Posts Tagged ‘Direct Market’

Appless Comics

Tuesday, January 18th, 2011

Apps, apps, apps! That is all we hear about anymore, especially when the discussion is about digital comics. Maybe I’m dense, too old fashioned or just plain stupid but I have to admit that I just don’t get it.

I know that there are apps for just about everything. Apple boasts over 300,000 apps available just for the iPhone. There are thousands of apps for Droids, Smartphones and Blackberries too but, face it, apps are a brilliant marketing tool for “App”le more than anyone..

Now that the iPad is on the scene everyone and their sister can see the potential of comics flourishing on that brilliant 9.7 inch screen and of course the imitators are already popping out everywhere.

In the midst of all this commotion we have all been sold the idea that an app is needed to be able to read comics on these portable devices. An app! Quick run out and get one so you can read comics! Hurry, hurry, hurry!

If you are a creator or a publisher you especially better get a jump on it before you are left in the dust. Times-a-wasting! Lock into a deal, NOW! Tie up your rights and spread that wealth with Apple, the app developer, and the publisher leaving little for the creator before it’s too late!
Hurry, hurry, hurry!

What a bunch of sheep we are. Happy to be herded to a promised land by the carrot of new source of possible revenue.

WAKE UP!!

SMELL THE COFFEE!!

STOP BEING A PANSIE!!

Let me bring you back to Earth with a simple truth. You do not need an app to read tons of great digital comics on a computer, a net book, an e-reader or a cell phone.

You don’t need an app!

All you need is a browser.

If your device can read Flash files your options are even greater.

New devices are coming soon from Samsung and Blackberry that read Flash. Soon Apple will have to include it as well. Even if they don’t Flash created with HTML 5 is readable so eventually all web comics will be an easy read on any tablet or phone, app-free!

If you are a creator or a publisher, post your comics on the web, market a PDF download, or make your own app if you feel that you really have to and guess what?

You are in command!

You have control over your content, no censorship, no digital rights management that ties up your property indefinitely and, if you wish to sell your works, get paid directly from your readers without sharing any of the profits except your PayPal fees.

I know this all sounds like blasphemy!

The digital comic download is supposed to be the savior of comics and finally provide a source of revenue to creators while opening up the huge untapped market of the masses.

The magic bullet!

But it is not.

If we allow ourselves to be led down the narrow road of the app it is business as usual. In the comics industry we know who wins. Everyone else loses. Even the readers.

Look, as a publisher, I have gone toe-to-toe with Marvel and DC in the Direct market. I’ve waded into the dark and murky waters of the mass market. I was there championing the rise of creators’ rights and the proliferation of independent publishers from the beginning. I know what I’m talking about.

As a comic creator and publisher I sought the Holy Grail and it wasn’t profit. I’d be lying if I told you money wasn’t part of the motivation but the real prize was freedom.

CREATIVE FREEDOM!

The internet gives comic creators the opportunity to enjoy creative freedom like never before. Creators can reach a global audience with little expense and retain complete ownership of their works.

Creators don’t need to be confined to an app. They need to be creative and they need to discover creative ways to generate revenue.

When Bill Cucinotta and I conceived of CO2 Comics this was and continues to be our mission, to create a cooperative community of comic creators that support each other to reach a wider audience with diverse material and to maximize the profitability of our individual intellectual property by exploring product options of digital, print, merchandise, other media and licensing.

In a year and a half we have amassed nearly a thousand pages of comics from over twenty distinguished creators that attract about ten thousand hits a day. We have published a 680 page book that is the greatest collection of comic interviews in the history of comic books. Most importantly we have created a venue that supports the creators that share in our mission by helping them sell their print products, services and merchandise while maintaining complete ownership of their creations.

We are just getting started.

I know that I am coming down pretty hard on apps, but I am just trying to make an important point that I believe has to be made.

Apps can be part of a successful comic marketing strategy but I don’t think that they can be viewed as a panacea for the entire industry or surely the little guy will get crushed, unnoticed in the shadow of the usual giants and trampled by the rush of new readers herded by powerful marketing machines toward product they are already familiar with.

Comic creators need to take advantage of the internet while it is still inexpensively accessible. Maximize it as a resource while you still have a chance. Don’t be distracted by the temptations of a huge corporation whose sole motivation is profiting from the work of every creator possible.

That “app”le looked good to Eve, too and look where it got her.

Making comics because I want to.

Gerry Giovinco


Reinvention: The Stepchild of Necessity

Tuesday, January 4th, 2011

The Comics industry is all too familiar with having to reinvent itself in an effort to survive changing times.

Comics made the jump from newspapers to comic books addressing a new publishing trend in the late thirties.

The forties watched Superman be reinvented over and over as a whole genre of superheroes was created.

The comic book industry rescued itself from oblivion in the fifties by adopting the Comics Code Authority to placate the Senate Subcommittee on Juvenile Delinquency though it placed a stranglehold on much of what made comics interesting and exciting at that time.

Stan Lee

Stan Lee reinvented the superhero genre in the sixties making it viable and relevant to a new generation of readers.

Phil Seuling

The Direct Market pioneered by Phil Seuling in the seventies gave comics the opportunity to be liberated from the Comic Code Authority.

The eighties gave rise to alternative, independent publishers and the concept of creators rights.

Manga

The nineties showed the vulnerability of the Direct Market and the power of Manga in the US market.

The new millennium ushered in the the development of new formats in the wake of Manga’s popularity and the graphic novel matured as a format that began to dominate the market.

The “oughts” also ushered in an entirely new venue for comics in the internet and web comics came on the scene.

Now, as we enter the eighth decade of comic history since the invention of the comic book, (I know I am rounding it off by a few years, we’ll throw a party in 2014 to make up for it) we all have to figure out what to make of the advent of digital comics.

For the first time in history, comics have total access to a global market direct from the hands of creators free from censorship, and the burden of high production costs.

Digital comics, whether they are posted on the web, offered as a downloadable files or banked on a cloud can be read on devices as small as the palm of your hand or as large as the biggest television monitor you can imagine.

