MattBrady
02-03-2006, 09:07 AM
<img src="http://www.newsarama.com/devilsdue_new/2006/newlogo.jpg" width="250" height="252" border="0" align="right"><i>by Chris Arrant</i>
As we begin the early days of the year 2006, it is a time to look at what has come before and what is to come. The medium of comics is no different, and in an expansive series of articles here at Newsarama.com we are asking many of today's top publishers about 2005 and 2006.
Founded in 1999 by Josh Blaylock, Devil's Due Publishing (DDP) was originally founded as both a commercial art studio and a small press comic book publisher. Toiling in the trenches for several years, their first verifiable hit title was 2001's <B>G.I. Joe</B> in a partnership with Image Comics. Spearheading the wave of "nostalgia" comics, the first issue sold over 100,000 copies and it has continued to flourish in the resulting 5 years. Carrying on the tradition from the beginning, DDP continued to produce creator-owned titles side by side with licensed books. Working under the mantra "Pop Culture is OUR Culture", Devil's Due has quickly become one of the Top 10 publishers in American comics today. Now is as good as time as ever to catch up with the man who started it all, and who continues to run the good ship DDP.
<B>Newsarama:</B> Devil's Due started out in 1999. Now as we're in 2006, can you tell us how many staff you have and what they do?
<B>Josh Blaylock:</B> Between full time administrative, editorial, and interns, we have about a dozen people running around here. Mike O'Sullivan, Sr. Editor, manages between twenty to thirty artists a month, with the help of Mark Powers, and brings the scripts and art together to create what we all know as comic books. Evan and Sean, in design, generate the ads and graphics that go with all the art, and prep the books for the printers. Brian falls in between editorial and design, as our full time staff letterer.
Sam, assistant publisher, makes sure things are running smoothly between everyone, and ensures books get to the printer post haste. Susan, VP of Marketing, is in charge of making sure everyone on the planet has heard about our books, and dictates which ads you see and most of what text goes on them. To do all of this, we need computers, lots and lots of computers. Crank (yes, that's his real name) keeps them all running smoothly, and makes sure the PCs and Macs don't get into any fights. He is also responsible for the Devil's Due websites and message boards.
Caitlin manages the webstore, and keeps the inventory room in order, despite our constant efforts to mess it up. Who am I forgetting?
Uhm... OH YEAH, Tim Seeley. He comes in around 1:30, insists on wearing sunglasses inside, and draws for about two hours and calls it a day.
Just kidding, Tim's usually here before 9:00 and draws the hell out of stuff until 6:00, and does a killer job at it.
I spend most of my time figuring out ways that I can do less than everyone else. My ultimate goal is to be absolutely unnecessary to the company, so much so that when I <I>do</I> come to work, everyone cringes, afraid that I'll mess something up. [Laughs]
<B>NRAMA:</B> All eyes are on you, it seems. Looking back to 1999 when you started Devil's Due, did you think then that you'd be this far along?
<B>JB:</B> In all honesty, I've wanted to do this for so long, that I'm not nearly as far along as I hoped I'd be at this age. I want us to be bigger. I want us to have more of our own creations on the market. We need to keep pushing ourselves, and finding new ways to get comics out there, and new, marketable ideas to pursue.
That said, I'm very proud to say it has been <I>seven</I> years since I started the company, and we're entering our <I>fifth</I> year as a major player.
<B>NRAMA:</B> Where do you see Devil's Due in 2010?
<img src="http://www.newsarama.com/devilsdue_new/2006/HSTRAILERSSTe.jpg" width="185" height="262" border="0" align="left"><B>JB:</B> I'd like to see us as a stabilized, significant player along the lines of Dark Horse, to have a couple of properties developed in house see life in film and animation. I'd like for our own properties to be just as significant to the company as licenses, which dominate our sales right now. Currently, Tim Seeley's <B>Hack/Slash</B> is the strongest in-house [property], an on its way to becoming that... and it's because we took our time to get it out there.
<B>NRAMA:</B> Let's talk about downloadable comics. What is Devil's Due's take on this, and do you have any plans in this area for 2006?
<B>JB:</B> They've been crawling along for a few years now, and it's only recently that I think they may be onto something with these new podcasts. No one's fooling anyone - a podcast is just a new buzzword for "flash cartoon"... but there's something about the infrastructure for delivering these that makes it appealing. Just a couple years ago, the iTunes store didn't exist. Now you can buy a music video for two bucks.
I think the people closest to hitting the nail on the head are the guys doing the <B>Body Bags</B> podcasts (http://www.newsarama.com/forums/showthread.php?threadid=53600): VidioTVision.
The biggest appeal of this is that 1) it's short and sweet - you can watch an episode in 4 minutes when your boss or teacher isn't looking, 2) it downloads to your computer and/or iPod without you doing anything, and 3) It's <I>free</I> for viewers!
As the next five years sees everyone switch to video enabled cell phones, and more iPod like machines, that's going to become more viable.
We don't have any concrete plans at this time, but have been talking to various people on and off for a couple of years.
<B>NRAMA:</B> Do you have any kind of wish list of creators you'd like to work under the Devil's Due umbrella in the future?
