Comic Books - Exploring Your Imagination

A comic book, or comics for short, is a magazine or book containing sequential art in the form of a narrative. Since the formulation of the comic book format in the 1930s, young and old alike have enjoyed comics. However, the comic industry lost some of its popularity when it came down with a crash in the mid 1990s.

To promote its popularity once again the comic book industry is producing films based on the comic book stories. This method proved successful for few stories like Sin City, X-men and Spiderman but it failed miserably for other titles that flopped at the box office. So far this approach seems unable to rejuvenate the comic book industry.

Research shows that the main cause of downfall of the comic industry is the removal of comic books from shops and stores. But this cannot be the sole cause since comic books are now easily available on the internet, in movies and animations.

Another question that comes to mind is why Japanese animation or "manga" is doing better then traditional comic books? The answer is simple. The Japanese write a better story line and their animated movies are made for a wider audience. Often, Japanese comic books are framed as graphic novels containing 70 to 220 pages for a mature audience. The manga holds a more important place in Japanese culture, and is both well respected as an art form and also as a form of popular literature. On the other hand, comic books in Western countries are generally geared towards young teenagers rather than adults. This approach has made it tough for the Western comic industry to attain its dominant position.

Common misconceptions regarding comic books turning readers into out-of-touch delinquents have also hurt sale. Many parents fear that comics will brainwash children into believing that supermans and batmans actually exist in the world. For this reason, many parents forbid their children from reading comic books as in their view they carry no ethical or moral values. These attitudes have contributed to the lack of interest in comics as well as its drop in publication.

The comic book price guide also sheds some light on why comics are no longer sold. The price guide reveals that the cost of comic books has soared up with the success of movies like Batman, Spiderman, and Superman etc. making it unaffordable to many. Plus when it comes to buying storybooks parents prefer to buy their children fables or novels that will help them build up their vocabulary and learn proper English.

But these parents fail to realize that without fantasy and imagination as found in comics, a child's creativity cannot develop. Comic books help break the monotony in children's lives and refresh these young minds to face the challenges of daily life.

 

Comic Books For Sale

Half the fun of collecting comic books is hunting for rare editions on sale. This can be pretty challenging if want to buy editions that are very rare and harder to locate. On the other hand, you may just want the newest editions of your favorite comics. Here are some tactics to get you started.

New comic books for sale

Your nearest neighborhood comic book store probably has all the recent comic book issues you want at regular prices. You can also get new comics at toy stores, bookstores and even some corner markets. But, it you want to buy comic books in large quantities and at wholesale prices, try going straight to the source - the publishers themselves.

Older comic books for sale

Finding older comic books can be difficult, but with some persistence (and a willingness to extend your budget), you can find rare comic books in no time at all.

You'll be surprised at the number of back issues comic bookstores carry - so don't be afraid to ask the sales attendant for help. The Internet is a good source. Go to auction sites and search f to find the comic book titles and editions that you are interested in.

You can also join comic book fairs where a lot of comic book enthusiasts buy, sell or exchange older comic books. Trade fairs are a great way to meet comic book fans, and you can eventually exchange, buy and sell with the folks you meet.

Anyone selling their rare collection of comic books has a hard time deciding whether to sell or not, but you sometimes have to do it in order to stock in order to enhance your collection.

If you are in a hurry, try offering your comic book to a comic book shop. Just remember that they need to make a profit, and they will never offer you what your comics are actually worth.

If you are willing to wait a little longer, you can sell your comic books on auction sites. Carefully study the payment and shipment rules to protect yourself from scam buyers.

Comics Books: Our Own Worst Enemy?

Like most comic publishers I spend quite a bit of time thinking about the state of the industry and how to make it better - well, truthfully, how to make my little corner of it better. After spending a lot of time thinking it over and discussing what everyone perceives to be the main elements leading to the downfall of comics (the distributor monopoly, for example), I realized what the biggest problem and killer really is: the industry.

I believe most of the problems that we encounter "in the industry" come from the industry itself. First off, comic companies tend to publish only for those who are already in the industry. Comic publishers usually target their marketing towards those who are already here and creators tend to create product only for those who are already well-versed in industry. Very rarely does the thought of bringing new readers in really ever pop up, which is insane. That would be like Hollywood only creating films for those who work in film and television. As wacky as it sounds, this seems to be the mentality of the industry at large.

