Even when some people pointed to that article as ‘proof’ that Image Comics wasn’t all it was cracked up to be, Image stuck with me, kept publishing Skullkickers, and continued to make incredible strides in expanding the market for creator-owned comics. I’ve always been thrilled to have my creator-owned books published by Image because I knew why the company was formed and how it’s always worked: Creators are in complete control of their comics and they’re compensated based on its success.
The comic industry in 2015 is a very, very different place and a big part of that is thanks to Image Comics’s tireless efforts to show retailers and readers the strength of new ideas and new stories.
SKULLKICKERS #1 (September 2010) and WAYWARD #1 (August 2014).
How much of a benefit? Well, let me show you…
Wayward’s first five print issues have sold more than two and a half times as many as Skullkickers did over the same period 4 years earlier. As you might imagine, that’s an impressive jump and I think there are a bunch of reasons for that climb:
• Improved Visibility for Comics: Comics sales are growing in print and online, graphic novels are the buzz-worthy darlings of the book market, and comic-related movie and TV shows are more mainstream than ever. The ripple effect of that is a greater acceptance of comics from the general public and a more diverse fanbase looking for new stories.
• Image’s Success and Subsequent Growth: The success of the Walking Dead, Saga, Sex Criminals, and a host of other incredible titles have increased visibility and market share for Image. This is especially true with launch titles as readers and retailers look to these new series with excitement, hoping they’ll be on the ground floor for something special.
• My Career Growth: In 2010 I was practically an unknown creator in the mainstream comic market. Four years later I have quite a few other comic titles under my belt – Samurai Jack, Figment, Legends of the Dark Knight, Pathfinder, and a bunch of others. I’m not an industry powerhouse by any means, but the readers from those series seemed curious about what my next creator-owned title would be and jumped on board Wayward to check it out.
• Retailer Outreach: I’ve also done a ton of retailer outreach over the past four years. Having well regarded work is wonderful but only if retailers feel confident they can sell the books. As we headed towards the launch of Wayward, the crew at Image and I did a lot of communicating with retailers about the series, showing them exclusive artwork and previews, doing everything we could to prove to them that this was a series they could confidently sell to their customers. That lead to several comic shop and convention-exclusive variant covers for Wayward #1, bolstering our launch numbers by thousands of copies while creating extra interest in the series.
• Press Outreach: In the same vein, it’s a heck of a lot easier to get press coverage when you’re more established and we (Image’s PR crew and I) did a lot of press outreach as well to make sure Wayward was visible on every comic news and review site we could muster. The last couple months before the launch of issue one was a dizzying promotional tour of interviews, podcasts, exclusive sneak peeks, and more.
• The Series: Wayward is a very different series than Skullkickers. I love them both, but I’d be foolish not to note that Wayward as a concept is more inclusive and taps into a much larger potential readership than Skullkickers does. Cute supernatural teenage girls (surrounded by cats) kicking the shit out of monsters on the street of Tokyo plays to a bigger audience than a bro-centric slapstick violent D&D tale, especially in 2014-2015.
Okay, sale numbers are spiffy but how does that translate into relative profitability? Wait ‘til you see this…
I know you’re looking at that bar chart and can’t fathom how 2.5 times the sales magically turns into 7.5 times the profit. Trust me, I’ll explain.
Here’s the real beauty of the Image model when it’s running at full steam and, as far as I know, it’s something no other creator-owned publisher can match: Image has a flat administrative fee for soliciting and releasing each issue of a series. That amount does not change no matter how much the issue sells. On a relatively low selling comic (like back in 2010 with Skullkickers #1) that base fee can eat up most of what’s left over after the printer, distributor, and retailer take their cut but, on a strong selling comic that amount stays the same and the issue becomes a lot more profitable. A lot.
This is why that pie chart from my original retail post doesn’t scale well to different print runs and doesn’t perfectly sync up with the Image model. A 5000 copy comic has a very, very different money breakdown than one that sells 10k or more. Printing large quantities of something vastly decreases the cost per copy. The “price per unit” drops and the profitability per copy increases, but Image’s base fee doesn’t change.
