#Comic Book Market Comic Book Market Size Comic Book Market Share Comic Book Market Growth Comic Book Market Trend Comic Book Market segment

[marketdevelopment]

Comic Book Market Size, Share & COVID-19 Impact Analysis

The Final Report will cover the analysis of the Impact of Covid-19 on this industry.

The growing production of comics with fascinating stories and attractive graphics to help illustrate the content is driving the popularity of comics worldwide. These books help readers improve their vocabulary, place the mind in a wonderful imaginary land, and mold values through a positive message. Such products are available in different genres such as fantasy, detective, romance, science, and others. Growing government initiatives to promote comics to help children become more interested in reading and advance their education have played a crucial role in escalating the market growth. For instance, the data published by NDTV in March 2021 shows that the Union Education Minister of India launched 100 comics created by teachers and students of the Central Board of Secondary Education (CBSE) schools.

The global  Comic Book market provides qualitative and quantitative information on growth rate, market segmentation, market size, future trends and regional prospects. The research study represents a modern perspective aimed at securing the future potential of the  Comic Book market. This report analyzes and evaluates the latest prospects for the new retail space, as well as the general and future market performance of Covid-19. In addition, this report provides a detailed overview of competition between some industries and others.

“Comic Book Market is growing at a faster pace with substantial growth rates over the last few years and is estimated that the market will grow significantly in the forecasted period 22-28”

#Comic Book Market #Comic Book Market size #Comic Book Market share #Comic Book Market analysis #Comic Book Market trend #Comic Book Market growth

[pujarathod]

Comic Book Industry Analysis by Technological Progress, Regional Outlook, Top Manufacturers

According to this latest study, the growth in the Comic Book market will change significantly from the previous year. Over the next six years, Comic Book will register a CAGR in terms of revenue, and the global market size will reach USD in millions by 2028.

The Comic Book report contains data on market size and segmentation by categories, product types, applications, and regions. The report also provides a thorough examination of major themes, trends and drivers, constraints and challenges, the competitive landscape, and current market events such as M&A activity.

The growing production of comics with fascinating stories and attractive graphics to help illustrate the content is driving the popularity of comics worldwide. These books help readers improve their vocabulary, place the mind in a wonderful imaginary land, and mold values through a positive message. Such products are available in different genres such as fantasy, detective, romance, science, and others. Growing government initiatives to promote comics to help children become more interested in reading and advance their education have played a crucial role in escalating the market growth.

Request Sample Copy@: https://introspectivemarketresearch.com/request/8420

Leading Key Players Covered in Comic Book market:

·         Marvel Entertainment LLC

·         Warner Bros Entertainment Inc.

·         Image Comics Inc.

·         Toei Animation Co. Ltd.

·         International Superheros

·         DC Comics Inc.

·         Boom! Studios

·         Shueisha

·         Dynamite Entertainment

·         Dark Horse Comics LLC

·         IWD Entertainment LLC

·         Shogakukan

·         Kodansha

·         Kadokawa Future Publishing

·         Akita Shoten

·         Futabasha

·         BAMBOO

These companies are devising key strategies such as acquisitions, merges, collaborations, partnerships, new product launches, regional expansions, and targeting untapped markets to gain competitive advantage over other players working in the market.

Introspective Market Research offers a comprehensive overview of the market through the analysis of key parameters such as revenue, price, competition, and promotions, as well as the study, synthesis, and summarization of data from different sources. It analyzes the leading industry drivers and shows numerous market components. The information offered is thorough, dependable, and the result of a comprehensive primary and secondary study. Introspective Market Research reports offer a comprehensive global market as well as an in-depth strategic sourcing methodology and analysis based on qualitative and quantitative research to anticipate market growth.

Segmentation of Comic Book market:

By Type:

·         Physical Comic Book

·         Digital Comic Book

 By Application:

·         Kids

·         Adult

If You Have Any Query of Comic Book Market Report, Visit:

https://introspectivemarketresearch.com/inquiry/8420

Geographic Segment Covered in the Report

·         North America (U.S., Canada, Mexico)

·         Europe (Germany, U.K., France, Italy, Russia, Spain, Rest of Europe)

·         Asia-Pacific (China, India, Japan, Southeast Asia, Rest of APAC)

·         Middle East & Africa (GCC Countries, South Africa, Rest of MEA)

·         South America (Brazil, Argentina, Rest of South America)

Various factors are responsible for the market’s growth trajectory, which are studied at length in the report. In addition, the report lists down the restraints that are posing threat to the global Comic Book market. This report is a consolidation of primary and secondary research, which provides market size, share, dynamics, and forecast for various segments and sub-segments considering the macro and micro environmental factors. It also gauges the bargaining power of suppliers and buyers, threat from new entrants and product substitute, and the degree of competition prevailing in the market.

Key benefits of the report

This study presents the  analytical depiction of the global Comic Book industry along with the  current trends and future estimations to determine the imminent investment  pockets.

The report presents  information related to key drivers, restraints, and opportunities along  with detailed analysis of the Comic Book market share.

The current market is  quantitatively analyzed from 2022 to 2028 to highlight the Comic Book  market growth scenario.

Porter’s five forces analysis  illustrates the potency of buyers & suppliers in the market. 

The report provides a detailed   Comic Book market analysis based on the present and future competitive intensity of the market.

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#Comic Book Market Comic Book Market Size Comic Book Market Share Comic Book Market Growth Comic Book Market Trend Comic Book Market segment

[naveendsw]

Comic Book Market Size, Share, Growth, Trends, Detail Analysis 2030

The latest report by Precision Business Insights, titled “Comic Book Market” covers complete information on market size, share, growth, trends, segment analysis, key players, drivers, and restraints.

