I be Nate Cosby, CEO of COSBY & SONS PRODUCTIONS. I wrote the Eisner and Harvey Award-nominated COW BOY at Archaia, BUDDY COPS at Dark Horse, and co-wrote PIGS at Image.
In association with Rovio Entertainment, I oversee the American production of ANGRY BIRDS comics.
In association with Dynamite Comics, my production company edits and packages the Gold Key line (TUROK: DINOSAUR HUNTER, MAGNUS: ROBOT FIGHTER, SOLAR: MAN OF THE ATOM, DOCTOR SPEKTOR) and King Features titles (FLASH GORDON, KINGS WATCH).
I was nominated for a Harvey Award for co-writing/editing JIM HENSON'S THE STORYTELLER at Archaia. I used t'write for Disney publishing, and when I edited at Marvel, I took care'a the Harvey-Award winning THOR THE MIGHTY AVENGER, Eisner-Award winning OZ books, SPIDER-MAN, SUPER HEROES, X-MEN FIRST CLASS, PET AVENGERS, SPIDER-MAN LOVES MARY JANE and a buncha others.
This blog is dedicated to exactly what I'm thinking at all times. I'm on Twitter as @NateCosboom.
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______________ #1

WRITTEN BY __________

PENCILED BY __________

COVER BY __________

19 VARIANT COVERS BY _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____ _____  _____ _____ _____ _____

NOTHING WILL EVER BE THE SAME! Don’t miss this ALL-NEW DIRECTION, a BOLD, NEVER-BEFORE-SEEN EVENT that will CHANGE EVERYTHING YOU KNOW about __________!!!! THIS is the one that defines the ________ universe FOREVER! Join the INCREDIBLE SUPERSTAR team of __________ and __________ as they SHATTER your senses and AMAZE your eyeballs!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Rated _____

____ pages $_.___

A solicit is supposed to sell you something you’re not allowed to see yet. If the comics don’t sell, the comics company doesn’t make money. The company doesn’t make money, they don’t get to make comics to sell. It am super simple.

This is the way it’s been, this is why the mainstream has been flooded by “important events” and why the events have become less memorable. Cuz when EVERYTHING’s important, nothing is (to crib from The Incredibles).

There’s enormous pressure on the creative teams, editors, and marketing departments to make every new story seem like a reinvention of the wheel. This can become…silly. It’s perfectly normal to have no fewer than 5 or 6 “events” launching the same month, all promising NEW DIRECTIONS, BOLD STORYTELLING, taking you PLACES YOU’D NEVER BEEN, showing THINGS YOU’VE NEVER SEEN!!!! 

That is, of course, not really possible. Unless the comics are going to be printed on bread instead of paper, you’ll see what you’ve seen before: Superheroes will fight a thing, then someone probably dies for a while. Then you set up the new status quo, which plants the seeds for the next giant thing you’ve “never seen before.” These events may be great reads, they may be terrible reads…but it’s highly unlikely that they’re fundamentally unique reads. And as the list of characters that haven’t ”died” shrinks, the long-term reader becomes weary of the event pattern, and the never-ending bombardment of vociferous solicitation.

Was this always the way it was done? Kind of. Superhero comics have been an event culture for a long time. The big difference now, in my opinion, is that the companies lost patience with waiting for infrequent events to pad the bottom line, and decided to program them non-stop (the equivalent of putting nothing but Bruckheimer movies out every week of the year, instead of holding them for the summer and holidays). When the returns started diminishing, the companies tried going back to focusing on individual ongoing titles, but marketed each book as if they were all huge events (again, to pad the bottom line). This creates confusion in the marketplace. It’s easy math:

Huge Event x Huge Marketing Push = Huge Sales

Huge Marketing Push / 30 Mini-Events = So-So Sales & Lack Of Event Individuality

I’m well-versed in the practice of preaching that every new comic is this generation’s Dark Knight Returns. I personally wrote thousands of solicits that did just that, and collaborated in the design of distracting banners that indicated a book’s “importance.” It’s an effective way to get fans buzzing, to create mystery about what the creative team’s cooked up THIS time, to garner TONS of excitement…until the book comes out, revealing its similarities to plots that’ve been done for decades. But by the time the readers realize this, the hype cycle’s already moved on to the next thing. You’ve got to get a huge base of fans pumped several months in advance for books that might not even be PLOTTED yet, or your sales numbers are gonna be flat.

I’m not suggesting that this kind of marketing should be eradicated; it should selectively continue as long as it translates into sales. But the strategy of carpet-bombing the comic landscape with nothing but promises of drastic changes every week of the year is a short-term strategy that’s showing signs of age. Until new strategies, formats, and technologies are finally accepted en masse, the diminished returns of these tactics are going to continue.

The future of the way we read comics, the way they’re sold to us, and the content within is going to be seriously dependent, as always, upon supply and demand. It’s up to you, the comic book reader, to try and see past the BIG words, past the GAME-CHANGING diatribes, and wait for a book to come out before determining if it’s something you’d actually like to read. How do you get a company to put out books you want? Try not buying the ones you don’t like. Numbers talk. 

The great thing about a comic book store is that you can go inside and flip through the first few pages of this month’s “revolutionary” book, determine if it reads noticeably similar to last month’s “revolutionary” book, then decide if you’d like to purchase it. You’re not required to be a completist. Nothing wrong with being a connoisseur. 

A solicit is supposed to sell you something you’re not allowed to see yet. What I’m saying is…figure out for yourself if you like a comic. Don’t just take a company’s word for it.

(NOTE: I wrote this for both my own blog and Comics Alliance. Go here to read extra commentary by CA Editor-In-Chief Laura Hudson:

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