Publishing a commercially successful comic

Patrick Brown

The thread on the main comics board on the history of Irish comics has brought up the question of publishing a successful comic in Ireland. I had a few thoughts on that subject, and thought rather than derail that thread I'd start a new one here.

I think we can probably assume the Direct Market's not going to work for us. It serves a particular niche audience which in Ireland is tiny, and the main American publishers have it sewn up. If we want to publish in Ireland, that means newsagents, which means producing something that Easons would be prepared to carry.

Ad-hoc anthologies aren't going to do the trick. It would need a plan for the medium-term at least. A commercial focus - some idea of what audience you're trying to appeal to, and what that audience likes. 2000AD started out by ripping off stuff that was popular in other media - Rollerball, the Six Million Dollar Man, Dirty Harry. Probably best not to be that blatant, but look at the way Russell T Davies revived Doctor Who by looking at what made Buffy successful.

Strong, appealing, regular features that people would come back for. Deadline survived on the back of Tank Girl and Wired World, and would never have got established without them. And to keep the creators on board, you'd would need to pay them decently, so you'd need money to start with. That means banks, which means a very rigorous business plan.

I wonder if we could learn something from the way the Europeans do it. They seem to publish good, thick magazines, the size of an Empire or an SFX and the same sort of price, with one full-length story by a different artist/team every issue, and shorter backup features, some serials, some self-contained. The size and price probably make it more profitable for retailers to carry - they can make their money back on a smaller number of sales.

I think we'd also need to look beyond our small press mates as contributors. We'd need material that's professional and commercial, which isn't necessarily the small press's forte.

Any other thoughts?

Fysh

I had conversations with a couple of people at Summer Edition that sort of relate to this, because I suspect that part of you'd need for an endeavour like this is a Shane Chebsey type to come in and handle the tedious parts of distribution. That can be someone involved with the editorial aspect of the magazine in question, but ideally you want it to be separated from the job of creating the magazine just to ensure that neither job gets treated as less important than the other.

Schedule regularity would be important - you'd need to establish a schedule and stick to it. I'd suggest quarterly to start with, in the absence of anything better. It's not so long that you'll be completely forgotten, but it's not so short as to involve horrendous financial strain. You'd probably also want to stockpile enough material for at least your first 2 issues before going to press, and stick to that kind of buffer.

Personally, I'd be inclined to suggest having at least a couple of pages of written material - either a regular editorial feature or a series of standalone articles. It was one of the things in DC's translated version of Metal Hurlant that I enjoyed the most. Speaking of Metal Hurlant, their pagecount was good too - I think it was 64 pages per issue; at any rate, enough to feel like you got a decent slab of stuff for your money. Professionally made too, so you wouldn't blitz through it in 10 minutes like you can do with all too many monthly comics.

ztoical

There are a number of issues with trying to do something like this. Firstly as I mentioned on the other thread we don't really have the population in this country to make something on that scale viable and there's is also the issue of Easons, Easons have a monopoly in this country much the same way Diamond have on the direct market and there's not getting around them.

Printing costs is also a major factor. It is not as cheap as people think it is to print. Once you go over a run of 1000 you would have to go with an off set printer as a digital printer just can't handle a run that big. Black and white you can get your costs down to around say 3 euro a copy but full colour will just kill. There is also the issue of taxes, doing something on a large scale to sell [unlike say the Shiznit which was free] you would have to set it up as a proper business and while we might be able to claim taxes back under the artists tax excemption scheme, it's a really pain in the ass doing it.

For something like this to run you need a damn good editor to step up to keep the standard at a high enough level and to deal with contributors. You would need investment or a grant to start with. How would you break it down? Do people get paid per page or share of profit when there is a very high risk of no profit? Do you sell ad space to offset some of the costs? Who is it aimed at? Kids, adults, everybody? Biggest mistake when marketing a new product is to aim it for everyone, you need to a market in order to sell it to the likes of Easons and advertisers.