<B>JB:</B> Tons! Robert Kirkman, Brian Bendis, Grant Morrison, Neil Gaiman, Alex Ross, Adam Hughes, the Luna Bros., Jamie Hewlett, Joe Maduiera, Francis Manapul, Tony Moore... the list goes on and on.
<B>NRAMA:</B> Ok, let's go back to where we are now. Looking back at 2005, what do you think were the highpoints for Devil's Due?
<img src="http://www.newsarama.com/devilsdue_new/2006/FR-Homeland-Exile.jpg" width="185" height="281" border="0" align="right"><B>JB:</B> The highest point for me was the success of the <B>Forgotten Realms: Homeland</B> graphic novel. It's been awesome working with an author as renowned as R.A. Salvatore, the creators are doing an incredible job on the book, and it's selling like gangbusters. I'm very very proud of it, and I think the sequels are looking even better. <B>Exile</B> is done now, and Tim Seeley has started on <B>Sojourn</B>, the third volume in the series.
<B>NRAMA:</B> As the New Year unfolds, can you tell us in broad strokes any new initiatives or points Devil's Due is gunning for in 2006?
<B>JB:</B> Devil's Due is continuing its expansion into other markets, while still maintaining, and trying to increase its foothold in the comic book stores. We're looking at options for a lot more promotions in the next year, such as 25¢ specials, and some other ideas I don't want to give away. We'll be announcing a new license soon and possibly a couple more by spring. Many of the titles we're seeing are those with a following beyond the typical comic book readers, just like <B>Forgotten Realms</B>... and just like <B>G.I. Joe</B> was in 2001.
Personally, I have a lot on my plate. In fact, (plug time), I recently partnered with another company in Chicago to form KUNOICHI, Inc. It's a very unique marketing firm that offers creative services, web design, and business planning, and it's been going very well. For the past couple of years, Devil's Due Creative has operated as a spin-off of Devil's Due Publishing, but now it's officially its own company. You've probably seen our art without even knowing it. We've done work for everyone from Hasbro and Rockstar Games to the U.S. Department of State, and local businesses in Chicago. You can visit our current site at [url]www.kunoichi.com.[/url] It focuses on our illustration, and as soon as our web designers find a spare minute from working on client projects, we're getting a complete overhaul.
Devil's Due is also publishing <B>LO-FI: Comics and Entertainment Magazine</B> starting in a few short weeks (as I type this). Our tagline is, excuse my French, "The Hottest F**king Magazine You Don't Know Sh*t About"... <I>yet.</I> It's 1 part <B>Wizard</B>, 1 part <B>Alternative Press</B>, a bit of <B>NewType</B>, and a couple Jaeger Bombs, all blended with a rusty blade and poured in a big ____ing glass. I've been working hard to expand its distribution, and we're now carried in comic shops, Tower Records, Borders, and growing, so check it out! [url]www.lofimagazine.com[/url]
<B>NRAMA:</B> Let's talk more about the new magazine. Can you tell us who started it, and how you became involved?
<B>JB:</B> <B>Lo-Fi</B> was started by Greg Narvasa and his Miami based superhero team a few years ago. I first heard of them when they contacted me about advertising, and sent a sample of the first issue, which was basically a small color zine. There was just something about it, though. I kept picking this tiny thing up, thumbing through it. It was just <I>cool</I>. (I say 'cool', Greg says 'Hot' - you decide).
Then I stumbled upon it at a convention months later, and saw the second issue. I was hooked. The magazine's release was very sporadic, though, and I really wanted this thing to succeed. These guys had a killer mag on their hands, and were having a hard time finding a company to back them that understood exactly what they had created.
Fast forward to today, and we're being carried in Borders and Tower and comic shops everywhere. I'm excited to be a part of something new and fresh like this. It's unlike any other magazine out there. I just came back from a meeting about some major promotions we'll be doing in Chicago, so I'm extra hyped right now.
<B>NRAMA:</B> What changes (if any) will you be making from their previous editorial direction?
<B>JB:</B> <I>None!!</I> Greg, Ruben, and the <B>Lo-Fi</B> crew knew how to make a hot magazine before I came along. That's why I got involved. We have regular meetings where we all throw in our two cents, though, but I never force them to do anything. I <>couldn't</I> force them - we're partners, and we all have a say. That said, there will be some new features I'm excited about, and the musical artists these guys are lining up keep blowing me away.
We've had Common, KRS-1, Mike Ness, Good Charlotte, Coheed and Cambria, and coming up, we're going to have My Chemical Romance.
We also received our first newsstand reports for Borders and Barnes n Nobles and we're selling through 80%!!
<img src="http://www.newsarama.com/SDCC04/Aftermath/Defex_Bdown_01_spread_t.jpg" width="350" height="271" border="0" align="left"><B>NRAMA:</B> One of the sadder notes in Devil's Due's 2005 was the ending of the superhero line, Aftermath. Can you tell us where you think that line failed, and what you learned from it?
<B>JB:</B> Creatively, I think everyone did a great job.
