Worth a Look

Worth a Look

That the comics industry works through strange machinations puts the whole situation mildly. It’s an industry perpetually flailing for readers and sales, but its movies are making more money than any other adapted medium in history. Combined with all of the crossovers and events that “The Big Two” (Marvel Comics and DC Comics) push––and the associated bumps and crashes in sales––there is no doubt that there is something funky about how the comics industry works, but it also that blame has been mercurial, shifting scapegoats depending on the ails of the current generation: people aren’t reading comics anymore because of video games; people are waiting for the trade paperback collections instead of buying individual issues; the movies and tv shows are more accessible and modern than the books; print versus digital distribution, etc.

source: The Outhousers

The problem this has caused shows that the blame-shifting that moves the industry has done its job rather well, getting the industry to blame itself rather than looking for a deeper seed. This Outhousers (what a name) article does a fine job at pointing the finger away from general culture (which does have its share of culpability, just not nearly as much as we apparently want to foist upon it) and toward the one constant in the last, at least, thirty years of the industry: a monopolized distribution system.

Diamond Comic Distributors is the only distributor for the Big Two as well as the other top-tier publishers such as Image, Dark Horse, Oni, etc. While that in itself is not inherently bad, a look at its practices and demands upon the publishers (and creators) reveals a rotten core tethering together the ever-changing problems from which the industry suffers.

It’s a bold statement, but also not much of a surprise––as an independent comicker, if you want to get any ground in comic stores around the country, you must meet the demands of Diamond, and their barrier to entry is unreasonably high. Some of it comes across as honest gatekeeping, which is fine to a point; you want only good comics to make it to stores, but it also puts an extreme burden on pretty much any independent creator unless you have found word-of-mouth/viral success through the internet. Even then, it’s still best to pitch to a publisher and have them deal with the distribution.

The Outhousers article shines a bright light on the issue, but being an independent blog in its own right, I wonder how much change it can actually inspire. I’ll just do my part, then, and keep the conversation going.

For all of the video games that land onto store shelves or on the front page of an online retailer, it’s astounding to see how many games are out there right now. From what I have come to understand, mostly from listening to gaming podcasts that have interviewed developers (to having interned for a startup developer myself back in the late nineties/early aughts), what astounds even more is how many games don’t get made, despite going into production.

source: Vice Gaming
source: Vice Gaming

Development is shut down all of the time with apparently little cause given, in many cases. Luke Winkie’s article presents a fascinating case study into one example of this, through the lens of a developer who worked on the nearly-finished Infinite Crisis, a MOBA featuring all of DC Comics’ major characters, before it was shut down.

I argue that the saddest part of a game getting shut down mostly has to do with the ache of possibility, that a game with promise won’t ever see the light of day. What’s heartwarming, though, is that an unreleased game seems to have little effect on a developer’s resume, often because it’s not the developer’s fault that a game got pulled. It usually has to do with business decisions from investors and the like, people gauging the market and finding it unfit for whatever they had already pumped thousands or millions of dollars into.

What this tangentially touches upon is another heated conversation in the gaming world right now, one about the poor working conditions afforded to people who work in the industry. If there is a bright spot, it could be that despite all the other issues you have to face as a game developer––working within strict budgets, big teams, time crunches (and long hours), aggregate review scores, etc.––working for years on a game that never gets released doesn’t damage your possibilities to continue working in the industry at all. In fact, the bigger the “failure,” the better it could be for you.

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