Digital spells freedom for creators and freedom of choice for readers. Digital offers a free world of possibility. Now how do we handle all of that potential. More importantly, how do we handle that four letter word: F-R-E-E.

We all love to have the freedom to create as we please but face it, we all need to make a buck, especially in these terrible economic times.

My suggestion is that now is not the time to get greedy. As much as we as creators want to get what we deserve, consumers are looking for the best deal possible.

I for one, as a consumer, will look at all the free content I can get before spending a dime on digital content. I will look at every free website and I know that there is a ton of great stuff that would take me years to read. Just look at the hundreds of pages of dynamite material right here at CO2 Comics. Hey, I’m in all my glory because guess what…it’s FREE! FREE! FREE!

Now, on the outside chance that I’m an unusual cheapskate, tightwad I have to wonder how the folks selling digital content for prices that resemble regular comic prices are making out.

I’ve seen the reports that brag sales of digital content for mobile devices that are ten times that of last year and I have to be impressed but what does that really mean? First I have to remember that this technology is only about a year old. How many downloads did they sell that first year? Ten times what?

Captain Visual's big Book of Balloon Art

Since July my first book for the iPad Captain Visual’s Big Book of Balloon Art, which as an e-book sells for $11.99 as opposed to a $24.95 book in print, has increased in sales by 1500%! That is an incredible increase especially in a ridiculously slow market. I bet you want to run out and see what all the fuss is about don’t you?

Well I’m happy to brag about those numbers all day but the truth is I sold one e-book in July. Go ahead, do the math. That’s right. I’ve sold 15 copies in the last six months. At the same time my print copy has sold only six times as many copies as I sold in July but that is six times three at more than twice the price.

You can see how a positive spin can influence a consumer and even a producer interested in digital content.

Publishers will often compare the success of digital content to the slacking sales of a hardback edition but neglect to tell you how the paperback is outselling both.

Digital content is a new toy for the comics industry. Don’t rush in ill informed. Don’t tie up your digital distribution rights based on clouded numbers. Don’t become a statistic in a digital bookstore with an app provider that promises you a gateway to an exciting new market that is yet to be defined.

Don’t throw away your freedoms yet.

My opinion is that digital content should be considered disposable content and should be priced accordingly.

I can’t see selling a digital comic for more than the price of a can of soda or a candy bar. I want to be ravenous about what I want to read regarding comics. I want to read as much as I can and I am not excited about storing the content the way I am excited about collecting a comic book. Sell me the comic for 99¢ or a subscription of 12 for $10 and I’ll be happy.

This is our time to reach a wider audience than we could have ever imagined. We want the world to see our comics. Our intellectual property. A hundred thousand people might be willing to spend a buck on a digital comic like they do on music but raise the price and you will see those numbers fall dramatically. Would you rather sell a hundred thousand e-comics at a dollar or one thousand e-comics at two or three dollars?

Be willing to wholesale your comics and you will find a greater audience. If you don’t believe me look at the Walmarts of the world. They find their success in selling large quantities at the lowest possible price and they are making dinosaurs out of their competition.

Marvel and DC will continue to dictate the market and control the IP of the comic world if everyone is enticed to follow their lead into overpriced content. The market for independent comic publishers will always remain constricted if we continue to price our product where only the hardcore fan is willing to pay for it.

Reach the masses by selling to their pocket change and you will have a property that everyone wants and is eventually willing to pay top dollar for.

At CO2 Comics our comics are free as I mentioned earlier. They are free because we want you to read them and we have faith that you will respect the properties and want to support the creators by buying their works or services that are or may be available for sale.

We expect that if you enjoy the material you will share it with your friends offering greater exposure for the creators and their property. You look all smart, cultured and influential and we reach more readers. Win! Win!

We also know that if you can get the work for free right here you are less likely to download from some torrent site where the creators have no control or benefit at all from the piracy of their works. Thank You!

This decade will be less about reinventing comics as it is about reinventing how comics get to the consumer. We plan to reach as many of you as possible. In the process we will make great comics that will generate revenue in creative ways for the creators.

What do we want from you? Just some respect and your willingness to spread the word. I think it’s a great deal. Don’t you?

Enjoy the next decade! We plan to!

Making comics because I want to.

Gerry Giovinco

The Gutter: The NEW Direct Market

Tuesday, December 28th, 2010

2011 is just days away and the whole world is brimming with hope for better economic times. That’s what New Years is all about after all, a clean slate, a new beginning, a new resolve.

Personally, I hate the word hope. It is such and ineffectual state of mind. Hope, to me, is the most meager last resort in an effort to achieve or acquire a goal. If it is necessary to resort to hope, then it is assumed that all other efforts have been exhausted and failed.

Hope has managed to achieve a state of popular acceptance because of its blind faith nature. Those calling upon hope can equate it with placing their aspirations in the hands of God, a higher power or the Universe.

We are much too quick to resort to hope. It is too convenient and too acceptable.

So, I am unwilling to hope that 2011 will be a better year. I am determined that 2011 will be a great year especially for CO2 Comics.

New beginnings require change if we intend to see improvement. This is not Groundhogs Day where we can afford to keep repeating what has gone before.

Change is good!

The biggest change is how readers are going to get their comics.

Direct!

Not Direct Market but Direct to Customer.

I know I just blasphemed the market that has supported the entire industry for the last thirty years and made it possible for independent publishers to be able to sell their comics to a target market but it is time to acknowledge that for the comics industry to grow we are going to have to step outside of the comforts of the Direct Market to reach new audiences.

Dak Franklin

Direct to Customer is not really change it is the embracing of the oldest form of marketing with the most modern tools available. Ben Franklin did just this when he created the first mail order catalog to sell directly to his customers without ever meeting them. He could not have done it without a printing press and a postal service.

Today we have something better than a printing press and the postal service, we have the internet and digital downloads. In the blink of an eye comics can be delivered to your computer, cell phone or e-reading device.