[alliedcreation]

Comic Book Market to Reach $26.9 billion, Globally, by 2032 at 5.9% CAGR

The global comic book market is being driven by several factors, including the massive popularity of comic books, their role as collectibles and nostalgia-related products, and their easy accessibility through online channels

PORTLAND, Ore., July 3, 2023 /PRNewswire/ -- Allied Market Research published a report titled, "Comic Book Market by Type (Physical Comics, Digital Comics), by End User (Children, Adults), by Distribution Channel (Supermarkets and Hypermarkets, Specialty Stores, Bookstores, Online Channels): Global Opportunity Analysis and Industry Forecast, 2023-2032." According to the report, The global comic book market was valued at $15.5 billion in 2022, and is projected to reach $26.9 billion by 2032, growing at a CAGR of 5.9% from 2023 to 2032.

Download Report Sample PDF: https://www.alliedmarketresearch.com/request-sample/99376

Prime Determinants of Growth:

The global comic book market is being driven by several factors, including the massive popularity of comic books, their role as collectibles and nostalgia-related products, and their easy accessibility through online channels. However, the presence of alternatives and storage constraints for physical comics hamper the growth of the market. On the contrary, the creation of box sets, and special editions of comic books and the increasing emergence of independent creators are expected to offer lucrative opportunities for the expansion of the comic book market in the coming years.

Report Coverage & Details:

Report Coverage 

Details 

Forecast Period 

2022–2032 

Base Year 

2022

Market Size in 2022 

$15.5 Billion 

Market Size in 2032 

$26.9 Billion

CAGR 

5.9 %

No. of Pages in Report 

269

Segments Covered 

Type, End User, Distribution Channel, and Region

Drivers  

Massive popularity of comic books  

Comic books as collectibles and nostalgia related products

Easy accessibility through online channels

Opportunities 

Creation of box sets and special editions of comic books  

Increasing emergence of independent creators

Restraints 

Presence of alternatives  

Storage constraints for physical comics

The physical comics segment to maintain its leadership status throughout the forecast period-

Based on type, the physical comics segment held the highest market share in 2022, accounting for around two-thirds of the global comic book market revenue, and is estimated to maintain its leadership status throughout the forecast period. Flipping over pages, collecting actual issues, and interacting with their regional comic book communities are tactile experiences that many readers cherish. However, the digital comics segment is projected to manifest the highest CAGR of 6.2% from 2023 to 2032. This is because digital comics are a convenient way for fans to indulge in their favorite comic book series.

Procure Complete Report (269 Pages PDF with Insights, Charts, Tables, and Figures): https://www.alliedmarketresearch.com/checkout-final/075a85d4413e82788062629a9590568c

The children segment to maintain its lead position throughout the forecast period-

Based on end user, the children segment held the highest market share in 2022, contributing to nearly half of the global comic book market revenue, and is estimated to maintain its lead position throughout the forecast period. The growth is attributed to the children's comic book business offering a wide range of appropriate content for their age and fascinating narratives that attract young readers. On the other hand, the adult segment would display the highest CAGR of 6.3% from 2023 to 2032. Adult audiences have embraced graphic novels and comics, which provide whole story arcs or solo compositions within a book-length format.   

The specialty stores segment to ultimately rule the roost by 2032-

Based on distribution channel, the specialty stores segment held the highest market share in 2022, accounting for nearly half of the global comic book market revenue, and is projected to rule the roost throughout the forecast period. This is because their devotion to the medium, carefully curated collections, and initiatives to foster community create an immersive and welcoming environment for readers to learn about and enjoy the art of comic books. The online channels segment would exhibit the highest CAGR of 6.6% from 2023 to 2032, as online channels have considerably increased the popularity and availability of comic books, allowing fans to easily discover, buy, and consume comics.  

Asia-Pacific to maintain its dominance by 2032-

Based on region, Asia-Pacific held the highest market share in 2022, accounting for nearly three-fifths of the global comic book market revenue, and is likely to dominate its market in terms of revenue during the forecast period. The same region is also expected to witness the fastest CAGR of 6.2% from 2022 to 2032. Due to the rise of the market and assurance of its continued significance in the international comic book business, which are facilitated by the influence of manga, the acceptance of internet-based platforms, and the expansion of anime adaptations of the comic books.

Enquire before buying: https://www.alliedmarketresearch.com/purchase-enquiry/99376

Leading Market Players: - 

Square Enix Holdings Co., Ltd.

The Walt Disney Company

Titan Publishing Group Ltd.

Shogakukan Co., Ltd.

Daewon Media Co., Ltd.

Archie Comic Publications, Inc.

Warner Bros. Discovery, Inc.

Kodansha Ltd.

ACK Media Direct Ltd.

Embracer Group AB

The report provides a detailed analysis of these key players in the global comic book market. These players have adopted different strategies, such as new product launches, collaborations, expansion, joint ventures, agreements, and others, to increase their market share and maintain dominant shares in different regions. The report is valuable in highlighting business performance, operating segments, product portfolios, and strategic moves of market players to showcase the competitive scenario.

[dnjfrkgod]

서진이네 9회 9화 E09 다시 보기 (230421)

서진이네 9회 9화 E09 다시 보기 (230421) 링크<<

서진이네 9회 9화 E09 다시 보기 (230421)

서진이네 9회 9화 E09 다시 보기 (230421)

서진이네 9회 9화 E09 다시 보기 (230421)

서진이네 9회 9화 E09 다시 보기 (230421)

서진이네 9회 9화 E09 다시 보기 (230421)

Publishers such as Somi Media, L-Nobel, and Noble Engine are still publishing offline, but business feasibility is also a common issue in the publishing industry. The biggest problem with paper books is the cost of binding and binding, but the biggest problem is that if they don't sell, they cost inventory storage and later shredding, so paper books excluding workbooks and study materials are generally experiencing a slump. On the other hand, since e-books only need to be translated once and provided as PDF files, there are no inventory storage costs, binding costs, and shredding costs, and if a system is used to check illegal sharing only in a specific app, e-books are still viable. Because of this, companies that specialize in releasing books exclusively as e-books, such as Shift Novel, have emerged. The three publishers mentioned above are also publishing e-books, making up for the lack of business potential of paper books, but light novels are still in a non-mainstream position in the domestic genre novel market due to the above-mentioned problems.