Where we failed was expecting there to be enough of a demand for the line in the first place. In hindsight, I would have taken all the money we spent on Aftermath, and just made one kickass book. I had such low expectations for the series though, and a cushion for losses in the beginning, ready to ride the storm. Then the orders came in, and... they were okay. Then the orders for issue 2 came in on each title, and they were all <I>one half</I> the orders of issue 1. So before anyone even saw the books, they were given a serious handicap.
Still, having faith in the quality of the books, we hung on, but by the fifth or sixth issues, it was time to kick the sick baby bird from the nest, as much as it hurt us to do. I have a <I>lot</I> of ideas I'd like to do over, thanks to my super duper 20/20 hindsight-vision-powers, but have instead been focusing my efforts on expanding the current successful titles we have, and developing my other companies.
I think part of the problem is that 80% of our mainstream comic collector audience is getting so old, they've read so many comics, that there's not <I>room</I> for anything new in their life. It's not that they love or hate the new stuff. They kind of just don't care. They have jobs, kids, bills... they want to come in on Wednesday and get their familiar fix. They're old enough to remember all of the failed attempts of publishers past. Kids? Hell, kids want something new simply because it's <I>not</I> what their dad's reading, but those kids aren't in most comic shops.
There's no reason we can't please both groups, but to do that, we have to go where the other group is. I know where they hang out, but it's a secret. [Laughs]
<B>NRAMA:</B> Turning to other matters, 2005 saw Devil's Due relaunching your flagship licensed book, <B>G.I. Joe</B>, with writer Joe Casey and Devil's Due exclusive artist Stefano Caselli. Now that you've got several issues under your belt, how do you think the relaunch has done, and what do you think of the stories the team has produced?
<img src="http://www.newsarama.com/devilsdue_new/2006/GIJoe_AE_08_t.jpg" width="185" height="281" border="0" align="right"><B>JB:</B> Man, I just saw the printer mock for issue #8, and it is the <I>best</I> damn issue we've ever done. It's a work of art. Stefano lives in Rome, and I think this thing just might start a new Renaissance.
Overall I'm very happy. We set out to achieve our main goals: streamlining the team, making the stories more personal, and opening the door to new readers. I confess to the story going a little slow in the beginning, but that's definitely not the case now. Anyone read issue #7? Anyone?
<B>NRAMA:</B> I'm sure there's quite a few readers out there, and they'll chime in below. Anyway, looking at that relaunch and the fact that <B>G.I. Joe</B> is a licensed title, how do you balance out the needs of the property owner with what Devils' Due is trying to accomplish with the book?
<B>JB:</B> Hire Mike O'Sullivan.
<B>NRAMA:</B> Since O'Sullivan's action figure isn't out with a rundown of his stats and accomplishments, we're going to have to ask you. What does O'Sullivan add to the <B>G.I. Joe</B> relationship between Hasbro and Devil's Due?
<B>JB:</B> For starters, he's one of the most meticulous, thorough editors I've had the pleasure of working with. Mike pours his heart into every book we do. He also moonlights as a <I>huge</I> <B>G.I. Joe</B> geek, like a lot of us here. He's the primary contact between the powers that be at Hasbro on a day to day basis, allowing me to just call them every now and them and talk about the fun stuff going on with the toys. [Laughs]
To prove his "Joe devotion", he even has an old sketch Larry Hama did for him in the 80's hanging in his office. Now he gets to talk to Larry editor-to-creator, which is definitely something he's thrilled to do.
<img src="http://www.newsarama.com/devilsdue_new/2006/G.I.JOE_SpecialMissions.jpg" width="185" height="292" border="0" align="left">Okay, it's not always <I>that</I> simple, but Mike eats, sleeps and breathes the Devil's Due Publishing comics - not just <B>G.I. Joe</B>.
<B>NRAMA:</B> Since its inception, Devil's Due has balanced original creator-owned works as well as licensed titles such as the aforementioned <B>G.I. Joe</B>. Can you tell us what Devil's Due strategy is in this delicate balance?
<B>JB:</B> We're compelled to produce creator-owned titles because it's in our nature. We're all creators first. From a business side, though, you have to embrace them if you're thinking long term. The licenses bring the cash in month to month, but they come and go. One day, we won't be publishing <B>G.I. Joe</B> anymore. Hopefully not for many years, but it'll happen. One day some guy's going to have a conversation with a young teenager who reads DDP comics, and never even knew that was something we published. He'll be obsessed with something that hasn't been created yet, license or not.
With the creator owned books, though, that's for life. If we score a hit, it brings you money for years to come.
<B>NRAMA:</B> <B>Hack/Slash</B> is one of those creator-owned books you mentioned, and it has garnered a cult following in recent years. With several OGNs on the shelf, the newest release is a three-issue miniseries. Can you tell us your feelings on this home-grown success and how it's developed over the years?
<B>JB:</B> <B>Hack/Slash</B> is something everyone at DDP is very proud of. Who knew Tim Seeley was such a snazzy writer? We're just wrapping up the last issue of <B>Land of Lost Toys</B>, its first full length miniseries, and we have another one-shot, <B>Trailers</B>, in the pipeline. This time, Skottie Young, Stefano Caselli, Tim Seeley, Mike Norton, and James Lewis (of Udon) are contributing to the art. People are starting to catch on that this is a very special comic.
