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Welcome to Comichron, a resource for comic book circulation data and other information gathered by
John Jackson Miller and other pop culture archaeologists interested in comics history.


Tuesday, March 24, 2020

Hope and comics at 2 a.m.: The historical case for optimism

by John Jackson Miller

A good friend in the comics industry wrote me just before 2 a.m. last night. Earlier that day, Diamond Comic Distributors, its supply chain pushed to the brink by closures associated with the COVID-19 Coronavirus, had called a time out for a large portion of the business: while orders would still be fulfilled, no new comics scheduled to go on sale April 1 or later would ship until further notice, since it wasn't clear that said books would be printed, shipped, shelved, or bought with large swaths of the world on lockdown.

My friend asked, in the simplest terms, "What's to become of us?"

Comics would, of course, survive as a medium, my correspondent said, but the enormity of what had just happened had hit home. Not even World War II had stopped the circulation of periodicals — but then, printers were still operating, trucks were still running, stores were still open, and kids could get to them. The virus attacks both mobility and people's wallets; it's a challenge we've never confronted. My friend asked if I had any ideas about the future.

At Comichron, I'm in the history business, not the future business — but I have seen a lot. For those reading here for the first time, I've been a comics collector for 45 years and followed the industry's news for most of that time. Twenty-seven years ago I began writing that news, covering the chaos that was the comics industry in the 1990s as editor of Comics Retailer magazine, working alongside Maggie and (all too briefly) Don Thompson, who taught me plenty about the shape of the industry back to its beginnings in the 1930s. I've been a working comics writer and author for the past 17 years, and running Comichron for 13. I have collected what is likely to be the largest agglomeration of historical comics sales data outside the publishing industry — far more than the monthly Diamond charts you find here.

But none of that imbues one with psychic powers or a crystal ball — and certainly not with the ability to predict what may happen in a world where it's impossible to guess about anything even three days from now without resorting to charts. The future may be my bailiwick in my fiction, but not here; "this didn't age well" is a real thing. So I approach prognostication with humility — and the further knowledge that nobody really knows exactly what the current state of the retail base is in every location.

What I can apply, first, is all that history I was talking about...


Will Eisner, friend to comics stores
“I’ve seen this business die three times. I’m standing here at the edge of the cave waiting for the resurrection.” 
— Will Eisner, 
Comic-Con International: San Diego, 1997

I once asked Denis Kitchen what Will Eisner was talking about in that famous quote from 1997: he speculated he meant the birth of the Comics Code in 1954, the collapse that followed in the late 1950s before Marvel "joined" the Silver Age, and the underground comics crash.

As Kitchen said of Will's quote: "It boiled down to 'Don't worry, kid. It'll be all right.'"

It says something about the course of the business that we have to ask which three times he might have meant, because there have been several. Yet each time, we've emerged  — almost always, by innovating our way out of it.

The challenge of the 1930s was simple viability. Would people buy this stuff? Early comic books were just reprints of comic strips, and right from the earliest circulation reports available in comics, for Famous Funnies, we see sales going down. So creators and their publishers answered with new material. And through Action and Detective and the others, we got a Golden Age.

The challenge of the 1950s was a double whammy: the collapse in readership across all demographics due to the expanded availability of television, even as opportunistic politicians targeted comics over their content. Many publishers fled rather than fight. So creators and their publishers answered by making super-hero comics interesting and circling the wagons around the most reliable demographic, adolescent males. We got a Silver Age — and while it made narrower an audience that was once broader, we lived to fight another day.

The challenge of the 1970s was in part a consequence of that narrowing, but also — somewhat similar to today — a result of an external shock: the 1973 OPEC oil embargo, and runaway inflation that made comic books so expensive, so quickly, that an already inefficient newsstand distribution system began to collapse. Marvel needed Star Wars to keep the doors open; DC had an implosion. This time, it was fans who came to the industry's rescue, setting themselves up as retailers and distributors and working with publishers to create the Direct Market, the most successful model in all of magazine publishing.

The challenge of the 1990s came when excesses in that model created a credit bubble, ballooning the number of comics shops far beyond what the audience could support — and the concomitant glut of more low-quality, gimmick-laden material than any store could shelve. By the time that bubble burst into the Distribution Wars, the crisis became where new customers would come from, as the newsstand had by then ceased to function as a channel for new readers. Innovation was again the way out, with the graphic novel allowing creators and publishers to repurpose content from periodicals in a way that would be profitable not just for comics retailers, but attractive to mainstream booksellers as well. Within 20 years, book channel dollar sales were nearly as large as the Direct Market.

We managed to make it through the 2010s without our regularly scheduled collapse; 2017 was part of a six-quarter stretch where the quality of releases just couldn't keep up with the blistering sales pace of the mid 2010s, but the comics shop market has been recovering from that, and indeed the decade was up 8% in that market, even after being adjusted for inflation. 2019 was an up year in the Direct Market, and a colossal one in the book trade.

As it turns out, the great test of the 2010s appears to have shown up just a bit late.


Which brings us to now, and what I told my friend. Again, I approach this with trepidation: I am often tagged with being too positive, because until now, none of the gyrations of the comics market in the 2000s have been even close to those earlier hair-raising close calls of the 20th Century. But if you were to ask me what a better-than-average outcome would look like...

