Posts Tagged ‘Ape’

Mini Comics to the Packaging Revolution

Monday, September 12th, 2011

Monkey & Bird…a Love Story by Joe Williams and Tina Garceau is AVAILABLE NOW!!!

The highlight of my week was receiving a copy of Joe Williams and Tina Garceau’s printed mini comic, Monkey and Bird, in the mail. Snail mail, that is.

Back in August we featured a couple of posts by Señor Williams that outlined his experience personally  making the mini comic. He peppered his posts with so many juicy details that almost anyone could go out and make one themselves.

I’ve known Joe and his lovely wife Tina for years, we go all the way back to our college days at PCA and I am well aware of both of their incredible attention to detail and quality not to mention their brilliance as designers yet I still did not expect to be so taken by what a gem their mini comic turned out to be.

Holding Monkey and Bird in my hand as a mini comic was a defining moment for me especially after having published it as a web comic here at CO2 Comics for the last two years. Maybe my reaction is a reflection of my long history of publishing on paper or just evidence of a generational  preference for things printed on paper, but I liked it. A lot!

The web affords us comic creators so many options to be able to present our labors of love to a potentially vast audience with minimal expenses compared to the printed product. Everything about making comics for the internet is so much more convenient and spontaneous that it has given us the opportunity as creators and readers to be able to witness the biggest creative explosion of the medium in its history. All those virtues, however, in my jaded eyes, do not supersede the experience of reading comics in print. I will always have a warm place in my heart for the tangible paper package.

mathmanauts

Mimeograph machine

It has always been clear to me that a comic is never complete until it is in front of an audience. The reader’s experience is a much a part of the final execution of the comic  as any step taken in the creative process along the way. Because I have always felt so strongly about this I began publishing my own comics almost as early as I began creating them. My first published comics were printed on a mimeograph machine. My audience had as much fun smelling them as they did reading them. I slowly graduated to photocopiers and small offset presses before finally dealing with  large, commercial, four-color presses to make Comico comics.

Comico Covers

As I sit here holding Joe and Tina’s  32 page (including covers),  full color, 4 x 5.5 inch, landscaped pamphlet that  is hand folded and saddle stitched with a good old-fashioned Swingline stapler I can’t imagine what my comic producing  experience would have been like if I would have had these production capabilities available to me back in the seventies. I would have traded tracing mimeo stencils and hand cranking purple inked copies for full-color pages spat out of an ink jet or laser printer in a heartbeat!

I did not have an opportunity to go to SPX this weekend but my fond memories of past shows include my amazement of the array of unique and creative packaging techniques that are always displayed. Monkey and Bird would have fit right in! Today’s community of independent comic artists and publishers take full advantage of the technology available to make comics that deliver an experience well beyond panel-to-panel sequential art.

Many people are pondering what is to become of the familiar pamphlet style comic that has been a fixture in the industry for over seventy years. Most believe that digital content will force it into extinction in the not too distant future, watching the sun set on a beloved package.

When I look at my little copy of Monkey and Bird, or think about what I witness at shows like SPXAPE, MOCCA, PACC and Stumptown, I see a different horizon, the shimmering rays of a new day cast by the lights of endless creative opportunity that will offer comics in print and digitally in infinite shapes and sizes. Each format, unique to its creator and not limited by the constraints of a few publishers or a single distributor.

I remember the first glimpse I ever had of this expanding possibility. In 1980 I was mesmerized by the first issue of Francoise Mouly and Art Spiegelman‘s anthology comic magazine RAW. The full color view out the window of a man committing suicide had been pasted on to the black and white cover of the tabloid sized periodical publication that featured an insane amount of groundbreaking comic art between its pages. The simple collage of the cover alone was enough to have numbed my creative mind for decades, especially in regards to packaging.

RAW

That, to me, was the beginning. Now, the art of making comics has firmly expanded from mastery of designing a page to the mastery of designing the whole package wether in print, on the web, or digitally for a specific device. The day where packaging that requires an entire production team is passing. The comic artist, if they choose, now has the ability to have complete control over the reading experience of the audience if they want it.

As a publisher, like CO2 Comics, today’s technology gives us the opportunity to open new doors of creative discussion with the artists that makes making comics more exciting than ever before. We plan to enjoy every minute of it!

Making Comics Because I Want To

Gerry Giovinco


The Comic Company: Licensed to Thrill

Tuesday, December 7th, 2010

A number of comic book companies today fill their product line-ups with licensed properties. IDW, Boom, Darkhorse and Ape are among the most significant publishers outside of Marvel and DC who have found value in acquiring licensed properties from other media outlets.

The idea is simple and is a marketing tool used by scores of merchandising companies in nearly every industry. Find an intellectual property with high visibility. Purchase the rights to make an exclusive product featuring the property. Benefit from the sales generated by the customer recognition of the popular property.