Just a few of the comics at CO2 Comics

CO2 Comics delivers free content via our website with new updates daily. Award winning comic creators like Bernie Mirault, Mike Baron, Mitch O’Connell, Don Lomax and Frank Thorne top off a list artists that present two dozen features and hundred of pages of comics for your reading enjoyment.

The printing press and the post office still offer an opportunity to put physical book in our readers hands. Digital printing presses now give us the opportunity to print one book at a time. This Print on Demand method of publishing gives us the opportunity to produce books and ship them to you hot off the press.

Comics Interview On Sale, Premier Editions retire New Years

CO2 Comics first print publication, David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1, is a beautiful 680 page black and white book that is offered in two different paperback and hardback editions. The Premier editions which feature a classic style logo that has been available for a limited time only are set to expire on New Year’s Eve. Be a Direct Customer and get your limited edition while you still have a chance.

Direct to Customer comics, whether they be digital or print have the opportunity to find comic readers that may never make their way into a comic shop. Good comics will light a fire in the new readers making them want more and inspire them to share their interest with others.

Sharing the experience of good comics will promote the industry better than any marketing strategy. Word of Mouth is always the best promotion and thanks to social networks like Facebook and Twitter Word of Mouth spreads faster than ever before.

It will be the sharing experience that drives the customer back to the comic shops. Comic shops and comic conventions will be the homes of the culture of the comic enthusiasts. Comic shops will become cultural institutions where fans of the medium gather to share, educate and communicate face-to-face with others that enjoy the same interest.

2011 will be a dynamic year of change in the comic industry as digital content develops a stronger foothold. We all need to work together to enthusiastically promote the medium rather than resist the dramatic changes in format and marketing. A unified front will benefit everyone and ensure economic success for creators, publishers, distributors, and retailers alike.

This is the greatest opportunity for a new beginning since the first comic book was published let us all take advantage it. You can bet CO2 Comics will.

Happy New Year!

Making comics because I want to

Gerry Giovinco


The Comic Company: Direct Marketing with Style

Tuesday, November 9th, 2010

In 1987 the Comico graphic novel The World of Ginger Fox was wowing readers with its action, adventure and style. Lucky for us all this brilliantly executed work is available in serialized form right here at CO2 Comics where it is updated weekly!

Ginger Fox Cover

Ginger Fox attracted a lot of attention because, not only was it written by Mike Baron, one of the top talents in comics it was illustrated by a young and outrageously gifted Mitch O’Connell who’s work was already infiltrating pop culture.
Mitch’s art had a signature style that had already caught the eye of Playboy magazine and propelled Ginger Fox into a larger arena than the Direct Market could provide at the time.

A creative director at Jordan Marsh, which was a big department store chain in New England but has since been absorbed by Macy’s, took notice and evolved a plan to turn a negative into a positive.

Jordan Marsh had been heavily criticized in the press for a “Jack and Jill” themed ad campaign that many felt targeted white’s only and slighted other races in their demographic. They needed to patch things up with their minority shoppers.

The idea was to create a comic that had the feel of “Archie” with a multi-cultural cast to support the Jackson and Jillian characters. The characters would be presented in numerous situations that would allow for wardrobe changes where they would model the outfits that were being sold in Jordan Marsh’s Style-o-rama department for young men and women. Text boxes with pointers would be used to describe the products and their prices.

The call rang out to Comico. We knew how to get Mitch and we knew how to make comics that looked great. Who else would you call, Ghostbusters?

I flew up to Boston a few times to work out the details of the campaign and I wrote the script. Mitch of course provided the art which was colored by Linda Lessman.
L. Lois Buhalis provided the lettering and Maggie Brenner had the editing chores.

This was to be Jordan Marshes fall catalog and though it had a playfully spooky theme to the story it was not particularly about Halloween.

Style O Rama cover, click to see the catalog

The finished product was stunning and was used as a direct mail ad to be distributed to mailboxes throughout Massachusetts, Connecticut, Maine, New Hampshire, New York and Rhode Island. (Sorry Vermont!)

The effectiveness of the mailer was questioned by the venders of the outfits who would have rather seen actual photos of their products but Advertising Age magazine, the leading source for news in the advertising industry, awarded it as one of the best Direct Marketing campaigns of 1987!

Best of Advertising Age

We also produced a few full-page newspaper ads to support the campaign. Though they were black-and-white, they they were just as stylish and beautiful as the color comic which was separated by Murphy Anderson’s Visual Concepts.

Style O Rama newspaper ads

As I mentioned in previous blogs Murphy’s son, Murphy Jr. was a master at creating effects in flat-color comics. His specialty was an effect that looked like acid washed denim which was the rage in the late 80′s. Needless to say it was used often in this sixteen-page catalog that was disguised as a comic book.

Jillian makes a point

I’m sitting here re-reading the comic twenty-three years later and I notice a line that had to be changed for political correctness and was never quite as funny as it was intended (heck it barely made sense.) In the first panel on page 8, Jillian originally points out to Jackson that his fly is open. This is what was suppose to cause the fit of embarrassment in the next panel that is lost on the reader in the final copy.

It’s amazing the power one word balloon can have!

The most influential word balloon I can think of is the one that graces the cover of CO2 Comics very own publication as the logo of David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection.

Comics Interview Standard Edition

That balloon represents the voices of a generations of comic professionals and fans that provide unique insight into the heart and soul of the comic industry over the last seventy years.

If you are not familiar with COMICS INTERVIEW stop over at http://www.comicsinterview.com/purchase.html for a little sample of what the excitement is all about.

If you love comics and the history of the industry you will love this collection.

There you have it! I am not ashamed to blatantly plug a product that I so passionately believe in. When you get your copy, you’ll be wanting to tell your friends about it too!

Making Comics Because I Want To!

Gerry Giovinco

The Greatest Collection of Interviews in the History of Comic Books

Thursday, October 28th, 2010

  

CO2 Comics announces that David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 is ON SALE NOW!  

CO2 Comics has entered into an agreement with David Anthony Kraft and Fictioneer Books Ltd. to publish the complete collection of all 150 issues of David Anthony Kraft’s COMICS INTERVIEW. The collection will consist of eleven huge volumes each over 600 pages in length released one at a time on a regular schedule.  