…let’s visualize a spring of 2020 in which there is some international governmental recognition that all commerce has to be made whole, where enough cheap or free money floods the market where the clock is turned back, Christopher Reeve style. Let's assume that a number of debts and immediate obligations either are forgiven or postponed due to governmental decree or industry action. (Publishers and Diamond are working now on methods to reduce retailers' burdens; ComicsBeat is a great source for following those in-industry efforts.)

It will be too late for the shops like Lee’s Comics that moved to shutter right away, but given that new comics weren’t the majority product in a large number of stores anyway, the damage might not be utter and complete. Retailers have been diversifying since the tumult of the 1990s, and there’s an insulating layer of other product in a lot of stores. And while some of it is likewise suffering — no in-store gaming anywhere for a good while — a shop with a lot of merchandise has assets that will still be worth something whenever commerce revs up again.

And that merchandise includes the new periodicals shipping now, during this last week of March. Remember, unlike most other magazines, many comic books have a potentially unlimited sales life. They’re the magazines people keep — and the aftermarket, much derided, becomes everyone’s friend in a world in which we have a large number of titles in artificially limited supply. The “key comics” collectors can be counted on to soak up a certain amount of that product, presuming that they themselves are funded, and that the retailers who have those comics are willing and able to get them into the national marketplace. Back issues used to always be part of the standard comics shop not because they were ordering mistakes, but as a service; a lot of that activity has moved to the back room off the main floor, but it's still out there.

Now, to the other side of this — and the "after times" we know least about. Let's again visualize that we go through however many weeks it takes, and the word is given that the printers can operate and that the supply chain is running again. Cash flow, at this point, is the whole game. In 2000, the first X-Men movie was a major and much-needed hit — and yet it did retailers no good at all, as they were so cash-poor from seven years of bad sales that there were barely any extra X-Men comics on shelves.

See eBay listings for this book
So rather than rev up piecemeal, there’s a chance for the industry to recapitalize quickly by doing something it does really well: comics events. The biggest single day in comics history was in 1992 when Superman's death brought $30 million into stores; of late, we've been having colossal success with Free Comic Book Day, which was able to begin successfully in 2002 because retailers had cash from a decent 2001.

This time, the big event is New Comic Book Day — that is, the first "really" new one after the hiatus. Rather than bringing parts of the system online one at a time, publishers and Diamond would be well served to make sure that day is a big event — and since it's likely that not all parts of the country would be able to participate in it at once, supporting materials would be provided to stores for whenever their particular reopening day comes.

See listings for this book on eBay
With all of this, bonus material. The September 11, 2001 terrorist attacks hit just six days after the release of Wolverine: The Origin #1, the comic book generally marking the end of the 1990s malaise — and instead of stunting that revival, the event became a rallying cry for the business, with multiple charitable relief and tribute issues heading quickly to shelves. Obviously, Coronavirus relief books could both help the afflicted, while also helping afflicted stores.

We'd have no illusions about what we're coming back to; we'll be looking at partial numbers when it comes to the retail base and publisher capacity for some time. People have dropped $10 million a week, more or less, in comics shops for the entire last decade; just getting near that would be a big victory. The key is to get cash in shops again — and then, once the train is running, Diamond slates Free Comic Book Day when everyone can take advantage of it. Spring starts, perhaps, in summer.

But again, all that depends on curing the virus first — and a world economy that hasn’t gone completely sideways.


As a science fiction and comics author, I imagine plenty of dark futures; as a parent, I truck in better ones. The above was one possible future, a happier one; it could go another way.

But in looking at any range of futures, we need to stick to facts. And there is one particular one that's heartening: COVID-19 has struck individuals and the economy — but the comics market was healthy before this. The book channel was doing crazily well — and the winter in the Direct Market was pretty good, as winters go. Conventions were packed in multiple cities the last weekend in February, including the one I was at in Richmond (where my bookseller sold out of my books by 1 p.m. Saturday). That's in February, smack in the middle of the quarter when the comics industry used to go to sleep.

The market wants to go back to that, almost as if it’s a living thing. It is a living thing — a machine made up of all of us. The obstacle is a virus, a plague; confronting it while protecting the vulnerable is the business of all, now. For our actual business, comics, it’s like we were in a car accident. A multi-car pile-up in the ice, where things are still moving and it's still too dangerous to help. We need time to judge the damage, time to pull everything apart and take stock, time to heal.

But there’s no need to reinvent something that wasn’t broken. The market was healthy before this.

What’s to become of us? That depends on doctors and the decisions of others who, hopefully, will be drawing on wise advice. But once our fate’s more fully in our hands again? I wouldn't bet against us.  Because as Will Eisner— such a great friend to comics shops that the retail industry's awards program was named for him — said, we've beaten the odds before. He's somewhere out there now, waiting to see what we do.

Comichron founder John Jackson Miller has tracked the comics industry for more than 25 years, including a decade editing the industry's retail trade magazine; he is the author of several guides to comics, as well as more than a hundred comic books for various franchises.