I know that sounds like alot of negatives but I honestly don't think it's the right road for comics in Ireland right now. The DFC had the worlds biggest publisher Random House behind them and they couldn't keep going, Nickeldoen Magazine in the states has just shut down and the Dandy and Beano are more like activity mags then comics mags now. Having events like Summer Edition to raise the profile of Irish comics and removing this stigma people seem to have about something being small press, including alot of the people making it and aiming to get more outside groups involved like Children's Book Ireland, Visual Artists Ireland and The Arts Council I think is a better focus for now and having something develop naturally out of that rather then trying to jump three steps down the road.

hailtothechimp

Very, very tough nut to crack - for may of the reasons already outlined.

Leaving aside the economic and distribution issues for a moment and focusing on the aesthetic - I agree that a tight editorial hand would be needed to keep quality control up. There have been plenty of well-intended amateur efforts in the past that have failed, partly or largely, because of pretty inconsistent quality. I'll be honest. Once I feel a small independent publication is basically happily accepting every submission sent to it (by pals etc), just to fill pages, then I tend to jump ship. People buy to show support and encouragement in the beginning, but that goodwill can only stretch so far.

It's probably simplistic, but I reckon if the quality was consistently there, you'd find a long-term paying audience. Getting the quality probably means paying for it though. And then we're back to Euros and cents again (there's no getting away!).

My gut feeling is that the kids' market is a bit of a dead-end. Look at Easons. 90% of the stuff is probably spin-offs from kids TV shows etc. With free gifts every week/month. The Dandy and Beano are probably lone exceptions.

So then you're left aiming at adult enthusiasts. Probably a smallish market. One possible solution, to open up the potential readership, would be for the comic element to be part of a larger publication. Say a popular-culture/art/"alternative" magazine that would be aimed at a young-ish readership whose tastes were non-mainstream and eclectic. Having said that, magazines rise and fall so quickly these days that you'd be very lucky to last more than 6 or 7 issues.

hailtothechimp

Oh and one important point I forgot to mention. If such a publication is going to fail (as it most likely is), then it would be great if it could fail heroically! By doing something different. Something original. Taking chances.

There's nothing that would put me (as a potential customer) off more than derivative content. Small-press, independent stuff is pretty worthless when it's aping the big boys. I mean, if you want that then go to the source. There's oodles and oodles of it about.

ztoical

There are a number of good eastern European comic magazines out there like Stripburger which has gained a massive following and reputation around the world or Aooleu that are worth looking into as a models. Or close to home the candy collective have done alot for the design side of things in Ireland is a great example. Starting as a PDF magazine it's grown into something bigger, hosting events and exhibitions. The core with all the above is really strong editorial input and control something I don't think the Irish scene is ready for at this time.

Wolfman-Eire

Eugene here (of Wolfman Productions International), I just caught this thread and I’m intrigued by the discussion. I was just thinking as I read through the posts. That if it was at all possible to bring all of us whom have invested serious time and money on the points raised during this discussion. Like Bob Byrne (Mbleh), Rob Curley (Atomic Diner), Ian Whelan & Alan Nolan (20,000 Leagues), Gerry Hunt (Streets Of Dublin), for each of us, whose primary goal has been a commercially successful Irish comic. And would be willingly to talk in some detail as what we have tried, the angst’s of publishing et cetra, whilst trying to achieve our dreams, and then we would have a thread with real experiences and knowledge. Each of our respectable indie ‘publishing houses’ have gained a modicum of success, at varying different levels. But not enough to pay for a monthly or bi monthly print run and surrounding costs (wages etc.). I don’t think any of us can claim true commercial success yet. Though we have achieved success in our own right; firstly getting something of commercial quality printed and sold, some have had their creations showcased in more mainstream successful comics (like 2000Ad) and others have received award nominations. But our dreams, our hard work, our investment hasn’t paid our rent (or mortgages) yet!
And that is when you start to really see the issues that hold back an Irish comic industry.
I personally would say distribution and reasonable size print runs are what any comic needs to succeed in Ireland BUT would enough people buy an Irish comic? That is the question! As an indie publisher I believe it’s possible. Mbleh (and all of Bob’s insane creations) have brought him respect and a spot in Judge Dredd the Megazine, Atomic Diners line of titles, and its flagship Freakshow has made its mark and was the first to jump into trade paperback / graphic novel, Sancho has had its impact, Gerry Hunt’s Streets Of Dublin is critically acclaimed and Wolfman’s Havoc 21 has had rave reviews and issues selling out. But we are all held back because we don’t reach enough people through enough shops. You just have to witness our sales at a good convention to realize the impact we could have if only we could reach more shops (and not lose huge profit cuts to Diamond). There are a lot of talented and driven individuals in Ireland, there is an Irish comic scene, small but bold and we will crack it someday.
Well, that’s my pound of flesh for this discussion for now. Maybe the aforementioned names and others who’ve published will add their experiences and knowledge.
(I left names out so I could get to my point – no offense meant to anyone!)
EJB

