekly, July 17, 2006).  And average sales have since fallen much more.  According to BookScan, which tracks most bookstore, online, and other retail sales of books, only 299 million books were sold in 2008 in the U.S. in all adult nonfiction categories combined.  The average U.S. book is now selling less than 250 copies per year and less than 3,000 copies over its lifetime.

Now, this is utterly putting aside that BookScan is NOT 100% of book sales, of course, and also, as was pointed out by Justin Jordan in Waid's thread, the other difference between books and comics is that a best-selling book can sell multiple millions in a few short months, while the top comic will likely top out at a tenth of that, so the theoretical payoff for successful prose is much much higher, but, even with all of that.

I can't find anything similar for film or music, and, really, the best I can muster is an implication from this chart. I think (if I understand things correctly), that the "unrated" films are  movies that are not distributed with MPAA ratings, and thus, are, generally, not being distributed by one of the large dominant studios that would be roughly equivalent with Marvel, DC, all the way down to a Boom!-sized houses -- a small number of firms which control the absolute majority of distribution. So, those 2279 released films? (roughly a quarter of the total) *They* only made an average of $773k per film. So, how many of those movies earned their costs back? Few, if any?

But the point that I want to make, again, is that no comics publisher ever need ship an unprofitable comic -- these are firm sales, and, in fact, it at least has been entirely possible in the past to go to a printer with a Diamond PO, and an assignment of payment, and to not actual front ANY upfront cash in order to print and distribute your comic!

So, yeah, even with all of Diamond's faults (and they are really myriad), I barely find them hard gatekeepers for the market. In fact, if I were to level a real criticism at Diamond's Purchasing department is that they need to hire a bunch of 20 year olds with broader taste and then back up that initial inventory acceptance with aggressive purchase orders and to-retailer marketing. Diamond's never really had a proper equivalence to what Capital City would do with "Certified Cool", where CCD actually stood behind the product.

That's the first bit.

The second bit is Waid's printing costs analysis. His math is based on color printing, which has never been essential to self-published or truly small press books. Certainly, it has no long-term impact on the "real world" success or failure of a work, as we can clearly see with the Success of Manga, and MAUS, and WALKING DEAD, and FUN HOME and PERSEPOLIS (etc etc etc) out among the Mass audience.

Waid kind of just waves away black & white printing with a "You’d be surprised how little that lowers the cost." and without backing that up, but I've been told that in the past that lowers printing costs anywhere up to 40% -- I have no idea if that's still true, however -- and, of course, that's one less potential creator to pay (or, "job to do", depending on the creative set-up)

The third, and final bit is Waid's comments about the DM retail community.

So, let's put aside the hyperbole (because it looks like there is a place to buy comics in Tupelo, Mississippi, and there's at least three stores within something like a half-hour drive of Pratville, Alabama, in Montgomery) -- sure, there's no doubt it is more difficult to find adequate access to comics the further you get from dense population bases. It's also harder to find stores that stock ANY number of other things that don't appeal to a mass audience. That's kind of how supply and demand works.

What I don't know is whether or not there are actually huge audiences out there just waiting, under-served. I actually wonder if anyone has ever done an analysis of sales of Jazz or Poetry or Indie Films or whatever other clever-but-niche media, pre- and post-internet/Amazon/Digital to see if there's any significant lifting of sales in non-mass things when there suddenly no geographic barrier whatsoever in purchasing them. I suspect strongly the answer would have to be "No", because it's often the availability of object in a community in the first place that creates the demand for more of it. If you're not exposed to Jazz (or comics!), why would you ever begin to think you should seek out more? I actually find the internet to be self-reinforcing in terms of interests -- while free things can pass virally, I can't think of an example of a PAID object that has done so to a wider customer base that wasn't ALREADY INCLINED to already want it (so, no, the Louis CK example fails -- in fact, it's probably a smaller audience than he would have had on HBO or Comedy Central or whatever).

Either way, this has always been the truth in brick and mortar comic shops -- 75% of the eventual customer base of a new store ultimately is formed of new-to-comics customers.

To put this another way: while I do think that SOME "entirely new to comics" customers will inevitably be created in the digital space, you're going to need to work really hard to convince me that this will be a truly significant number, worthy of minimizing print for.

Because, one of my largest concerns, as a print retailer can be maybe summed up by this article. The author discusses living in NYC (an area with many many excellent stores), and switching to digital, and how he'll "always go back [to Midtown comics], at least for a look." and I thought, "Well, no, if enough people do that, then Midtown comics won't be there for ANYONE, will it?", which is why retailers kind of cringe when creators stride forward with at least implied statements about why they think digital is better.

Mark "complains" that the number of stores stocking any given work is low, and aye, almost always that is true. Yet, the REASON it is true is not because the retailer is cruel, but because the CONSUMER AUDIENCE IS NOT THERE.

