Go, Read: Kiel Phegley’s Analysis Of The Marvel Comics Line

Kiel Phegley puts together all the scattered news items about series cancellations and word of the increased exploitation of core titles at Marvel Comics into a lengthy post about the company's recent past and potential future as a publishing enterprise. The piece's primary contributions to the general discussion are its analysis of how many comics Marvel is doing new strategy to old (about the same) at what price points (about the same mix as the recent past) and where the changes really lie (more titles featuring core characters from the company's bigger writers, the potential implications of which Phegley covers in arresting fashion). Phegley suggests that it's the creative winnowing that will have a bigger effect than any reduction in the diversity of characters employed, partly because Marvel's finding ways to fold newer takes on characters and characters that don't quite seem to sustain a series into more of its general plans (like team-ups in titles showcasing a bigger character).

I think the most significant element of this story might involve a forest-for-trees orientation as to what we're really seeing: less the individual changes, and more the fact that Marvel is employing this level of financial scrutiny on its publishing line at all during a time when a) its benefits from the intellectual property development of these characters is at an all-time high and b) DC seems to be operating under a more generous set of circumstances. I imagine we might also look back on this period as proof that this era's Marvel doesn't have a whole lot in the way of tools to support titles beyond using its rich character library -- whose backbone is Jack Kirby's work -- in whatever way is necessary to goose serial comic book sales.

The company's near-future may come down to how much life there remains in the general Marvel creative approach of the last ten or so years. Regaining market share despite relatively limited resources stringently employed is not unlike the task the company was facing post-bankruptcy. Admittedly, this repeat of history seems slightly insane given how much has been added to the company's bottom line since then, but that's really how they seem to treat their publishing line right now: as an entity that first and foremost must hit its financial projections in the near-term. The thing is, unlike that post-bankruptcy era, Marvel doesn't seem to have a major creative reorientation in the works. In addition, one of the major opportunities for a shake-up, a far-reaching, light-on-its-feet digital strategy that might drive certain creative approaches, seems a bit beyond their current, collective skill set. There also remains the very real possibility that even if things are successfully executed within the limits prescribed, which could definitely happen given all the editorial and creative talent Marvel can muster, that the standards and goals and resources given Marvel might be adjusted yet again.
 
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