Domestic light novels such as Sid Novel and Noble Engine have completely collapsed since the rise of web novels. For details, refer to Light Novel/Korean document. As of 2016, the Japanese light novel market size was about KRW 400 billion (33.9 billion yen)[20], and as of 2021, it maintains a market of about 30 billion yen.[21 ]

As of 2020, the market size of the Japanese light novel market remains the same, but the number of new publications has doubled from about 1,500 in 2010 to about 3,000 as of 2020. However, the number of light novels being animated has decreased from 34 works in 2013 to 19 works as of 2020.[22]

Japanese light novels reached their heyday between 2005 and 2015, but since the 2020s, their position has fallen due to emerging content that has emerged as a new mainstream in the otaku industry, such as virtual YouTubers and mobile games, and the market has been stagnant. The goal of book adaptation is not to sell original novels, but to support the growth of the Japanese webcomic market, the majority of light novels, except for a small number of light novels that are animated and existing popular works, are comicalized to release light novel manga versions, based on light novels. While selling as a webcomic, the business model of tying the original novel to the comic version became the mainstream, and it was virtually subordinated to the Japanese webcomic market.[23]

As of 2020, the income of Japanese light novel writers is between 1.5 million and 3 million yen a year for middle-aged writers, and it is said that if a new writer earns 1.5 million yen a year, it is a box office success. On the other hand, in the case of top writers such as the Haruhi Suzumiya series, the estimated annual income exceeds about 70 million yen from the sale of novels alone.[24]

There is no single tally of the Japanese light novel e-book market, but there is a tally of the Japanese e-book market, including light novels. The size of the Japanese e-book market, excluding webcomics and magazines, is about 59.7 billion yen (about 573.6 billion won) as of 2021 [25] This statistic includes not only light novels but also general books such as practical books, photo books, and general literature. As it is a figure, the entire 59.7 billion yen is not the light novel's sales. It is unknown how much light novels account for in the Japanese e-book market, but even if the entire e-book book market is considered light novel, it is similar to or slightly less than Korean web novels, which have exceeded 1 trillion won in market size by 2022. . Contrary to the common belief in the internet community that the light novel market will be huge vaguely, the simple market size excluding media mix linkage, including e-books, means that Korean web novels are ahead of light novels. Through a comparison of web novels and light novels, To conclude:

Web novels and light novels are serialized, business model, volume, and serialization cycle. Prices are completely different. As mentioned above, web novels are released on the web, whereas light novels are released in the form of paper books. Web novels have to write more than 5000 words every day. In the case of Nopia, in the case of light novels with more than 3,000 characters, the serialization cycle is at least 3 months long, and the serialization cycle is about several years. There are many cases. The number of characters in a light novel is usually between 600 sheets of 200-character manuscript paper (120,000 characters including spaces) and less than 900 sheets (180,000 characters including spaces).

In terms of price, web novels are 100 won per episode and 3,000 won per e-book, while light novels are at least 5,000 won to 7,000 won for e-books and 7,000 won to 10,000 won for paper books. .

The market size is different. Although the size of the Japanese light novel market has been described above, it is about 30 billion yen as of 2021, and the size of the Korean web novel market is about 1 trillion won as of 2022.

[sanemyamen]

WebtoonsMarket is set to Fly High Growth in Years to Come

The Latest Released market study on Global Webtoons market provides information and useful stats on market structure, size and trends. The report is intended to provide cutting-edge market intelligence and strategic insights to help decision makers take sound investment decisions and identify potential gaps and growth opportunities. Besides, the report also identifies and analyses changing dynamics, emerging trends along with essential drivers, challenges, opportunities and restraints in Webtoons market. What’s keeping Naver Corporation (South Korea),KidariStudio Inc. (Lezhin Entertainment) (South Korea),Kakao (Piccoma) (South Korea),Lezhin Entertainment (Republic of Korea),Piccoma (Korea),Tappytoon (South Korea),ToryComics (Korea),Toomics Global (South Korea),Toomics Global (South Korea),Tapas Media (United States), Keep Growing in the Market? Benchmark yourself with the strategic moves and latest Market Share and Sizing of Global Webtoons market recently published by AMA The webtoon is one of the representative genres of Korean widespread culture showing Korean digital culture, consumed transnationally with the enlargement of worldwide digital networks. As smartphones became omnipresent in European and North Yankee societies, webtoons quickly unfold as a result of their vertical format being less complicated to scan on sensible devices than ancient book-oriented comics and manga. They use a vertical orientation that encourages scrolling on sensible devices.

The Webtoons Market segments and Market Data Break Down by Type (Romance, Comedy, Action, Sci-Fi, Horror, Others), Revenue Model (Subscription Based, Advertisement Based), End Users (Up to 18 Years, 19-29 Years, 30-39 Years, 40-49 Years, Above 49 Years)

On the geographical front, the market has been segregated into North America (the United States and Canada), Europe (Germany, France, the United Kingdom, Italy, Spain, Russia and others), Asia Pacific (China, Japan, India, South Korea, Australia, Indonesia and others), Latin America (Brazil, Mexico and others), and Middle East and Africa.