He is the author of novels including 
Star Wars: KenobiStar Wars: A New DawnStar Trek: Discovery - The Enterprise War, and his July release, Star Trek: Discovery - Die StandingRead more about them at his fiction site.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Monday, March 23, 2020

Diamond suspends shipments of new releases beginning with April 1 on-sale comics

by John Jackson Miller

In response to the COVID-19 Coronavirus pandemic, Diamond Comic Distributors has hit pause on new comic book releases. Product set with an April 1 on-sale date or later will not be shipped until after the crisis is over. Read the full release here.

Diamond founder and owner Steve Geppi wrote, "We are hearing from thousands of retailers that they can no longer service their customers as they have in the past, many of them forced to close by government action or resort to in-person or curbside delivery. Even those still open are seeing reduced foot traffic in most cases, a situation that seems likely to worsen with time."

"Our publishing partners are also faced with numerous issues in their supply chain, working with creators, printers, and increasing uncertainty when it comes to the production and delivery of products for us to distribute. Our freight networks are feeling the strain and are already experiencing delays, while our distribution centers in New York, California, and Pennsylvania were all closed late last week. Our own home office in Maryland instituted a work from home policy, and experts say that we can expect further closures. Therefore, my only logical conclusion is to cease the distribution of new weekly product until there is greater clarity on the progress made toward stemming the spread of this disease."

Geppi wrote that distribution would continue from the Olive Branch, Miss., center to safely continue fulfillment of direct ship reorders for the retailers who are able to receive new product and need it to service their customers. But today, Memphis, Tenn. — of which Olive Branch is a suburb — instituted shelter-in-place rules for residents and businesses, and while that is across the state line and doesn't impact distribution, it surely affects many of Diamond's employees. Memphis's case count has dramatically grown in recent days; I have family there and was supposed to be there this past weekend for MidSouthCon (now rescheduled to 2021) so I've been checking the data regularly.

The situation is unprecedented in comics history — the presses still ran and comics shipped even during World War II. The issues didn't survive long due to paper drives, but the number of new releases increased annually throughout the war. But the stores were all open and people could get to them. (And printers were still printing them, which seems not to be the case given reports of at least one significant imminent closure.) There's never been a case in the last 80 years where the mobility and buying power of almost the entire general public has been curtailed in the way they have been this month.

Comics are, as I've said many times, quite resilient as a business; sales absolutely exploded after World War II was over, with the number of new releases ballooning. It took TV and the juvenile delinquency scare to bring it back down to Earth... yet it would rebound from that — twice. This time, it will be far from the only industry looking for ways to bounce back.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Monday, March 16, 2020

February 2020 comics sales estimates online: Wolverine #1 above 190k copies

by John Jackson Miller

Our February 2020 comics sales estimates are now online. Wolverine #1 was the bestseller with more than 190,000 copies moved in North America in a month in which sales significantly exceeded those from the same month in the previous year. With the effects of Coronavirus yet to play out on the continent's commercial scene, the Direct Market at least began 2020 on the positive side, up 1.35% overall.

Batman #88 and #89 moved into fourth and fifth places respectively once the cardstock variants were included. We've set up our 2020 so far page to reflect merged totals on all such issues.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Friday, March 13, 2020

Comics market strong prior to COVID-19 impact, with February sales up 7%; Wolverine #1 dominates

by John Jackson Miller

Over the last 80+ years, the comics industry has been subject to a variety of shocks that were external in nature. The ones that had the greatest lasting effects were the ones that struck directly at how publishers did business: the juvenile delinquency panic of the 1950s winnowed out their numbers, while the inflation crises of the 1970s made the newsstand untenable as a delivery system.

Meanwhile, some external shocks that related more generally to the U.S. economy have had less impact. The comics industry didn't slow down until well after 2008 financial crisis was past, for example, and the 1990-91 recession ended up being no impediment to the record early 1990s comics market at all. The month of 9/11 was, in fact, a turning point in the industry's fortunes, as the comic book that kickstarted the post-1990s recovery, Wolverine: The Origin #1, had already hit shelves on Sept. 5, 2001.

Historians always want to look at the "before" and "after" situation in the market to see how things were doing just before the shock took place. When it comes to the COVID-19 or Coronavirus pandemic, we can say that the "before" situation in comics looked excellent in the book channel, and relatively strong (as winters go) in the Direct Market, according to data just released by Diamond Comic Distributors. Retailers bought $37.27 million in comic books, graphic novels, and magazines from Diamond in February 2020, an increase of $2.4 million or 7% over the same month the year before. Every subcategory was positive. Look for our estimated sales charts here next week.

 Find this comic at TFAWMarvel and DC's dollar sales were both up for the month, year-over-year, and both by more than the market was overall, 12% and 8% respectively. February 2020 marks the seventh growth month in nine, and is the best February performance in three years. With these results, the Direct Market's first two months are up 1.35% in dollars over the same period in 2019.

Orders of individual comic books were also up: orders rose year-over-year by 3%, or around 167,000 copies, to 5.94 million units. Wolverine #1, a $7.99 comic, led the periodical charts. Marvel had eight of the Top 10 comics, including the top seven. Gwen Stacy #1 debuted in fourth.

A major part of the difference in sales is that February 2019 saw DC still amid its new-title austerity initiative; it only released 59 new comic books that month. This February, Diamond says DC released 102, which is probably more like 86 when the cardstock covers are merged. Publishers outside the Top 10 also significantly boosted their offerings, leading to a slate that was about 18% larger.