Magazines like Cosmopolitan are fashion magazines, but their audience is the average woman (or girl) interested in fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the mainstream itself, where its buyers reside. Why short sell your books only to the 50,000 or so members of the active comic community and not go for millions of people out there who enjoy action movies?

Comic publishers aren't the only ones to blame, either. Creators themselves are as big a deterrent to new readership as anything else. If you want to know why, take a look at a modern comic versus one from as late as even the mid eighties and you'll see one very big difference. No, I'm not talking about paper or printing processes. The art itself is the main problem with comics. Solid, clear storytelling has become a thing of the past. A new buyer will find most modern comics unreadable because the solid storytelling of days past (along with gutters - remember, full page bleeds on every page get confusing) is gone.

Do you know why a lot of new readers are picking up Manga titles? It's because they are easier to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is going on and which panel comes next. This can't be said about most US titles (indy or mainstream). The fact that the current trend in the US is for over rendered, poorly thought out computer coloring, doesn't help readability at all.

Comics and comic art have become so inbred the only ones who can stomach them are their sister-mothers. But it doesn't have to be that way.

The general public will read comics if you can get yourself out of the industry mindset and start creating comics for readers instead of for an industry more interested in John Byrne's latest social blunder than in buying your books.

Some places to consider for your books (depending on its target audience) are non-chain book stores, new age shops, record stores (Tower is starting to have a great selection of indy and small press 'zines), libraries, corner markets, magazines with a similar areas of interest, schools, local area mailer compilations (such as the little coupon books you get in the mail), area events (concerts are a great spot), swap meets, arcades or game stores. There is an endless list of places that might be willing to carry your work if you let them know it's out there. You might have to spend some money to advertise. Get used to it. The old adage, "you have to spend money to make money," is true for any business.

Here are some tips for making your books more accessible to general audiences:

1) Market your books outside of comic-specific areas. Figure out who might be interested in your book and pursue those outlets. There are tons of places out in the world that would be willing to sell your comic...but they have to know it exists first. I've had success at art festivals, flea markets, record stores, sci fi magazines and more. Get as creative with your marketing and sales as you do with actually producing your book. It's worth the extra effort.

2) Get rid of full page bleeds on every page. Don't be afraid of negative space around your pages. It will actually open up your pages and keep them from looking cramped.

3) Don't forget the gutters! Overlap panels are interesting from time to time, but gutters help to keep the art readable and from blending together. They're also great for pacing in your storytelling.

4) If you're going to color your books, don't go for the over-rendered look that most comics use. It's muddy and unclear. Look at animation or places like Disney Adventures for reference on coloring. Most "cartoony" books are well colored because they want to make sure the work is readily accessible to readers of all ages. Not every panel needs to be a fully digitally painted work of "art."

5) Think of storytelling. The most important thing in a comic is that you do not lose your audience. If at any point your readers get confused as to where to read next, then you've failed at your job as a storyteller. And, remember, "style" is no excuse for poor storytelling (or poor artwork in general, but that's a rant for another time)

6) Don't have large blocks of text or dialogue in each panel. There's an old unwritten rule in mainstream comics (and one that has been largely forgotten or ignored): never have more than 26 words in any balloon or caption box. Anything more than that and the words will run together, potentially causing readers to skip over sections of what is on the page.

7) This one is going to cause any comic collector to cringe: get rid of issue numbers. Or, if you just have to have them, place them in the indicia only. Issue numbers are one of the big obstacles for new readers, especially in periodical product like comic books. A reader needs to be able to come in on any issue and not have to worry about having to read 10 back issues to know what's going on. Sure you can let them know there are other stories they can read (and, which will be available in trade paperback), but don't make those stories required reading. Follow Cosmo's lead (or Playboy's) and just have the month and year on each cover. Comics should be entertainment first and foremost. Get out of the collectible mindset.

8) Forget the mantra, "comics aren't just for kids anymore." It's old, played out and is part of the death sentence of the industry. Creators have spent so much time trying to prove that comics can be for adults that they've forgotten to build the next generation of fans by only making comics for older fans who are already in comics. Without young readers there is no future in the industry. As a second part of this thought, just because your comic has adult language, nudity and graphic violence doesn't automatically make the book for adults. Vertigo and "Ultimate" writers take note.