<img src="http://www.newsarama.com/devilsdue_new/2006/HS_Play_Actors.JPG" width="185" height="247" border="0" align="right">A company called New Millennium Theatre Group performed a play based on the first two one-shots during Halloween, and it was a huge success. The dialogue translated perfectly to the actors, and audiences that would never read a comic book still loved the story. They had to turn people away at the door each night of the show.
Cassie and Vlad have been chugging along slowly, but we know we're sitting on a potential gold mine (both financially and creatively), and it's not going anywhere.
<B>NRAMA:</B> Devil's Due has also started a four-part series called <B>How To Self-Publish Comics: Not Just Create Them</B>, and covers such things as contracts, promotions, printing and distribution. Was this inspired by some eager fans approaching you at conventions, or something else?
<B>JB:</B> I've always been a big fan of "how to break into comics" books. I devoured them when I was younger. When I wanted to learn about the business side of things, it was harder to find information, though. Tony Caputo wrote a book once [<B>How To Self-Publish Your Own Comic Book</B>], which was awesome, but it's largely outdated now. I know it's blasphemous, but I've never read Dave Sims', although I hear its spot on.
Somewhere between trying to pass a lot of this knowledge in my skull onto new employees, and realizing that I've been at this for a <I>decade</I> now (scary), oh, and getting emails about the subject constantly, I felt the time was right. I think what excited me most was discussing what everyone else forgets. Like, just how the hell do you read a Purchase Order? What IS a purchase order? Who the heck prints my books? What's Diamond Distributors, and what does a jeweler have to do with comic books? Those kinds of things.
I think once you've gained a lot of experience in any field, and you see so many others struggling to get their first start, you can't help but feel compelled to share that information. Maybe that's just me. It wasn't until the ten year mark, though, that I felt confident enough to consider myself any kind of authority.
I'm also a big fan of "quick education." People raise their eyebrows at the thought of paying $500 for a seminar that lasts a weekend, but happily pay $10,000 to go back to school for a year. I'm the guy who buys the books, attends the expo, and sucks all the knowledge I can out of them as quickly as possible, then goes out and tries to do it. Hopefully this book will help those people who are serious about publishing skip a lot of the mistakes most beginners make, and are ready to devour some information. Except they'll get all that info for five bucks an issue, not five hundred.
<B>NRAMA:</B> It was announced last year that Devil's Due had signed artist Stefano Caselli on an exclusive contract. The word 'exclusive' has become a household term in the world of comics, with Marvel & DC doing it left and right. What led to Devil's Due Publishing's decision to push this with Caselli, and do you have any other freelancers hooked in with this kind of deal?
<B>JB:</B> The "Big two" seem to have taken the "exclusive" contracts to a whole new level. They're basically hiring everyone on as employees, but technically as "contractors" working from home. We signed Stefano because we simply <I>love</I> his work, and want him to stay around. He's developed a decent following by working through Devil's Due, starting a few years ago on Micronauts, and his talent has grown tremendously.
Tim Seeley is actually a true employee, and we're looking to hire another staff artist on eventually. Other than that, no, we don't have any other exclusives.
<B>NRAMA:</B> Lately in conversation there has been significant discussion on the ballooning of titles by Marvel & DC impacting the way every other publisher in the Direct Market operates. How are you working to adapt to the reality as it is in full effect for 2006?
<B>JB:</B> You're not kidding there. They know what they're doing. They know that their completist fans feel compelled to buy everything they throw at them, and are pushing that to the limit. I mean, that's what every publisher does to some degree, so I'm not going to call the kettle black. But I also think the competition in the back of the catalog has become fiercer as well. There is just a <I>lot</I> of product out there, and not enough people to buy it all.
It means that to protect ourselves for the future, we have to diversify. I won't be comfortable until I know that Devil's Due can survive without one single comic book shop purchase... so we don't have our eggs in one basket. Likewise, if a book store chain was to drop us, we'd have the comic stores to support us. So we've been branching out.
Everyone speaks doom and gloom about comic book stores not being around in five or ten years (and they've been saying it for 20). I disagree. Comic Shops are here to stay. <I>Publishers</I> who <I>only</I> sell to the comic shops... they're done. Unless someone plans to stay very small, with no overhead, there is simply no room left to move in with your own original ideas on a wide scale, and you know what, that goes for the entire entertainment industry. You have to be <I>everywhere</I>. Even if there were thousands more comic shops like there were in the 90's, it would still be tough. There would be even more competition, and I doubt much room for anyone new.
<I>Unless</I> someone like Richard Branson [CEO of Virgin International] gets a serious itch to do so, but I think he's more focused on making millions in India.
We've made major strides in the book market, and hopefully will break into even more in '06. I don't want to give our secrets away, but malls, book clubs... those kinds of things.
Still, it's a damn gladiator arena in the comic book stores. We're constantly in the struggle to be viewed as one of the "big boys" more so than one of the "little guys"... yet while being in the back of the catalog. The only way we increase that potential is with more sales. Basically, you can never rest on your laurels. The minute you do, you're done.
