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Audience Specificity in Narrative Design: Comic-Book Storytelling in the Inclusivity Era

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Abstract

This chapter considers the dimension of audience specificity within the context of the twenty-first century US comic-book industry, examining the degree to which narrative production processes are linked to the specificities of the particular audience groups for which a given narrative is conceived. It shows how transitions in the industry’s audience-targeting priorities in the early 2000s, whereby publishers increasingly widened their attention from a narrow yet highly dedicated consumer base of male adults to a broader mix of readers have since impacted upon narrative techniques implemented in the creation of superhero comic books. The chapter, which concentrates on the industry’s two dominant publishers—DC and Marvel, first outlines how key shifts in industrial practices have enabled this change in audience focus; such shifts have included publishers’ increased reliance on graphic novel and digital formats. It then goes on to detail how these shifted contexts have influenced changed approaches to the plot, style and storyworlds of superhero narratives.

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Notes

  1. 1.

    This distribution method reflects the comic-book industry’s cultural links with the newspaper trade. The industrialised production of comics narrative in the US dates back to the 1890s with the newspaper publication of syndicated humour strips, while the first periodical comic books were reprint compilations of such ‘funnies’. Bradford W. Wright, Comic Book Nation (Baltimore: Johns Hopkins University Press, 2001), 2, 4.

  2. 2.

    Matthew J. Pustz, Comic Book Culture: Fanboys and True Believers (Jackson: University Press of Mississippi, 1999), 131–132; Wright, Comic Book Nation, 278.

  3. 3.

    The term ‘graphic novel’ is popularly used to denote a publication within the medium of comics that is distinguished from standard periodical comic books by its greater bulk and its card or hardback cover. See Charles Hatfield, Alternative Comics: An Emerging Literature (Jackson: University Press of Mississippi, 2005), 29; Robert C. Harvey, The Art of the Funnies: An Aesthetic History (Jackson: University Press of Mississippi, 1994), 116.

  4. 4.

    In the 2000s, for example, the two publishers’ combined comic-book store market share ranged between 60 and 80 per cent (approx.). John Jackson Miller, ‘December 2009 Top Sellers: Blackest Night Finishes Year on Top’, The Comichron, 27 January 2010, http://blog.comichron.com/2010/01/december-2009-top-sellers-blackest.html.

  5. 5.

    Wright suggests that the dominance of the superhero genre since the 1960s is attributable to the rise of television as a mass medium. ‘In an era of extremely limited special-effects technology (in TV), comic books could present fantastic visual imagery more imaginatively than could a live-action medium.’ Wright, Comic Book Nation, 183–184. An exception to this rule of superhero ubiquity would be the storyworlds of the alternative/independent comics movement that grew out of the 1970s. For narrative analyses and a cultural history of this distinct scene, see Hatfield, Alternative Comics.

  6. 6.

    The origins of pulp’s influence on comic books can be traced to Detective Comics #1 (1937). The series (which would go on introduce Batman) was, as Wright observes, distinguished from its funnies-dominated rival publications due to its emphasis on mystery and adventure tales derivative of American pulp fiction magazines. Wright, Comic Book Nation, 5.

  7. 7.

    US newspaper comic-strips had, in contrast, featured serial storylines since the early 1900s. See Jared Gardner, Projections: Comics and the History of Twenty-First Century Storytelling (Stanford, CA: Stanford University Press, 2012), 40–67.

  8. 8.

    The Role of the Reader: Explorations in the Semiotic in Texts (London: Hutchinson & Co., 1981), 117.

  9. 9.

    Ibid., 113–114.

  10. 10.

    Dennis O’Neil, The DC Comics Guide to Writing Comics (New York: Watson-Guptill, 2001), 95–96. See also Henry Jenkins, ‘Best Contemporary Mainstream Superhero Comics Writer: Brian Michael Bendis’, in Beautiful Things in Popular Culture, ed. Alan McKee (Malden, MA: Blackwell, 2007), 23; Henry Jenkins, ‘“Just Men in Tights”: Rewriting Silver Age Comics in an Era of Multiplicity’, in The Contemporary Comic Book Superhero, ed. Angela Ndalianis (New York: Routledge, 2009), 20.

  11. 11.