What’s Trending in Market: Development of New Business Model

Development in New Contents in Terms of Time Spent

Market Challenges: Increase in Gaining Traction among Young People

Market Opportunities: Development in New Contents in Terms of Time Spent

Increase in Gaining Traction among Young People

Highlights of Influencing Drivers: Increase in Digital Comic Market

Increase Interest from International Market (Market Outside South Korea)

Presented By

AMA Research & Media LLP

[joneshenry]

[foodsindustry]

Toys Market Worldwide  Prospects, Share, Crucial Players, Size & Forecast Period

Market Overview

MRFR (Market Research Future) expects the toys market to thrive at a sluggish rate of 2.5% from 2020 to 2027 (analysis period). The toys market size is projected to touch USD 94 billion by 2027-end.

Top Boosters and Deterrents

The toys market has been experiencing incredible growth in the past few years, driven primarily by the surging demand in entertainment, education, development, engagement, and interactivity sectors. Sustainability has emerged as a notable trendsetter in the global industry, with numerous environment-friendly items like plastic-free games for kids, wooden baby toys, organic cotton stuffed animals and recycled plastic bath games gaining popularly worldwide.

The COVID-19 outbreak however, put a dampener on the sales in view of the disrupted supply chains along with lockdown as well as curfews across several countries. However, families were also forced to spend time together at homes, which led to higher demand for toy categories including board games, outdoor games, games, and puzzles, particularly in matured markets like Canada, the US, the UK, Australia, and many European countries. Most of the sales happened via the online medium as specialty stores and supermarkets faced strict regulations and lower workforce. With popular entertainment avenues as well as theme parks like Walt Disney shutting down, parents were forced to shift from expensive entertainment facilities to lower priced toys.

Commercialization of some of the most famous movies as well as cartoon characters like Ironman, Spiderman, Doraemon and Superman remains a key strategy employed by the toy manufacturers to draw the attention of children. In view of the surging household income along with favorable demographics, emerging countries in Latin America and Asia Pacific have become lucrative markets. Players are launching high-value and premium dolls & accessories made of high-performance raw materials. China is fast developing into a prime manufacturing hub for toys, with massive facilities for exporting toys to other regions.

Market Segmentation

The toys industry can be considered for type and distribution channel.

The various types of toys available in the global industry include soft toys and dolls, preschool toys, arts and crafts toys, action toys, vehicles, construction toys, and others.

The distribution channels listed in the market study are store-based as well as non-store-based. The store-based channels are specialty stores, supermarkets, and hypermarkets, and more. Mounting use of online channels among consumers has fostered the accessibility to different types of toys. Easy access and high internet penetration have boosted e-retailing of a variety child products, especially toys, since it is cost effective and saves time.

Regional Study

The regions where the toys industry should witness growth at varying rates include Europe, MEA or Middle East, the Americas along with APAC/Asia Pacific.

The North American market for toys is the highest gainer among all the regions, primarily due to the presence of reputed manufacturers and the burgeoning fanbase for superhero movies. A striking trend in the North American toy market, especially in the US, is the popularity of collectibles, such as mini-cars, cards and stickers, coins, figurines and dolls antiques, stamps, and comic books. The collectibles market also receives a push from the influx of major brands like Fingerlings from WowWee Group Limited and LOL Surprise! from MGA Entertainment Inc. trying to widen their customer base armed with innovative marketing campaigns.

The APAC toys industry should record the fastest CAGR between 2020 and 2027, as the region has witnessed incredible growth in the organized retail sector over the years. The rising significance of educational games with parents growing focused on enhancing their children’s mental capabilities has also favored the toys market in the region. Intense product advertising and the launch of technically sophisticated toys in China, Indonesia, and Japan further add to the regional market’s value.

Top Companies

The LEGO Group (Denmark), Mattel, Inc. (US), Hasbro, Inc. (US), Playmates Toys Limited (Hong Kong), Tomy Company, Ltd (Japan), Kenner Products (US), Spin Master Ltd (Canada), Jazwares, LLC (US), VTech (Hong Kong), Funko Inc. (US), NECA (US), Tru Kids Brands (US), MGA Entertainment Inc. (US), Basic Fun, Inc. (US), are the key manufacturers toys in the global industry.

Recent News

April 2021

Canal Toys, a renowned activity kit manufacturer, has released its latest Studio Creator 2 Video Maker Kit. The toy is deemed as a perfect tool for children aspiring to be content creators on social media and otherwise. This kit comprises a tripod, green screen, and a multicolored LED ring light to help create creative photos and videos.

NOTE: Our Team of Researchers are Studying Covid19 and its Impact on Various Industry Verticals and wherever required we will be considering Covid19 Footprints for Better Analysis of Market and Industries. Cordially get in Touch for More Details.

#Toys Market

[gerryconway]

Superhero Comic Book Publishing: Time to Change

So I've been reading rumors (and had a recent conversation with a top exec at one of the Big Two) about the potential end of Marvel and DC as publishers of original comics, and I Have Thoughts.

These thoughts are the product of fifty years experience working in and around the superhero comic book business, writing and editing for both Marvel and DC. I'm no business expert. I'm not a student of publishing. I can't analyze a spreadsheet or write a business plan. I'm not an MBA. The closest I've come to owning and running a company was helping my second wife develop her small business (though I believe some of the lessons we learned about the perils of expanding a business are relevant here).

No, what I'm about to discuss isn't the result of a deep understanding of big business, market share growth, the realities of corporate politics, or any of the realpolitik aspects of modern day publishing as understood by the people who've brought both companies to this moment of near collapse.

I'm just a long-time observer who's worked in the superhero field almost since its modern inception in the 1960s.

Perspective: when I started writing comics professionally, Marvel was publishing about 12 titles a month, and DC (then National Periodical Publications) was publishing about 30. Comics cost 15 cents and offered between 20 and 25 pages of story. (I'm not going to work with exact numbers because for my purposes here exact numbers aren't relevant; like I said, I'm no MBA, and this is based on personal observation, memory, and experience. If I get a precise number wrong, sue me, it doesn't matter.)