<i>Editor’s note: This interview was conducted before the publisher officially announced that it had acquired the license to produce <u>Family Guy</u> comics. For Blaylock’s thoughts on that project, click here (http://www.newsarama.com/forums/showthread.php?threadid=57684).</i>
As we begin the early days of the year 2006, it is a time to look at what has come before and what is to come. The medium of comics is no different, and in an expansive series of articles here at Newsarama.com we are asking many of today's top publishers about 2005 and 2006.
Founded in 1999 by Josh Blaylock, Devil's Due Publishing (DDP) was originally founded as both a commercial art studio and a small press comic book publisher. Toiling in the trenches for several years, their first verifiable hit title was 2001's <B>G.I. Joe</B> in a partnership with Image Comics. Spearheading the wave of "nostalgia" comics, the first issue sold over 100,000 copies and it has continued to flourish in the resulting 5 years. Carrying on the tradition from the beginning, DDP continued to produce creator-owned titles side by side with licensed books. Working under the mantra "Pop Culture is OUR Culture", Devil's Due has quickly become one of the Top 10 publishers in American comics today. Now is as good as time as ever to catch up with the man who started it all, and who continues to run the good ship DDP.
<B>Newsarama:</B> Devil's Due started out in 1999. Now as we're in 2006, can you tell us how many staff you have and what they do?
<B>Josh Blaylock:</B> Between full time administrative, editorial, and interns, we have about a dozen people running around here. Mike O'Sullivan, Sr. Editor, manages between twenty to thirty artists a month, with the help of Mark Powers, and brings the scripts and art together to create what we all know as comic books. Evan and Sean, in design, generate the ads and graphics that go with all the art, and prep the books for the printers. Brian falls in between editorial and design, as our full time staff letterer.
Sam, assistant publisher, makes sure things are running smoothly between everyone, and ensures books get to the printer post haste. Susan, VP of Marketing, is in charge of making sure everyone on the planet has heard about our books, and dictates which ads you see and most of what text goes on them. To do all of this, we need computers, lots and lots of computers. Crank (yes, that's his real name) keeps them all running smoothly, and makes sure the PCs and Macs don't get into any fights. He is also responsible for the Devil's Due websites and message boards.
Caitlin manages the webstore, and keeps the inventory room in order, despite our constant efforts to mess it up. Who am I forgetting?
Uhm... OH YEAH, Tim Seeley. He comes in around 1:30, insists on wearing sunglasses inside, and draws for about two hours and calls it a day.
Just kidding, Tim's usually here before 9:00 and draws the hell out of stuff until 6:00, and does a killer job at it.
I spend most of my time figuring out ways that I can do less than everyone else. My ultimate goal is to be absolutely unnecessary to the company, so much so that when I <I>do</I> come to work, everyone cringes, afraid that I'll mess something up. [Laughs]
<B>NRAMA:</B> All eyes are on you, it seems. Looking back to 1999 when you started Devil's Due, did you think then that you'd be this far along?
<B>JB:</B> In all honesty, I've wanted to do this for so long, that I'm not nearly as far along as I hoped I'd be at this age. I want us to be bigger. I want us to have more of our own creations on the market. We need to keep pushing ourselves, and finding new ways to get comics out there, and new, marketable ideas to pursue.
That said, I'm very proud to say it has been <I>seven</I> years since I started the company, and we're entering our <I>fifth</I> year as a major player.
<B>NRAMA:</B> Where do you see Devil's Due in 2010?
<img src="http://www.newsarama.com/devilsdue_new/2006/HSTRAILERSSTe.jpg" width="185" height="262" border="0" align="left"><B>JB:</B> I'd like to see us as a stabilized, significant player along the lines of Dark Horse, to have a couple of properties developed in house see life in film and animation. I'd like for our own properties to be just as significant to the company as licenses, which dominate our sales right now. Currently, Tim Seeley's <B>Hack/Slash</B> is the strongest in-house [property], an on its way to becoming that... and it's because we took our time to get it out there.
<B>NRAMA:</B> Let's talk about downloadable comics. What is Devil's Due's take on this, and do you have any plans in this area for 2006?
<B>JB:</B> They've been crawling along for a few years now, and it's only recently that I think they may be onto something with these new podcasts. No one's fooling anyone - a podcast is just a new buzzword for "flash cartoon"... but there's something about the infrastructure for delivering these that makes it appealing. Just a couple years ago, the iTunes store didn't exist. Now you can buy a music video for two bucks.
I think the people closest to hitting the nail on the head are the guys doing the <B>Body Bags</B> podcasts (http://www.newsarama.com/forums/showthread.php?threadid=53600): VidioTVision.
The biggest appeal of this is that 1) it's short and sweet - you can watch an episode in 4 minutes when your boss or teacher isn't looking, 2) it downloads to your computer and/or iPod without you doing anything, and 3) It's <I>free</I> for viewers!
As the next five years sees everyone switch to video enabled cell phones, and more iPod like machines, that's going to become more viable.
We don't have any concrete plans at this time, but have been talking to various people on and off for a couple of years.
<B>NRAMA:</B> Do you have any kind of wish list of creators you'd like to work under the Devil's Due umbrella in the future?