    Roberta E. Pearson and William Uricchio, ‘Notes from the Batcave: An Interview with Dennis O’Neil’, in The Many Lives of the Batman: Critical Approaches to a Superhero and His Media, ed. Roberta E. Pearson and William Uricchio (New York: Routledge, 1991), 24.

  12. 12.

    See Pustz on the transitory status of comic books pre-1960. Pustz, Comic Book Culture, 15.

  13. 13.

    By the mid-1960s some bookstores began to sate this demand by specialising in the sale of back issues. Ibid.

  14. 14.

    See Paul Lopes, Demanding Respect: The Evolution of the American Comic Book (Philadelphia: Temple University Press, 2009), 93.

  15. 15.

    The Avengers narrative suggests that, following the Second World War, Cap had been preserved in ice.

  16. 16.

    See O’Neil on continuity practices. O’Neil, The DC Comics Guide to Writing Comics, 113.

  17. 17.

    Catherine Saunders, Heather Scott, Julia March and Alistair Dougall, Marvel Chronicle: A Year by Year History (London: DK, 2008), 108. For Marvel, such demands reflected the company’s strategy of encouraging reader feedback as a means to increase consumer engagement. See Gardner, Projections, 112–113.

  18. 18.

    As the cost of printing was outweighed by the investment into editorial production (writing, pencils, colours, etc.) it made sense that publishers used large print runs to ensure a strong newsstand presence. Chuck Rozanski, ‘Evolution of the Direct Market: Part One’, Mile High Comics, November 2003, http://www.milehighcomics.com/tales/cbg95.html.

  19. 19.

    See Wright, Comic Book Nation, 261.

  20. 20.

    See Pustz, Comic-Book Culture, 15.

  21. 21.

    Wright, Comic Book Nation, 262.

  22. 22.

    See ibid., 278; Pustz, Comic Book Culture, 131–132.

  23. 23.

    The five series through which ‘Maximum Carnage’ plays out are Spider-Man, Web of Spider-Man, Spectacular Spider-Man, Spider-Man Unlimited and The Amazing Spider-Man.

  24. 24.

    The pair cite prior events within continuity, including instances of Dick’s impetuousness and ill-discipline (Bruce: ‘When you didn’t listen to me, your injuries weren’t fatal’), Bruce’s removal of Dick from the Robin role (Bruce: ‘I would have had to fire him [Jason] as I did you’) and Dick’s chagrin at Bruce having adopted Jason (Bruce: ‘You told me you resented it that I had adopted him and not you’).

  25. 25.

    Pustz, Comic Book Culture, 134.

  26. 26.

    See Wright, Comic Book Nation, 280.

  27. 27.

    Pustz, Comic Book Culture, 134.

  28. 28.

    Wright, Comic Book Nation, 280.

  29. 29.

    Ibid., 283.

  30. 30.

    Sean T. Collins, ‘The Amazing! Incredible! Uncanny Oral History of Marvel Comics’, Maxim, 12 August 2009, http://www.maxim.com/amg/humor/stupid-fun/83588/amazing-incredible-uncanny-oral-history-marvel-comics.html.

  31. 31.

    Pustz, Comic Book Culture, 209.

  32. 32.

    Ibid., 23.

  33. 33.

    Milton Griepp, ‘20 Questions: Paul Levitz, Part II: DC’s Executive VP Talks About the Comic Business’, ICv2, 10 March 2001, http://www.icv2.com/articles/indepth/759.html.

  34. 34.

    See Wright, Comic Book Nation, 3.

  35. 35.

    Veteran writer/illustrator Will Eisner popularised the label in the late 1970s, using it to market his anthology project, A Contract with God (1978).

  36. 36.

    Hatfield, Alternative Comics, 29.

  37. 37.

    Nat Gerter and Steve Lieber, The Complete Idiot’s Guide to Creating a Graphic Novel (New York: Alpha Books, 2004), 9–11.

  38. 38.

    This physical format became known as the ‘prestige format’. The unique titles for each instalment are (in order), ‘The Dark Knight Returns’, ‘Dark Knight Triumphant’, ‘Hunt the Dark Knight’ and ‘The Dark Knight Falls’.

  39. 39.

    Robert Greenburger (ed.), Batman in the Eighties (New York: DC, 2004), 185.

