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The move, the companies say, will strengthen their library of original comics and graphic novels and help them to leverage their characters on other media platforms, including animation and film.Other publishers are introducing direct-to-consumer sales, binge-able stories and magazine-style formats. Some are also offering greater financial stakes for creators.

These adaptations have fueled growth in the comic book industry: Sales in 2018 rose $80 million from the previous year.

The consolidated publishing effort will be run out of Portland, Ore., where Oni is based. James Lucas Jones, publisher of Oni, will be president and publisher of the new enterprise. The merger was negotiated by Edward Hamati, the president of Polarity, a media company Mr. Steward founded last year to help develop Lion Forge characters outside comics.

To the extent that DC matters at all in the company’s future, it’s as a source of owned IP for other media channels and as a lifestyle brand to serve as an ambassador to geek culture.

One place that AT&T does not seem to see any value is in sub-brands

In place of a robust and differentiated publishing enterprise, AT&T appears more interested in boosting DC as a consumer lifestyle brand.

The “ages and stages” concept is something I’ve talked about for a long time here at the Beat. It’s essentially the idea that a reader moves through different versions of a character as that readers grows and matures. This stands in contrast to editorial philosophy where Batman and Spider-Man develop right along with the same readers, ad infinitum. The latter way leads to angry fanpersons endlessly complaining in message boards that it is not “their” Duo Damsel. While audience retention is important, capturing new readers is just as important, and perhaps this new idea will help with that.

Tsujihara was considered a real champion of DC, a real supporter of the brand

Ann Sarnoff also has connections to DC.  Her father-in-law was the person that purchased DC and brought it into the Warner Publishing Group back in the day.  So there was that connection.  An internal video greeting was sent out, and she specifically called that out.  But she hasn't started yet.

Anything that has a show or anything that's going on in the media right now, we're trying to build those types of books.

When Jenette Kahn came in as DC's Publisher in 1976, remember the company was very small. There were probably only 30 of us when she got there. I ended up being one of the core group of people with her and Joe Orlando who were trying to figure out how to move the company forward.

So I got to be the primary draftsman on the first standard written contract that DC ever used for freelancers when the copyright laws changed in the mid-'70s.

One of the more important things that I did, around the tail end of 1980 to the beginning of 1981, I moved from the editorial department, as Jenette becomes the president of the company and I moved to being what in modern terms you would define as a chief operating officer of the company, the head business guy.

For example, in preparation for Wynonna Earp’s debut on SyFy, IDW Entertainment promoted the series by placing ads in most of the 90 titles published each month by IDW Publishing. The result brought a staggering 42% increase in new viewers to Syfy for the series debut, and catapulted the show into double-digit growth for the time period

utilize IDW Publishing’s vast catalog

Maintaining a major ownership position in the properties it develops