Let's take INCORRUPTIBLE, for our example, because Mark used it as well. The most recent issue, #27, which came out six weeks ago, has only sold two copies at Comix Experience, so far, one of those to a preorder. There's one more sub copy sitting in the store, unbought so far, but it is safe to say I will ultimately sell it, bringing the total to three copies. Keep in mind that I brought in five, which means I'm almost certainly going to lose money on #27 (though that's my own fault because I misread the stronger sales on #25 as being permanent)

I've never once sold 100% out of an issue of INCORRUPTIBLE in less than 45 days, and the most I've ever sold of a single issue was 10 copies of #1 (on 12 ordered).  It's just been a very slow leak over the last 2+ years until I'm down to 3 copies sold.

And I'm a reasonable sized store (#2, I think, in volume) in a major metropolitan market, and I can't shift four copies with a subscriber base of 125, and a stores that handles at least 1000 transactions a month, and yet there's an expectation that it's somehow wrong that a store in Tupelo, MS doesn't carry the book in the first place? That hardly sounds rational. It sounds more to me like the natural market response to a product that is aimed at a niche segment (people who want non-Marvel/DC versions of...) of a niche genre (...superheroes...) of a niche medium (...comics) and, as such, you should actually be THRILLED that as many as 500 stores carry it.

I've written elsewhere that you might want to think about comics in relationship to poetry. I have to imagine that poets and poetry fans would be ECSTATIC if there was a nationwide network (even with less outlets in Alabama than on a coast) of poetry stores that specialized in poetry and were passionate advocates for it. I'm further fairly certain that despite the many options for delivering poetry digitally, the overall economic market for poetry isn't going to explode because "everyone" (ha) has an internet connection, and thus, can access poetry. I'm even willing to predict that the ease of digital posting of poetry is going to lead to much more doggerel, more than anything of lasting value that is providing a living wage for more than a tiny handful of poetry creators.

Now substitute "Comics" for "poetry" above, and you'll see why I think we've actually got a fairly reasonable (but by NO MEANS "perfect"!) system of distribution in this country?

As far as I know, there are numerous studies that show that having the goods on display in a showroom ends up selling more goods -- here's just one example of that.

Mark's Print Math shows that for $5k and the cost of a pen and paper, you've got a fairly reasonable shot at NATIONAL distribution to a network of dedicated stores that actually give a damn about the product they sell. How many media can legitimately say that? And we're casting these things as negatives?

Can it be better? Damn right it can be better! But that doesn't make the system without a strong set of clear positives.

In the end, my fear, like I said, is in that Kotaku column I linked to above -- that JUST enough people will move laterally to digital that print WILL collapse, and then it won't be economically feasible for the print OR digital versions of most of the goods we all love to be produced. Especially if you've convinced the world that (*snort*) 99 cents is the price point to be.

I could probably go on, but we're at , jeez, I'm told 3.2k words already, and I wasn't even smart enough to package this as a Tilting, and get paid for it....

(Hey, it's the entire problem with digital, right there, isn't it?)

-B

An aside for Steve Wacker

While I was writing my last post, I had missed some of the talkback in David Brother's original post, including Very Special Guest Steve Wacker from Marvel. David's second post addresses most everything, but I want to drill down to one statement that Steve made which I think is germane here:

"We’ll keep making comics and the sales will tell us whether or not people like ‘em. That’s the foundation we’re built on."

That's a very fair point, and the one that I really want to get across as well -- for in January 2012, Marvel's single best-selling comic (UNCANNY #5) sold (according to ICv2) a mere 63,477 copies.

Of course it's more than that, as Diamond's reports under-report by some amount (at LEAST missing the sales in the UK), and probably there's a little bit of movement over in the digital world, etc. - but those are truly and fundamentally depressing numbers.

When the FIFTH issue of AQUAMAN (Aquaman, fer cryin' out loud!) out sells every single Marvel comic, then there's something rotten in the state of Denmark.

I desperately want and need a strong and competitive Marvel comics, but nearly every recent strategy they've employed has had the opposite impact that they were trying for.

I'm of the opinion that not one of Marvel's "Prime Franchises" should ever have an issue that's below, say, 50k -- and those should be the third spin-off titles, the main books should be WELL over 100k, because there are MORE THAN ENOUGH people in the market to support those sales. AMAZING SPIDEY is easily as good of a book as it has ever been... so why is it selling at what would have been almost Cancellation level when I started in this business?

I'm fairly certain the reason is tied to the twice-monthly shipping, and $4 cover price, steps that, again, were completely and totally self-decided.

I'm with Steve -- Sales totals are, really, all that matter; so look at those charts and see that the audience IS speaking, and they are saying "Stop, please."