  40. 40.

    A 1988 Time magazine article illustrates the low status of comic-book culture in this period; it claims ‘comic-book’ has, as a definitional label, ‘suggestions of arrested adolescent development’. Jay Cocks and John E. Gallagher, ‘The Passing of Pow! And Blam!’, Time, 25 January 1988, http://www.time.com/time/magazine/article/0,9171,966542-1,00.html.

  41. 41.

    See Wright, Comic Book Nation, 267; Will Brooker, ‘The Best Batman Story: The Dark Knight Returns’, in Beautiful Things, ed. McKee, 41.

  42. 42.

    Mordecai Richler, ‘Batman at Midlife: Or the Funnies Grow Up’, The New York Times, 3 May 1987, 35 (section 7).

  43. 43.

    Mittell, Complex TV, 37.

  44. 44.

    Ibid.

  45. 45.

    Hatfield, Alternative Comics, 30.

  46. 46.

    Brooker, ‘The Best Batman Story’, 43.

  47. 47.

    Tom Spurgeon, ‘CR Holiday Interview #12: Karen Berger’, The Comics Reporter, 6 January 2008, http://www.comicsreporter.com/index.php/cr_holiday_interview_13/.

  48. 48.

    For example, the publisher ensured that each issue of JLA (a late 1990s rebranded Justice League of America series) was reformatted into collected editions.

  49. 49.

    Anon., ‘Graphic Novels by the Numbers’, Publishers Weekly, 3 May 2007, http://www.publishersweekly.com/pw/print/20070305/4192-graphic-novels-by-the-numbers-.html.

  50. 50.

    In comparison, the dollar sales for the top 300 comic books from each month distributed to speciality stores in 2001 totalled $186.98 million. John Jackson Miller, ‘Comic Book Sales by Year’, Chomichron, n.d., http://www.comichron.com/yearlycomicssales.html.

  51. 51.

    Anon., ‘Marvel Ratchets Up Book Production’, ICv2, 12 March 2001, http://www.icv2.com/articles/news/220.html; John Rhett Thomas, Marvel Backlist Chronology (New York: Marvel, 2011).

  52. 52.

    John Jackson Miller, ‘Comics and Graphic Novels Up 5% in 2016’, Comichron, n.d., http://www.comichron.com/yearlycomicssales/industrywide/2016-industrywide.html.

  53. 53.

    Alisa Perren, ‘Up, Up, and Away? Separating Fact from Fiction in the Comic Book Business’, FlowTV, 21 August 2008, http://flowtv.org/?p=1635.

  54. 54.

    Griepp, ‘20 Questions: Paul Levitz’.

  55. 55.

    Owen Vaughan, ‘An Interview with Spider-Man’s Boss, Marvel Chief Joe Quesada’, The Times, 21 March 2009, http://www.thetimes.co.uk/tto/arts/books/article2454472.ece.

  56. 56.

    Ibid.

  57. 57.

    Anon., ‘Interview with DC’s Paul Levitz, Part II: On Comics, Movies and Possibly Manga’, ICv2, 24 September 2003, http://www.icv2.com/articles/news/3552.html.

  58. 58.

    Warren Ellis, ‘Come in Alone: Issue 18’, Comic Book Resources, 31 March 2000, http://www.comicbookresources.com/?page=article&id=13272.

  59. 59.

    Robert Taylor, ‘Reflections: Talking with Jeph Loeb’, Comic Book Resources, 25 October 2006, http://www.comicbookresources.com/?page=article&id=8426.

  60. 60.

    Douglas Wolk and Calvin Reid, ‘Graphic Novels, Tie-Ins Highlight Comic-Con’, Publishers Weekly, 30 July 2001, 16.

  61. 61.

    Grant Morrison, ‘Morrison Manifesto’, in New X-Men Ultimate Collection Vol. 3, by Grant Morrison (New York: Marvel, 2008).

  62. 62.

    See Daniel M. Goodbrey, ‘Distortions in Spacetime: Emergent Narrative Practices in Comics’ Transition from Print to Screen’, in Storytelling in the Media Convergence Age: Exploring Screen Narratives, ed. Roberta Pearson and Anthony N. Smith (Basingstoke: Palgrave Macmillan, 2015), 57.