Background: How the 1960s and 1970s got the business to where it is today, and how that era reveals possible ways out of the current crisis.

It was during the 1960s, a period of modest output (compared to today), that almost ALL of the roots of modern superhero comics mythology were created. Modern incarnations of The Flash, Green Lantern, Batman, Robin, Batgirl, Aquaman and Mera, Wonder Woman, the Teen Titans, the Fantastic Four, Spider-Man, Black Panther, X-Men, Daredevil, Captain Marvel, Black Widow, Thor, Captain America, Iron Man--

The list of characters and storylines and mythology created in the 1960s (with overlap from the 50s and into the early 70s) is just flabbergasting-- especially when you consider the size of the companies and the number of creators who accomplished it.

When I started writing for DC Comics in 1968, their offices consisted of half a floor in a modest office building on Lexington Avenue in Manhattan. Eight editors (or maybe seven, I'm not sure) and one editorial assistant worked under one editorial director and one publisher, with a production department headed by one production manager, one assistant manager who doubled as a colorist, one proof reader, and two or three production assistants, and a receptionist. Each editor was responsible for five or six books and only one editor had enough pull to have an assistant. (Mort Weisinger, who edited the highest selling range of books, had Nelson Birdwell "helping" him with the Superman line-- in fact, Nelson did all the hard editorial work while Mort snarled at people.) Four of the editors shared a single office; two others shared an office; and the two most "important" editors had an office each. That's how I remember it-- I may be off on the specifics but the general picture is accurate. This was how the company that controlled the largest market share of the comic book publishing world, possibly more than seventy percent of sales, looked in 1967-68.

Marvel Comics was an even more bare bones operation. With most of its business operations handled by Magazine Management, Martin Goodman's main publishing operation, Marvel Comics itself in 1968 operated out of a small office on Madison Avenue barely the size of a large modern conference room. The company had one editor and one assistant editor, one production manager, one assistant production manager, a part-time art director, a couple of production assistants, and a receptionist. The receptionist had a cubicle; the production staff shared a "bullpen"; the assistant editor and production manager split an office that wasn't really an office, more of an alcove; and the editor (Stan) had a private office not much larger than an average editor's today. This was the company that was revolutionizing storytelling in modern comics-- and while its individual titles were selling extremely well, its market share, due to an onerous distribution deal with its chief competitor, National Periodical Publications, was much less than it might have been.

That's how the superhero comic book publishing business looked in 1967-68. Prosperous but culturally insignificant (at least, not obviously significant). A pair of modest small enterprises, family owned and operated (NPP was bought by Kinney in 1967; Goodman retained ownership of Marvel until 1968), with rigidly controlled costs and a decent, relatively predictable profit margin.

Five years later, in the early 1970s, EVERYTHING had changed. Both companies were now controlled by larger businesses, and both were under pressure to expand market share and increase profits. Simultaneously comic book readership was dropping as the baby boomer audience aged out. The superhero comic book business was in a crisis-- and each company responded in hysterical counter-productive ways. Marvel, no longer hampered by its distribution deal with its competitor, worked to expand its market share with an explosion of new titles in multiple genres-- without proportionately expanding its editorial support structure and production staff. DC Comics experimented with new titles and new formats, without an overall publishing strategy or company-wide creative approach, continuing its tradition of independent editorial fiefdoms.

For most of the 1970s, in other words, both companies, Marvel and DC, faced creative and economic chaos. That chaos produced memorable and influential work-- Kirby's Fourth World was born, I killed Gwen Stacy, the X-Men were reborn under Chris Claremont, Jim Starlin created Thanos and killed the original Captain Marvel, Batman began getting dark-- but the companies themselves were flailing. Management at both Marvel and DC were clueless how to proceed. (As someone who held editorial positions at both companies in the 1970s I can attest top executives at DC and Marvel were way out of their depth.)

No one working in comics in the early to mid 1970s had any realistic expectation the business would even exist by the end of the decade-- news stand sales were that bad and getting worse every year. Cost cutting was rampant. Marvel reduced page count to 18 pages (and tried to hide it by paying writers and artists for 1 page that was printed as a "double page spread"). DC maintained a higher page count while adding reprint pages in order to increase the price. Short term fixes for a devastating long term crisis.

Two events saved superhero comics from disappearing in the late 1970s, and each produced effects that fundamentally altered the economics and creative direction of the business up to the present day.

The first event was the creation of the Direct Sale Market by entrepreneur Phil Seuling in 1973. There are many articles available describing how the direct market expanded through the 70s and 80s, so I won't repeat the details here, but in a nutshell, the direct market offered comic book publishers a way to guarantee the profit on individual titles compared to newstand sales. Comics sold through newstand distribution were returnable; sales to the direct market were not. Returnability meant most of a title's print run was wasted. (Typically in that era a publisher would print, say, 200,000 copies of a title to sell 70,000.) In addition, the direct market offered predictability-- eventually publishers would learn in advance how well a title might do because of pre-orders. These positives, of course, have a downside, but we'll get to that later. By the late 1970s and into the 1980s, the direct market for comics was viewed by almost everyone in the business as a god send that saved a dying business.

The second event that saved superhero comics was the arrival in 1978 of the first mainstream superhero blockbuster movie-- Superman. That movie and its sequels, followed by Tim Burton's Batman in 1989, fueled the growth of "serious" superhero mythology in mainstream pop culture (as opposed to the kid-friendly Superman series of the 1950s and the camp comedy of 1966's Batman TV show). Those movies (and other baby boomer inspired genre entries into mainstream culture like Star Wars and Indiana Jones) began the gradual colonization of pop culture by superhero mythology which exploded into fruition in the 2000s. In the 1970s, however, the main effect Superman the Movie (and later, the Batman film) had on comics was to temporarily increase sales and thus allow both companies to avoid dealing with longer-term creative and economic questions about the fundamental viability of the industry's business model.