<B>JB:</B> Tons! Robert Kirkman, Brian Bendis, Grant Morrison, Neil Gaiman, Alex Ross, Adam Hughes, the Luna Bros., Jamie Hewlett, Joe Maduiera, Francis Manapul, Tony Moore... the list goes on and on.
<B>NRAMA:</B> Ok, let's go back to where we are now. Looking back at 2005, what do you think were the highpoints for Devil's Due?
<img src="http://www.newsarama.com/devilsdue_new/2006/FR-Homeland-Exile.jpg" width="185" height="281" border="0" align="right"><B>JB:</B> The highest point for me was the success of the <B>Forgotten Realms: Homeland</B> graphic novel. It's been awesome working with an author as renowned as R.A. Salvatore, the creators are doing an incredible job on the book, and it's selling like gangbusters. I'm very very proud of it, and I think the sequels are looking even better. <B>Exile</B> is done now, and Tim Seeley has started on <B>Sojourn</B>, the third volume in the series.
<B>NRAMA:</B> As the New Year unfolds, can you tell us in broad strokes any new initiatives or points Devil's Due is gunning for in 2006?
<B>JB:</B> Devil's Due is continuing its expansion into other markets, while still maintaining, and trying to increase its foothold in the comic book stores. We're looking at options for a lot more promotions in the next year, such as 25¢ specials, and some other ideas I don't want to give away. We'll be announcing a new license soon and possibly a couple more by spring. Many of the titles we're seeing are those with a following beyond the typical comic book readers, just like <B>Forgotten Realms</B>... and just like <B>G.I. Joe</B> was in 2001.
Personally, I have a lot on my plate. In fact, (plug time), I recently partnered with another company in Chicago to form KUNOICHI, Inc. It's a very unique marketing firm that offers creative services, web design, and business planning, and it's been going very well. For the past couple of years, Devil's Due Creative has operated as a spin-off of Devil's Due Publishing, but now it's officially its own company. You've probably seen our art without even knowing it. We've done work for everyone from Hasbro and Rockstar Games to the U.S. Department of State, and local businesses in Chicago. You can visit our current site at [url]www.kunoichi.com.[/url] It focuses on our illustration, and as soon as our web designers find a spare minute from working on client projects, we're getting a complete overhaul.
Devil's Due is also publishing <B>LO-FI: Comics and Entertainment Magazine</B> starting in a few short weeks (as I type this). Our tagline is, excuse my French, "The Hottest F**king Magazine You Don't Know Sh*t About"... <I>yet.</I> It's 1 part <B>Wizard</B>, 1 part <B>Alternative Press</B>, a bit of <B>NewType</B>, and a couple Jaeger Bombs, all blended with a rusty blade and poured in a big ____ing glass. I've been working hard to expand its distribution, and we're now carried in comic shops, Tower Records, Borders, and growing, so check it out! [url]www.lofimagazine.com[/url]
<B>NRAMA:</B> Let's talk more about the new magazine. Can you tell us who started it, and how you became involved?
<B>JB:</B> <B>Lo-Fi</B> was started by Greg Narvasa and his Miami based superhero team a few years ago. I first heard of them when they contacted me about advertising, and sent a sample of the first issue, which was basically a small color zine. There was just something about it, though. I kept picking this tiny thing up, thumbing through it. It was just <I>cool</I>. (I say 'cool', Greg says 'Hot' - you decide).
Then I stumbled upon it at a convention months later, and saw the second issue. I was hooked. The magazine's release was very sporadic, though, and I really wanted this thing to succeed. These guys had a killer mag on their hands, and were having a hard time finding a company to back them that understood exactly what they had created.
Fast forward to today, and we're being carried in Borders and Tower and comic shops everywhere. I'm excited to be a part of something new and fresh like this. It's unlike any other magazine out there. I just came back from a meeting about some major promotions we'll be doing in Chicago, so I'm extra hyped right now.
<B>NRAMA:</B> What changes (if any) will you be making from their previous editorial direction?
<B>JB:</B> <I>None!!</I> Greg, Ruben, and the <B>Lo-Fi</B> crew knew how to make a hot magazine before I came along. That's why I got involved. We have regular meetings where we all throw in our two cents, though, but I never force them to do anything. I <>couldn't</I> force them - we're partners, and we all have a say. That said, there will be some new features I'm excited about, and the musical artists these guys are lining up keep blowing me away.
We've had Common, KRS-1, Mike Ness, Good Charlotte, Coheed and Cambria, and coming up, we're going to have My Chemical Romance.
We also received our first newsstand reports for Borders and Barnes n Nobles and we're selling through 80%!!
<img src="http://www.newsarama.com/SDCC04/Aftermath/Defex_Bdown_01_spread_t.jpg" width="350" height="271" border="0" align="left"><B>NRAMA:</B> One of the sadder notes in Devil's Due's 2005 was the ending of the superhero line, Aftermath. Can you tell us where you think that line failed, and what you learned from it?
<B>JB:</B> Creatively, I think everyone did a great job.
Where we failed was expecting there to be enough of a demand for the line in the first place. In hindsight, I would have taken all the money we spent on Aftermath, and just made one kickass book. I had such low expectations for the series though, and a cushion for losses in the beginning, ready to ride the storm. Then the orders came in, and... they were okay. Then the orders for issue 2 came in on each title, and they were all <I>one half</I> the orders of issue 1. So before anyone even saw the books, they were given a serious handicap.