  63. 63.

    Darren Wershler and Kalervo A. Sinervo, ‘Marvel and the Form of Motion Comics’, in Make Ours Marvel: Media Convergence and a Comics Universe, ed. Matt Yockey (Austin: University of Texas Press, 2017), 193.

  64. 64.

    Seth Rosenblatt, ‘Digital comics successful sidekick to print, say publishers’, CNET, 20 July 2013, http://www.cnet.com/uk/news/digital-comics-successful-sidekick-to-print-say-publishers/; Miller, ‘Comics and graphic novel market’; Miller, ‘Comics and Graphic Novels Up 5% in 2016’.

  65. 65.

    Heidi McDonald, ‘DC’s Rood Breaks Down Reader Survey’, Publishers Weekly, 14 February 2012, http://www.publishersweekly.com/pw/by-topic/booknews/comics/article/50633-dc-s-rood-breaks-down-reader-survey.html.

  66. 66.

    Goodbrey, ‘Distortions in Spacetime’, 57; see also, T. Campbell, The History of Webcomics (San Antonio: Antarctic Press, 2006), 15.

  67. 67.

    See Goodbrey, ‘Distortions in Spacetime’, 60; Wershler and Sinervo, ‘Marvel and the Form of Motion Comics’, 198–199.

  68. 68.

    ‘Infinite Comics’, Marvel.com, http://marvel.com/comics/discover/451/infinite-comics.

  69. 69.

    Goodbrey, ‘Distortions in Spacetime’, 62.

  70. 70.

    Ibid., 58.

  71. 71.

    The company had carried out a less comprehensive simplification of continuity in 1986.

  72. 72.

    The New 52 moniker reflects the number of #1 books DC simultaneously launched as part of the initiative.

  73. 73.

    Melissa Block, ‘Several DC Comics Go Back To Issue No. 1’, NPR, 31 August 2011, http://www.npr.org/2011/08/31/140093549/several-dc-comics-go-back-to-issue-no-1.

  74. 74.

    Aja Romano, ‘DC Comics Steps Up Its Diversity Efforts With “DC You: Lineup”’, The Daily Dot, 9 July 2015, https://www.dailydot.com/parsec/dan-didio-emphasizes-diversity-in-dc-you-lineup-sdcc/.

  75. 75.

    Albert Ching, ‘Alonso on Why the Time is Right for the Marvel NOW! Revamp’, Newsarama, 5 July 2012, https://www.newsarama.com/9763-alonso-on-why-the-time-is-right-for-the-marvel-now-revamp.html.

  76. 76.

    Noelene Clark, ‘Marvel Comics Shaking Up its Superhero Roster to Attract New Readers’, Los Angeles Times, 4 June 2015, http://www.latimes.com/entertainment/herocomplex/la-et-hc-marvel-comics-axel-alonso-all-new-all-different-lineup-20150603-story.html.

  77. 77.

    Ching, ‘Alonso on Why the Time is Right’.

  78. 78.

    Official Press Release, ‘DC Entertainment Reveals First Details of “Rebirth” to Retailers at Comics Pro 2016’, DC Comics, 18 February 2016, http://www.dccomics.com/blog/2016/02/18/dc-entertainment-reveals-first-details-of-“rebirth”-to-retailers-at-comics-pro-2016.

  79. 79.

    Albert Ching, ‘Exclusive: Geoff Johns Details “Rebirth” Plan, Seeks to Restore Legacy to DC Universe’, Comic Book Resources, 18 February 2016, http://www.cbr.com/exclusive-geoff-johns-details-rebirth-plan-seeks-to-restore-legacy-to-dc-universe/.

  80. 80.

    Clark, ‘Marvel Comics Shaking Up its Superhero Roster’.

  81. 81.

    Jenkins discusses further this trend within the industry for multiple parallel superhero universes. Jenkins, ‘“Just Men in Tights”’, 16–42. Sam Ford and Henry Jenkins, ‘Managing Multiplicity in Superhero Comics: An Interview with Henry Jenkins’, in Third Person: Authoring and Exploring Vast Narratives, ed. Pat Harrigan and Noah Wardrip-Fruin (Cambridge, MA: MIT Press, 2009), 303–311.

  82. 82.