Wolfman P.I.

livingtargets

what would be needed is art and stories by people like Bren B,Chris Judge and Bob Byrne cos these kinda artists are the bridge between "people who like graphic design/typography/cool illustrations" and "comics",in my view.

I`d imagine most people have seen these artist`s stuff somewhere(especially in Dublin).Chris Judge`s stuff for example is all over buses and the like in town.

Core Create

I'm'a be honest here, I'm 17 btw, and a self proclaimed comic book artist. I'm constantly on the internet, and I love comic book art (I like comic books too, but I LOVE the art, it's amazing) and until today I've never heard of Irish comic books, I just assumed it never existed, I have few friends who do like comics, and read them occasionaly, there's not many people who read comics in Ireland.

But I'd like to say one thing about the target audience. Marvel and DC got theirs because they targeted teens/kids, and those kids grew up and still in love with the comics, and that's followed on for the generations they've been in business, the buyers don't grow out of it, they just pass it on to their kids.

Another thing is, the money is in issue yeah, but for a kick ass comic you need a kick ass story, I don't know anythign about business (that's a lie actually - I know I'm crap at it) but before thinking of setting up a business you might have to think abotu the story - Can it stand up to the market? Will people buy it? You can't have a business without a strong product. Right?

Like I said 17 - Please don't flame me, I was just giving my two cent. - You're right, my age is no excuse..

P.S - It's killing me not to use smileys.

ztoical

Core Create wrote: »

until today I've never heard of Irish comic books, I just assumed it never existed, I have few friends who do like comics, and read them occasionaly, there's not many people who read comics in Ireland.

Have to say I'm slightly surprised and disappointed to hear that as I feel the Irish scene has come on leaps and bounds in the last few years and there is a quite a large section devoted to Irish publications in pretty much all the comic shops in Ireland and I think the recent Summer Edition show in July has shown there are indeed plenty of people both reading and making comics in Ireland.

Core Create wrote: »

for a kick ass comic you need a kick ass story, I don't know anythign about business (that's a lie actually - I know I'm crap at it) but before thinking of setting up a business you might have to think abotu the story - Can it stand up to the market? Will people buy it? You can't have a business without a strong product. Right?

Wrong, that's a pretty standard view of alot of people starting off in a creative field but the fact is the world is littered with the worlds greatest albums/books/films/comics never to be finished. I remember saying the same thing when I started college but quickly hearing from ever teacher not to think that. You can have the worlds greatest comic book ever but if you can't print it and get it to people then it's pretty much worthless. When it comes to doing something that is commercially successful [which is what this thread is focused on] you need to compromise, you need to meet deadlines and you need to get your product out there and trust me from experience you will sacrifice story/art to get your product out there.

Take the first three Cliffhanger comics as an example. both Battlechasers and Danger girl were given massive pushes and got rave reviews for amazing art and story while Crimson was launched with less fan fare but 12 months later it was Crimson that ended on top because while the other two started strong they soon missed deadlines and you had months waiting between issues. While Crimson may not have got the same praise as the others it had the most important thing when it comes to commercial success, it was consistent.

