Why are you guys still excited about comics knowing the state of the industry? Are you exited at all?

I pretty much just reading my old collection of comic books from the 90s and early 00s and reading older stuff from 70s and 80s. Several European comics with English subs and several manga. I gave up on current American comic after the confusing DC reboots and them destroying Wildstorm.

This, pretty much my reality stuck in the 90s and early 00s.

Yep. He has a new series with IDW.

It bounces around. Lately, I've not read any comics because I've been reading books again. Last series I read had to be Hell boy because I never actually sathe down and read it, but that was last summer.
As far as webcomics go, I read Dreamkeepers when they started that thread in the catalog and it was decent. I've read a few really bad ones just to see how bad they really are.

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BROTHER!

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What's the last super amazing thing European comics have done?

Tintin?

Manga which is just fucking Japanese comics, is doing better than any western comics industry right now. Burgers and Europoors need to step up in the midst of this politically correct perversion of the medium.Do Australians even have comics?

We… used to.

What?

Manga, Japanese comics, are doing better than the western comic industry as a whole.

How is this hard to understand?

Ok.
I need some source of information about that afirmation.

Be still my dog of war. I understand your pain. We've all lost someone we love. But we do it my way!

WE GO IN! KILL! KILL! KILL! Kill… kill… zzzzzz

This article may help:

pastemagazine.com/articles/2015/07/theattack-on-titan-comic-series-just-sold-25-milli.html

There's also an interesting quote about "Comic snobbery"

"So how did the rest of the comics industry react to this sea-change? In the pettiest way possible of course, by othering the success of that material as much as they could. “Manga aren’t comics,” went the discussion. They were, and are in many ways, treated as something else. The success that they had, the massive success that they continue to have, doesn’t ‘count’. All those sales and new readers were just ‘a fad’, and not worthy of interest, respect, or comparison to real comics. It was the one thing that superhero-buying-snobs and art-comics-touting-snobs could agree on (with the exception of Dirk Deppey at TCJ, bless him): This shit just isn’t comics, real comics, therefore we don’t have to engage it."

Also this interesting quote:

"Another prominent example is how The Walking Dead #100 sales were qualified—it sold nearly 400,000 copies, and the series’ collections sell consistently well in bookstores and online, but it’s still an “indie” book despite evidence to the contrary. Book after book continues to regularly dwarf the sales of Marvel and DC output—some even casting a shadow on the historic sales of Star Wars #1"

And One Piece sold over 320 million copies worldwide:

animenewsnetwork.com/news/2015-06-14/one-piece-manga-sets-guinness-world-record-for-copies-printed-for-comic-by-single-author/.89275

Be it chan autists or graphic novel "professionals ", I always thought the meme that "manga is not comics" was blatantly absurd.

/a/ is just a containment board for the worst of the worst waifu-fags at this point isn't it?

Manga is alright. The Japanese way of story-telling isn't my favorite but it's funny how everything western comic defenders say about the industry is BTFO by manga. They try new things, they have consistent release schedules and they have great artwork (most of the time) all the while doing all the things DC and Marvel say you can't do.

Manga actually varies in genre, from slice of life to thriller, from Horror to Adventure, Romance, Sports, Comedy. Between Hero Academy and One Punch man it's even starting to make capeshit fun again.

Ok, those are high numbers, but are we talking about the whole industry? If we go by brand selling Marvel was worth 4 billion dollars for example and that is part of the industry as well since it comes from the ideas of said companies, the movies and the merchandising too.
And what is with "the in the midst of this politically correct perversion of the medium" thing?

What part exactly?

No.

Me again. I thought I should clarify.

2009
2013
2015
>I don't know what's worse: the strawmen or the fact that they're crafted in such ignorance, they actually support the anti-social justice side of things
2017

Comics are dead to me, now. My Wednesdays consist of vaguely remembering it's Wednesday, going to the torrent sites, and sighing as I click on the two or three I'm still reading out of habit more than anything else. DC's Afterbirth is every bit as shitty as the Jew52, and I can't even conceive how the Marvel editorial meetings go. I can only assume it's a bunch of camp homosexuals sitting around a table, sucking each others' cocks and complaining about how comics don't take women or gays or trannies seriously.

Out of curiosity, how are the Injustice comics doing? I remember hearing that they're, somehow, a big step above the rest of DC and Marvel's usual content.

First example is Aria, and comic that's about the peaceful life of a gondolier who lives on Mars, and nothing else. Next one up is Wolf and Spice which deals more in economics and how it works rather than focus on the relationship between the two characters, or the demonizing of the church.

Those are the first two that come to my mind.

The state of the industry is steadily improving. Publishers are slowly but surely getting a wake-up call and having to change marketing strategies.

The free market will make comics great again.

Excited is too strong of a word. Seeing Marvel getting desperate enough to ship free copies, and DC desperate enough to try new things is entertaining enough. There were also some decent comics, like Carnage, Doom Patrol, Cave Carson, and Flinstones.