Each issue and cover breaks down differently in terms of percentages/costs, but here is an approximate rundown of how our best one fared, WAYWARD #1 Cover A:
As you can see, it’s a seismic difference from the chart I posted in 2012 based on a much lower print run/lower sales.
Skullkickers #1 went through three printings, but each one was a small run, which made the “per unit” cost quite high on each issue. Wayward #1’s first printing was a much, much larger run done all at once and, in turn, the profitability of that first issue was geometrically larger. A lot more copies printed, a lot more sold, and each one cost a lot less to produce, making us a lot more money when it was all said and done.
Cranking up that profitability even further, Image has been able to leverage their increased market share and larger print runs to aggressively keep their printing and shipping costs low even as their sales increase, leaving even more money for creators after the fees are covered.
You might look at that chart and imagine Steve Cummings (the artist and co-creator of Wayward) and I pelting each other with giant wads of cash, but it’s not like that. What those numbers mean is that we’re thankfully in the black right from our first issue, which is obviously where we want to be. Steve gets to make drawing Wayward his full time job (I’m still teaching at a local art college and freelance writing), and the color flatter, colorist, and letterer all get paid without me having to dig into my personal savings (like I do on Skullkickers). On top of that I can finally put some money into my “war chest” for convention travel and future creator-owned projects. If sales continue strongly I’ll make extra payments on my mortgage so I can be debt free that much faster.
It’s a solid start and miles ahead of where I was in 2010, but that doesn’t mean we can rest on our laurels. Strong launch numbers are one thing, but finding a loyal sustained readership is our long term goal and that requires a lot of work. By the time our first arc ended, Wayward seemed to be settling into a reasonable sales bracket, now we have to do everything we can to try and stay in that stable sales range over the long haul.
Image is bolstering our chances by releasing Wayward Vol. 1: String Theory on March 25th as a value-priced $9.99 trade paperback. We’ll make less money per copy on that first volume, but it’s a very smart way to increase our readership as retailers up their orders, new readers give the series a shot at a sweet price point, and current readers ideally pick up the collection for themselves or buy it as a gift for their friends (Pssst~ Have you pre-ordered your copy yet?).
Our standard TPB cover and the Emerald City Comicon exclusive hardcover.
On top of that, Steve suggested we create a series of connecting covers for our second story arc and I happily went along with the idea (leaving the logistics of that artistic monstrosity to him and Tamra, our kick ass colorist). We’re hoping fans will want to keep buying the single issues to create a sweeping 5 issue cover panorama. Here’s how the first three covers (issues #6-8) look when they’re connected together:
Quality, consistency, and outreach. With a bit of luck those three things will convince retailers and readers to stick with us.
At the same time, Skullkickers is heading into its final story arc. Financially it’s always been a bit rocky but it’s proving robust with a long tail of digital and collection sales and has a strong audience online as a serialized webcomic. It’s the project that pushed my comic writing career to the next level and I’m incredibly proud of the work we’ve done. Nothing else I’ve worked on since then would have happened without it.
If we maintain our current production schedule on Wayward we’ll have two trade paperbacks out and be starting our third story arc in time for Christmas 2015. Skulkickers’ final arc, final trade paperback, and final deluxe hardcover will arrive before Christmas as well.
At each step we’ll be juggling solicitations 5-6 months ahead, scripting 3-4 months ahead, line art 2-3 months ahead, coloring 1-2 months ahead and letter proofing a few weeks before each issue heads to print. It’s a relentless game of “Scheduling Tetris” but, when the momentum is rolling, I actually enjoy it. There’s a constant influx of inspiration as line art and coloring samples pop into my inbox almost every morning. It reminds me that all of us on the team are working hard to create something that wouldn’t exist if it wasn’t for our efforts and the support of amazing retailers and readers like you. I love creating comics and want to keep this dream rolling as long as I can, learning more about the craft and business, year after year.
In the end, I think that’s what creator-owned comics are all about – charting your own destiny and growing creatively with each new project.
If you found this post interesting or helpful, feel free to let me know here (or on Twitter) and share the post with your friends. Please consider buying some of my comics online, from your local retailer or from me in person if you see me at a convention.
URL: http://www.jimzub.com/creator-owned-economics-the-changing-market/
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