Taking a Lesson from the Spider and the Bat

[Stephanie]

Before I address the point of this article, there's something we should probably get out of the way first. If we don't, it's just going to be lurking around like a de-powered mutant, so there's no use ignoring it and allowing it to bumble about like a lost puppy before interrupting rudely. The economy is pretty bad. We're all feeling it—me, you ... even rich pants "Bruce Wayne," who likes to be called Tommy these days—but so have the mighty comics publishers whose comics we love and hate with equally tenacious passion. That's right, I'm looking at you, Marvel and DC, and somebody's got some explaining to do.

Instead of preaching about how indy publishers are able to bravely endure without giving in to the attractive lure of bumping their prices up a notch at the same time Marvel and DC continue to defend their expensive issues with self-righteous ardor, I'm rather suggesting they take a lesson from the costumed spider—or in DC's case, the sky-diving, rooftop swinger. That's right, I'm not talking about Peter Parker or the manlier of the Bat-family, but in fact Spider-Woman and Batwoman. These two capable, crime-fighting women have more in common these days, as their new adventures in the comic universes are blowing us away with their gorgeous artwork by Alex Maleev and J.H. Williams III, respectively. Even to those who might not be on board with the stories, it's easily argued that the illustrations justify the higher price tag.

But if we're willing to say that about exceptional comics, aren't we simultaneously bringing up another issue? Many comic readers are buying the same number of comics each month despite the price changes, which is, let's admit, a good thing. If sales dipped on even the most popular comics just because of Marvel's and DC's new competitive price range, that could mean destruction of sorts for the industry. On the other hand, if we fans are doing our part to support not only the industry, but the comics we adore (good or bad), shouldn't comics companies be holding up their end of the deal, too?

DC's second features are one thing, and they are, for the most part, basically good. They offer our favorite characters the chance to stay at the forefront of the comics scene even when they don't have the sales numbers to pull the weight of their own monthlies. DC has even been serving up previews in addition. At least DC is trying to rationalize the increase in cost, which means Marvel needs to pick up the slack sooner or later. Of course, quantity doesn't mean quality, which is a crucial factor publishers should keep in check as they continue to alter the way they present their books. The majority of readers pick up a monthly for the main story, not for the extras in the back; so whether a title offers pencil or ink draft pages, second features, or previews as an incentive, publishers need to consider what's truly important about a comic.

Readers don't want a comic that feels short; they want consistency in length and content whether or not a storyline improves or worsens. Fans' willingness to put down the cash for a comic nowadays shouldn't lead to a decision they regret, especially if they simply want to explore a story they haven't been exposed to previously. Books like Spider-Woman and Detective Comics are introducing fresh styles that set a new standard of quality for the medium, but when other titles around it begin to pale, shouldn't publishers realize they need to step up their game altogether?

In comics, art and story are meant to work together to produce a solid collaboration, and the inventiveness of more fluid and impressive art should generate a similar train of thought for other creators—both writers and artists alike. Creators don't have to be cutting edge, however, to redefine a comic book. Simply working together more closely to inspire an intelligent work which demonstrates the power of writing and art should be priority. If that can't be accomplished, then more packed pages or a longer page count should be considered. (In other words, sack the too easily accepted trend of multiple dialogue-empty pages constituting half an issue.) Whatever the route, publishers should be encouraging a stronger dynamic between writers and artists. In fact, the decision should come naturally now that prices are higher for Marvel and DC comics. If they're asking more of us, then don't we have the right to inquire more of them, as well?