 Find this book at TFAW
The greatest jump, however, was in the number of graphic novel units sold: that's because Marvel had a major sale on Star Wars collected editions in February, resulting in the unusual situation that no less than six titles from 2015 and 2016 made the Top 10 Graphic Novels list.

There have been many other months over the years where discounted titles impacted the charts, but never have so many made the Top 10. The dollar rankings chart is thus probably worth more attention this time around. Both charts were led by the Harleen hardcover. It doesn't appear that the sale added overmuch to Marvel's market share — dollars are computed against what retailers paid in, and individual graphic novels sell many fewer copies than comic books do.

Batman #88 and #89 both had cardstock variants; look for them to possibly move from their eighth- and tenth-place showings when the cardstock and regular variants are merged.

The comparative sales statistics are here:

February 2020 vs. January 2020
Graphic Novels-27.16%-13.89%
Total Comics/Graphic Novels-14.25%-8.26%
February 2020 vs. February 2019
Graphic Novels+3.56%+15.46%
Total Comics/Graphic Novels+7.32%+3.77%
Year-To-Date 2020 vs. Year-To-Date 2019
Graphic Novels+4.44%+6.60%
Total Comics/Graphic Novels+1.35%-2.72%

The February-to-January slide is not worth too much attention, as January had one more New Comic Book Day, if only one with a partial release schedule.

The market shares:

PublisherDollar ShareUnit Share
Dark Horse2.93%2.06%
Random House0.62%0.18%

The top-selling comics by units:

1Wolverine #1$7.99Marvel
2X-Men #6$3.99Marvel
3X-Men #7$4.99Marvel
4Gwen Stacy #1$4.99Marvel
5Giant Size X-Men: Jean Grey & Emma Frost #1$4.99Marvel
6Amazing Spider-Man #39$3.99Marvel
7Star Wars: Darth Vader #1$4.99Marvel
8Batman #88$3.99DC
9X-Men/Fantastic Four #1$4.99Marvel
10Batman #89$3.99DC

The top-selling comics by dollars:

1Wolverine #1$7.99Marvel
2X-Men #7$4.99Marvel
3X-Men #6$3.99Marvel
4Gwen Stacy #1$4.99Marvel
5Giant Size X-Men: Jean Grey & Emma Frost #1$4.99Marvel
6Star Wars: Darth Vader #1$4.99Marvel
7X-Men/Fantastic Four #1$4.99Marvel
8Batman: Curse of the White Knight #7$4.99DC
9The Joker: Killer Smile #3$5.99DC
10DC Crimes of Passion #1$9.99DC

The top-selling graphic novels by units. Fourth through ninth are all older editions which sold big in Marvel's sale:

1Harleen HC$29.99 DC
2Die Vol. 2: Split The Party$16.99Image
3Batman Tales: Once Upon A Crime$9.99DC
4Star Wars: Darth Vader Vol. 4: End Of Games$19.99Marvel
5Star Wars: Journey to Star Wars: The Force Awakens: Shattered Empire HC$24.99Marvel
6Star Wars: Vader Down$19.99Marvel
7Star Wars: Chewbacca$16.99Marvel
8Star Wars Volume 2: Showdown on the Smuggler's Moon$19.99Marvel
9Star Wars Volume 3: Rebel Jail$19.99Marvel
10My Hero Academia Vol. 23$9.99Viz

The top-selling graphic novels by dollars:

1Harleen HC$29.99DC
2X-Men Vs. Apocalypse: The Twelve Omnibus HC$125.00Marvel
3Spider-Man: Miles Morales Omnibus HC$100.00Marvel
4Marvel Masterworks: Uncanny X-Men Vol. 12 HC$100.00Marvel
5Daredevil By Bendis & Maleev Omnibus Vol. 2 HC$100.00Marvel
6Die Vol. 2: Split The Party$16.99Image
7Marvel Masters Of Suspense: Stan Lee & Steve Ditko Omnibus Vol. 2 HC$100.00Marvel
8Ultimates By Mark Millar & Bryan Hitch Omnibus HC$100.00Marvel
9Berserk Deluxe Edition Volume 4 HC$49.99Dark Horse
10Metabarons Box Set HC$149.95Humanoids

Finally, the number of new items offered:

Dark Horse2017037
TOTAL SHIPPED47531727819

With this data, we can say that the comics shop market's year had begun on a positive note, prior to the widening of the outbreak in North America in March. Many conventions have been canceled or postponed due to the pandemic as of this writing, and Diamond has cancelled its retailer summit, originally slated for April.

We of course don't know what the ultimate impact of the virus will be, but it's difficult to find a historical equivalent even if we limit the question just to what has happened so far. Many years have seen winter weather disrupt shipments and store visits to parts of North America, but this crisis affects more areas and comes with an additional economic component in the roiled financial markets. The mechanism of the Direct Market itself tends toward stability — because of subscription files, one month's orders usually look a lot like the previous month's. But it's unclear how that functions if customer visit frequency is disrupted.

Remember, too, that since orders are already placed, it could be some time before the charts reflect any external events. Reorders for March and April are already charting. Follow Comichron on Twitter and Facebook and support our Patreon to be alerted as more data comes in.