9) Be prepared to get your hands dirty and do some work. Publishing is a business and, at first, you may find yourself putting in as much time marketing as you do creating. That's not a bad thing.

My heresy will end with this statement: the only way to save comics may be to let the comic industry, as it exists right now, shrivel up and die. It's on the road as it is, with everyone racing to tear whatever pieces they can get from its still (barely) living corpse. The industry isn't the heart of comics and didn't make them, so dare to be different. Put down the latest issue of the comic industry death watch, Wizard. Ignore the party line that an indy book will sell less than 250 copies - there is a world outside of the Geppi chokehold.

A bit of inspiration for you: Nifty's main title, the Cadre, sells over 5000 copies per issue and 90% of that is outside of the comic industry. Not bad for a black and white, mainstream style super hero comic.

The world is a big, beautiful place full of potential new readers. You just have to venture out and find them.

How to Contact Comic Book Artists and Writers

The first annual New York Comic-con brought out Milla Jovovich and was so successful, organizers almost had to shut it down. The second annual New York Comic-con was organized much better, even bringing out Steven King and Stan Lee to meet fans.

Below are some more insider tips for contacting your favorite comic book artists and writers at various comic book conventions around the country...

Meeting in Person:

Although most comic book creators, artists, and writers will tell you where to send fan mail inside their publications, the comic book industry also takes great pains to make itself available to their fan base through conventions, expos, and fan events.

The general rule of thumb is if you wait a while, a comic convention (or "comic-con") is likely to be announced in your area, and the organizers will make all sorts of promises as to who will be there (most of whom won't show up). Buy your ticket anyway, and take a few hundred bucks and a good Sharpie pen -- because even if the people who show up aren't the people promised, they'll most likely be worth meeting.

Most comic conventions today go far beyond only comic books. They often feature actors, directors, television stars, set designers, comic artists, writers, and an assortment of retro names that will have you scratching your head trying to remember who they were. The show will usually charge around $25 for a ticket, but the attractions will last all day long, from rare film screenings to autograph sessions to bootleg comics for sale. Most conventions travel around the country so fans don't have to spend any money to travel.

What should you bring to get signed? Nothing really, unless you know someone is going to be there and you have some great piece of memorabilia sitting around relevant to that person. Usually there are plenty of items for sale at comic conventions you can purchase to have signed.

Prices at convention's vendor booths are usually not cheap, however you can pick up some really neat pieces of pop culture memorabilia if you look hard enough, and the chance to get that item signed by its creator can be something really special.

Comic book conventions and the comics themselves are a huge industry that gets bigger every year. Therefore, comic-cons are a great place to spot up and coming stars before their signatures becomes worth thousands of dollars when they really hit it big.

How do you find a comic convention I your area? It's pretty easy -- just visit the Comic Book Conventions Web site. This resource list all upcoming comic-cons, usually four or five per weekend, and it also announces changes to programming, cancellation, and contact information.

The better conventions come back the same time every year, such as the Mid-Ohio-Con, which takes places in Columbus, Ohio on Thanksgiving weekend. The 2004 Mid-Ohio-Con lineup included the Soup Nazi from Seinfeld and Noel Neill, the original TV Lois Lane, as well as numerous other comic industry names.

The Vancouver Comic-Con happens once every few months, while Dragon-Con takes place each September. Every corner of the country has some sort of gathering, but even if you have to get in the car and drive a few hours to a really good-size convention near you, the money spent in doing so can be gained back when you take that authentic John Byrne sketch and put it up for auction on eBay.

The big names of the comic convention business include the following:

San Diego Comic-Con International, P.O. Box 128458, San Diego, CA 92112-8458, 619-491-2475

The biggest and the best, Comic-Con has become a brand name in the business. Tens of thousands of enthusiasts gather every year, some flying in from across the country to listen to panels of experts, get autographs, buy memorabilia, watch special screenings of movies, and just hang out.

Dragon*Con, P.O. Box 16459, Atlanta, GA 30321-0459, 770-909-0115

A solid number two, Dragon*Con takes on more of a fantasy tilt--but it's not just for Dungeons and Dragons fanatics. D*C gets bigger every year, and as the collectors grow from obsessed teenagers to well-funded adult fans, the money going through the registers keeps increasing as well.