    Via his account of Marvel Comics’ ‘Share Your Universe’ promotional campaign, Derek Johnson provides a further example of the way in which the publisher has aimed to strengthen its cross-generational appeal. Derek Johnson, ‘“Share Your Universe”: Generation, Gender, and the Future of Marvel Publishing’, in Make Ours Marvel, ed. Yockey, 138–163.

  83. 83.

    The exception would be Vertigo’s The Books of Magic (Vol. 2, 1994–2000). The series is in a similar gothic vein as Sandman (both having been created by Neil Gaiman). The Sandman audience was, unusually for the industry, well represented by a female demographic (which made up approximately 50 per cent of the readership). Anon., ‘DC SVP Karen Berger on Minx’, ICv2, 30 November 2006, http://www.icv2.com/articles/news/9697.html.

  84. 84.

    First Comics published Lone Wolf and Cub from 1987, for example, while Epic published Akira from 1989.

  85. 85.

    For a detailed history of the growth of the Japanese manga market in the US, see Casey Brienza, Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics (London: Bloomsbury, 2016), 50–67.

  86. 86.

    Marvel provided a more general (and ironic) address to the manga market with its ‘Marvel Mangaverse’ line, which, notes Jenkins, ‘reimagined and resituated [Marvel’s] stable of superheroes within Japanese genre traditions’. The line reinterpreted, for example, Spider-Man as a Ninja and expanded the Hulk to Godzilla proportions. Henry Jenkins, Convergence Culture (New York: New York University Press, 2006), 112.

  87. 87.

    Anon., ‘Interview with Marvel Publisher Dan Buckley 2005, Part 4: Reaching Girls; A Comic Movie Bubble?’, ICv2, 22 August 2005, http://www.icv2.com/articles/news/7397.html.

  88. 88.

    This lineage includes such teams as Marvel’s New Warriors and DC’s Teen Titans.

  89. 89.

    Anon., ‘Interview with Marvel Publisher Dan Buckley 2005, Part 1: On the Comics and Graphic Novel Market’, ICv2, 22 August 2005, http://www.icv2.com/articles/news/7394.html.

  90. 90.

    George Gene Gustines, ‘For Graphic Novels, a New Frontier: Teenage Girls’, The New York Times, 25 November 2006, B7.

  91. 91.

    Anon., ‘Marvel Proudly Presents Thor’, Marvel.com, 15 July, 2014, https://news.marvel.com/comics/22875/marvel_proudly_presents_thor/.

  92. 92.

    Carolyn Cocca, Superwomen: Gender, Power, and Representation (New York: Bloomsbury, 2016), 213.

  93. 93.

    Anne F. Peppard, ‘“This Female Fights Back!” A Feminist History of Marvel Comics’, in Make Ours Marvel, ed. Yockey, 138–130.

  94. 94.

    Clark, ‘Marvel Heroes Shaking Up Its Superhero Roster’.

  95. 95.

    Noah Berlatsky, ‘What Makes the Muslim Ms. Marvel Awesome: She’s Just Like Everyone’, The Atlantic, 20 March 2014, https://www.theatlantic.com/entertainment/archive/2014/03/what-makes-the-muslim-em-ms-marvel-em-awesome-shes-just-like-everyone/284517/.

  96. 96.

    See, for example, Katie M. Logan, ‘America Needs Marvel Superhero Kamala Kahn Now More Than Ever, And Here’s Why’, Newsweek, 20 February 2017, http://www.newsweek.com/marvel-kamala-khan-muslim-american-superhero-america-needs-right-now-558943.

  97. 97.

    Sian Cain, ‘Marvel Executive Says Emphasis on Diversity May Have Alienated Readers’, The Guardian, 3 April 2017, https://www.theguardian.com/books/2017/apr/03/marvel-executive-says-emphasis-on-diversity-may-have-alienated-readers.

  98. 98.

    Stephen Gerding, ‘Ms. Marvel Rockets to the #1 Slot on Marvel’s Digital Sales Chart’, Comic Book Resources, 10 February 2014, http://www.cbr.com/ms-marvel-rockets-to-the-1-slot-on-marvels-digital-sales-chart/; Chase Magnett, ‘Ms. Marvel Tops the October Sales Charts (Because Ms. Marvel is Amazing)’, Comicbook, 7 November 2014, http://comicbook.com/2014/11/07/ms-marvel-tops-the-october-sales-charts-because-ms-marvel-is-ama/.