Core Create wrote: »

P.S - It's killing me not to use smileys.

But we thank for holding back.

Fysh

Core Create wrote: »

I'm'a be honest here, I'm 17 btw, and a self proclaimed comic book artist. I'm constantly on the internet, and I love comic book art (I like comic books too, but I LOVE the art, it's amazing) and until today I've never heard of Irish comic books, I just assumed it never existed, I have few friends who do like comics, and read them occasionaly, there's not many people who read comics in Ireland.

Hi Core Create, and welcome to the forum. Whereabouts in the country are you? I'm curious as to how much or little exposure you might have to the comics distribution avenues that some of us might think of as standard.

Core Create wrote: »

But I'd like to say one thing about the target audience. Marvel and DC got theirs because they targeted teens/kids, and those kids grew up and still in love with the comics, and that's followed on for the generations they've been in business, the buyers don't grow out of it, they just pass it on to their kids.

Targeting and reaching an audience seems to be one of the biggest problems faced by anyone trying to publish home-grown comics, alright. While I like the whole "if you build it they will come" approach, it's very difficult to do that when there's money involved. There's an element of struggling against the times in terms of trying to sell "just" comics to a kids audience (the mainstays of british kids comics are being whittled down and come with so many free toys and gifts that they're now usually sold in plastic packaging, from what I've seen). Do you reach them online? Through newsagents? Through comic shops? I don't know the answer, but the question definitely has to be asked by anyone who wants to try and sell a comic, probably before they start commissioning work for their publication.

Core Create wrote: »

Another thing is, the money is in issue yeah, but for a kick ass comic you need a kick ass story, I don't know anythign about business (that's a lie actually - I know I'm crap at it) but before thinking of setting up a business you might have to think abotu the story - Can it stand up to the market? Will people buy it? You can't have a business without a strong product. Right?

Unfortunately, I think the DFC (see here for more info) proved that a strong product alone isn't enough to succeed. In the DFC's case I think they were let down by a lack of visibility. They had good material, but as a subscription-only product with little or no visibility in newsagents or comic shops for the most part, it seems to have passed people by. By the time they were starting to get the audience numbers and buzz they needed to keep going, it seems to have been too late.

The lesson to draw from that whole situation I think is that no matter how good the product is, it will fail if there's no solid business strategy underpinning it. Which means making it as easy as possible for someone to try it and buy it, and avoiding anything that might make them stop buying it. (As ztoical says, the most common one of these in comics is the late issue, but it's not the only one).

Core Create wrote: »

P.S - It's killing me not to use smileys.

Your efforts in this regard are appreciated; on boards.ie as a whole there's generally an inverse relationship between the amount of smileys and/or txt-speak used and the level of discussion taking place.

Core Create

I live in Dublin, fairly close to the city (so much so I go there almost every weekend) So I do get a lot of exposure..

If someone does ever make a business for comic books in Ireland, I suggest making a documentary and popping it on tv3 - That's Exposure!!

(Feel free to disregard that, really..It's early in the morning..)

ztoical

Core Create wrote: »

I live in Dublin, fairly close to the city (so much so I go there almost every weekend) So I do get a lot of exposure..

Forbidden Planet has a whole wall section for Irish comics, it's right beside the new comics section downstairs to the left and Sub City stocks Irish small press stuff and publishes their own comics under the Atomic Diner banner. Liam in Crow corner in Temple Bar keeps all the Irish small press stuff at the end of the shelf on the far left as your standing at the door.

Core Create wrote: »

If someone does ever make a business for comic books in Ireland, I suggest making a documentary and popping it on tv3 - That's Exposure!!

There is going to be some stuff on RTE 2 next month for 24 hour comics day but I can't say anymore about that at this time.

