In simpler terms, we could say that Sci-Fi Pulse talked to Wes Eastin, who is both the producer and director of the documentary titled “Shopping for Superman“, about his thoughts on the specialty stores industry. Also, one of the earliest comics he used to read as a child was mentioned in this conversation.
Nicholas Yanes: Can you tell me about your initial experience with comic books? Was there a specific instance when you felt like you had developed a deep affection for this format?
I clearly recall owning Action Comics #678, where Luthor’s brain was saved, and I was captivated by both the cover and the contents. Notably, this was Superman we’re discussing, and then… they figured out a way to eliminate him! Wow. Back then, I would excitedly share this news with my mom and anyone who would listen, with a pretend candy cigarette in hand, exclaiming, “I must know more! Goodness gracious, they’re ending the life of an icon!
In my childhood, Superman, Batman, X-Men (thanks to Fox Kids), and Spider-Man were ubiquitous, yet keeping up with every detail proved challenging – whether it was at the grocery store or picking up a comic at the newsstand. I’d often find myself reading bits of stories haphazardly, resulting in a vague understanding of the ongoing events. Yet, I didn’t mind; I loved the experience. Fortunately, there were numerous single-issue stories back then, allowing me to savor each tale without worrying about collecting multiple issues to follow a longer narrative. I wish more modern titles offered that level of self-contained storytelling for their main series.
An extra perk was that not many people appreciated comic books at the time, which made it feel like a special interest just for me.
Today, not everyone appreciates comics, especially if they are used as a tool for political advocacy or profit-making at the expense of original stories. However, this point aside, it’s intriguing that he references the early 90s incident when DC Comics created the illusion of killing off Superman, despite their intention to resurrect him (though not out of altruism). This move was highly disrespectful to the intellectual property and franchise, given its negative impact, leading into even more problematic storylines such as Emerald Dawn and Zero Hour, which wrongfully portrayed Hal Jordan/Green Lantern as a villain. The following decade saw similar questionable storylines that victimized women (Identity Crisis and Avengers: Disassembled). Some of this can be traced back to the Phoenix Saga in X-Men, which didn’t do much for the reputation of comics in the long run. I find it hard to appreciate a narrative where a heroine turns into a madwoman and destroys billions of beings in another solar system. Fortunately, five years later, this story was retconned so that it wasn’t Jean Grey, but the storyline has since been revisited and distorted in various ways since the turn of the century.
In discussing long-running narratives across various comic book issues, I think there might be a point Mr. Eastin didn’t explicitly address in the documentary, perhaps we’d make more progress not only structurally but also storywise. If he conceded that company-wide crossovers, such as “The Death & Return of Superman,” which can be considered a result of this trend since Jim Shooter initiated it with Secret Wars in 1984, have done more harm than good, and explained why it’s time to abandon this practice altogether, we might witness a return to self-contained stories that he found more captivating in the past. However, an argument should still be presented as to why paperback or hardcover is still the superior choice at present, and the craze for variant covers needs to end, primarily because it doesn’t guarantee a good story within, and it’s disheartening to see so much resources wasted on unnecessary variant covers that could have been used for more meaningful projects like murals instead.
Yanes: Even though comic book intellectual properties are extremely popular these days, comic books and comic book stores aren’t as culturally significant. Can you suggest ways to boost comic book sales and make these stores more well-known?
Eastin suggests that retailers have been successful in enhancing both their online and community presence, yet this may not be sufficient to attract individuals who are not already fans of comic books.
It might be beneficial if publishing houses and studios such as Marvel increased their promotion efforts for the comics associated with their upcoming, current, or film-related titles. This could potentially attract new readers. Starting by advertising individual books and collections would undeniably make a significant difference.
Many shop owners have been puzzled over and over again about the absence of TV commercials for comic books from publishers or streaming ads. I believe this is a significant factor contributing to the issue at hand. It seems that a lot of people aren’t being motivated to exclaim, “That looks intriguing! Where can I purchase it?” Another effective strategy to boost shop popularity? Watch, buy, and share your experience with Shopping for Superman!
To be honest, I’ve been thinking about this a lot, and here’s my take: As a reader, I believe that ad revenue from publishers and distributors, even those beyond traditional circles, could potentially sustain my reading habit by reaching more people like me.
What about the entertainment aspect? Why not acknowledge that both literary and artistic quality in mainstream works started deteriorating around the 90s, with a further decline about 15 years ago? Why not also admit that ultra-leftist ideologies have had a negative impact on much of the mainstream, and even independent comics aren’t exempt from this issue. Advertising is crucial for sales, but if there’s no artistic merit, the sales won’t last. This might be one reason why it’s questionable for major publishers to be owned by conglomerates. However, if even independent publishers don’t make a serious effort to advertise in broader channels, then there seems to be a problem there too.
As a movie reviewer, I’d say: In your documentary, it was pointed out that comic book stores are fighting a tough battle against the retail giant, Amazon. Yet, it seems that the number of indie bookstores and Barnes & Noble locations is growing, even amid competition from the online behemoth. So, what makes comic book stores struggle to emulate the success enjoyed by other bookstore types? I’m curious to know your take on this intriguing discrepancy!