  99. 99.

    Wright, Comic Book Nation, 291.

  100. 100.

    Anon., ‘IDW Announces Silent Hill: Past Life’, IDW Publishing, 12 August 2010, http://www.idwpublishing.com/news/article/1338/; Anon., ‘Video Game Comics Don’t Have to Suck’, Dark Horse, 1 November 2010, http://www.darkhorse.com/Horsepower/1873/Video-Game-Comics-Dont-Have-to-Suck-11-1-10.

  101. 101.

    The Injustice videogame series sees a wide range of DC Comics characters pitted against one another in combat.

  102. 102.

    For further details on, and analysis of, Marvel Comics’ recruitment of writers from outside of comics, see Deron Overpeck, ‘Breaking Brand: From NuMarvel to Marvel NOW! Marvel Comics in the Age of Media Convergence’, in Make Ours Marvel, ed. Yockey, 173–175.

  103. 103.

    George Gene Gustines, ‘Mild-Mannered Literary Guys Transform Into Comics Writers’, The New York Times, 17 March 2004, E4; Michael Sangiacomo, ‘Top Authors Teaming Up With Marvel’, Plain Dealer (Cleveland), 5 November 2005, E9.

  104. 104.

    Flanagan et al., The Marvel Studios Phenomenon, 36.

  105. 105.

    Anon., ‘Interview with Dan Buckley, Part Two: Marvel’s Digital Initiatives, Tuesday Delivery’, ICv2, 11 July 2008, http://www.icv2.com/articles/news/13680.html.

  106. 106.

    Anon., ‘Interview with DC President Paul Levitz 2005, Part 1’, ICv2, 1 August 2005, http://www.icv2.com/articles/news/7298.html.

  107. 107.

    CBR News Team, ‘Top Comics & Graphic Novels for 2008’, Comic Book Resources, 12 January 2009, http://www.comicbookresources.com/?page=article&id=19505.

  108. 108.

    The five mini-series are Thor: First Thunder, Thor: The Mighty Avenger, Iron Man/Thor, Thor: For Asgard and Ultimate Comics: Thor (all 2010–2011).

  109. 109.

    Thomas, Marvel Backlist Chronology.

  110. 110.

    For analysis of the MCU transmedia narrative comic-book extensions, see Flanagan et al., The Marvel Studios Phenomenon, 191–192.

  111. 111.

    Rich Johnston, ‘Axel Alonso Cites Bad Publicity for Marvel Comics as Evidence That Comics are Reaching Out’, Bleeding Cool, 19 July 2017, https://www.bleedingcool.com/2017/07/19/axel-alonso-bad-publicity-marvel-comics/.

  112. 112.

    Scott Chitwood, ‘DeSanto Talks about X-Men Costumes’, IGN, 10 February 2000, http://uk.movies.ign.com/articles/034/034827p1.html.

  113. 113.

    Morrison, ‘Morrison Manifesto’.

  114. 114.

    Johnson, ‘Will the Real Wolverine Please Stand Up?’, in Film and Comic Books, ed. Ian Gordon et al., 80.

  115. 115.

    Alex Zalben, ‘Exclusive Interview: Matt Fraction Reflects on His Career, From Fear Itself to Mantooth’, MTV Geek!, 31 March 2011, http://geek-news.mtv.com/2011/03/31/exclusive-interview-matt-fraction-reflects-on-his-career-from-fear-itself-to-mantooth/.

  116. 116.

    Fraction introduced Ezekiel Stane in The Order #8 (2008). The writer subsequently utilised the character as the villain in his first arc on The Invincible Iron Man, ‘The Five Nightmares’ (#1–6, 2008).

  117. 117.

    Johnston, ‘Axel Alonso Cites Bad Publicity’.

  118. 118.

    Jerome Maida, ‘Make Va-Room for More GR Books’, (Philadelphia) Daily News, 16 February 2007, 46.

  119. 119.

    Jesse Schedeen, ‘Between the Panels: The Guardians of the Galaxy Need to Get Bigger’, IGN, 12 May 2017, http://uk.ign.com/articles/2017/05/12/between-the-panels-the-guardians-of-the-galaxy-need-to-get-bigger.

