Writer Chris Kipiniak and artist J.K. Woodward have both been around the comics industry for years, with marquee franchises like X-Men, Spider-Man, and Star Trek under their belts. But BEHEMOTH — a digital comic series about monstrous mutant teens fighting for their lives — is their first creator-owned project, published by Monkeybrain Comics. Wondering how these two talented dudes came together — and how it’s been going — Letter Better sat them down for an interview to discuss all things BEHEMOTH.
When everyone’s favorite e-book company purchased everyone’s favorite e-comic book company, comics finally took the giant step forward we’ve been threatened with for years.
While comiXology and its competitors have tried their best to build a new revenue stream for the comics industry ever since digital comics first became viable four years ago, it’s been tough. Digital comics simply haven’t taken hold the way enthusiasts keep predicting, or at least with nothing close to the wild success we’ve seen in mainstream prose publishing where digital now accounts for roughly a third of all book sales. The reasons for this are many, including the fact that comics sales are still fueled by collectors like myself who enjoy owning physical things. But the biggest obstacles to overall category growth are still discoverability and consumer awareness. When I tell someone that I work in comics the most common reply is, “I didn’t know they still make those.” When people aren’t exposed to comics they don’t know they want comics, which means they won’t look for them or purchase them. Last week’s Amazon/comiXology team-up aims to turn this story around for good. Comics, a niche segment of an already niche publishing market, is on the verge of going mainstream again.
Most of the instant online reaction to the acquisition seems to come from two places: either “oh look, something tech was bought by something else tech, isn’t that techy?” or “oh geez, they’re going to take my comics away!” I’d like to instead explore what the purchase might mean from a book publishing perspective, and by “explore” I mean, “make wild unsubstantiated predictions.” So without further ado, behold my 100% guaranteed accurate predictions for the future of comiXology and the world:
“Know thy audience,” could be the first rule (and only one that matters) in any class on the business of publishing. It usually means, “Understand who will be reading your book,” meaning the person who likes to read your kind of book. If it’s a hard science-fiction book, think of all your hard sci-fi-reading friends, create an ideal amalgamation of them all (with or without beards), and now make sure your book reads like those that person usually enjoys. This is great advice, if a little obvious, meant for a writer who has a publisher to take care of the business details. It’s about writing a book, not selling it. For those who self-publish, the maxim has to mean something else: “Understand how your ideal reader shops.”
All smart publishers ask themselves this question periodically, and it seems to be top-of-mind for DC Comics these days as they relaunch their entire line. The internet is abuzz with analysis (some say DC is alienating its core fan base, others think they are hurting brick-and-mortar stores with their digital strategy, others think it’s brilliant, others think Superman’s t-shirt makes him look silly.). None of it (as far as I’ve seen) comes from the perspective of that fundamental question, but the move and the reaction to it has become a great illustration of how important it is to ask, especially for self-publishers, who must ask it of themselves every day.
Digital comics; what’s not to love? The colors are beautiful, the price (usually) can’t be beat, you can shove a stack of mid-’80s Justice League Internationals weightlessly into your tablet and bring them with you on the bus, and you can re-download everything later when you lose your tablet on that bus. But what’s up with guided view?
Reading a comic in guided view is like watching a flip book; each panel is essentially cut out of the page and pasted into its own page of a scrapbook. One has the option of ordering the “camera” to pull back at the end of a page so the entire thing can be viewed as it was meant to before jumping back in to the out-of-context single panel reading. Comixology’s version of the trick is particularly advanced (and apparently trademarked), occasionally allowing the panel to pan left or right so as to read multiple actions in a single panel in the proper order. I sometimes double-click into guided view because it makes a perfectly sized zoom for me when I want to inspect a Geof Darrow background for a couple hours. Otherwise, it renders pointless all the hard work that went in to designing the comic book page.