  

David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 has been spontaneously released with this press announcement and is available exclusively at comicsinterview.com a website built and powered by CO2 Comics.  

Comics Interview Standard Edition

Four editions of the volume are available; The Standard Edition featuring an updated platinum version of the traditional COMICS INTERVIEW logo is available in paperback and hardcover. A Premier Edition that is available only for a limited time features a platinum version of the original classic COMICS INTERVIEW logo that was constructed of type from various popular comic logos is also published in both paperback and hardcover. The Premier Edition will be pulled from the market at midnight on New Years Eve 2010. Each of the eleven volumes of David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection will be released with a Premier Edition that will have limited availability. Paperback editions are now available and will list for $34.99 and Hardcovers will list for $54.99. Paperback editions are available now. The release of Hardcover editions will be announced soon.  

Comics Interview Premier Edition

Gerry Giovinco of CO2 Comics exclaims. “Bill Cucinotta and I are extremely excited and honored to be able to publish this collection of David Anthony Kraft’s COMICS INTERVIEW. We believe that Dave’s work is the most significant gathering of interviews of the greatest comic minds of the 20th century.” This work will be the greatest collection of interviews in the history of comic books”.  

Dick Giordano Interview

David Anthony Kraft’s COMICS INTERVIEW, which was published from 1983 to 1995 featured interviews with creators, publishers, distributors, marketeers, fans and more. The timing of the original publications is significant because it allowed for interviews with comic legends from the dawn of comic books as well as interviews with young creators who are legends today. COMICS INTERVIEW effectively examined the mindset of the greatest talents responsible for the comics that we have come to revere over the last seventy years.”  

Alan Moore Interview

“Because David Anthony Kraft is a writer editor himself he had the unique ability to interview creators from the position of a respected peer. This perspective is relevant throughout COMICS INTERVIEW where the subjects share their thoughts openly and frankly. “  

Dave was an editor at Marvel and writer on such features as The Defenders, She-Hulk, Captain America, and Creatures on the Loose. He has the distinction of scripting the very first story drawn by John Byrne for Marvel Comics: “Dark Asylum,” published in Giant-Size Dracula #5 and of being the editor of FOOM, Marvel’s popular, self-produced fan Magazine.  

Bill Griffith Interview

CO2 Comics is a web based comics publisher developed by former Comico publishers Gerry Giovinco and Bill Cucinotta. CO2 Comics has been growing in popularity since it first appeared on the web in the summer of 2009. About 700 pages of comics from twenty creators populates the site which is designed and maintained by Bill Cucinotta and features a popular blog by Gerry Giovinco that has been examining the history of Comico and comic book production.  

Comico was the 1980′s Independent juggernaught that published such memorable titles as Grendel, Mage, The Jam, Elementals, Rocketeer, Robotech, Starblazers, Gumby, Space Ghost and Jonny Quest along with many other significant comics and graphic novels.  

David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 1 will be our first work in print as CO2 Comics,” says Bill Cucinotta. “It’s publication as a POD (Print On Demand) product provided by Lulu.com will define our commitment to marketing direct to the customer through our web site with high quality productions that have always been our legacy. We plan to redefine how print comics are delivered to readers. We couldn’t have picked a better project than this one, that through its content outlines the history of the comics industry as we know it, to usher in what we expect to be the beginning of a new and successful model for the future.”  

Comics Interview #5

Giovinco reminisces, “Dave was there for us as a mentor when we began publishing as Comico, offering moral support, insight and inspiration. His willingness to trade ad space with us as fledgeling publishers allowed us to grow and establish a significant presence in the dawning days of the direct market.  

His interview with us as Comico in issue #5 of COMICS INTERVIEW was a moment that signified to us that we had arrived as publishers of comics. It is only fitting that we come together again at the forefront of a new era for the comics market and the continual development of the foundation for CO2 Comics, the hottest new place to read comics on the web and, now, in print.  

The Comic Company:
Prime Time

Tuesday, August 24th, 2010
 
Comico was always intended to be launched in an anthology format. The first planned publication was Comico Presents which was to feature Phil LaSorda’s AZ, Vince Argondezzi’s Mr. Justice and my own Slaughterman.

Unpublished Cover

By the spring of 1982, however, the dynamics of the original group had changed.
Vince Argondezzi was moving on and Bill Cucinotta had joined our ranks bringing with him his creation, Skrog. Other talented comic artists, Matt Wagner and the very young Andrew Murphy, lurked in the wings.

It occurred to me that the anthology format had greater potential for us than we had originally planned. Rather than be merely a vehicle to introduce our own feature characters into the Direct Market, the format gave us a venue to feature the works of the many undiscovered talents that we were becoming acquainted with on the convention circuit.
 
I saw this publication as the foundation for which all future projects would emerge. It was the first coat of paint on which we could embellish illustrious careers as comic creators. This anthology would be our Primer.
 

PRIMER #1, Cover pencils by Andrew Murphy. inks Gerry Giovinco

 
Surprisingly, I do not remember it being difficult to sell the concept and especially the name, Primer, to Phil and Bill. We all knew that, in a market with titles full of Action, Adventure, and other Epic names, Primer was as dynamic sounding as white bread but to us it perfectly described the product and what we expected to accomplish with it.
 

PRIMER #2, Cover by Matt Wagner, 1st appearance of GRENDEL

 
We had hoped that by naming our comic book Primer, readers would expect something different, that the product would lay a foundation for what was to come and, most importantly, it would ignite an interest in our budding comic company. Primer would survive six issues and be our longest running black-and-white title. It did launch Comico and prime the industry for a unique independent company that blazed trails in creative and production quality, pioneered licensing for alternative publishers, championed creator’s rights and gave Marvel and DC a serious run for their money.
 

PRIMER #3, Cover by Jim Dever, featuring an early William Messner-Loebs story

 

The impact of Primer is still felt in the comics industry today.