Comichron founder John Jackson Miller has tracked the comics industry for more than 25 years, including a decade editing the industry's retail trade magazine; he is the author of several guides to comics, as well as more than a hundred comic books for various franchises.

He is the author of novels including 
Star Wars: KenobiStar Wars: A New DawnStar Trek: Discovery - The Enterprise War, and his July release, Star Trek: Discovery - Die StandingRead more about them at his fiction site.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Monday, February 17, 2020

January 2020 estimates: Wonder Woman leads charts for first time with 167k copies sold

by John Jackson Miller

Our January 2020 comics sales estimates are now online. Wonder Woman #750 moved more than 167,000 copies in North America, with the series leading the market for its first time ever. That was about a third of what Action and Detective #1000 did, but WW's sales were strong enough to more than double the dollars spent on any other January item.

As expected, Batman #86 and #87, the debut issues of James Tynion IV, moved up in Diamond's chart once the regular and cardstock versions were combined. Use the "Fused" column to re-sort Comichron's comics chart to combine DC's (and other publishers') differently priced editions.

No three-peat for Star Wars #1 as a million-copy seller, though the 2015 issue's presence is felt in this month's charts in that all the five-year comparatives are skewed. (Every seventh comic Diamond sold in January 2015 was a Star Wars #1, wildly distorting the month's data.) It did double the sales of Dark Horse's 1998 and and 2013 Star Wars #1s, so it's right in the middle.

X-Men #4 significantly outsold #5, but a portion of that comes from the former's spotlight focus as a Jan. 1 release, whereas #5 only was out three days in January. Issue #5 did well in advance reorders and the issue is sold out at Diamond, so the difference may wash out in time.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Friday, February 14, 2020

Wonder Woman #750 leads January comics sales; orders down on fewer new comic releases

by John Jackson Miller

Longtime readers of Comichron know that the first quarter of the year is smaller than the other three in dollar terms — and that January is second only to December when it comes to months where year-to-year comparisons have a way of getting messy. For the latter, it's mostly for the same reason as December: the holidays impact the shipping calendar, and when New Comic Book Day falls makes a difference.

 Find this issue at TFAW
This year, for example, it's a five-Wednesday to five-Wednesday comparison from this January to last, but one of the Wednesdays this year isn't like the rest. New Year's Day 2020 was a Wednesday, and publishers slated a number of high-profile issues for release by stores that chose to open that day. Yet the day was lighter on new releases than any other New Comic Book Day in the month, and it also had a third fewer releases than the first week of 2019, when New Year's Day fell on a Tuesday.

The result this time out was a month that was down 8% or so in the number of new comic books offered to market once the DC card stock variants (which get counted twice) were weeded out, and unit sales for comics were down by a similar amount. Dollar orders for comic books and graphic novels were down less, off 3% to $43.37 million. One way to normalize the cross-calendar comparisons is to look at November through January; that grouping was up 3% in dollar orders over the same three months in 2018-19.

Graphic novels appear to have taken more of their share of the focus in January; 52 more graphic novels were offered to market in the month than in the previous January, an increase of 14%. Graphic novel units — a figure we rarely consider because of how widely pricing varies — were even from year to year, while dollars were up 6%.

Wonder Woman #750 followed in the footsteps of Action Comics #1000 and Detective Comics #1000 as a chart-topper for DC; its 80th anniversary issues haven't missed placing first yet. It is the first time ever that an issue of Wonder Woman was the bestselling comic book in the business, although she of course appeared in many issues that were #1. Marvel had two Jan. 1 relaunches in second and third place: Thor #1 and Star Wars #1. (The latter series had previously relaunched with a million-copy seller five years earlier, in January 2015.)

 Find this book at TFAWBatman #86, beginning James Tynion IV's run on the title following Tom King, placed seventh, but note that the card stock copies are not included in that calculation, so it could well move higher.

To repeat: the Top Five may not necessarily remain the Top Five when our final report appears here next week. Stay tuned!

The Absolute Carnage trade paperback led graphic novels in units, while the Incredible Hulk by Peter David Omnibus Vol. 1 hardcover was the top graphic novel in dollars.

The comparative sales statistics are here:

January 2020 Vs. December 2019
Graphic Novels+29.62%+36.99%
Total Comics/Graphic Novels+5.84%+0.73%
January 2020 Vs. January 2019
Graphic Novels+5.09%+0.00%
Total Comics/Graphic Novels-3.26%-7.99%

The market shares:

PublisherDollar ShareUnit Share
Dark Horse3.09%2.28%
Random House0.76%0.22%

The top-selling comics by units:

1Wonder Woman #750$9.99DC
2Thor #1$4.99Marvel
3Star Wars #1$4.99Marvel
4X-Men #4$3.99Marvel
5X-Men #5$3.99Marvel
6Guardians of the Galaxy #1$4.99Marvel
7Batman #86$3.99DC
8Amazing Spider-Man #38$3.99Marvel
9Amazing Spider-Man #37$3.99Marvel
10Star #1$3.99Marvel

The top-selling comics by dollars:

1Wonder Woman #750$9.99DC
2Thor #1$4.99Marvel
3Star Wars #1$4.99Marvel
4X-Men #4$3.99Marvel
5Guardians of The Galaxy #1$4.99Marvel
6X-Men #5$3.99Marvel
7The Joker/Harley: Criminal Sanity #2$5.99DC
8Batman: Curse of The White Knight #6$4.99DC
9Iron Man 2020 #1$4.99Marvel
10Venom: The End #1$4.99Marvel

The top-selling graphic novels by units:

1Absolute Carnage$29.99Marvel
2Diana: Princess of The Amazons$9.99DC
4League of Legends: Lux$15.99Marvel
5House of X/Powers of X HC$60.00Marvel
6Stranger Things: Zombie Boys$10.99Dark Horse
7My Hero Academia Volume 22$9.99Viz
8Black Hammer Vol. 4: Age of Doom Part II$19.99Dark Horse
9Green Lantern: Legacy$9.99DC
10Wonder Woman: Warbringer$16.99DC

The top-selling graphic novels by dollars:

1Incredible Hulk By Peter David Omnibus Vol. 1 HC$125.00Marvel
2Conan The Barbarian: The Original Marvel Years Omnibus Vol. 3 HC$125.00Marvel
3House of X/Powers of X HC$60.00Marvel
4Absolute Carnage$29.99Marvel
5Daredevil By Bendis & Maleev Omnibus Vol. 1 HC$100.00Marvel
6Junji Ito: No Longer Human HC$34.99Viz
8Batman: Black & White Omnibus HC$125.00DC
9Marvel Masterworks: Daredevil Vol. 14 HC$75.00Marvel
10Amazing Spider-Man Epic Collection: Maximum Carnage$39.99Marvel

Finally, the number of new items offered. Note that DC's total appears to have been bumped up by what we think are 18 cardstock covers; we'll see what actually appears in the charts:

Dark Horse259034
Source Point163019
TOTAL SHIPPED49041131932

Ten of the New Year's Day releases were from Source Point Press, which leapt onto the New Release Count charts with 16 comic books total in the month, making it the seventh most prolific publisher of comics. (The publisher's releases included issues like Boston Metaphysical Society #6, Seance Room #1and Touching Evil #2.)

Again, check in here next week to see the estimates. It looks from the April 2020 solicitations that DC isn't stopping its differently pried cardstock covers; we've said that we don't intend to merge them indefinitely (the charts aren't a scoreboard, anyway), so the first month we don't have time to do it, we'll probably stop doing it for good. Which month will it be? Check in and see...

Comichron founder John Jackson Miller has tracked the comics industry for more than 25 years, including a decade editing the industry's retail trade magazine; he is the author of several guides to comics, as well as more than a hundred comic books for various franchises. He is the author of novels including Star Wars: KenobiStar Wars: A New DawnStar Trek: Discovery - The Enterprise War, and his July release, Star Trek: Discovery - Die StandingRead more about them at his fiction site.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Thursday, January 23, 2020

The 2019 Two Thousand: A look at the 1,000 top-selling comics and graphic novels ordered by comics shops

by John Jackson Miller

With the release of the December sales charts from Diamond Comic Distributors, Comichron has drawn upon that information to project estimates for the Top Thousand Comics and the Top Thousand Graphic Novels for 2019. The tables are on the page just beneath the image links to individual months.

This year's charts have our sorting and searching features implemented, as now do our previous 28 years of annual charts, going back to 1991. You can find the links to them, along with updated comparatives for how the market as a whole did across that time, by viewing our Yearly Comics Sales page.

 Find this issue at TFAW
Led by Detective Comics #1000, the Top Thousand Comics accounted for around 50.43 million copies; we don't yet know how many copies Diamond sold altogether. (We'll see that when the December data comes out.) This is an increase of 1.5% in units over what the Top Thousand sold in 2017.

Here are the totals for the Top Thousand Comics from the past few years. Diamond did not release figures for 2016, but we calculated minimum values for the Top Thousand based on known orders and reorders from that year:

2010: 45.3 million copies
2011: 47 million copies
2012: 53.43 million copies
2013: 52.21 million copies
2014: 52.07 million copies
2015: 58.59 million copies
2016: 59.8 million (minimum, probably slightly higher)
2017: 49.68 million copies
2018: 50.43 million copies
2019: 49.88 million copies

As you can see, 2019's figure comes in under 2012's — but we know that Diamond sold more comics in 2017 than in 2012, so it may have done so in 2019, too. This is a consequence of the Top Thousand representing a smaller portion of the distributor's volume. In full retail dollars, the Top Thousand Comics likely sold for $225.54 million, a 6% jump over the previous year, when the 2018's Top 1000 sold for $213.3 million. That total was itself a big 11% leap over 2017's $190.6 million, so the trend is continuing: the top sellers are more expensive, and $8 and $10 price tags are not seemingly impediments to big sales.

Almost everything in the Top 1000 had "multiple order codes" at Diamond, meaning there were variant covers or reprints combined into one entry; sometimes it's not a simultaneous variant, but rather a reprint with a different cover.

Breaking down unit sales — and again employing our estimated minimums for 2016 — we see little movement in the higher tiers in 2019, but significant declines in the 25,000 to 50,000 tier; that's likely a response to smaller slates from DC and Image, as well as the fact that DC's cardstock program broke up many of its midrange sellers into multiple entries in Diamond's Top Thousand chart.

