Fifteen years before getting a monthly
What the deadline says about a character, and why the series arrives with its best material behind it.
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What the deadline says about a character, and why the series arrives with its best material behind it.
Read article →The intermediate format of 1984: its own numbering, nothing new, and a permanent identification trap.
Read article →Four structural obstacles, and why it's not an execution defect but a property.
Read article →When an issue becomes expensive enough, it becomes profitable to dismember it — and each page destroys a copy.
Read article →Enough established to justify the investment, secondary enough that failure costs nothing.
Read article →Reprinting in a few weeks destroys the scarcity that exhaustion had just created.
Read article →A fourth printing, an anniversary edition and a special edition demanded at the same amount: abundance erases all other distinctions.
Read article →A year of consequences, published at the peak of circulation, which no one looks for and which is never republished.
Read article →Partial or complete appearance: a real, useful, and systematically misapplied distinction.
Read article →What muteness brings to an antagonist, and why giving him speech destroys him.
Read article →169 advertisements, 3 certified copies. Why the notoriety of a character does not carry over to the series that bear his name.
Read article →Adapting a miniseries concentrates demand on a few issues; adapting a character disperses it. The distinction predicts the market better than a casting rumor.
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