Still, having faith in the quality of the books, we hung on, but by the fifth or sixth issues, it was time to kick the sick baby bird from the nest, as much as it hurt us to do. I have a <I>lot</I> of ideas I'd like to do over, thanks to my super duper 20/20 hindsight-vision-powers, but have instead been focusing my efforts on expanding the current successful titles we have, and developing my other companies.
I think part of the problem is that 80% of our mainstream comic collector audience is getting so old, they've read so many comics, that there's not <I>room</I> for anything new in their life. It's not that they love or hate the new stuff. They kind of just don't care. They have jobs, kids, bills... they want to come in on Wednesday and get their familiar fix. They're old enough to remember all of the failed attempts of publishers past. Kids? Hell, kids want something new simply because it's <I>not</I> what their dad's reading, but those kids aren't in most comic shops.
There's no reason we can't please both groups, but to do that, we have to go where the other group is. I know where they hang out, but it's a secret. [Laughs]
<B>NRAMA:</B> Turning to other matters, 2005 saw Devil's Due relaunching your flagship licensed book, <B>G.I. Joe</B>, with writer Joe Casey and Devil's Due exclusive artist Stefano Caselli. Now that you've got several issues under your belt, how do you think the relaunch has done, and what do you think of the stories the team has produced?
<img src="http://www.newsarama.com/devilsdue_new/2006/GIJoe_AE_08_t.jpg" width="185" height="281" border="0" align="right"><B>JB:</B> Man, I just saw the printer mock for issue #8, and it is the <I>best</I> damn issue we've ever done. It's a work of art. Stefano lives in Rome, and I think this thing just might start a new Renaissance.
Overall I'm very happy. We set out to achieve our main goals: streamlining the team, making the stories more personal, and opening the door to new readers. I confess to the story going a little slow in the beginning, but that's definitely not the case now. Anyone read issue #7? Anyone?
<B>NRAMA:</B> I'm sure there's quite a few readers out there, and they'll chime in below. Anyway, looking at that relaunch and the fact that <B>G.I. Joe</B> is a licensed title, how do you balance out the needs of the property owner with what Devils' Due is trying to accomplish with the book?
<B>JB:</B> Hire Mike O'Sullivan.
<B>NRAMA:</B> Since O'Sullivan's action figure isn't out with a rundown of his stats and accomplishments, we're going to have to ask you. What does O'Sullivan add to the <B>G.I. Joe</B> relationship between Hasbro and Devil's Due?
<B>JB:</B> For starters, he's one of the most meticulous, thorough editors I've had the pleasure of working with. Mike pours his heart into every book we do. He also moonlights as a <I>huge</I> <B>G.I. Joe</B> geek, like a lot of us here. He's the primary contact between the powers that be at Hasbro on a day to day basis, allowing me to just call them every now and them and talk about the fun stuff going on with the toys. [Laughs]
To prove his "Joe devotion", he even has an old sketch Larry Hama did for him in the 80's hanging in his office. Now he gets to talk to Larry editor-to-creator, which is definitely something he's thrilled to do.
<img src="http://www.newsarama.com/devilsdue_new/2006/G.I.JOE_SpecialMissions.jpg" width="185" height="292" border="0" align="left">Okay, it's not always <I>that</I> simple, but Mike eats, sleeps and breathes the Devil's Due Publishing comics - not just <B>G.I. Joe</B>.
<B>NRAMA:</B> Since its inception, Devil's Due has balanced original creator-owned works as well as licensed titles such as the aforementioned <B>G.I. Joe</B>. Can you tell us what Devil's Due strategy is in this delicate balance?
<B>JB:</B> We're compelled to produce creator-owned titles because it's in our nature. We're all creators first. From a business side, though, you have to embrace them if you're thinking long term. The licenses bring the cash in month to month, but they come and go. One day, we won't be publishing <B>G.I. Joe</B> anymore. Hopefully not for many years, but it'll happen. One day some guy's going to have a conversation with a young teenager who reads DDP comics, and never even knew that was something we published. He'll be obsessed with something that hasn't been created yet, license or not.
With the creator owned books, though, that's for life. If we score a hit, it brings you money for years to come.
<B>NRAMA:</B> <B>Hack/Slash</B> is one of those creator-owned books you mentioned, and it has garnered a cult following in recent years. With several OGNs on the shelf, the newest release is a three-issue miniseries. Can you tell us your feelings on this home-grown success and how it's developed over the years?
<B>JB:</B> <B>Hack/Slash</B> is something everyone at DDP is very proud of. Who knew Tim Seeley was such a snazzy writer? We're just wrapping up the last issue of <B>Land of Lost Toys</B>, its first full length miniseries, and we have another one-shot, <B>Trailers</B>, in the pipeline. This time, Skottie Young, Stefano Caselli, Tim Seeley, Mike Norton, and James Lewis (of Udon) are contributing to the art. People are starting to catch on that this is a very special comic.