The first chart shows what's in each bracket; the second is a cumulative measure:




Every year we also add a number of items to our lists for the Top Comics of the Decade and the Top Comics of the Century (...So Far, in the latter case). The final year of the decade added a large number of new entrants, 33, to the Top 300. That's one more than the previous year, and the fourth most all decade.

The decade's bestsellers break down by year as follows:

2010: 8
2011: 23
2012: 40
2013: 27
2014: 15
2015: 55
2016: 44
2017: 24
2018: 32
2019: 33

Detective Comics #1000 was the big one, of course, placing second in both the decade and century behind 2015's Star Wars #1. The best performance by another comic was Spawn #300, which landed at 34th in the decade and 42nd in the century.

2019 overall added 17 comics to the 300 bestselling comics of the 21st Century.

The Top Thousand Graphic Novels, led by Watchmen (for the third time in the last 30 years!) went for $58.2 million. This is a small drop from 2018's total, less than half a percent. It's a far cry from 2018's major 20% drop.

2011: $58.4 million
2012: $71.4 million
2013: $79.03 million
2014: $81.19 million
2015: $81.46 million
2016: $69.48 million (minimum, likely a good deal higher)
2017: $73.19 million
2018: $58.2 million
2019: $57.94 million

Accounting for the difference once again this year: a lot of money was tied up in comics, and the Walking Dead factor appears to have faded from what it was in previous years. It's also more the case that retailers today are buying graphic novels from more sources than Diamond.

Overall graphic novel sales were reported by Diamond to be down 2.1%, so the Top Thousand fared relatively better than the long tail.

Combined, the Top Thousand Comics and Top Thousand Graphic Novel lists account for more than half of all the orders by dollars Diamond received for print products in 2019.

Who published the Top Thousand Comics this year? Here's the breakdown:

Marvel: 597 (+62)
DC: 351 (-48)
Image: 27 (-25)
Boom: 8 (+5)
Dynamite: 6 (+5)
IDW: 6 (+3)
Dark Horse: 3 (unchanged)
Valiant: 1 (-1)
Archie: 1 (unchanged)

DC's line cutbacks in the first half of the year impacted it, as did the fact that its cardstock cover program meant many of its titles were broken up into multiple entries. Image published many fewer comics in 2019 and saw a significant, with gains to Marvel and Boom. Dynamite owed four of its newly gained spots to Vampirella. Oni dropped out of the list. 

And here's the publisher breakdown of the Top Thousand Graphic Novels. Those with 10 or more entries:

Marvel: 292 (-20)
DC: 248 (-29)
Image: 199 (+9)
 Viz: 79 (+21)
Dark Horse: 70 (+20)
Boom: 23 (+7)
IDW: 18 (+4)
Oni/Lion Forge: 13 (-1)

Another big move this year for Viz — and a significant one as well for Dark Horse. Marvel lost entries but stayed ahead of DC, which lost 29 entries for the second year in a row.

Comichron founder John Jackson Miller has tracked the comics industry for more than 25 years, including a decade editing the industry's retail trade magazine; he is the author of several guides to comics, as well as more than a hundred comic books for various franchises. He is the author of novels including Star Wars: KenobiStar Wars: A New Dawn, and the Star Trek: Prey trilogy — and Star Trek: Discovery - The Enterprise War. Read more about them at his fiction site.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Monday, January 20, 2020

December 2019 full estimates posted; King Batman finale enters Top 5

by John Jackson Miller

We've just posted our estimates for December Top 500 comics and graphic novel orders. Tom King's Batman #85 finale issue entered the Top 5 on combined orders. Fourth quarter up 10%, best quarter in 2019 and biggest quarterly year-over-year rise since 2015.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!

Friday, January 17, 2020

December 2019 comics and graphic orders up 9%; House of X/Powers of X top dollar GN

by John Jackson Miller

Led by Doomsday Clock #12 and the House of X/Powers of X hardcover, comics shop orders of comic books and graphic novels from Diamond Comic Distributors closed 2019 out strongly, up 9.2% year-over-year in dollars in December. That's a better-than-expected total, due to a revision Diamond's made since its end-of-year report came out last Friday. (The distributor's December report, showing the new 2019 percentage change total, is here.)

 Find this book at TFAWWhen Diamond released its Top 500 Comics and Top 500 Graphic Novels lists earlier in the week (see our estimates for their sales here), that provided us with a partial list for December — 37 comic books released in the month made the overall charts. We temporarily posted those on our December 2019 page (where the final estimates will appear next week), but we also spotted that something was a bit amiss with a handful of those entries, as their dollar sales rankings in the overall 2019 chart suggested they hadn't made any money.

That obviously wasn't the case, and neither was there likely to have been any secret overship; rather, the fact that all the impacted books were Christmas Day releases points to an accounting issue. If those Christmas Day comics — including Venom #21, Incoming #1, Dr. Strange #1, and Spider-Ham #1 had their dollar earnings attributed to January 2020 rather than December 2019, where their units were rightfully counted, that would cover the difference in the percentage change statistics.