  120. 120.

    Peter David, Writing for Comics with Peter David (Cincinnati: Impact, 2006), 115.

  121. 121.

    Johnson, Media Franchises, 98.

  122. 122.

    Hoai-Tran Bui, ‘Fantastic Four Comics Were Really Cancelled Over the Film Rights’, /Film, 7 August 2017, http://www.slashfilm.com/marvel-canceled-fantastic-four-comics-jonathan-hickman/.

  123. 123.

    This is not the only example of Marvel Entertainment exerting such pressure. Sean Howe suggests that, in the early 2000s, the parent company influenced Marvel Comics to drop titles so as to protect the broader company’s movie-licensing aims. Sean Howe, Marvel Comics: The Untold Story (New York: Harper, 2012), 421.

  124. 124.

    Johnston, ‘Axel Alonso Cites Bad Publicity’.

  125. 125.

    Ching, ‘Exclusive: Geoff Johns Details “Rebirth” Plan’.

  126. 126.

    Hatfield, Alternative Comics, 41.

  127. 127.

    Ibid. For further discussion of the reader’s role in interpreting the connections between panels, see Scott McCloud, Understanding Comics: The Invisible Art (New York: HarperPerennial, 1993), 60–69.

  128. 128.

    Harvey, The Art of the Funnies, 14–15.

  129. 129.

    Hatfield, Alternative Comics, 41.

  130. 130.

    McCloud, Understanding Comics, 74–75. The responsibility for breakdowns as part of the narrative design processes is variable. Sometimes the writer takes responsibility, sometimes the penciller, while other times it is shared.

  131. 131.

    Ibid., 70.

  132. 132.

    Re. the relationship between pace and page space in comics storytelling, see Harvey, The Art of the Funnies, 176.

  133. 133.

    David Bordwell, ‘Intensified Continuity: Visual Style in Contemporary American Film’, Film Quarterly 55, No. 3 (2002), 16–17.

  134. 134.

    A thematically analogous scene from the movie Die Hard (1988), in which the character John McClane swings on a fire hose through a skyscraper window, provides a good example of this combination of multi-cam set-up and cutting pattern within film.

  135. 135.

    See Paul Gravett, Manga: Sixty Years of Japanese Comics (London: Lawrence King, 2004), 24–27.

  136. 136.

    See Gary Marshall, Studio Space: The World’s Greatest Comic Illustrators at Work (Berkeley: Image, 2008), 189.

  137. 137.

    David Harper, ‘The Decade According to Multiversity: Best Artist’, Multiversity Comics, 9 December 2009, http://www.multiversitycomics.com/2009/12/decade-according-to-multiversity-best_09.html.

  138. 138.

    David, Writing for Comics, 115.

  139. 139.

    Samuel Roberts, ‘Interview: Mark Millar’, SciFiNow, 15 November 2010, http://www.scifinow.co.uk/interviews/interview-mark-millar/.

  140. 140.

    Keith Phipps, ‘Interview: Brian Michael Bendis’, A.V. Club, 9 August 2007, http://www.avclub.com/articles/brian-michael-bendis,14138/.

  141. 141.

    Greg Burgas, ‘Compressed Storytelling Versus Decompressed Storytelling’, Comics Should Be Good, 1 August 2005, http://goodcomics.blogspot.com/2005/08/compressed-storytelling-versus.html.

  142. 142.

    Examples of blog posts critical of the ‘cinematic’ style in comics include Frederik Hautain, ‘The Decompression Oppression’, Broken Frontier, 14 March 2004, http://www.brokenfrontier.com/lowdown/p/detail/the-decompression-oppression; Scipio, ‘The War Against the True Enemy of Comic Books’, The Absorbascon, 15 May 2007, http://absorbascon.blogspot.com/2007/05/war-against-true-enemy-of-comic-books.html.

  143. 143.

    The relevant issues are Cable #35, X-Men #55, X-Man #18–19, X-Force #57, Uncanny X-Men #336 and Fantastic Four #415–416 (all 1996).

  144. 144.

    This subsidiary storyline begins in Amazing Spider-Man #365 (1992).