The combination of both events, the development of the direct market and the arrival of the blockbuster superhero film, saved the comic book business as such in the 1970s-- but at the same time created and reinforced conflicting tendencies that today have produced a potentially fatal contradiction in how super hero comic book publishers approach their business.

On the one hand, the growth of the direct sale market into the de facto sole distribution point for superhero comics (the recent Walmart experiment and the digital comic market notwithstanding) has resulted in an incestuous and shrinking niche market for the sale of physical comic books. As recent reporting makes clear, this is unsustainable as a business model. Both Marvel and DC have resorted to increasingly desperate and counterproductive marketing ploys to maintain market share and profitability in a decreasing pool of readers-- a ridiculous explosion of variant covers, "special" events, crossovers, mini-series, extortionately-priced first issues, reboots and rebirths and renumberings, spin-offs and multiple versions of the same superhero teams, more events, more crossovers, more tie-ins. What all of these efforts have in common (despite some high-quality creative work on individual titles) is a complete absense of long-term strategic thinking in either the creative or business sense. What's the plan here? How is any of this short term market share maneuvering going to build and sustain a stable long-term readership? And, in particular, how does it fit with the other, even more significant development in the superhero comic book business-- the ascendency of superhero mythology in pop culture?

That second fact-- the mainstreaming of superhero mythology, begun by the Superman movie in 1978-- is the most significant development in the modern history of the comic book medium, and NEITHER company has developed an effective strategy to address it in their creative approach or their business model. The primary reason they haven't, I believe, is rooted in the first of the two events that saved comics in the 1970s, and is at the core of the contradiction that's crippling the superhero comic book business today-- the direct market and its lock on the distribution of comic books.

On the one hand, you have superhero mythology in mainstream media-- a mass market appealing to millions upon millions of consumers world wide, a potential audience beyond anything imagined by comic book creators half a century ago in our most weed-enhanced fantasies. And on the other hand, you have superhero publishing in the direct market-- a shrinking niche market numbering in at most a hundred thousand, dominated by a core readership of a few thousand, whose financial support is strained to the breaking point and beyond by ruthless and extortionate marketing of low-value-added gimmick publications that thwart long term emotional investment.

In a rational universe, both companies would be examining their core business strategy to stake a claim in the mainstream market-- a claim they have a moral, creative and financial imperative to demand as the originators of the mythology being celebrated. If ever there was a moment for the Big Two comic book publishers to think outside the traditional box, this is it. Instead, they are consumed with chasing the diminishing returns of the direct market-- creating properties to exploit a readership exhausted by the financial and emotional demands of predatory publishing techniques designed to milk as much profit from a shrinking audience as possible. This isn't only cynical, it's stupid and counterproductive-- not to mention ultimately an expression of creative bankruptcy.

So, having analyzed the problem from my own admittedly limited viewpoint-- a viewpoint privileged, somewhat, by fifty years of experience-- do I have any solutions to propose?

Yes, I do.

The superhero comic book business is in a death spiral, and everyone in the business seems to know it. A crisis as serious as this cannot be addressed by fixes at the margins. We need a fundamental break with the business practices that have brought the companies to this point. A radical solution to a radical crisis.

Both Marvel and DC need to redefine themselves as creative entities. What is their CORE purpose? What is their CORE contribution to the larger enterprise of creating superhero mythology for mainstream media?

Is their core purpose publishing paper pamphlets for sale to a small readership of tens of thousands? Or is their core contribution creating stories and characters in comic book format that can be transformed into other forms of media?

If it's the first, their business is a dead end, and nothing they do will extend its existence past the next few years. The direct sale market is dying. There's no time to develop other methods of distribution to profitably replace it. The publishers have tried expanding into bookstores, which, like the comic book stores, are dying. They've tried expanding into big box stores like Walmart, but that experiment seems to have failed. They've sought sales in digital format, but judging by reports of my own sales in that medium, it's not a panacea-- yet. Traditional comic book publishing for profit by the Big Two seems hopeless, by all the available evidence, at least as presently constituted. Maybe, if both companies scaled back overhead and production to 1967 levels-- Marvel producing 12 books a month with a small office and a skeleton staff, DC producing 30 with a slightly larger editorial footprint-- they might survive as pure publishing entities.

But survival shouldn't be a goal.

Instead, I suggest both Marvel and DC dramatically redefine themselves as creators of comic book content first-- and profitable publishers second, if at all.

One advantage both companies have as corporate subsidiaries that they never had as independent family businesses is something they need to embrace and promote to their corporate masters as a positive principle-- neither company needs to turn a profit, at least not in the short term, and not as publishers. Instead they should redefine themselves primarily, in the modern lexicon, as IP creators. Intellectual Property is one of the most important drivers of modern corporate media success-- if not the most crucial component. Comic book publishers are easily the most cost effective creators of IP in modern media. For a media corporation to require profitability of an IP generator like a comic book publisher, when even the highest levels of publishing profitability pale beside the far greater value of the IP itself, isn't just short-sighted, it's counterproductive and self defeating.

Marvel and DC should see themselves primarily, if not solely, as IP generators, and sell themselves to Disney and Warnermedia as such. Publishing should be the tail of the dog; the dog is creation.

If the companies do follow this path, they'll also need to radically rethink their approach to publishing-- ironically, with potential benefit both to themselves as profitable enterprises and to their customers in the direct market.

For example, if your goal as a company is no longer to increase or maintain market share in the direct market, but instead to generate exciting and long-term potential IP, you don't need predatory publishing practices like variant covers, or twice-yearly "events," or extortionate pricing, or required pre-orders. You could even begin to accept returns, lightening the financial pressures on dealers and encouraging them to risk new series. You could reduce the number of unnecessary spin-offs and reboots. You could devote energy to nurturing creatives and long-term storylines.