Big Apple Comic Convention, 75-34 Metropolitan Avenue, New York, NY 11379, 201-865-3288

This one is in New York City, so of course it's big. If you live in the northeast, the Big Apple Con is the one for you.

Mid-Obio-Con, P.O. Box 3831, Mansfield, OH 44907, 419-526-1427

The Midwest really knows how to put on a show, and M-O-C always has an interesting lineup of names. It's not the biggest comic-con around, but it's got a reputation as one of the best.

Mega-Con, P.O. Box 1097, Safety Harbor, FL 34695, 727-796-5725

New York Comic-con, Jacob Javiz Center, 655 West 34th Street, New York, NY 10001, 1-888-605-6059

Sending Fan Mail:

To write your favorite comic book artist, look for his or her fan mail address printed in the comic book. Or send your letter to the comic book publisher, whose address will also appear inside the book.

Visit Contact Any Celebrity for instant access to the best mailing address, agent, manager, publicist, production company, and charitable cause for your favorite comic book artists and writers.

Comic Book Collecting, Oh What An Enjoyable Past Time It Is!

Have you ever read a comic book before? I imagine just about everyone, at some time in their life, has read at least one comic book. But do your interests and enjoyment level go beyond that? You may have said to yourself, at sometime or another, I would like to start a comic book collection some day. Heck, you may even have several comic books lying
around that you have just never organized.

What do I do to start a comic book collection and what all do I need? Well, as I am sure
you realize, you need to start with a passion. You have a passion, you say, but you don't
want to be labeled a "comic book geek" and remain alone in your enjoyment. Well, my
suggestion to you is "Don't Sweat the Small Stuff" and believe me, you are not alone.
You would be amazed at the multitudes of individuals who have a passion for comic
books. And there are a plethora of related sites on the Web.

I couldn't get enough of these colorful action-packed little devils when I was young. But
like any supposedly responsible individual, I lay my passion aside when I got older and
when to college and got a good job. Well in the last several months, I have rekindled that
childhood passion and have spent a good share of my time researching and creating my
own comic book website. And what a rush it has been reintroducing myself to myself. I
am finding quite an avid interest in all the new comic book hero movies Hollywood is
cranking out. I have even started my own comic book hero DVD collection. And this is
big business, so I know there are throngs of people out there with my same interests and I
hope to connect with many of them through my website.

I ran into a major thrill the other day glancing through the want ads of my local
newspaper. Lo and behold, someone was selling a comic book collection. A quick call
and a meeting in the shopping mall parking lot and I was the proud owner of 189 comic
books kept in beautiful condition. And get this; it cost me $50.00 for the whole
collection. I have as yet to determine the actual worth of the collection, but it has got to
be substantially more than what I paid for it. As time goes on, I will be organizing all of
them in a spreadsheet and using my trusty copy of the Overstreet Comic Book Price
Guide to determine my new collection's total worth. As I do that, I will be reporting
results on my website.

Through all my research over the last many months, I have even created an ebook
product on how to start a comic book collection, which is filled with Internet resources. I
want to have an inexpensive resource available to help others, with the same passion I
have, to get started. If you care to see what the book is about, you can check it out at
http://www.comic-book-collection-made-easy.com/comic-book-collection.html and let
me know what you think.

When you start your collection, you will need to start thinking about sources to purchase
your comic books from. You will want to start learning about comic book supplies to
help preserve and organize your magazines. You will want to learn how the rest of the
industry goes about grading physical condition and what your individual comics are
worth. Personally though, I believe some of the greatest worth in a comic book is what it
means to you and the enjoyment you receive from owning these little pieces of art. You
may even what to find where all the great comic book conventions are and if there are
any close to you. All of this information is available on the Net and I am hoping to build
a central hub to all this other great info.

Want to start a collection? Come on over and visit me. Kick your shoes off and stay for a
while. I don't think you will be disappointed. You may even want to bookmark my site.
Have something of value you want me to add or a question that needs an answer? I am all
ears. So start scanning the want ads and I will see you at my site. Flame on! Or was that
"Up, Up and Away"?

Dave Gieber, a former rocket engineer, has decided to take up residency on the Internet.

Comic Book Industry Blunders

What has gone wrong within the industry and can it be fixed? The rape and pillage, in the eyes of
some, may have left the comic book industry gasping for life support. It seems that for an
industry that has seen so much success, the history of comic books, has apparently been
confounded by seemingly dumb mistakes.

