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What Record And Comic Stores Have In Common

Reporter Jason Snell attended this year’s Comic-Con to see how the iPad and other devices were affecting the comic industry; he found they seemed convinced that “the coming digital comic revolution, in which devices such as the iPad eliminate the need for reading printed media, will end up driving readers into comic-book stores in search for the good stuff—on paper.” This sound familiar? A presenter told the audience that comic shops are cultural centers; they could thrive in the iPad era, sort of like boutique vinyl record stores. Snell's thoughts:

image from a0.vox.com"I’m not so sure. I recall people in the music industry talking in much the same tone about how record stores would always thrive because people wanted to go and hang out there, but the last time I checked, my local record store was being turned into a Trader Joe’s. And bookstores face the same challenge, as readers turn both to e-books and to buying direct from Amazon. The survivors are likely to be retail chains or independent stores with a very good sense of what it takes to create a pleasant, appealing retail environment—pretty much the antithesis of at least one class of comic-book store." Read More.

Did I mention almost every comic that’s published is scanned and posted on pirate sites within hours of release? But kids would never walk into a store and…

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1 Comment

  1. There are a few key differences that might just help them avoid the fate of the small record store:
    1. Comics aren’t that mainstream: The problem with record stores is that they depended on everybody buying music from them, now the mainstream is split evenly between buying online, offline and getting it free. That switched them from getting 100% of the market to 30% percent of the market. “Boutique” record stores might still be doing similar sales to comic stores, but they were set up to be profitable when selling much more.
    2. I don’t think there’s enough quality in the wider music industry to support botique record stores. Theirs either good “popular” music, which everybody gets on limewire or iTunes – or there’s rubbish garage band stuff. There’s not really a huge amount of published, niche, quality music. The stores can only work with what they’re given. The comic books stores don’t seem to be suffering this fate because the good stuff is, by definition, niche.
    On the whole, I’d probably agree with Jason Snell, but those are just two thoughts on why we might be wrong!

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