 

PRIMER #4, Cover by Barb Ramata, first of three to be edited by Matt Wagner

The ACT-I-VATE PRIMER

I can tell you that “imitation is the sincerest form of flattery.” Bill and I were both caught blushing when IDW announced that it would be publishing The ACT-I-VATE Primer.

ACT-I-VATE has been among our greatest inspirations while developing CO2 Comics. The presumption that our Primer may have had any influence on Dean Haspiel and friends was quite humbling to us (Guys, don’t tell us if it didn’t, it might ruin the moment!). Marvel’s Marvelman Classic Primer and Alan Moore’s Americas Best Comics Primer also find use of the Primer name which I like to believe would have never been used when associated with comics before the advent of the Comico Primer.

PRIMER #5, Cover by Will Brown, featuring Sam Kieth’s Max the Hare

How-to Comic Primers pepper the internet and we at CO2 Comics have tapped the old Comico Primer for our own World Wide Web purposes.

PRIMER #6, Cover by Judith Hunt, the introduction of Chuck Dixon and Judith Hunt's Evangeline. Assistant editor CO2 Comics contributor Reggie Byers.

My Slaughterman, Bill Cucinotta’s Skrog, Andrew Murphy’s Victor, and Rich Rankin and Neil Vokes’ Gauntlet, features that all ran in Primer, are now featured right here on CO2 Comics.

They have all helped us launch this new and exciting web comics collective. CO2 Comics contributor Bill Anderson also graced the pages of Primer. Primer alumni, Matt Wagner, Sam Kieth, William Messner-Loebs, and Chuck Dixon have had stellar careers as comic creators. Their earliest published works can be found in those seemingly innocuous six issues of Primer making a few of them quite valuable as collectibles.

Other talents that were featured in Primer: Phil LaSorda, Vince Argondezzi, Jim Alderman, Rick McCollum, Bill Bryan, Jim Dever, Larry Nadolsky, Francis Mao, Barb and Bernie Armata, Ron Kasman, Will Brown, Chris Windle, Ajay Mclaughlin, Mark Lantz, Michael Lail, Grass Green, Judith Hunt and Al Wiesner. Primer was, unfortunately, discontinued along with the rest of the black-and-white line when Comico made its transition to color in 1984.

Pain

Works that were planned to be published in Primer that I am sorry we missed out on were Pain by Bill Cucinotta, Panda Khan by Dave Garcia and a little pre-turtle story by Kevin Eastman and Peter Laird.

I have quite a few interesting stories that I can share about experiences publishing Primer that will have to wait for another time.

Next week I will pick things up a bit with a look at one of my favorite “Pie in the Sky” ideas from the early days of The Comic Company.

Making comics because I want to!

Gerry Giovinco

 

 

 

The Comic Company:
The Studio

Tuesday, August 10th, 2010

Gerry Giovinco and Bill Cucinotta

 

Superman has the Fortress of Solitude. Batman has the Bat Cave. Hugh Hefner has Playboy Mansion. (That lucky bastard…)

The great heroes always had a secret lair, a home base, a castle of sorts. These mythic headquarters become a trademarked extension of the person themselves and ad to the legacy of grandeur attributed to their deeds and accomplishments.

 

Gerry's space at the Studio

 

I always had a fascination for a “clubhouse” mentality. I remember being about four years old and having secret meetings with my younger brother, Tom, in a dark closet illuminated only by our dim nightlight which we had drug in before we closed the door. This was our secret place, and though I’m sure my parents knew where we were, it gave us toddlers a sense of independence and awareness of self that we didn’t have when we were supervised by adults.

Two years later, Batmania would grip the world. All my brother and I could dream of was our very own Bat Cave buried beneath our house. We would spend hours scheming secret entrances to our gloriously imagined hangout.

As the years passed, there was always some kind of toy cabin, clubhouse, or tree house that anchored my activities with my three brothers and friends.

 

Room with a view

 

This continued into college where I would hole up with Bill Cucinotta and the other so-called Ducks in our commandeered DUCKWORK office on the thirteenth floor of the Philadelphia College of Art.

Given my own propensity for a hangout it is no surprise to me that the defining catalyst for Comico becoming tangible was the availability of office space at 1547 Dekalb Street in Norristown, PA.

Phil LaSorda’s older brother Dennis had just purchased a duplex in which he planned to operate his physical therapy practice. He offered Phil, Vince Argondezzi and me the opportunity to operate Comico from the space in the adjacent half of the building that he had no immediate plans for.

The iron was hot.

Comico, which until this point was as much a dream for Phil, Vince and me as that Bat Cave under my house, was about to become real. This was the moment of truth. It was time to “shit or get off the pot.”

Vince chose to leave the porcelain vacant and, though he would contribute his comic Mr. Justice to Primer #1, his partnership with Phil and me had ended.

 

Fred the Duck. Gerry Giovinco, Bill Cucinotta and Phil LaSorda

 

Phil and I had grown used to the idea of a third person in the partnership. It especially came in handy breaking stalemates on important decisions. We turned to Bill Cucinotta who had been my right hand man while publishing DUCKWORK at PCA.

Bill knew the Direct Market of the comics industry very well because of his experience working retail at Fat Jack’s Comic Crypt in Philadelphia. As a partner, his knowledge gave us an edge that we did not have before.

 

Partners

 

Comico’s partnership was once more a triumvirate and we had our own headquarters dubbed simply “Comico Studios”. We generally would refer to it just as The Studio never intending to confuse or compare it to The Studio in Manhattan where Bernie Wrightson, Jeff Jones, Michael Kaluta, and Barry Windsor-Smith hung their hats.

 

Recently I have heard stories from various Comico fans that had found their way to Norristown and decided to look up the Comico headquarters which, in their mind, was a shining tower of architectural wonder. They were surprised to find that it was simply an old three-story, stone-fronted, duplex building that was once a family home with a wooden porch located on the corner of a busy street in a tired industrial town whose glory days had long passed.

Our main activities took place in what would have been the living room and dining room of the original house, complete with very dated orange, shag, wall-to-wall carpet that covered beautiful hardwood floors. Eventually the bedrooms would become offices as our staff expanded.