 

-B

The Problem With Marvel's Current Strategy

David Brothers has a very excellent post about how the notion of the stable creative team has gone out the window at Marvel with their double shipping madness. I think there's some more pernicious impacts as well that David didn't address.

One primary consideration is that every book, every where, (nearly) every time, suffers from what we generally refer to as "standard attrition" -- that is to say that virtually every comic shows a slightly decreasing audience each and every month as readership walks away, or gets sidetracked. There are certainly ways to get bunches of new eyes looking at a book (crossovers used to do it... not so much any longer), and spike those numbers up again... but the general rule is a slow steady leak in all serialized entertainment.

What happens when you produce your comics twice a month is that the decreasing demand curve does nothing but accelerate because you're giving readers more opportunities each month to "jump off"; and, in fact, you're making it considerably easier TO jump off, because it is that much easier to get behind.

I can't say for certain about any other store, but at mine, while I sell the most DOLLARS to every-Wednesday readers (thems tending to be the most voracious of consumers to begin with), there are way way way more readers (at least 3:1, maybe as much as 5:1) who get to come in once-a-month maybe?If you're lucky 15-16 times a year, but many more can only can get in 4-5 times a year.

A corollary to this is that I rack the last 3 issues of any given series, and this is how I have operated for 23 years now. I'll break this pattern for things that are hot and are continuing to sell well (I'm still practically selling sets of BATMAN #1-6 almost every week, for example), but that does NOT describe most Marvel comics today. What THIS means is that if issues are put out every 2 weeks, instead of every month, then any given issue is only going to be able to be displayed for 6 weeks, rather than 12. This, too, lowers sales.

Finally, people are talking about not being happy with what they're being offered. Marvel hears this as "only wants to buy titles that 'count'", and, certainly, that's PART of it... but the reason people don't believe that books "count" is because there are so many of them -- what's going to happen when they double ship everything is that the audience will then decide that "X-MEN" "doesn't count", because they want to buy just UNCANNY and WOLVERINE &... People (most people that is... there are always exceptions!) simply aren't buying a franchise, at the absolute outside, at two books a week. Most franchises can only max at a single book a week, and several can't muster better than fortnightly.

If you overship of what people WANT to buy, then customers are going to pick and choose, and THEY are going to decide what "continuity" is right for THEM. You, the company, don't get to decide that (though I get that you think that you do). What's especially dangerous about this is that much of the mechanism that keeps Marvel going is the "Marvel Zombie" effect -- sort of a specialized "gotta have them all" syndrome. But Marvel has, over the years, in a completely self-inflicted fashion, driven their most hardcore customers to have to focus on franchises, rather than the Marvel Universe as a whole, and then down to characters -- we've gone from "Marvel Zombie" to "Avengers Zombie" to "Iron Man Zombie" (or whatever) almost out of necessity. To break these habits, to bring this buying inertia, is to harm the very loyalty to the brand that made it great.

Especially when you're now asking $4 for (in some cases) 19 pages of content -- well doesn't anyone up there see that's exactly the wrong time to be fragmenting brand loyalty?

Marvel's Market Trajectory is dire now, and here's my anecdote of how bad I think it is: umpty-years ago, when Marvel went exclusive with Heroes World Distribution, therefore setting off a set of dominoes which have almost everything to do with the market's current state, I decided the only real protest I could make was to not carry Marvel comics on my racks. I would carry every preorder that people wanted to place, but I was unwilling to spend my own money on something that was clear was absolutely against my best interests. There was a ...15, 16 month period, I guess?... where Marvel comics were officially "subs only" at Comix Experience (our sales actually increased during those quarters as well, which I found interesting -- I attributed it to more rack space being given over to other books; expose = sales.)

Anyways, today in February of 2012, I'm selling fewer copies of AVENGERS and UNCANNY X-MEN, including both subs and rack sales than I was selling of AVENGERS and UNCANNY during the Year-Without-Racked-Marvels. That's CRAZY. I had like 32 subs alone for UNCANNY back then -- now I can barely sell 20 copies TOTAL of UNCANNY. Because UNCANNY is $4, and because it ships more-than-monthly, I'm grossing more dollars now than I was then... but it's too a tiny audience, with little prospect for growth... because it is $4 and more than monthly.

The best-selling Marvel book was under 65k -- unless something drastic changes in management of the line, the regular ongoing monthlies are just going to keep dropping from there simply because Marvel asks far too much from readers.

 

-B

A post about me!

For the dozen of you that are interested, I'm 1 year without tobacco as of today. Also, if you're in the Bay Area, don't forget that this weekend is the Image Expo, and on Sunday I'll be on a panel with James Sime from Isotope and Steve Anderson from Third Eye comics in Maryland; come to the show and check it out! You can find the full list of programming here.

I should have reviews (what are those?) again tomorrow, and then, I hope, regularly again for a good while again, after we have some frickin' GIANT news in the next day or so...

-B