D&Q is also releasing Jessica Campbell’s Rave, a queer coming of age story set in the ’00s that looks utterly fantastic. Another highlight of the upcoming year is Nazuna Saito’s Offshore Lightning this collection of comics is the first major English language book from the creator. They’re reprinting the classic Linda Barry comic Come Over, Come Over in February, capturing the excruciating magic of junior high. So expect some corresponding titles including Ryan Ottley and Donnie Cates’ ongoing Hulk book.ĭ&Q have been doing a great job putting out beautiful editions of otherwise overlooked comics by a wide range of creators and 2022 will be no different. Spider-Man isn’t the only one having a birthday, though, as Avengers like Hulk, Thor, and Ant-Man - as well as Fantastic Four foe Doctor Doom - are also turning 60 this year. That’s just in time to clear the way for the anniversary of Amazing Fantasy #15, which was cover dated August 1962 - so we’ll probably see the big anniversary celebration issue/s in the summer. Spider-Man: Beyond was the big event at the end of 2021, so you can expect to feel the ramifications of that weekly event coming into this year until the final issue in March. What that entails right now isn’t quite clear, but in the past big anniversaries have garnered special issues, new merch, and more. That means you can look forward to what Marvel calls a “year long celebration” of the hero.
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Something geared towards reprinting first appearances similar to Image Firsts would make a lot of sense too, especially in conjunction with movie releases.Image: Jack Kirby, Steve Ditko/Marvel Comics Spider-Man’s big yearĢ022 sees the big anniversary for two Spider-heroes: The ever youthful Peter Parker is celebrating his 60th anniversary and Spider-Man 2099 is turning 30 (Not to mention the 20th anniversary of Sam Raimi’s Spider-Man). DC and Marvel should be the ones to jump on that opportunity. Looking at the western comics market on the whole shows that all the ingredients exist for the right product, but none of the publishers have combined them just yet. These books collect individual stories of Judge Dredd into their own square bound comics, with a uniform trade dress and design that looks great on the shelf. The publishers could look to 2000 AD's Judge Dredd trades. Stories like the beginning arcs of Legends of The Dark Knight, which effectively work as their own miniseries, would work well as their own graphic novels. For people who are used to paying under $10 at a time for a book, a $40 trade paperback - even of a legendary run - simply isn't friendly to new readers, and can actually alienate many. The big two also continue to make the mistake of questionable price points - an 'Epic Collection' trade may release that costs even more than the individual books would fetch on the back issue market. There are many stories from both publishers that would have been a much better fit to gain new readers.
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For example, while DC's mini-trades of the Justice League Unlimited comic was a good start, the focus on a series aimed at children without an adult counterpart wasted an otherwise good opportunity. Even the legendary Batman: The Cult miniseries has been without reprint for 13 years.īoth big two companies have attempted this strategy in the past, but to minimal effort and marketing. Re-purposing these stories into small, affordable graphic novels and distributing them to bookstores, Amazon and anywhere the competition is would return comics to mass market attention. These include iconic arcs like Shaman, Old Man Logan, Kraven's Last Hunt, all of which would make for great re-purposed graphic novel-style books produced in high quantity and at low cost designed to target the mass market. Perhaps the most disappointing missed opportunities comes from titles like Wolverine, Legends of the Dark Knight, Green Lanternand Spider-Man, series with a healthy amount of self-contained arcs and sagas. Strategies like this would be great for DC to find new readership wile respecting established customers. The Image Firsts line reprints some of Image's most key first issues, which benefits the publisher as it prevents fans being priced away from earlier runs of their series, while also providing an opportunity at new customers.
Not only does Todd McFarlane continue to keep his Spawn universe at $2.99 a book, but the company produces a steady output of Image Firsts copies as well as Image Firsts Compendiums. The big two would also be smart to look to fellow comics competitors like Image, who are well known for their lower cost strategy.
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