Creator owned/indie stuff this year has been pretty stagnant. Not many new and memorable books. On the upside, it looks like Ratqueens kicked the bucket.Other than that, manga and eurocomics sales have been up so that's always a good news.

Any reason in particular? As far as I can see, his Hellboyverse stuff is always at roughly the same level of quality. However, Batimore got worse after 1st arc, with only the inquisitor vs werewolf story being as good as initial books.

Marvel only worth 4 billion dollars after Disney bought them and pretty much squeeze every corners of MCU to print as much money as possible. Even the rise of merchandise sales are from toys and other stuff based on the movies. They don't have to rely on companies like Kenner or Hasbro to make money by repainting a figurine template different colors to make different characters anymore.

Before Disney acquisition Marvel was almost bankrupt. They ended up selling Fantastic Four and X-Men movie rights to FOX just to stay afloat. At that time everything looks grim. You guys may hate Disney overlord for buying Marvel but the same overlord is what make them worth 4 billions now.

But the comic part? The comic part is still failing. With its ridiculous stories, confusing social messages, out of character characters and many more. Right now the MCU is still the one who follow the basic Marvel universe. Still Steve Roger, Still smug alcoholic Tony Stark, Still slightly arrogant thunder god, still spunky and sexy Black Widow. A lot of you shit on MCU for being a "sell out" but ironically they are the most faithful Marvel universe ever.

Remember, we're in Holla Forums, short for Cartoon and Comics. And to be honest, DC and Marvel comics are not in their best shape. They are two tired arrogant giants. They think they are kings when other giants rose up among them and move forward.

Okay so let me show you a scenario. Let say the story is set in post apocalyptic world. If you handed that idea to Marvel and DC they only make story about depressing cynical world filled with violence and people wearing weird clothings and acting like Mad Max characters. The best example is the Old Man Logan comic.

But if you see what Japanese manga came up with the same setting? You can have a mellow story about how people accept the inevitable while living in a world with rising sea level every year (Yokohama Shopping Log). Or a world where most humans are gone except for people put in cryogenic sleep and the vegetations and animals are evolving to kill us (7Seeds). Or a world where martial arts thrive (Fist of North Star). Or animals are super delicious food but they are hard to kill so only the strongest chef can defeat them (Toriko)

American comics really need to be more open, more relaxed in their approach. I mean we already saw comics like Usagi Yojimbo, Bones and Groo got great sales because of their unconventional idea. Why stuck to tired capes comics tropes? Have some fun.

MOAR!

That won't happen as long as the leftists keep running the industry

Leftist, rightist, idgaf about politic, just make fucking good comic. Do you think best selling manga like One Piece got its sales because of political agenda? No, because it was fun shit. GTFO Holla Forums, you're cancer to Holla Forums

I never cared for Baltimore. In all honesty I just got bored with it. I didn't feel any investment or love for the characters. They just felt more shallow the more I read stories with them. Then I also just got tired of the whole Nazi usage. They're such easy villains and are only their for the kikes to remind you of the shit they did. Granted they're not as big of a focus now but there is a Hellboy mini series continuation going on with Nazis. Tired and bored. Those were my reasons for quitting. They're not horrible comics but I just didn't have much to be invested in anymore.

The shit state of the industry is the only problem here.

A shit state worsened by writers unable to keep it in their political pants.

Doesn't matter if you give a shit about politics or not, because politics gives more of a shit about cartoons and comics than you might.

Because French comics exist and fill me with a wary hope.

You are talking about two good examples of american comics wich are very representative, yes, but if you post "all the western industry" or "any western industry" then the example loses a little strength.
First, because manga companies rely on selling their rights to anime studio, videogames and any other form of merchandising as well. So that part is part of the industry as well, in both sides of the ocean.
And besides, most of manga focuses in the national market and, save for few cases, too little in the external market. And same goes for capeshit american comic.
If i say that french comic industry can rely in regional sells then why do they need to be like japanese industry wich do exactly the same? What does it changes?
Japan companies don't push outside their territory too often and any sort of "comic invasion" is thanks to piracy and fandoms. And local companies who want to sell those things.
Yes i agree that comics should do better, and should be better, but i don't think we know exactly if that is the problem with comics, specially if we focus in some narrative even if it is well liked in another culture and produced in different ways.
Mangas are usually sell weekly in magazines and then compiled in volumes, they are in white and black, usually with no color and in regular bond paper.
Should american comics do that? Would the american public like it? Would be as easy to distribute said comics in a USA as it is in Japan? Does USA have a potential public with the same level of homogeneity like in Japan? Should they adapt any comic they sell well in a tv series? Can they relay in a market space for the dvds and merchandising of said series?
Apply that difference to France, to Spain, to Argentina, or to Belgium.
Too many differences. And we are talking about COMICS. All comics, and every single comic, from every part of the world that is not japan and with different ways to make comics, with different levels of powers to produce and sell them.
And yeah, here are some different takes on a post apocalyptic scenario, coming of age stories, drama, comedy and such.
West has a lot to offer. OP is a fag, there is a lot to be hyped.