Diamond appears to have caught that in compiling its December charts. The units didn't change in the end-of-year statistics. It meant the addition of about one and a half million dollars to 2019's total sales overall, boosting the year-to-year increase from 2.23% to 2.54%. (End-of-year dollar market shares would also theoretically be impacted, although very slightly.)

To be clear, these aren't comics that went on sale Jan. 1 that would have been affected — they're December books, so nothing is being borrowed from 2020. And nothing else from the 2019 unit sales charts would be likely to change in this scenario: just the dollar rankings. This means that we're able to provide, below, unit sales with the Top 10 when it comes to the comics. (And the rest of the Top 37 are, again, here, to be joined next week by the rest of the month.)

(EDIT: Shortly after this post, Diamond confirmed the above undercounts of invoiced dollars during the skip weeks, and issued revised end-of-year Top Sellers and Market Shares — which, as expected, only added the missing dollar rankings and fractions of percentage points, mostly to Marvel. You can see the revised 2019 charts with our estimates here.)

The percentage changes from December, with the new, revised totals year-to-year:

December 2019 Vs. November 2019
Graphic Novels-11.06%-18.03%
Total Comics/Graphic Novels-3.00%-2.48%
December 2019 Vs. December 2018
Graphic Novels+15.77%+2.87%
Total Comics/Graphic Novels+9.20%+5.21%
Year 2019 Vs. Year 2018
Graphic Novels-2.01%-7.95%
Total Comics/Graphic Novels+2.54%-1.44%

The market shares for December:

PublisherDollar ShareUnit Share
Dark Horse2.67%1.87%
Random House0.48%0.13%

The top-selling comic books by units, with our estimates known from the 2019 Top 500:

1Doomsday Clock #125.99DC117,926
2X-Men #3$3.99Marvel105,708
3Batman: Last Knight On Earth #3$5.99DC90,058
4Dark Knight Returns: The Golden Child #1$5.99DC88,794
5Venom #21$3.99Marvel74,071
6Harley Quinn: Villain Of The Year #1$4.99DC73,146
7Symbiote Spider-Man: Alien Reality #1$4.99Marvel71,341
8Incoming #1$9.99Marvel69,025
9Amazing Spider-Man #35$3.99Marvel67,111
10Superman #18$3.99DC66,684

The top-selling comic books by dollars:

1Doomsday Clock #125.99DC
2Incoming #1$9.99Marvel
3Batman: Last Knight on Earth #3$5.99DC
4Dark Knight Returns: The Golden Child #1$5.99DC
5Harley Quinn: Villain of the Year #1$4.99DC
6Teenage Mutant Ninja Turtles #100$7.99IDW
7Harleen #3$7.99DC
8X-Men #3$3.99Marvel
9Symbiote Spider-Man: Alien Reality #1$4.99Marvel
10Venom #21$3.99Marvel

The top-selling graphic novels by units are here. We know from the yearly chart that House of X/Powers of X's sale was more than 10,000 copies; Watchmen's performance was enough to vault it into first place for the year.

1House of X/Powers of X HC$60.00Marvel
2Batman Vol 11 The Fall And The Fallen$17.99DC
4Silver Surfer Black Treasury Edition$29.99Marvel
5Black Hammer Vol. 4 Age Of Doom Part II$19.99Dark Horse
6Boys Omnibus Vol. 6 $29.99Dynamite
7Green Lantern Vol. 1 Intergalactic Lawman$17.99DC
8Daredevil By Chip Zdarsky Vol. 2 No Devils Only God$15.99Marvel
9My Heroes Have Always Been Junkies$12.99Image
10Star Wars Doctor Aphra Vol. 6 Unspeakable Rebel Superweapon$15.99Marvel

The top-selling graphic novels by dollars:

1House of X/Powers of X HC$60.00Marvel
2Annihilation Omnibus HC$125.00Marvel
3Y The Last Man Omnibus HC$150.00DC
4Injustice Gods Among Us Omnibus HC Vol. 01$125.00DC
5Absolute Dark Knight III The Master Race HC$125.00DC
6Animal Man By Jeff Lemire Omnibus HC$99.99DC
7Silver Surfer Black Treasury Edition$29.99Marvel
8Marvel Masterworks Fantastic Four HC Vol. 21$75.00Marvel
10Boys Omnibus Vol. 6$29.99Dynamite

And, finally, here's what shipped in December:

Dark Horse229031
TOTAL SHIPPED40923514658

The above completes the picture of comics released in 2019. As we can see below, the number of new comics released was down slightly, largely due to reduced lines from DC and Image; DC's cutbacks are camouflaged by the fact that Diamond counts comics at different price tags as separate releases. Around 90 cardstock books fit that description. Variants with the same cover price are not counted separately.
Here's the same chart, only with graphic novels:

Look for the full December charts here next week.

Comichron founder John Jackson Miller has tracked the comics industry for more than 20 years, including a decade editing the industry's retail trade magazine; he is the author of several guides to comics, as well as more than a hundred comic books for various franchises. He is the author of novels including Star Wars: KenobiStar Wars: A New Dawn, and the Star Trek: Prey trilogy — and Star Trek: Discovery - The Enterprise War. Read more about them at his fiction site.

Be sure to follow Comichron on Twitter and Facebook, and check out our Youtube channel. You can also support us on Patreon!
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