Comic Imprints always seem to be the go-to when it comes to trying to appeal to potential new audiences. Nowadays, that practice is either getting out of hand or outsourcing will replace them. After DC made several imprints for different age demographics, eventually it just bundles together. Meaning stuff like Milestone or Black Label are just that, labels. Marvel meanwhile tends to outsource its characters, like it did with IDW for the child-friendly Marvel Action. Which strategy does it best though? Let’s find out in this clash.
Comic Imprints Allow Creative Freedoms
DC’s numerous imprints are in the very DNA of the company’s history. The original Detective Comics and its affiliates use the DC name to keep their comics together. Unfortunately, due to creative squabbles, the imprints allowed the companies their own creative spaces. To save profits, the companies eventually merge together to become DC. History certainly has a funny way of repeating itself.
By the late 80s (and by extension the Dark Age of comics) DC tries to appeal to more mature audiences. Piranha Press is the first of these comic imprints, focusing more on adult humor (such as Kyle Baker). Elseworlds soon follows by allowing what-if stories about DC’s famous characters. Other times an imprint is a means to use characters and concepts from other companies. That’s what Impact and Milestone Comics is anyway.
Perfecting the Formula
After a lot of trial and error and trying to appeal to singular markets, DC produces its most famous imprint. Vertigo evidently stands as the pinnacle of DC’s wish. Originally the imprint is a means to write about DC characters who don’t fit the superhero mold. From Swamp Thing to the Sandman, these characters embody the strive for more creative freedoms. Eventually Vertigo expands its serializations to become a creative outlet for alternative genres. With series like Fables and Preacher it’s similar to an indie publisher with mainstream backing.
After years of success, DC decides to get more experimental with its imprints. A few lines include material from DC’s parent company “Warner Brothers”. “Hanna-Barbera” properties are a very notable success like with The Flintstones. Still DC tries its hardest to appeal to younger audiences. In the latter half of the 2010s, DC makes DC Ink and Zoom for youngsters and YA audiences. Some creators like “Gerard Way” and “Brian Michael Bendis” get their own comic imprints. That is until DC combines everything under three labels for different age groups. Things are about to get messy.
Marvel Follows the Trends
DC’s main competition Marvel also tries to appeal to a wider audience. However unlike DC, Marvel’s attempts are more like trying to ride trends. Marvel itself has a couple of comic imprints come and go; Icon was Marvel’s attempt at competing with Vertigo. It is also where most successes from “Mark Millar” come from. Bendis even uses it as his foothold for Powers. Unfortunately, its only real use is to keep leashes on Marvel’s notable creators. With no new talents to bring in and Bendis leaving for DC, Icon just couldn’t stay afloat.
Some lines like Noir and 2099 are about recapturing the feeling of “What If?” stories in bigger worlds. But I’ll give you three guesses which of those series actually stick; hint, they involve a wall-crawler. Other times it tries its hand in appealing to certain markets like the Mangaverse or Max. Marvel tends to take more risks when it comes to what people like. They also go into more endeavors like with new technology; motion comics, AR, and the very occasional buyout or alternative publishing. Which all tend to phase out after just a few years…
Out of the Comic Imprints Leagues
Due to that and various other factors Marvel’s imprints began to die out. With the rise of the Marvel Cinematic Universe, an already budding audience gets more aware of the brand. A number of smaller projects were also demographic targets. For a while Marvel even has a series of YA novels… that don’t really have a big presence as anything else. Disney eventually decides to outsource some of Marvel’s properties. The plan is for Marvel to focus on the main comics for its core audience, while Marvel Entertainment puts all effort into TV, film and Disney+. Because if you don’t know what you’re doing, pay someone who does. That’s my best guess anyway.
As such for younger generations, instead outsources its licenses to publishers like IDW publishes for Marvel Action or Scholastic. But… something stinks about this set-up, Marvel and Disney are the ones to rerelease the material in trades. This sounds like these guys do all the work while Marvel/Disney take the credit.
All Under One Roof vs. Let Somebody Else Handle It
When it comes to demographic appeal I recall a line in Batman: Nightwalker. (Note, I’m paraphrasing). “A color blind person wants to understand color so they research the subject obsessively. But if they actually see color; will they even recognize it?” It’s the same when it comes to trying to reach new audiences. Trying to appeal to certain groups by using familiar tropes might seem efficient but it can also be cutting corners. To make something truly appealing, creators with passion and handlers who give them freedoms are required.
Comic Imprints Pros and Cons
Imprints (or division of labor) allows one company to oversee projects. Unfortunately, that also means putting efforts and focus into one area more than the other. This tends to stretch resources too thinly and without focus becomes a failing publicity stunt. The business decisions in DC make sense on paper; unfortunately when putting it to practice can cause new problems to emerge. With no more imprints, some creators lose some the freedoms they enjoy. Vertigo for one will continue in spirit with DC’s Black Label. Although, it looks like the marketing and publishing schedules seem to be all over the place. Anything that’s not related to Batman tends to slow down in production.
Even the division by age group can potentially go wrong. Sure most of the youth oriented content will be more easily guided. But how will new people tell what is the core DC and which isn’t? Admittedly imprint labels don’t always help with that; for example everybody thought the main Spider-Man was dead because they couldn’t tell the difference between him and Ultimate Spider-Man. This is one of those problems that are so complex any action is like handling a time bomb.
Outsourcing Saves Money But is Still Risky
As for Marvel’s outsourcing strategies, it makes sense from a business perspective. Disney has a foothold in IDW through its licensing deal with its classic Disney characters. By using this as a means for IDW to increase profits, Disney and by extension Marvel makes more money from the Marvel license. Despite what alarmists would say this is not a sign of publishing deterioration, it’s just minimizing business risks. That doesn’t necessarily mean it’s sound though. Most of these releases are timed with major movie releases which has hurt IDW’s profits. Essentially this means that Disney and by extension Marvel are making IDW bleed while they stay safe.
Critically meanwhile, only a couple of Marvel Action series make a wide appeal. The Avengers and Black Panther are just your usual superhero adventures. Captain Marvel meanwhile for her debut focuses on her relationship with her alien cat. Unlike cash cows like Spider-Man though, its success becomes eclipsed. Eventually Marvel pulled the license from IDW in favor of Scholastic.
However to me this indicates something else. Marvel is refusing to acknowledge their marketing problems and is letting everyone else take the risks. With their track record it’s kind of understandable. Unfortunately that also shows how little they value their own creative staff. You’d think they’d learn after Image and Valiant pop up after disrespecting their founders.
The Demographic Appeals
So which of these is the best strategy when it comes to targeting demographics? Marvel and Disney seem to want to let TV and movies get new audiences. DC meanwhile tries to get its quantity of recognizable characters, in any way possible. It’s one of the main reasons the company uses on NetGalley and Edelweiss+ to get reviewers.
No one way is perfect; but there is something to take away from all of this. DC consolidating all of its resources is a time to focus and go slowly. By creating stories that are unbound by continuity, readers can come in at any time. When it comes to the alternatives however, it should allow for more leeway in small amounts. As for Marvel, relying on moving pictures might get attention; but it shouldn’t replace comic efforts. While the outsourcing methods are outright vampiric, maybe they’ll discover new talents through this. It is how Marvel found writers for some of their comics (to varying success). That in turn can encourage more chances of new creative staff for certain tasks. A few labels can even allow bookstores and comic shops better kids’ sections.
At the end, it’s not just about finding an audience but having an audience find you. Thanks for coming and as always remember to look between the panels.