The first could have very well been the coining of the name "comic books". The earliest versions
of the so-called half-tab (for half tabloid) reprints of the Sunday funnies (the comics) became
known as "comic books". This led to the thinking in general, that comic books contained comic
or funny material, which we all know, is a far stretch from reality. Comic books can be very
somber, dark or adventurous magazines. It has often been suggested that there should be another
term coined to better describe this literary package we all know as comic books. To date, no
other user-friend term has been suggested for use in the comic book industry.

A second misdirection came when magazine prices started to rise. Instead of increasing comic
book prices, like other successful magazines did, the comic book industry decided to cut pages to
keep the then current price tag of 10 cents. This brought on the impression that comic books
were "cheap" by definition, and neglected the fact that a dime was a lot of money at one time
(steak & eggs cost 35 cents). This presented the image that comic books were just for kids. It
also made the product increasingly less viable for retail merchants to stock. Why take up the
same shelf space, when a higher priced magazine would do more nicely. Again the perceived
value of the comic book was loosing credibility.

Then as the 1950s rolled around, an individual by the name of Dr. Frederick Wertham, published
a book entitled "Seduction of the Innocents". Through the use of unscientific research and
assumptions, he stated that all the nation's ills were directly related to kids reading comic books
(ah hmm, what?). Central to his thesis, was the misassumption that comic books were strictly for
kids. The more adult material, it was irrationally assumed, was aimed at our sweet, naïve
innocent children. Yes, we do have to protect our children, but it still bothers me to no end, that
certain self-righteous individuals believe their lot in life is to make the rest of the planet adhere
to their own personal beliefs. If this were the case, then our great country would have never been
founded.

With this wildly irrational attack on the comic book industry and many congressional leaders
jumping on the bandwagon, comic books were gaining a bad reputation. The comic book
industry publishers at this point, could have banded together and declared that comic books, like
movies, were not "just for kids". It should have been stated that the wide range of comic book
genres represented was target to as wide a range of readers. All but one of the publishers
(William Gaines, publisher of EC Comics) buckled under to this Congressional Investigation and
the Comic Code Authority was created. This governed the content of comic books and ensured
that for the next 15 years or so, the literary content would not rise much above that of pablum for
the mind. Therefore another slide into incredibility for the comic book industry took place.

Can the comic book industry be saved? Very possibly, but when the individuals in charge of the
saving are as eager as ever to make the same mistakes all over again, what will the outcome be?
They don't even appear to be cleaver enough to make new mistakes.

Dave Gieber, a former rocket engineer, has decided to take up residency on the Internet.

A "New System" for Publishing Comic Books?

I formed my own comic book company in 1994. Catfish Comics published 14 issues before fading from view. After a six-year hiatus, I've returned to the self-publishing game with SINNAMON: GRRL VS. WORLD #1.

A few people have asked why this comic is only available via ComiXpress. They ask because in the past, SINNAMON comics were available at comic book stores. Those fourteen issues were published through what I call the "traditional system".

Let me outline the basic steps behind the "traditional system":

1. Get the comic book listed in a distributor's catalogue. Since the late 1990s, the catalogue with the widest market penetration is Diamond Previews.

2. Take note of when the book will be listed in the catalogue. Normally, the book is listed three months before it's available for sale. For example, if SINNAMON #13 was coming out in December, it would be listed in the September Previews.

3. Wait for the orders to come in. Keeping with the example above, orders for SINNAMON #13 will arrive sometime in November

4. Send the comic off to the printers.

5. Sometime in January, receive payment from Diamond for the books.

Other than keeping track of various deadlines, the system isn't very complicated. All things considered, it's probably the only way a publisher can get his or her book out to comic shops all across North America. But is it effective for smaller publishers like yours truly? I would say not.

This isn't a diatribe against Diamond Distributing. There are small publishers who have complaints, but the reality is that the overwhelming bulk of Diamond's sales come from five or six publishers. There's going to be an obvious imbalance in the treatment of someone who might produce sales of 1,000 books compared to someone doing thirty or more times that amount.

I stayed in the publishing game until 1999. When I encountered problems getting SINNAMON SAGA #2 completed, I threw in the towel. I had been considering this for a while, because I had the gut feeling the "traditional system" was not in my best benefit. It took a few years away from the business to gain perspective and figure out why my gut was probably right all along.