At one point in the mid 1970s I had a dust up with Marvel's production chief, the late John Verpoorten. I was complaining that a revision to the production schedule would negatively affect the aesthetic quality of a book I was writing and how could he justify that (I was young, naive and arrogant). John looked at me and growled, "From an aesthetic point of view we can maybe justify ten of these books." I was gobsmacked and obviously never forgot his point.

Redefining their core mission as IP generators would allow both Marvel and DC to address John's point positively: is there an aesthetic reason to publish this story? Does it say something new and valuable about our characters, or is it just an effort to increase market share? Does it add to the mythology, or diminish it? Is it good?

Publishing sales success has rarely been a reliable predictor of a superhero story's viability in other media. Venom is a popular comic book character with mixed success in sales-- but a worldwide hit as a movie antihero. The JLA Detroit era heroes ended ignominiously in a market driven by direct sales, but individually have provided useful source material for CW TV shows. The Green Arrow was never a sales leader in comics. Before the Batman movies, Batman was a mid-level but important DC comic. Deadpool was a popular second string character but again never a sales leader before Ryan Reynolds put on the mask.

There's a way forward for both the superhero publishers and the direct market-- but not if the publishers continue to define themselves first as publishers. That day is past. The publishers will have to be bold if they're going to thrive in the post-direct market world. The first step is for them to decide what they do best. In my view, what they do best is create comic book stories. Those stories transcend the traditional sales platform that produced them. It's time for the bird to leave its nest.

#comics #superhero #dc comics #marvel #direct market #publishing #Warnermedia #Disney #superhero movies

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10 Best Dragon Books and Series

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From the obscure to the well-known, we break down the 10 best dragon books and series of all time.

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Dragons in fantasy can be many things. Predatory shapes in the sky. Warships. Animal companions. People: rulers, refugees, friends. With so many books and so many types of dragons to choose from, it can nevertheless be difficult to find a book about unique dragons. For this list I’ve pointedly ignored Game of Thrones, because Daenerys’ brood are the default mold of today’s fantasy dragons. Rare, powerful fire-breathing animals, they’re intelligent but not quite people. You probably know already whether you like them or not.

This is a list about dragon books that do something different. Whether that’s a change in physiology or behavior, or a particularly detailed look at day-to-day life with giant reptiles, you’ll find a variety here. 

(Another notable exception: I haven’t included many shapeshifters who are basically human but have a dragon form. This is a whole subgenre, and one I’m not knowledgeable enough about to include.) 

read more: An Evolution of Dragon Stories

This list stretches from middle grade readers to adult-marketed books, with a lot in between. Books like the Pern series in the 80s and 90s were marketed to adults but widely read by teens. So expect most but not all of the crossovers here to be enjoyable for both adults and teens. 

Dragon Pearl (2019) 

By Yoon Ha Lee 

Dragon Pearl’s dragons are shapeshifters, as are many of the characters in this charming middle grade book. Inspired by Korean mythology, the solar systems of Dragon Pearl are inhabited by both humans and magical creatures. The main character, Min, is a fox spirit, and one of her friends, Hanuel, is a dragon. While the book doesn’t go into detail on how dragons live at home, there are hints at interesting world-building in the form of a powerful dragon council.

read more: Best Space Operas of 2019

Wings of Fire (2012)

By Tui Sutherland 

Humans exist in the world of Wings of Fire, but the story isn’t about them. Instead, it’s entirely concerned with intelligent dragons, who have their own societies and consequently their own wars. Although this is a middle grade series, it’s surprisingly violent and tense. Because it’s a middle grade series, the plot flashes along at an impressive speed that nevertheless doesn’t feel rushed.

These are beach reads for me, with their clearly-drawn characters and adventurous stories. These dragons differentiate themselves from others by existing in several different subspecies or kingdoms, such as ice-breathing dragons or magical dragons patterned in blue-purple and silver like a night sky.

The Rain Wild Chronicles (2009)

By Robin Hobb

While the Rain Wild trilogy is part of another sprawling series, these three volumes focus primarily on dragons and the people who travel with them. Robin Hobb’s dragons have several unique traits: they are born as sea serpents and spin cocoons before emerging as what most people think of as dragons. They can create a psychic bond with humans, but dragons use it to coerce people as much as to befriend them. The dragons in this series are unique individuals, sometimes standoffish and particular. They can also sculpt humans into new shapes: it’s a major revelation in the book to discover just how much humans change when a dragon decides to metaphorically take them under their wing.

Temeraire (2006)

By Naomi Novik 

The nine books in this series take the idea of dragons as weapons of war literally. In an alternate Napoleonic War, sailors ride dragons instead of ships. One dragon can carry a crew of dozens of men. These dragons are intelligent enough to speak, and treated differently by different human societies. In Britain they are functionally animals or warships, almost all utilized by humans, while in China and other countries, they are treated as citizens. The size of these dragons and their presence in a historical time period rather than a completely fantastical world set them apart. 

Joust (2003) 

By Mercedes Lackey

Mercedes Lackey is a powerhouse of fantasy books of varying quality. Joust is an odd beast: brightly colored dragons that act like real animals are used as war horses in a non-specific, quasi Ancient Egyptian fantasy setting. As a visual concept it’s beautiful (look at that cover!), and the dragons are convincingly ferocious, unpredictable, and half-domesticated. The main problem is that the beginning of this story is slow—a war in the background stays in the background for a while—and the setting depends on your tolerance for “special enslaved teen makes his escape” tropes. But for readers who are just getting a taste for dragon stories, it’s a colorful start.