That's 4KIDS edit, it's the job of American company, not the original Jump publication. They also the one who turn real gun into stupid watergun.

From what I saw Japanese are much more aggressive in merchandising their manga/anime. They will make anything from lunchbox to condom to keychain. American comics don't have that many variation of merchandise except for action figures and "Limited edition" stuff.

The difference is, while they focus on the national market they open that market as wide as possible. They allowed creativity to thrive in that market. Like I said before they allow comics with ideas that seems so out of left field and yet they can make it work. They make comics about how to get involved in stock exchange market, or comic about wine connoiseur, or they make comic about making bread. They made those interesting enough people overseas start taking notice and wanting to license them overseas. Also like other user said the cost of licensing was pretty cheap back then they can export them in large number and flood the international market.

American comics in the other hand only available in less countries than Japanese comics due to expensive licensing fee. The interest is there but a lot of publishers saw the fee and opted for cheaper fees from European and Japanese comics.

Well we're talking about the big two a lot and we saw the problems in it everyday. Hate to say this but those big two are the most known from american publishers and the ones with biggest brand name to compete with Japan and Europe. So in the end those two need to evolve.

Also have more faith with American market. So many breakthrough in American genres came from people breaking from the norm. For a country that encourage creativity, I saw too much genre beaten down to the ground.

can I get a synopsis of this series.

Uttered perfectly.

Also holy shit is there a popular anime more edited than One Piece?

I have a better question.

What were Holla Forums type forums even like before the SJW shitshow? Screaming about Neckbeards and Dork ages? What was even talked about?

Aside from the overcrowded and overdrawn style of both manga and especially hentai.

Like goddamn, cut down the squigly lines, not all titties need to be Queens Blade Milf Tier

I still find it amazing that the guys running Marvel fucked everything up that badly, and that the fucking kikelord wasnt found guilty a malicious sabotage.

It is surprising that American comics are still chugging along, considering how many times whole thing came close to crashing and burning. Root of the most problems with American comics is (and has been for over 50 years) horrible management. No other industry even approaches caliber of ineptness and lack of foresight that is standard in American comics publishing.

Horrible luck of people who try to shake things up is another factor. Every time time when things start to change, something happens and most progress is crippled or undone. Propaganda comics, comics code, depression in the 70s, and so on.

Gotta agree with you on nazis. As far as antagonists go, they are as much of a lazy stock choice as zombies. And Hellboy unfortunately tends to fall back on them again and again.

It is rivaled by DB and maybe Naruto.

It's called Ekho. Cute but a bit snotty college girl protagonist and random bystander end up transported to the mirror world, where electricity doesn't work, and things are a little bit more magical than in ours. Over there it also turns out that she is a medium. Series involves them running talent agency (which protagonist inherited from Aunt who lived in mirror world), main duo trying to find way back, and solving murder mysteries with help of ghosts along the way.
I storytime the whole series whenever new volume is released in English.

>They make comics about how to get involved in stock exchange market, or comic about wine connoiseur, or they make comic about making bread. They made those interesting enough people overseas start taking notice and wanting to license them overseas

Didn't The Drops of God do so poorly in the US that Vertical dropped it? The market for niche titles just isn't the same as it is in Japan.

And I don't get why some people like to tout One Piece selling a billion copies worldwide (or for TWD/Star Wars for that matter). That kind of success isn't necessarily positive for all the manga/comics that don't happen to make it big. That kind of dickwaving just inflates expectations.

What said. I don't have much, but I did save the first three issues from a halfchan thread from a while ago. Here you go, bruv.
mega.nz/#!l8hC1IzK!mcArsypNl4Yn8jWB_vvqsRS-drfXPoGq0I2XMKkRQWQ I have no idea of mega links are actually alright but I'm assuming so

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Isn't that how most CEOs in America work, successful or not they always have golden parachute so they can land safely while the company crash and burn.

I'm not saying everything must be a hit. Like I said before the opportunity to make different genre with different theme was so big/open, so there will always be hit and miss. While the wine manga flopped the breadmaking manga like Yakitate Japan hit it big. That's business for ya.

I say current situation is actually pretty good if you want to jump into the industry. Back then it's a pretty small group of people but now thanks to internet and direct sales (patreon) you can always gain an audience.

I mean, if shit comics like Questionnable Content and Dumbing of Age got followers then why not you? Not saying you're shit just maybe you can make something better.

Just read some good comics instead and stop fixating on bad comics all the time.

I don't read capeshit.

As a taco I find this extremely hilarious

I just understood the last panel.

I understood most of em except for womp. Never knew it was supposed to be a slur.

Its a retro one against Italians.

Because it's still better than jerking off to shitty fucking cartoons like a faaaag

Shut up Animemer, go back to make Anime great again, with your Negroes, if you like Anime so much move to Africa.

Hey Holla Forums