Badda Boom, Badda Bing!

Licensing and merchandising is nothing new. Saint Paul built Christianity on its basic premises by marketing the popular teachings of Jesus as a new religious product.

Merry Christmas,” two thousand and ten years later!

Comic books have used it since the beginnings of the industry. The first comic books featured licensed syndicated newspapers comics that were reprinted in color.

It shouldn’t have been a big deal in 1983 when Comico licensed the rights from Harmony Gold to publish the English adaption of the popular Japanese animated series MACROSS. But it was and it became an even bigger deal that put Comico on the map as a major player in the comic industry.

Robotech/Macross #1 cover, Comico 1984

At the time, and please correct me if I’m wrong, Comico was the first independent comic company to enter into a licensing deal other than one that was of a creator owned property. Only Marvel and DC had a lock on that side of the market and, to the best of my knowledge, no one else was even considering it.

Comico’s deal was innocent enough. It was built on the enthusiasm of Carl Macek for his project that he was working on with Harmony Gold and the Comico crew’s collective interest in Anime. Comico enthusiastically became the first American licensee of MACROSS.

At the same time DC acquired the rights from Revell to publish ROBOTECH, based on a line of toys designed around assorted transforming robot molds that Revell had purchased from a toy company in Japan. When the first issue was published by DC it was clear that a number of the robots in ROBOTECH were from the MACROSS series and many of the other robots were from other series that Harmony Gold also held the rights to.

Needless to say there was lot of wrangling going on but Carl Macek and Harmony Gold held the trump card. They had an entire animated series that could be adapted to TV in the American market. As Stan Lee would say, “‘Nuff said!”

Revell and Harmony Gold worked together to build the ROBOTECH franchise that took America by storm. Harmony Gold proved their honor by awarding Comico the rights to the comic book resting it from DC since we had the original deal for the actual story.

Comico's 1st Color Books

Comico had already established its ability to produce quality product with its first color offerings, MAGE, EVANGELINE, ELEMENTALS and MACROSS. Our production and success of the ROBOTECH comics helped the marketing team behind ROBOTECH to attract more licensees and before long the ROBOTECH logo was everywhere.

Others took notice and soon we were being contacted others, most notably Hannah Barbera who was looking for a publisher for Thundarr the Barbarian. Our interest, however, was in one of their long dormant properties, Jonny Quest.

Jonny had been off their radar for so long that the people we were dealing with thought that it was a Filmation property and were surprised to discover it in their own archives.

Jonny Quest was a huge success for Comico and other properties were soon to follow. Space Ghost, Gumby, and Starblazers were all big hits. We also set our sights on Max Headroom and though we did initially acquire the property and began marketing it, creative differences arose between the editorial staff, creative team and the owners of the property, Chrysalis Records. Max Headroom never became a Comico comic book.

Other comic companies picked up where Comico left off, finding success in licensed properties. Others found even greater success in licensing their own properties following in the insanely successful footsteps of Eastman and Laird’s nearly immortal Teenage Mutant Ninja Turtles.

Now, more than ever before, with the advent of digital content and the internet, we have to closely examine what is the true value of the comics that we make. Is it the comics themselves or is it the intellectual property they are derived from?

We all would love to make money selling our comics and I can tell you from experience that you certainly can but folks, the real money is in the properties themselves.

Disney and Warner Brothers both know this and are in the process of redefining the IP of Marvel and DC for success in the long haul while producers throughout Hollywood are rummaging through comic properties regularly looking for the next Mutant Turtle.

The Internet is the comic creator’s opportunity to develop and establish rights to a property while reaching an audience that is global. Protect your assets, invest your skills and let the best properties sell themselves. This is the greatest time ever to be a comic creator. Take advantage of it!

Hey, I know the economy sucks and the market is in tremendous flux but guess what? That is exactly how it was when Mickey and Superman showed up both borne on the backs of failure and surrounded by the Great Depression. Their strength was the brilliance of their property which still shines today.

Comic properties can have tremendous economic power and there is plenty of proof. Don’t be discouraged if you are a creator or a fan. The future for comics is bright.

David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Vol 1

CO2 Comics is going into 2011 as optimistic as anybody! The content of our site is growing steadily and our readership is expanding rapidly. We have published our first book, David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 and have new products on the horizon.

But our biggest achievement is the honor That Bill and I have of posting the great comics that have been trusted to our site by creators that we love and respect so that all of our valued readers can enjoy them.

Thank you everyone for this opportunity to do what we enjoy most.

Making comics because I want to.

Gerry Giovinco


© 2009-2017 CO2 COMICS All Rights Reserved. All other material © their respective creators & companies