At the time all of the guys that hung out at the studio were college age and we had a very fraternal sensibility that had carried over from our DUCKWORK experience.

We tended to play as hard as we worked and seemed to never leave the building, often crashing on the couch or cots that we had brought in for the many all-nighters that were pulled to meet deadlines or to just hang out. The pizza shop on the opposite corner made it easy for us to always have food and drink.

Our families forgot who we were.

Posters and art covered the walls. There was a riddled dart board that was used to shake out those punchy moments in the wee morning hours. It was not unusual to find the mantel of the fire place lined with empty beer bottles.

 

Bill Cucinotta and Bill Anderson, Trashed and too close for comfort

 

This would all change eventually as Comico became more of a business and less of an adventure but those early days harbor all of the most romantic memories of young guys setting out to conquer the world of comics as they knew it with little more than hope, a dream and some talent.

 

Reggie Byers and a new shipment

 

We would get visitors. Many with portfolios or scripts in hand. Some just curious. The visitors that thrilled me the most though were heros that provided inspiration so great that I get misty thinking about their visits even today.

Murphy Anderson whose Visual Concepts Inc. was our flat color separator and would visit often.

Joe Kubert, whose school we offered a small scholarship to, and whose sons eventually worked on our books, stopped in to say hi.

Dick Giordano along with Pat Bastienne would stop by for holiday parties.

All of them are comic book legends.

They would marvel at our humble space and it would take them back to stories of the good old days when they, themselves were kids in the industry holed up in hotel rooms knocking out an issue by committee overnight.

The twinkle in each of their eyes as they reminisced is something I’ll never forget.

When I write these articles, I get that twinkle and I remember why I love making comics.

It is more than the art of it. More than the love of the medium. More than the camaraderie of other comic artists.

It is being part of it all.

Being part of the history of all the folks that made the comics that put a smile on the face of a reader young or old.

 

Gerry Giovinco, Reggie Byers, Phil LaSorda, Bill Cucinotta. Neil Vokes (in back), Matt Wagner, Rich Rankin

 

Being part of a unique tradition of a wonderful medium and passing it forward to the next generation.

 

Snowmageddon trashed the front porch

The clubhouse is a lot different today. It exists in a technological wonder called the internet. It is not bricks and mortar like the old duplex in Norrisown. It is digital and the visitors stop in from all over the world.

Our new headquarters has a name. It is CO2 Comics.

It has an address: www.co2comics.com

Stop and visit.

Visit often.

Making comics because I want to.

Gerry Giovinco

The Comic Company:
Duckwork

Tuesday, August 3rd, 2010

 

Enter at your own risk

 
An ominous, orange glow cast its pall across South Philadelphia in the spring of 1981. It was a sign plastered with fluorescent tempera paint on a thirteenth floor window of the ARCO Building on Broad and Spruce streets, home of most of the classes taught at PCA, Philadelphia College of Art which is now known as the University of the Arts, one of the most respected art colleges in the country.
 

Room with a view

 
The letters that read “DUCKWORK” could be seen as far south as Veterans Stadium where the Phillies had won the World Series just months before and marched past PCA in their triumphant parade that rocked the City of Brotherly Love.

Behind the window was the office of a motley group of art students banded together to publish a “student” newspaper by the same name.
 

John "Bondo" Rondeau settles in front of a huge print that we had "aquired" from a show at PCA that featured a famous cartoonist alumnus, Anrnold Roth, who ironically had been expelled from the school when he was a student.

 
DUCKWORK, though tacitly supported by the school, was never a school newspaper. It was a publication commandeered by an assembly of comic art enthusiasts led by myself that defiantly produced comics in an educational environment that, at the time, considered the medium to be kitsch and derivative.
 

DUCKWORK Covers 1 & 2, Cover #1 illustrated by Bill "Fostex" Foster, #2 by Gerry Giovinco with inks by Bill Anderson

 
Our pseudo-fraternity proclaimed each of us as DUCKS and, as a proud rogue clan, we wreaked havoc on the school with our publication and our mischievous pranks some of which might have us arrested if done today.
 

Bill Bryan who is now at CBR Woodworking where thay make incredible furniture for offices and corporate spaces among other things. http://www.cbrwoodworking.com/index.html


 

Evan Nurse was a Jr. Duck who attended a cartooning class on weekends at PCA for young students. Evan's senior prank at Sharon hill H.S. was to join the girls Lacross team. They let him play but they made him wear the kilt. He is now an AV instructor at an area High School.

 
PCA had very little sense of community at the time. Because of this, our little group managed to control Student Council and Arts Council giving us the opportunity to allocate funds and office space for our ventures. The DUCKS ruled!
 

DUCKWORK Covers 3 & 4, both illustrated by Gerry Giovinco

 
DUCKWORK quickly became a magnet for cartoonists especially after it became known that I was attempting to start a comic book company named Comico with two friends of mine from high school, Phil LaSorda and Vince Argondezzi.
 

DUCKWORK Covers 5 & 6, #5 illustrated by Bill "Cooch" Cucinotta, #6 by Matt wagner

 
Bill Cucinotta, my partner here at CO2 Comics, knew of me and Comico from Creation Conventions and was enthusiastically involved with DUCKWORK from the start.

Nick-named Cooch, his loyalty and ability to get the job done whenever needed along with his knowledge of the direct market derived from his experience working retail at Fat Jack’s Comic Crypt, Philly’s premier comic shop made him invaluable. It would later make him the most logical choice to fill the void left by Vince Argondezzi’s abrupt departure from Comico’s initial partnership well before our first book Comico Primer would be published.
 

Edwin Arocho is now a fine artist and musician living in San Juan, Puerto Rico

 
The list of colorful guys and gals that frequented DUCKWORK’s office is peppered with talented artists that went on to creative careers. I’ve included photos of several DUCKS. It is easy to see that besides comics, we were seemingly, also influenced by the movie Animal House!
 