Core Create

Would it be a good idea if the company were to have like 20 issues or something to negate the whole -slow issue- .. issue? Or am I being really slow and is this what people normally do...?

Also, I googled it, and found nothing other than it's 24 hours of drawing comics.. But like... Who can go in? ANyone? What else is there? Can you buy sketches/prints...?

ztoical

Core Create wrote: »

Would it be a good idea if the company were to have like 20 issues or something to negate the whole -slow issue- .. issue? Or am I being really slow and is this what people normally do...?

Most publishers do work at least 3 issues ahead if not more if they can but from the creatives point of view how do they get paid? Most publishers contracts state the creatives will be paid 3 months after publication....note publication not submission so if your working 3 months in advance but have to wait till 3 months after publication that means your waiting 6 months to get paid. If a publishers was to pay up front that would be a huge risk for them, what if they fold after one issue? What if people don't like story A but do like story B but you've still got several issues of story A that you've already paid for? Strong editorial control and management is what makes a publisher work but even then lots can go wrong....look at the DFC, good publisher in Random House, good editor with David Flicking, strong talent pool but bad timing market wise and mistakes with early promotion.

I know I've sounded negative on this thread but people tend to jump into things with big ideas that they then find they can't follow through on.....it would be great to bring out a monthly comics anthology but can people bring out one anthology? Why run before you can walk, bring out one solid piece of work then try and do it again, and again. Your not going to get something commercially successful overnight and your not going to find investment and/or grant money without proof you can do what your say your going to do.

ztoical

Core Create wrote: »

Also, I googled it, and found nothing other than it's 24 hours of drawing comics.. But like... Who can go in? ANyone? What else is there? Can you buy sketches/prints...?

No need to google the website is linked in mine and Fysh's sigs. The Dublin event is free to all and open to all ages and skill levels. You can read the thread on this forum that has listing of some of the workshops and talks taking place....the full times for the programs are going up on the website this weekend now that I've everyones times confirmed. The press release is already doing the rounds and I'm finishing the poster as I type this. There is a table that people are welcome to sell their work through but the main focus is getting people drawing and not on selling.

Core Create

I may check it out.


So what do we do? I mean, what's the point of this thread ( not meant in a a bad way ) but are we just discussing what you need? Surely there's information out on the net about Marve or DC's claim to fame, their business plan, a floor plan of the building and how Batman/Mystique would break into it ( I've found the latter )

I realise it's a discussion board and stuff, but there has to be a way of getting things into motion- So where're those Ronald Richington IIIs who are reading these and thinking they should invest? Dragon's Den??

Crap time to be even thinking about it I know. But I believe there's enough people in this fricking country that are willing and wanting to do it.. I know I am. I like to have false hope! It can be done, I'm sure of it! Unfortunately I'm not good enough of an artist but I would SO do it for free!

/rant


So really? What have we got for making it?
We know we need a business first and an idea second.. What else? A kick ass set of artists/writers?

ztoical

Core Create wrote: »

So what do we do? I mean, what's the point of this thread ( not meant in a a bad way ) but are we just discussing what you need? Surely there's information out on the net about Marve or DC's claim to fame, their business plan, a floor plan of the building and how Batman/Mystique would break into it ( I've found the latter )

Why the focus on Marvel/DC? Their business model and the way it works is well know and it wouldn't work here. We've only two comic shops in the whole country that order via the direct market and the cost of going via diamond has become more and more insane in recent months, esp for small publishers...just check the slave labour graphics blogs. The thread was started to talk about publishing a commercial comics magazine in Ireland and I stand by my comments that we don't have the population to make it viable at this time. You've said it yourself that you were unaware of the growing Irish comics market even though it's grown alot in the past few years so a focus on educating people and improving the level of both writing/art and production would be a better use of energy at this time IMO. Also the fact is alot of people want to focus on their own work, improving their skills and telling their stories the way they want rather then fit into an anthology/magazine model at this time.