  145. 145.

    Jonathan Ellis, ‘Interview: Joe Quesada’, Pop Image, August 2001, http://www.popimage.com/industrial/080101quesada1.html.

  146. 146.

    Vaughan, ‘An Interview with Spider-Man’s Boss’.

  147. 147.

    Jonah Welland, ‘J. Michael Straczynski to Write Fantastic Four Starting in June’, Comic Book Resources, 22 December 2004, http://www.comicbookresources.com/?page=article&id=4390.

  148. 148.

    Warren Ellis, ‘The Nextwave Original Pitch’, in Nextwave: Agents of H.A.T.E. Ultimate Collection, by Warren Ellis and Stuart Immonen (New York: Marvel, 2010).

  149. 149.

    Ibid.

  150. 150.

    All eight parts of Marvel’s Secret Invasion mini-series, for example, made the top-ten list of the bestselling comics of 2008, while the first five issues from DC’s Blackest Night mini-series made the top-ten list of the bestselling comics of 2009. David Colton, ‘Comic books sold well in 2008; graphic novels did, too’, USA Today, 11 January 2009, http://www.usatoday.com/life/books/news/2009-01-11-comics-sales_N.htm; Lucas Siegel, ‘Diamond Announces Full Year-End Data’, Newsarama, 12 January 2010, http://www.newsarama.com/comics/Diamond-2009-Year-Sales-100112.html.

  151. 151.

    Similar to the Marvel and DC universes, the ‘Whoniverse’ attracts a highly dedicated audience invested in charting its continuity.

  152. 152.

    Matt Hills, ‘Absent Epic, Implied Story Arcs, and Variation on a Narrative Theme: Doctor Who (2005–2008) as Cult/Mainstream Television’, in Third Person, ed. Harrigan and Wardrip-Fruin, 336–338.

  153. 153.

    Ibid., 336.

  154. 154.

    Ibid., 337.

  155. 155.

    In this particular way, the plotting of Ultimate Spider-Man emulates that of Amazing Spider-Man in the 1960s.

  156. 156.

    Steve Ekstrom, ‘An Uncanny Update with Matt Fraction’, Newsarama, 3 March 2009, http://www.newsarama.com/comics/030903-Fraction-UXM.html.

  157. 157.

    This annual marks Simon Trask’s first appearance within Marvel continuity.

  158. 158.

    Bolivar Trask’s first appearance was in Uncanny X-Men #14 (1965).

  159. 159.

    Ekstrom, ‘An Uncanny Update with Matt Fraction’.

  160. 160.

    Vaneta Rogers, ‘New Avengers 3: Brian Bendis—The Flagship Captain’, Newsarama, 14 December 2009, http://www.newsarama.com/comics/091214-brian-bendis-avengers-reassembled.html.

  161. 161.

    Karen Lury, Interpreting Television (London: Hodder Arnold, 2005), 14.

  162. 162.

    Regarding the plotting of storylines within this series, Morrison segmented his run into successive three-issue arcs, thus permitting DC to compile two arcs per six-issue collected edition.

  163. 163.

    Morrison, ‘Morrison Manifesto’.

  164. 164.

    Allen, ‘Speaking of Soap Operas’, 69.

  165. 165.

    Ibid., 69–71.

  166. 166.

    Grant Morrison, Cameron Stewart and Andy Clarke, Batman & Robin: Batman vs. Robin (New York: DC Comics, 2010), 154.

  167. 167.

    Admin1, ‘CBR TV @NYCC: Scott Snyder on “Batman,” “Severed” and Bat Continuity’, Comic Book Resources, 16 October 2011, http://video.comicbookresources.com/cbrtv/2011/cbr-tv-nycc-scott-snyder-on-batman-severed-and-bat-continuity/.

  168. 168.

    Ibid.

  169. 169.

    Vaneta Rogers, ‘Scott Snyder on BATMAN #10 & You-Know-Who [SPOILERS]’, Newsarama, 14 June 2012, http://www.newsarama.com/9671-spoiler-sport-scott-snyder-on-batman-10-you-know-who.html.

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Smith, A.N. (2018). Audience Specificity in Narrative Design: Comic-Book Storytelling in the Inclusivity Era. In: Storytelling Industries. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-70597-2_4

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