Danny "Hank" Lange followed his dream and actually learned to play that guitar. He recently did a sound track for an award winning film. Check Dan out here: http://www.myspace.com/buskersblues


 

The fall of 1981 brought a new landscape to PCA. Two older buildings across the street had been purchased by the school and turned into dorms. One of these dorms would quickly become a DUCKWORK annex and be dubbed the SWAMP. The SWAMP was home to new DUCKS, Matt Wagner, Mike Leeke, and Dave Johnson, three guys that each would later play a role in the accomplishments of Comico.

 

Joe Cursio was another Jr. Duck who hung out at DUCKWORK and is now living

 
DUCKWORK was populated by students that lived on campus and commuters who often crashed at the office or the SWAMP. SEPTA strikes were usually great bonding experiences for the commuters of which I was one.
 

Joe "Zig" Zigler rarely showed up with clothes on... Joe is a fun pal that we've managed to lose touch with. Joe, if you are out there, drop us a line!

 
One commuting DUCK who recently has emerged on the web-pages of CO2 Comics with his wife and former PCA alumnus, Tina Garceau, is Joe Williams who has recently posted several great flashbacks about DUCKWORK on his blog at www.willceau.com.
You can read Joe’s 5 part DUCKWORK retrospective here.
 
By the time the spring semester had ended in 1982, a total of six issues of DUCKWORK had been published.

It was the end of my junior year at PCA. Phil Lasorda’s older brother Dennis had just purchased a duplex in Norristown for his Physical Therapy practice. He had offered us the opportunity to run Comico out of the half he was not using.

It was time for this DUCK to sink or swim. I left PCA to pursue a dream. Cooch came along as well. Without its leaders DUCKWORK quicky faded away but Comico was about to become official.

When it came time to take the big leap of faith, Vince chose not to commit and Bill took his seat at the drums. Phil, Cooch and I were now the standing partners of Comico as we began to solicit our first publication.
 
Matt Wagner was a prolific contributer to DUCKWORK and continued to contribute as Comico took off. Matt’s feature Grendel first appeared in Comico Primer #2 and went on to become an iconic character in comics. Comico also published Matt’s Mage the Hero Discovered.
 

Matt Wagner, The Comic Artist Discovered.

 
Mike Leeke was significant as an artist on ROBOTECH and later went on to pencil Bill Willingham’s popular ELEMENTALS.
Mike’s contributation to CO2 Comics. The Amazing Liberteens, can be seen Here.
 

Mike Leeke, who would later become the penciler extraordinare of ROBOTECH and ELEMENTALS is just thrilled that he can hide all of his mechanical pencils and rapidograph pens in his tremendous fro!

 
Dave Johnson was also a penciler on the ROBOTECH series.
 

Dave Johnson, former denizen of the SWAMP and penciler on ROBOTECH The Next Generation for Comico.

 
Joe Williams along with his wife Tina Garceau creates Monkey and Bird which is featured here on CO2 Comics.
 

Joe Williams is now a featured artist here on CO2 Comics with his wife Tina

 
Bill and I have ironically redeveloped our webs. We’ve gone from DUCKWORK to Web Comics with a long history in between.
 

Bill "Cooch" Cucinotta reclines on a cardboard 3-D project that was retired to the hall in front of the DUCKWORK office

Ouch! Gerry Giovinco, is another Duck trapped in a world he never made!

 
NOTE: In 1984, two years after the DUCKWORK crew had disbanded at PCA, Jim Carrey makes his Hollywood debut in an NBC television series titled “The Duck Factory” about a quirky group of animators trying to keep their studio alive. Kinda makes you wonder…

The Comic Company:
How to Start a Comic Book Empire

Tuesday, July 13th, 2010

I became obsessed with making comics when I was in high school during the late 1970′s. I wasn’t content with just drawing them, however. The process of making comics was not complete for me until the comics I had drawn were read by an audience. 

I would make comics and print them on an old mimeograph machine then distribute them around school, usually selling each copy for a nickel. I always considered my calling to be that of a cartoonist but in reality I was a born comics publisher. 

CARTOONING THE HEAD AND FIGURE By Jack Hamm

 I read a lot of comics and I read a lot of books about comics and their history. I read books on how to draw and how to draw cartoons. My favorite books were two by Jack Hamm. Drawing the Head and Figure and Cartooning the Head and Figure published by Grosset & Dunlap in 1963 and 1967 respectively. These books are so great they are still published today by Perigee Books. Get them if you can.

 I considered myself self-taught and I was constantly on the prowl for more material to learn from. Unfortunately, there were no books that I found that actually taught how to make comics.

THE COMPLETE BOOK OF CARTOONING By John Adkins Richardson

In 1977 Prentice-Hall published The Complete Book of Cartooning by John Adkins Richardson. My world had changed. The secrets to making comics were out of the bag and brilliantly collected in just over 250 pages of lavishly illustrated, intelligently composed and detailed instructions. More important to me was that this book paid specific attention to creating comics for reproduction.

The publisher in me was percolating. 

Though the production information in this book is completely outdated today, all of the other content is a must read for anyone interested in creating comics. Copies can be found online. Trust me, if you have not read it, it belongs in your library! 

I tell my children to constantly be aware of and use all resources to achieve the most success. When I was coming up there was no internet with a seemingly infinite knowledge base as there is today. I had to search for information in strange and unusual places. Sometimes the knowledge found me. 

FREE ENTERPRISE Magazine

In the summer of 1979, the year I graduated high school, I opened my mailbox and found a magazine that had been placed there by my next door neighbor. It was an old copy of Free Enterprise “The Magazine That Makes You Money” originally published in April 1978. The cover featured Poster King Ted Trikilis who had cashed in by selling the famous Farrah Fawcett poster. 

HOW TO START A COMIC BOOK EMPIRE By Don Rico

Inside, however, was my gold-mine. A comic feature titled How to Start a Comic Book Empire by Don Rico who had received an Inkpot award in 1976 at the still young San Diego Comic Con. 

The comic adventure of Captain Free Enterprise chronicled the hero showing an aspiring entrepreneur how to publish comics detailing how to buy art, manage expenses, sell advertising, print and distribute product. 