<img src="http://www.newsarama.com/devilsdue_new/2006/HS_Play_Actors.JPG" width="185" height="247" border="0" align="right">A company called New Millennium Theatre Group performed a play based on the first two one-shots during Halloween, and it was a huge success. The dialogue translated perfectly to the actors, and audiences that would never read a comic book still loved the story. They had to turn people away at the door each night of the show.
Cassie and Vlad have been chugging along slowly, but we know we're sitting on a potential gold mine (both financially and creatively), and it's not going anywhere.
<B>NRAMA:</B> Devil's Due has also started a four-part series called <B>How To Self-Publish Comics: Not Just Create Them</B>, and covers such things as contracts, promotions, printing and distribution. Was this inspired by some eager fans approaching you at conventions, or something else?
<B>JB:</B> I've always been a big fan of "how to break into comics" books. I devoured them when I was younger. When I wanted to learn about the business side of things, it was harder to find information, though. Tony Caputo wrote a book once [<B>How To Self-Publish Your Own Comic Book</B>], which was awesome, but it's largely outdated now. I know it's blasphemous, but I've never read Dave Sims', although I hear its spot on.
Somewhere between trying to pass a lot of this knowledge in my skull onto new employees, and realizing that I've been at this for a <I>decade</I> now (scary), oh, and getting emails about the subject constantly, I felt the time was right. I think what excited me most was discussing what everyone else forgets. Like, just how the hell do you read a Purchase Order? What IS a purchase order? Who the heck prints my books? What's Diamond Distributors, and what does a jeweler have to do with comic books? Those kinds of things.
I think once you've gained a lot of experience in any field, and you see so many others struggling to get their first start, you can't help but feel compelled to share that information. Maybe that's just me. It wasn't until the ten year mark, though, that I felt confident enough to consider myself any kind of authority.
I'm also a big fan of "quick education." People raise their eyebrows at the thought of paying $500 for a seminar that lasts a weekend, but happily pay $10,000 to go back to school for a year. I'm the guy who buys the books, attends the expo, and sucks all the knowledge I can out of them as quickly as possible, then goes out and tries to do it. Hopefully this book will help those people who are serious about publishing skip a lot of the mistakes most beginners make, and are ready to devour some information. Except they'll get all that info for five bucks an issue, not five hundred.
<B>NRAMA:</B> It was announced last year that Devil's Due had signed artist Stefano Caselli on an exclusive contract. The word 'exclusive' has become a household term in the world of comics, with Marvel & DC doing it left and right. What led to Devil's Due Publishing's decision to push this with Caselli, and do you have any other freelancers hooked in with this kind of deal?
<B>JB:</B> The "Big two" seem to have taken the "exclusive" contracts to a whole new level. They're basically hiring everyone on as employees, but technically as "contractors" working from home. We signed Stefano because we simply <I>love</I> his work, and want him to stay around. He's developed a decent following by working through Devil's Due, starting a few years ago on Micronauts, and his talent has grown tremendously.
Tim Seeley is actually a true employee, and we're looking to hire another staff artist on eventually. Other than that, no, we don't have any other exclusives.
<B>NRAMA:</B> Lately in conversation there has been significant discussion on the ballooning of titles by Marvel & DC impacting the way every other publisher in the Direct Market operates. How are you working to adapt to the reality as it is in full effect for 2006?
<B>JB:</B> You're not kidding there. They know what they're doing. They know that their completist fans feel compelled to buy everything they throw at them, and are pushing that to the limit. I mean, that's what every publisher does to some degree, so I'm not going to call the kettle black. But I also think the competition in the back of the catalog has become fiercer as well. There is just a <I>lot</I> of product out there, and not enough people to buy it all.
It means that to protect ourselves for the future, we have to diversify. I won't be comfortable until I know that Devil's Due can survive without one single comic book shop purchase... so we don't have our eggs in one basket. Likewise, if a book store chain was to drop us, we'd have the comic stores to support us. So we've been branching out.
Everyone speaks doom and gloom about comic book stores not being around in five or ten years (and they've been saying it for 20). I disagree. Comic Shops are here to stay. <I>Publishers</I> who <I>only</I> sell to the comic shops... they're done. Unless someone plans to stay very small, with no overhead, there is simply no room left to move in with your own original ideas on a wide scale, and you know what, that goes for the entire entertainment industry. You have to be <I>everywhere</I>. Even if there were thousands more comic shops like there were in the 90's, it would still be tough. There would be even more competition, and I doubt much room for anyone new.
<I>Unless</I> someone like Richard Branson [CEO of Virgin International] gets a serious itch to do so, but I think he's more focused on making millions in India.
We've made major strides in the book market, and hopefully will break into even more in '06. I don't want to give our secrets away, but malls, book clubs... those kinds of things.
Still, it's a damn gladiator arena in the comic book stores. We're constantly in the struggle to be viewed as one of the "big boys" more so than one of the "little guys"... yet while being in the back of the catalog. The only way we increase that potential is with more sales. Basically, you can never rest on your laurels. The minute you do, you're done.
<i>Editor’s note: This interview was conducted before the publisher officially announced that it had acquired the license to produce <u>Family Guy</u> comics. For Blaylock’s thoughts on that project, click here (http://www.newsarama.com/forums/showthread.php?threadid=57684).</i>