Why? Let's look at what I consider to be the major weaknesses of this "traditional system".

Start with Diamond Previews. Each month's issue is the size of a small city's telephone book. How exactly do you make your book stand out from the many hundreds of books listed? You could advertise. How much money do you have set aside for advertising? Now if you're reading this article, odds are very good you have nowhere near the advertising budget of companies like DC, Marvel, or Image.

Fine, you say. You'll be creative and find other ways to get people to notice your book. Go for it! Every small publisher should embrace the principles of guerilla marketing.

Now you'll come up against the second major weakness.

Suppose you get your book noticed. Perhaps you get a favorable mention in a newspaper article, or become an Internet darling. Great! So now people want to buy your book.

Where will they buy it? Under this system, the only place is a comic shop. And how are books sold at a comic shop? The new comics come in on a Wednesday.

And that's it. Generally speaking, your book has one week on the main shelves. All your marketing must be targeted to get people in the shop that week. Otherwise, your book will be fighting for space among all the other back issues, assuming it hasn't sold out.

That's not the only fly in the ointment.

Remember my description of the "traditional method"? Remember the part where store owners do their ordering? That means your marketing must hit during that ordering period. You need to get shop owners to order your book. If they're not won over by your marketing, you need to get people to go comic shops and order the book.

Whoa. Stop.

Did you read that sentence carefully?

"You need to get people to go to comic shops and order the book." Any sales person will tell you that the key to sales is to place as few obstacles before the customer as possible.

What could be easier for a customer than clicking a link?

Let me outline each step of the "new system":

1. Produce your book and get it printed at a Print On Demand printer. I use ComiXpress. If there are other POD printers who do comic books, feel free to contact me with details.

2. Set up the online sale page. ComiXpress will set one up for you. They take a cut from each sale, but in exchange they are taking the orders and handling the shipping for you. ComiXpress accepts credit cards, which is another factor in making life easier for customers.

3. Promote your book.

That's it. Compare this to the "traditional system". Notice how this system is less complicated? You'll also notice the absence of any external deadlines. Your marketing no longer depends on getting word out by a specific date. Instead, your marketing only has to get the word out. It doesn't matter when word gets out, so long as every mention includes a link to the shop (or your web page). So if you get mentioned in a national newspaper or magazine, you don't have to worry that shops have sold out of your book.

Here's an example of how the "traditional system" fails small publishers. Ten years ago, I worked for a publisher on a book titled Bruiser. Much to our surprise, BRUISER #3 got a positive review in a comic book magazine (not Wizard). This was the kind of good news any publisher would want to receive. Did it help BRUISER #3?

It did not. The review appeared a few months after the book had hit the stands. Since the original solicitation had been very small, there was no way anyone could find a copy.

Ten years later, such an article could include a link to a site that provides more information about Bruiser. That wouldn't put any books on the store shelf, of course. However, the publisher could sell Bruiser from the web site. The onus would be on the publisher to have copies on hand. So after getting the order from Diamond, the publisher could have an extra box or two printed up.

An extra box or two is fine if you only ever publish one book. I put out fourteen issues of Sinnamon, and because initial orders were good, I overprinted four or five boxes per issue. In ten years, I've moved a fair number of back issues, but do the math. Right now, I have about twenty boxes of Sinnamon comics in the basement. It's a good thing I live in a house.

Personally, I rather like the idea of keeping ten or twenty copies of a book on hand, and let ComiXpress print out more books as they're needed. It definitely beats moving to a bigger place, especially in this housing market.

Although this "new system" makes life easier for the small publisher, it does not make success automatic. The only way to sell comic books is to work hard at marketing. Diamond Previews does get into every comic shop. The economics of this "new system" means you can't afford to sell your book through comic shops. Instead, you must focus all your marketing upon getting people to click on that link.

This is not a bad thing. Too many small publishers think that being in Previews is a marketing accomplishment in itself. Too many of them think a Previews listing automatically translates into sales. That is not the case. No matter what system you choose, marketing will be the key to your success. It is my belief that the "new system" will allow a small publisher to maximize the results of his or her marketing.

My belief gets put to the test with "Sinnamon: Grrl vs. World #1". If it works, expect to hear from me again!

Angelo Furlan is the writer and publisher behind Catfish Comics.