It would be great to have something along the lines of the Japanese system of regular anthologies with serial stories and where popular stories are published as single comics but the fact is the standard of work isn't there yet to do something large scale and those who are at that standard are focused on earning a living from their work. I think in a couple of years down the road you could see it, events like Summer Edition showing the range of work out there, events like 24 hour comics day and Wexworld working with the libraries, art centers and arts offices....things like this give people an idea of the industry [ numbers, money etc] and you are more likely to get investment and/or grant money with a proven track record.

Fysh

In terms of what can be done right now, I don't think an ongoing comics magazine sold via newsagents or comic shops is viable right now. The comic-shop audience appears to be predominantly interested in Marvel & DC's content, so there's little point in trying to fight for that instead of trying to find a different audience.

I think trying to support folks who are already making a go of publishing their own comics is the better way forward at the moment. I still think that there's a comparatively sparse amount of discussion on how to make comics in Ireland, and while I understand the reasons for some of this silence (eg the various horror stories about person A recommending a printer to person B, only for person B to then not pay for their printing or whatever) to some extent it's also disheartening for anyone getting interested in making comics for the first time. Things like 24 Hour Comic Day are a great way to try and counter this at the creative level, but it'd be great to see more small press things out there (whether in print or online).

I haven't looked around for a while, but I'm not aware of any new Irish webcomics in the last year or so. It seems very strange to me that there aren't more Irish webcomics; it's the easiest way to get your comics seen without having all the hassle of printing and distribution getting in the way, which should mean that people can focus on the making comics aspect...

subedei

Well personally I had not heard of any irish comics till I started listening to the comics cast: http://thecomiccast.com/. I have only found one Irish comic in Cork of late, fish for fish, which I bought, but I remember the guy at the counter being quite dismissive of it, so with the guys behind the counter being so unsupportive then I cant imagine many people buying any Irish comic. Of course I think the majority of the people working there are board game players so they probably dont have a clue anyway.

Think redshift was a good idea with the organising and publishing of a comic by teenagers through the library might raise some awareness but didnt hear about it through anything in cork. Not sure how to improve the situation though, presume it will take a long time of slow growth but will require a strong national support which I dont think there is much of here. Suppose we do have the advantage of english being the spoken language, so there is some chance of support from abroad.

ztoical

subedei wrote: »

Well personally I had not heard of any irish comics till I started listening to the comics cast: http://thecomiccast.com/. I have only found one Irish comic in Cork of late, fish for fish, which I bought, but I remember the guy at the counter being quite dismissive of it, so with the guys behind the counter being so unsupportive then I cant imagine many people buying any Irish comic. Of course I think the majority of the people working there are board game players so they probably dont have a clue anyway.

Think redshift was a good idea with the organising and publishing of a comic by teenagers through the library might raise some awareness but didnt hear about it through anything in cork. Not sure how to improve the situation though, presume it will take a long time of slow growth but will require a strong national support which I dont think there is much of here. Suppose we do have the advantage of english being the spoken language, so there is some chance of support from abroad.

I think that higlights the order big issue of doing anything in Ireland - everything is Dublin heavy. That can be annoying for those living outside the capital and alot of times events and projects that take place take place in Dublin and the ones that don't get little to no press. The other issue is that you have organizations that don't normally deal with the comic scene like the Libraries and art centers trying to promote their events via their own channels and alot of times they don't get picked up by the comics scene. The Roddy Dolyle writting center in Dublin had two graphic novel summer camps this year and I only heard about the yesterday. I've seen from both doing the Goal anthology and 24 hour comics day that it can be both rewarding and highly annoying reaching outside the set comic scene to market your stuff. Annoying cus people tend to think comics = kids and you have to spend ages repeating yourself explaining how diverse the comics world is but rewarding in that once you've shown the work people do tend to be interested.