BIG BOOM IN ADULT COMICS By Len Andrews

Following the comic were two articles, Big Boom in Adult Comics by Len Andrews and Best Buys in Comic Collectibles by Cara Greenberg. Both gave a stunning outsiders view of the early days of the Direct Market. 

BEST BUYS IN COMIC COLLECTIBLES by Cara Greenberg

All three features are posted here for historic reference. 

The Publishing Monkey in me was bouncing off the walls! 

I quickly called two of my friends who were also aspiring comic creators, Vince Argondezzi and Phil LaSorda. Both of them had graduated the year before. We got together and laid out a plan. We had a distinct advantage over the business model that Captain Free Enterprise described. We would create our own art, eliminating half of the expenses he outlined. 

Comico the Comic Company was conceived. 

I spent the rest of that summer cavorting around comic conventions in my Thing costume as seen in the wildly popular film that we posted here on CO2 Comics. Those conventions represented a lot of networking, education and maturing. Comico was a solid idea that would require a lot of nurturing, planning, and development especially since the three original partners were all now enrolled in separate colleges. 

Notice in the Captain Free Enterprise story he is seen flying into the San Diego Comic-Con International were many of you are this week 32 years later! While you are out there, look for CO2 Comics contributors Raine Szramski and Mitch O’Connell, also keep an eye out for all CO2 Comics updates

Captain Enterprise descends on The San Diego Comic Con

Making comics because we want to! 

Gerry Giovinco

Making History

Thursday, July 1st, 2010

The Fourth of July. Independence Day. The birthday of America. A time to appreciate the rich history of our country. A history that makes us uniquely American. History is what makes us who we are, biologically, emotionally, intellectually, and creatively. The choices we make about our future are tempered by lessons learned from accomplishments, mistakes, tragedies, losses, and victories. We can never truly control our destiny but history is our only guide for navigating the unknown future.

CO2 Comics Homepage

The Fourth of July. Independents Day. The birthday of CO2 Comics. We are one year old and we appreciate every minute of it. For us, it is a celebration of the moment in time when we first, publicly revealed our web site http://www.co2comics.com/. It is the celebration of the culmination of years of dreaming, experimenting, hypothesizing, observing and anguishing over history. The history of comics. Our place in the history of comics. How we will use that history to navigate and pioneer the future of comics at this, the Dawn of the Digital Age.

Comico Covers

Mike Sterling reminded us a few weeks ago on his blog Progressive Ruin , that Bill Cucinotta and I had stood at the brink of a new age in comics before as publishers of Comico. We are proud that we had charged in with the likes of Pacific, Eclipse, Warp, Aardvark-Vaneheim, Capital, First and others laying the foundation for what would become The Independent Age.

Top: Bill Cucinotta, Vince Argondezzi, Phil Lasorda, Gerry Giovinco Bottom: Aaron Keaton, Andrew Murphy

Like our forefathers who fought valiantly to establish the ideals and conventions of freedom that make America what it is today, the early Independents left a trail of casualties while they set standards for creator rights, compensation, quality, format and innovative marketing in the fledgeling Direct Market. Comico, a briefly shining star in the industry, unfortunately, is among those ruins but its legacy should be remembered as should the lessons learned from all the pioneers in comics, wether they be the innovators of cave drawings, nineteenth century French publications, Gold, Silver or Bronze Age Comics, Undergrounds, Independents, and now, Digital.

Understand the past before challenging the future.

DAK

This is a lesson I learned from David Anthony Kraft one evening overlooking Georgia from his home perched high on Screamer Mountain during the mid 1980′s. The long time Marvel editor and writer and publisher of Comics Interview had a unique perspective of the history of comics because he had the opportunity to work and speak with legends that had created comics from the dawn of the industry. He appreciated my enthusiasm for change but emphasized understanding the reasoning for why comics had been made the same way for forty years.

Don’t fix what’s not broke? No. Understand the past before challenging the future.

This has been a historic year for comics. The Digital Age is blossoming. What it will be like in full bloom can only be imagined. We know that CO2 Comics will be part of it. We have seen the power of the internet. We know the potential of the downloadable content. We do not underestimate the value of the printed product. We know and respect the power of the medium of comics.

Our first year as CO2 Comics started humbly last Fourth of July weekend with just a few pages of comic art by Bill and me, an introduction and the basic structure and design elements that remain intact today. During our maiden year we have had the pleasure of being able to post the work of over twenty creators, many of which were friends with strong ties to our Comico days. We have accumulated nearly 600 pages of comic art about ten times the amount of work that had been published by Comico in its first year.

CO2 Comics Year One

The audience has been bountiful. CO2 Comics has received nearly two million hits in its first year! In 1982, when Comico began publishing, it was inconceivable to reach an audience like that. Our sales figures of the two Primers that we published in our first year were just a few thousand copies, combined.

We know that as Comico grew into a significant publishing house, CO2 Comics, likewise, will make a major impact in the comics community.

Why? Because history repeats itself.

We also know that we as publishers are older and wiser. We have a proven history of learning from our mistakes, exploring unique options, and pressing the envelope. We also know from failure. We know that Comico, for all of its successes, became a casualty, but it laid a foundation for a future. We are living in that future now and looking into the next horizon.

CO2 Comics considers our first year a beta year. In many ways it was a campaign that developed a life of its own. This next year will be even more exciting. New product will appear on the site, new comics by new creators. Digital, downloads will be developed for e-reading devices, and we will release our first products in print.

A key theme that will prevail throughout will be history. We are excited about comic history and our first print product will have tremendous historic value for the entire comic community. I would love to tell you about it right now, but it’s a surprise! Actually, it has been a tremendous amount of work, a true labor of love, and so important to Bill and I that we will announce it only when it is 100% ready to fly.

Until then we will keep the subject of history alive in our blog with a new weekly feature, The Comic Company, that explores some of the innovations we tackled in our early years of Comico. Inspired by the Progressive Ruin blog, and the interest that was generated by it, we will look at the highlights of the Dawn of the Independents and our involvement in an exciting time in comics history.

Making comics because we want to!

Making history because we just can’t help it.

Gerry Giovinco


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