Eastin: It’s quite intriguing to make such a comparison, but it’s important to note that bookstores and comic book shops have distinct characteristics. Given their unique natures, I question if the comparison is entirely balanced. Isn’t it fascinating how we now value comics as much as written works without illustrations? Kudos to comics!
I must admit that most of what you find in a comic shop isn’t just new issues but also cards, trades, toys, and so forth. Amazon provides a significant portion of these items at lower prices with rapid delivery. In essence, they undercut local retailers, and unfortunately, there’s no pressure from companies to sell their products at the Manufacturer’s Suggested Retail Price (MSRP). They shift their inventory because it doesn’t matter to them if they incur losses as long as they maintain market dominance.
However, this practice devalues the product and makes consumers question whether driving to a local store is worth it when they can get the same item cheaper delivered directly to their door. This business model has been Amazon’s strategy for years. They don’t mind incurring losses if they control the market.
Unfortunately, comic shops cannot follow this strategy and end up losing customers to giants like Amazon or even Barnes & Noble, which still have more storage space and flexibility than any small, local shop.
Currently, independent bookstores hold a significant promise. The one in my town boasts an array of child-friendly graphics but could use more selection for teenagers and adults. I believe that there’s a growing curiosity about graphic storytelling among those unfamiliar with it. However, comic shops are still grappling with the misconception that comics and graphic novels are only suitable for children. If someone hasn’t witnessed the transformation of these materials and the stores that sell them over the past few decades, they might assume that the store is similar to what The Big Bang Theory portrays. I suspect this widespread misunderstanding is why we don’t see as many readers in their teens through adulthood visiting often.
For a long period, particularly up until the mid-90s, North American animation was predominantly considered children’s entertainment due to persistent misconceptions. Even the iconic show The Simpsons didn’t significantly alter this perception. Furthermore, similar to comic books, the political manipulation of animation often discourages older audiences from appreciating its value.
If they don’t consider the question of artistic quality, how do they expect to get most consumers, regardless of age, engaged with comicdom? I believe it’s important to not only emphasize adventure but also help young readers appreciate drama as well. However, this shouldn’t mean sacrificing action-adventure elements that are fundamental to the foundation of DC/Marvel. Instead, these dramatic elements should grow naturally within the narratives. The same principle applies to character interactions and relationships between heroes and civilians, which should be a key focus.
Yanes: Moving on, I’ve previously discussed how the cost of comic books is rising quicker than inflation compared to books and video games that remain quite affordable (The Rising Costs of Being a Comic Book Fan in Relation to Inflation). What are your thoughts on strategies companies might employ to make comic books more budget-friendly?
If your primary aim is to divert attention, then indeed, games can offer a significant value for money. Personally speaking, I’m currently engrossed in Zelda: Tears of the Kingdom (finally), but let me clarify that this immersive experience came at a cost – around a couple of hundred dollars for the console and an additional forty dollars for the game. Now, imagine if you had to spend the same amount to read comics instead. For some titles, it’s feasible that you could indeed find yourself investing similar time. However, the immersive, interactive nature of games sets them apart from traditional reading materials in many ways.
Comics offer instant entertainment without requiring expensive equipment like a PS5 or high-end Nvidia GPU. Unlike games, which often have interfaces that quickly become outdated, comics can be easily picked up and appreciated right away. This point seems to get overlooked when trying to make comparisons between the two.
I have to admit that I don’t find comic costs exorbitant when you consider what five dollars can get you these days, but I understand if others might think differently. When I come home with a pile of comics that total sixty dollars, I consider it money well spent at my favorite store, where I know I’ll enjoy the stories and artwork. However, in certain instances, I feel that the current model falls short in floppy form and could use an extra five pages or so to give the book more impact (I can almost hear the collective groan from all the artists and writers out there!).
If the cost of comics were to decrease, it would particularly benefit comic shop owners. Given that profit margins on new comics are already slim, solely stocking new books can discourage customers from purchasing anything new, as they might perceive the cost as prohibitive. A more flexible wholesale price could significantly aid many shops in maintaining a diverse and enticing inventory.
Here we find ourselves facing yet another issue with this situation. The documentarian seems indifferent towards comics transitioning from digital to physical formats, such as paperback or hardcover. While it’s true that the cost of $5 or so is lower compared to a video game cartridge or disk priced at over $40, it still feels like an insult to one’s intellect when you discover that there are barely 20 pages of story inside. If you have to spend as much as $60 to buy what once would’ve cost less than $3 for the entire collection in the Bronze Age, it becomes unreasonable.
However, even if a paperback/hardcover book wouldn’t be significantly cheaper if bought together (and they could be quite heavy to carry), doesn’t it at least offer a more tranquil way to spend leisure time? It places less strain on the hands compared to a joystick and keyboard.