I think whats currently happening with Irish Comics is going to move it forward greatly in the coming years. You have regualar events like the Dublin Comic Jam meeting monthly, the comic cast putting out podcasts at least monthly if not every two weeks. RiRa issue 2 will out soon and they will also be translating popular french comics into irish. Summmer Edition, 24 hour comic day, WexWorld, several arts festivals featuring local talent and also getting funding from local councils, libraries, and art bodies. There has been a huge jump in the number of Irish creators tabling at UK comic shows in recent years and at the up coming Leeds show there will be an Irish collective table featuring 12 irish comic book artists that will hopefully be the start of an on going irish small press presence. Waterford design week is publishing a graphic novel, the Blackbird is hosting a gallery exhibition of irish comic art in November that will hopefully travel overseas. There's tons happening but I do agree that it can sometimes be hard to find out about alot of stuff. This forum does try and post info for all of the above and more but it can get lost or people don't like boards.ie and don't want to look here. Maybe it's worth thinking about doing something as part of the irish comics wiki or along side it that higlights up coming events, projects, etc.

Playtolose

Hi
So having trawled trough this (and many other threads here) I've finally decided to post. Yay. Keeping the intro short: I like comics. I'd like to be a comic writer, or writer for comics, or what ever term you want to use.
I myself am currently considering starting a small print run of a series (once I find an artist I'd like to work with)
Anyway,

On to my two cents:

It seems there are two main (interlinked) challenges being presented here.
1) Market size, and market share
2) Quality of Content

I want to address both of these, but i'm gonna go it in two posts. otherwise this'll be to long to be readable.

Firstly, the biggest issue here seems to be acquiring market share.
To be honest, I am simply astounded that no-body has yet mentioned the university circuit.
For me, the reasons comics like Sudoku World and The Shiznit have become so successful/well known was their popularity with the university crowd. Now many may argue that this was pure chance etc etc. and may not have translated into actual revenue (I have no idea how well Mr.Amperduke is doing...) BUT it is a market which is rife with opportunity for cheap publicity. Getting people to know the comics exist is the first step.
Short samples of work (4 panel strips etc.) in college newspapers alongside smaller (ad-subsidized,) free comics in the various SU centres etc etc. could be a great way of advertising a print edition while raising the profile of an artist or group of artists for a relativity low price.
A wide enough distribution to a few key campuses would also facilitate a widening of the market beyond Dublin. (EDIT or even beyond Ireland)
Once a market interest, or some level of brand recognition develops everything else should be simple (though perhaps not easy.)

Playtolose

Part Two:

Now, the second issue: content.

In many ways this is related not only to what people produce, but to how it is perceived. I wander down to the basement of forbidden planet and see the 'irish comics' section and am frequently met with fadas, 'celtic' looking heroes and a feeling that this shelf is here more out of some idea of national obligation, rather than actual interest. Fysh's comment about the disparaging attitude of the guy behind the counter in cork is testament to that attitude's pervasive qualities.

For me, anything which uses its 'Irishness' as a key selling point is missing the point. Producing comics because we want 'irish' comics shouldn't be important, they should be produced because people have a love of the medium and stories to tell etc.
But, in many ways thats neither here nor there.

The most important issue here is clearly the presence of an editor.
A single figurehead around which a printed edition could form.
But what do we want in a editor?
Permit me to suggest a short list of ideal qualities.

1) Someone who could ideally draw together the talents and ideas of several artists into a single unified edition would be ideal.
2) A good editor with enough weight or a good enough reputation behind them could draw a large number of quite talented artists out of the woodwork.
3) If this editor was well connected enough they could offer opportunity for career advancement which may ease pressure on the financial end of things.
4) Someone who is enough outside the 'scene' to not have strong personal bias towards one or another artist, yet knows enough to identify the up and comers in irish comics.

For me, these factors suggest finding someone from an established publishing house and spinning them a pitch. Now we hit the issue of funding and realise that this may not be possible. Yet, a solid business plan and a well thought out proposal could well convince anyone to invest their time/money/talent/resources into a project. Never-the-less we must face the fact that getting help from a publishing house may not be on the cards. Alternatives? Perhaps someone from the world of academia?