Self-publishing superheroes.

I just read a pretty good article about what a bad idea it is to do what I do.Self-publishing superhero comics is a hard thing to do. A lot of what is great about superheroes, a lot of what us fans really love, is best done in the big flashy style that just comes so easily to the big-money publishing machines. This is not a shot at them or a poor-me on me. It's just the truth. Actually making the comics is hard. Selling them is hard. Finding your audience is hard. Finding wider success is hard. And reaching your goals... well, that can be pretty hard as well.

Making indie superhero comics. Your indie superhero comic can look and feel really cool, but it'll have the slick magnitude of the big guys. You can get real close, and technology closes that gap every day. Even if you get the look, you are fighting your ass off to gain ground that these guys eat, drink, and sleep on every day. As a writer, I face a similar, up-hill, battle. One thing that is so cool about the superhero story is the scope. The world, the heritage, the pre-suspended disbelief. None of these are essential to a good superhero story, but they are nice to have. They are also hard to get. For me, each of these qualities requires a confident and steady hand. Push too hard and it is schlocky. Go too easy and the tone is lost. A big, established, superhero universe has all of those things without even trying. Selling indie superhero comics. Buying and selling are very complex. That's why economics is such a varied and complex field of study. But, without even an associate's degree in that field, I can boil down the economics of selling indie superhero comics. The people who superhero comics do not tend to buy indie comics; the people who like indie comics do not tend to buy superhero comics. It is a hard fight to get credibility with either group, and that venn diagram overlapping sweet spot is way too small.

Finding an audience for indie superhero comics. I hate the myth of the "well served" fan. People who think it is dumb to make indie superhero comics will tell you that fans of the superhero genre are already well served. Fans are already getting their fill, so why bother giving them more? That is silly. Fans of a thing always want more of that thing. Provided it is good. Provided it is what they want, but also something they don't already have. As a side note, this is something people who are not fans of the genre just can't quite see. As in any genre, there are endless layers ripples to explore while sticking firmly in the realm of the genre. But I digress. My point is that there certainly are people out there who would love to read a fresh. well crafted, superhero story regardless of who publishes it. But the fact is that big publishers have a lot more muscle to fight for those limited dollars. Even non-comics readers know about The X-Men, while I count myself lucky for every single eyeball that falls on an issue of Rapid City. Finding wider success with an indie superhero. The last time some young, indie, creators came up with a character and rode that character to success and fame was in the 30s. It was Superman and they were famously screwed for decades. It just doesn't happen. There are lots of paths to lots of successes that begin with an indie superhero, but they never end with that same hero. Of course, there could be some small time hero book out there about to prove me wrong. I would love it. I would love it if I was the one to prove me wrong! But I'm not holding my breath.

So why do it? What is the point? What is your goal in all of this? That's the hard part, really. Knowing what it is you want. You can't reach your goal if you don't know what it is. If your goal is to make the next X-Men, making indie comics is not the way to do it. If your goal is to get discovered and re-invent the X-Men, well, good luck. If, however, your goal is to make great superhero comics then there is a good chance that you've already succeeded. And that's the "why". I am a life-longer lover of superheroes. So, to me, this just makes sense as the only real option. Success is almost impossible. The opposition is gigantic, unstoppable, and indestructible. No one has ever succeeded. Everyone who knows anything will tell you that failure is the only possible outcome. And, the only possible window for success is to believe that what you are doing is the right thing and do it no matter the cost.

Well, that sounds like a great superhero story to me. What else could I possibly do?

-Josh Dahl

Rapid City goes digital

Rapid City #1 is now available through I just read through it and the reader they have is super-cool. I am excited about trying it on my phone. If you haven't used their service already, this is a great way to start. The comic reading apps are free for your device or your computer, and Rapid City #1 is just 99cents.

I am really happy about this.

Get your digital Rapid City #1 here.

Michael Lark on Breaking in. 9/5/12

pretty good Michael Lark interview -I found one part especially telling as I have been saying this myself for years:

"The thing to remember about drawing is that it’s a verb, not a noun. The ONLY reason to be doing it is because you like the verb. If you want to have done a drawing, then you’re doing it for the wrong reason. And if you’re doing it only to get paid, then you’re doing it for the wrong reason. The process is all that matters, and you’re going to be spending all your time doing the verb, so you better enjoy that part of it!

If you’re aspiring to do this for a living, you need to be prepared to start working at the minor league level. If you think you’re going to go straight to inking or doing art for Marvel and DC, I’m afraid that’s not how it usually works, at least in my experience. It takes a while to develop your own style and to cultivate the discipline to work at their level. So, self-publish, work for small publishers, and get as much experience as you can – it will pay off in a longer and more satisfying career in the end. Those who go straight from obscurity to stardom rarely have much longevity, which is too bad. Were they given more time to develop, that probably wouldn’t happen.

I think the other important part is to discover how YOU draw – I see way too many young artists who are just trying to draw like they’ve always seen in comics. Stop looking at comics, and start looking at real life. Then translate what you see into black and white lines and shapes. It takes lots and lots of practice, and most of us will never get it “right” 100% of the time. Shoot, I’m lucky if I come close 20% of the time. The constant trying and pushing forward and learning and growing is what matters."

I always said you have to draw every day and train yourself to produce at least 22 pages a month or you're gonna crash and burn Josh- and now Michael Lark confirms this is indeed what happens...