Eastin seems to hint that traditional tales can be enticing for new readers and this is significant because it’s often claimed that only fresh stories serve as entry points, while collections like Marvel Epic Editions and DC Finest Archives offer complete narratives you can read at your own pace. Furthermore, why aren’t more writers emulating the less politically driven, subtler styles of storytelling from earlier periods? Or, if it matters, why don’t they tackle complex issues without strictly adhering to a liberal agenda or script?
In the process of working on this documentary, did you stumble upon any facts that left you taken aback or astonished?
Eastin is suggesting that the line of questioning could potentially be harmful. For our mutual safety, he advises dropping the subject. He also implies that he wasn’t involved or present in what you’re discussing (as if he disappeared with a smoke bomb).
This might come off as overly sentimental, but what truly astounded me was the warmth and kindness exhibited by shop owners, comic creators, and even distributors when I interacted with them. Although there are always outliers, it was quite unusual for anyone to refuse an interview or act confrontationally once they understood that my time was valuable.
Initially, I had concerns that the toxicity I’d encountered in online fandoms was more widespread within the culture, and I had simply been fortunate all along. However, as it turned out, the majority of both the industry and the community are not jerks; they are generally amicable.
Fun fact, I discovered more than anticipated regarding the mafia’s alleged role in early comic book distribution. But hey, just because I learned it doesn’t mean I’m confirming its authenticity; after all, I wouldn’t be caught dead as a snitch!
I have my doubts about the extent of organized syndicates influencing early publication and distribution, but if they do exist, I’m certain it wasn’t deliberate on the part of the publishers. Regardless, it’s good that he didn’t encounter the harsh attitudes often found online, though it’s important to acknowledge that there are always exceptions. Unfortunately, some “professional” creators have displayed poor behavior online, and it’s disheartening that they tarnished the creative industry, including comics, by focusing their energy on attacking campaigns like Comicsgate rather than improving their own work and professional conduct. A creator’s negative attitude can significantly impact the sales of a particular comic, and similar observations can be made about the film industry and its actors, writers, directors, and producers.
On a related topic, what’s your perspective on why traditional comic bookstores remain crucial for the geek and nerd cultures?
Human connection is key. While it’s true that some geeks or nerds might struggle with social skills, my personal experience has been different. Comic book stores remain an ideal spot where they can discover their latest treasure while exchanging ideas with others who share the same enthusiasm, whether they are seasoned fans or fellow newcomers. Although the internet offers a glimpse of this, it’s important to remember that we are social beings, and direct interaction has a profound effect on our emotions, thoughts, and overall well-being.
An additional aspect to ponder for stores with diverse product assortments is the importance of physical retail spaces that enable a more tactile, engaging interaction with art. Unlike online platforms, these brick-and-mortar stores offer the unique opportunity to personally examine an artwork on a new release wall, and simultaneously discover other items that may catch the eye of fellow shoppers. This face-to-face encounter creates a rich, immersive experience that fosters not only personal interest but also positive social reinforcement as you interact with others who share your passion for art.
Many individuals consider a comic store as a type of “additional hangout spot”. Your work and home are regular places where you constantly move in and out, and this additional spot is where you can momentarily escape the pressures of those two environments. Furthermore, for stores that foster camaraderie through activities like Magic the Gathering, Dungeons & Dragons, or weekly board game nights; it’s a place where you catch up with friends and temporarily leave behind your daily stresses (similar to the atmosphere at Cheers).
It’s great that he had a good time shopping at unique stores, but it might also be beneficial for him to look into how certain content creators have acted online, understanding that their negativity can be harmful when driven by misguided reasons. He could even take a stance and admit that excluding conservative voices whose views differ from his own can sometimes be detrimental.
Yanes: After viewing “Shopping for Superman”, I hope that viewers will carry with them a profound understanding or lesson from their experience.
For enthusiasts of comic book stores, I hope they discover something novel and depart with the sensation that their experience was tailored specifically for them. This film undeniably stands out as it caters to both seasoned comic fans and those new to the world of comics, aiming to provide them with an enjoyable ninety minutes.
As a fellow movie buff who’s deeply into comics, let me tell you – if you’re new to comic shops, I truly urge you to step inside and explore. You might discover an unforgettable tale that keeps pulling you back for more. Comic books offer much more than mere battles between superhumans. They present a blend of inspiration, aesthetics, and terror in combinations you wouldn’t believe!
It’s heartfelt wish of mine that those who manage comic bookstores truly recognize the appreciation we hold for them, along with the passion they put into their work and the unique services their stores provide. May they continue to persevere in keeping their businesses alive!
In essence, if Mr. Eastin’s documentary does not address both the artistic and moral harm caused by the industry, focusing only on sales could be seen as shallow. Ignoring the impact on artistry won’t boost sales for specialty stores or anyone else, and it might lead to a future where no one acknowledges the industry’s mistakes, even if they contributed to its downfall. Some may even blame “wokeness” for the medium’s demise.
It would be wonderful to have a documentary that offers an unbiased perspective on the artistic aspect of comics. Unfortunately, considering past instances, it seems rather improbable that such a documentary will ever be produced.
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2025-04-15 16:31