The mood of Monday # 52 – BFM, or how to deflect an uncontrolled subject

On October 28, the BFMTV website publishes an article on the economic status of comics in France. Why be interested in comics? Simply because the Paris Comic Con was an important convention for a "report". The channel fed us a superb micro-sidewalk reducing convention to cosplay for a simplistic and reductive analysis of a festival dedicated to comics. To bounce back on this flourishing culture, the BFM Business website is committed to a market study to try to explain this phenomenon in a headline "What hides the impressive growth of comics in France." The editor bases his study on a summary published by the GfK Institute, the results of which are unveiled to help industries, multiple companies / distributors to make decisions on the market. They also provide material for public media (with other institutes like Nielsen or Ipsos) to tell us about the sale / consumption of comics in France. It is thanks to these studies that France can boast about the news, read more and more comic books, or books, but also not succumb to the dematerialized purchase of the cultural object To play on the sensational side, the site opposes the idea put forward by the institute that the cinema would be a major cause of this increase in consumption of comics. For information, this is nothing more than a bubble linked to the indicator of the increase noted since 2007. A significant increase when this comparison between 2007 and 2016 reveals an increase in consumption of 275%. 0.9 million consumers in France with a slight majority for young readers. Compared to other genres, American comics is a minor category. To do so, BFM will interview Thierry Mornet, the editorial director of Delcourt (and participant of the incredible project: Kirby & Me) who has tried many times to implement the comics in the Francophone cultural landscape in years we do not may be more difficult for the American comic book. What is going to interest BFM at the gentleman is not the role he has played for years, but his relationship with the popular title Walking Dead.It is nothing of a revelation, Walking Dead is the best annual sale of comics since the arrival of the TV series. The only sale able to match an ideal, described in this article, as the review Strange and its "100,000 copies" in the 70/80. Asking Delcourt's editorial manager what sales Walking Dead represents for him, while this title allows a massive presence of the publisher in the BD / Comics department of all major retailers, is certainly the least relevant argument in a topic dealing with the growth of comics. It should be known that Delcourt is the typical example of the editor with multiple supports in the middle of the 9th art. Delcourt has his mangas (including the superb productions of Harold Sakuishi), his comics Franco-Belgian (with the youthful success of the Legendaries) and his comics with Walking Dead, so, but also Hellboy and Spawn. If Delcourt plays an important role as a French publisher, it is through this adaptation to the various genres of comics. With titles to success, Delcourt pulls the pin in all categories, but does not rest in the comics with this great success despite quality titles that I encourage you to read: Invincible, Spawn, Hellboy.De more , this theme of the impact of the film industry loses its impact by the fact that Delcourt has known little of the benefits of this major publicity stunt. At the time of Guillermo Del Toro's films, Hellboy experienced a rise in sales which led to a reprint of the volume "The seeds of destruction" which will lead to the revision of another volume for a reissue with an increase in the number of pages . Sales are increased on some volumes in relation to the film, but this increase will be slowed down until disappearing in majority, the fault to a "general public" to ephemeral readings. Only Walking Dead has been able to create a readership more or less well maintained, by a constant reminder, season after season, the existence of this license. A phenomenon that has developed to reach the 54,100 copies of the first volume sold in 2014. The article devotes a whole sub-section dedicated to "And without Walking Dead?". It is therefore obvious that Walking Dead is the wall bearing the presence of Delcourt among the American comics. An aspect that the site will hasten to exaggerate to support the pessimistic form of the article assuming that without Walking Dead, comics would not have this increase in sales. Only "some epiphenomena that pass the bar of 10,000 copies sold like Batman, Hellboy, or Star Wars. I think we can ask how this information could be collected for Batman, while the publisher is reduced to the reissue for Star Wars reissue series published at Dark Horse, new series being published by Panini Comics. Especially since Urban Comics does not let anything leak about their sales, just like Panini Comics. If this is an assumption, we can always remember the fast end of Batman The Black Knight, and I suppose that other titles that, despite their links with the character, may have known a tragic fate. I'm thinking of Batman: Vampire with drawings by Kelley Jones, and other similar works, often referred to as "reserved for a particular audience". We can also assume that many other titles are successes exceeding these 10,000 copies: Injustice, Suicide Squad, American Vampire or Saga? And if the sales of kiosks are difficult to remember, we will remember that Panini, 10 years ago, was already swaying between 15,000 and 30,000 copies sold. Keep in mind that comics are not just bookstores.Laurent Nucera, which you can find at the ApoKlyps store in Paris, allows you to qualify the "sensational" aspect of the article and to register the debate in an updated context. It explains the rise in demand generated by that of supply. Simple information, which explains the huge number of publications. A theme kept for the last sub-part which is added by Thierry Monet to remind that the purchase of a license was cheaper than the new production, trend now reversed by the value of licenses. The article closes with a pessimistic future the fault of too much productivity, supposed to increase demand. A conclusion that could be considered if the influence of film productions was not rejected, and the consumption of comics in eternal rise for 10 years. It is in a way the heart of information that is reduced in a short paragraph, stifled by a mass of text based on assumptions through the sole point of view of a publisher among a number of editors If the cinema had only limited influence over time, how could the success of a Suicide Squad magazine be explained? A publication of the New 52 and Rebirth series? Despite their shortcomings (for some considerable), these titles walk with the public having seen the film (the word adaptation would have been painful). One can cling to the fact that the article on the site BFM is short, and tries nevertheless to be concise. Except, the subject is quickly deviated, abstracts themes yet evoked, in order to shine through speakers appearing in the eyes of the reader as "specialists" but are guided by a thought dependent on the journalist's questions and therefore by the orientation that this one takes and gives to his article. A detour without meaning, and where the opposition to an anecdotal remark of the report replaces a study that could have been serious – not to mention classic confusion between the membership of a character to another publisher. An article that attempts to create , through a biased revelation, a surprise effect in a Quidam Lambda who knows little about the world of comics, or that thanks to the continuous "information" chain, he has learned that these readers are only idiots who disguise themselves. And it is because a media dominating the thought in my country maintain these prejudices, deal with subjects to which it gives no importance except a mocking and reductive outside look, that I had to react this Monday. Have a good week .

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