Dragonriders of Pern (1967)

By Anne McCaffrey 

This sprawling series featuring “alien” dragons is a staple of science fiction. With dozens of novels in Anne McCaffery’s series and almost a dozen more co-authored by McCaffery and her children, there are plenty of books to choose from.

For me as a teen, they combined the wonder of fantasy dragons with the classification systems and lore of science fiction or Pokemon. These genetically-modified dragons live in specialized fortresses on an alien planet and bond psychically with their human riders.

For all their wonder, the books tend to be over-long and dry, and the human characters never shine as much as the dragons do. But its genre-bending world-building, its confidence in portraying the giant fighting dragons and small, gregarious fire-lizards, and the pure longevity of the series earn it a place on this list. 

Jeremy Thatcher, Dragon Hatcher (1991) 

By Bruce Coville 

Part of the "boy and his dragon" genre, this is a particularly charming children’s book. Prolific children's author Bruce Coville brings humor and a touch of realism to the story of young Jeremy buying a dragon’s egg and raising the hatchling. His father is a veterinarian, so he has some idea about how to treat a dragon as if it’s an animal. While it is probably best for younger children, the book’s portrayal of Jeremy’s perspective and the dragon’s magic makes it a charming story that helped create my love for fantasy adventure stories.

Guards! Guards! (1989)

By Terry Pratchett 

Terry Pratchett’s humorous and politically astute fantasy novels are famous for a reason. This is his first “City Watch” story, following Sam Vimes and the rough-around-the-edges police of the fantasy metropolis Ankh-Morpork. The dragon starts as a classic fantasy creature, but its motivations and the presence of the comical little swamp dragons make this a particularly fun read. If you haven’t read the Discworld series, it’s a good place to start. Sam Vimes’ growth throughout the series is one of Pratchett’s many master works… even if not all of the books feature this many dragons. 

read more: Everything to Know About BBC America's Discworld Series

The Pit Dragon trilogy (1982) 

By Jane Yolen

Dragons are bred to fight in gambling dens in this story of an alien planet. Yolen’s trilogy is rather obscure, perhaps because it was published before the YA boom with which is shares some similarities.

The main character is Jakken, an enslaved boy on a former prison planet. These dragons are bloody and messy, and taking care of them is a chore. As a kid I was delighted by the details of the planet’s plant life and the horse-like behavior of the dragons. While the plot isn’t unique, the amount of detail Yolen brings to the idea of living with dragons was immersive.  

The Hobbit (1937)

By J. R. R. Tolkien 

The ur-dragon, Smaug, may seem even more over-hyped than the Game of Thrones brood. Smaug hordes gold and punishes thieves with deadly fire. But I include Tolkein's dragns on the list partially because Tolkein popularized so much of how dragons are portrayed in fantasy today.

Some of the similarities haven't carried over to other works, too. In the Silmarrillion and other published world-building material, Tolkein establishes that ice-breathing dragons also existed in Middle-Earth. Both kinds were creations of Morgoth, Middle Earth’s original villain, and hate the other species because they are an evil inverse of their good qualities. This moral underpinning that cannot be seperated from Middle Earth's lore is one of the many ways in which Tolkiein’s world building shows its author's Christian worldview.

Megan Crouse writes about Star Wars and pop culture for StarWars.com, Star Wars Insider, and Den of Geek. Read more of her work here. Find her on Twitter @blogfullofwords.

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Megan Crouse

Sep 17, 2019

Fantasy Books

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[1market]

Comic Book Market Market Growth, Trends, Future Opportunities, Analysis and Forecast To 2025 |Research Informatic

Comic books have been popular for decades and are still growing in popularity around the world. They not only provide recreational and entertainment value, but they also help readers improve their vocabulary. They are also beneficial to children who have learning disabilities. Children with autism, for example, can learn to identify emotions through visual representation.

The Comic Book Market is expected to reach $4,719.1 million by 2026, growing at a CAGR of 3.6 percent between 2021 and 2026.

The Comic Book Market reports give a far-reaching outline of the worldwide market size and share. It gives the information historic and six years forecast data which incorporates information on financial information of worldwide market. Key partners can refer the insights, tables and figures highlighted in this Comic Book research report. Nitty gritty Study of Market incorporates evaluation of Porter’s Five Forces system, Pestle Analysis, SWOT analysis with Opportunity.

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 Some of the Top companies influencing in this Market includes:

·         ExxonMobil Corporation (US)

·         Dow Inc. (US)

·         SIPCHEM (Saudi Arabia)

·         Formosa Plastics Corporation (Taiwan)

·         Hanwha Total Petrochemical

 Description:

The report provides defines and describes the market by gathering the relevant and unbiased information of the market. The research provides the authentic data that help to solve the upcoming obstacles in the market.

As the global Comic Book market is segmented based on various parameters, an in-depth classification of the market is also mentioned; elements impacting the market’s growth are studied in detail to understand the report precisely. Moreover this, profiles of some of the leading players operating in the global market are included in the report.

Segmentation of Comic Book Market:

The report segments the market by the type of the product, Application of the product and the end users. Segmentation of the market enables the client to understand the market clearly and deeply.

 By Type

·         Physical Comic Book

·         Digital Comic Book

By Applications

·         Retail Stores

·         Book Stores

·         Speciality Stores

·         Online

Geography

·         North America

·         Europe

·         APAC

·         RoW

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 The study presents an evaluation of the factors that are expected to inhibit or boost the progress of the global Comic Book market. The global Comic Book market has been examined thoroughly on the basis of key criteria such as end user, application, product, technology, and region.

An analysis has been provided in the report of the key geographical segments and their share and position in the market. The estimated revenue and volume growth of the global market has also been offered in the report.

Classified by region, this research report is segmented into many key sections, with production, consumption, revenue, market share and progress rate of Comic Book in these regions, from 2022 to 2029, covering the regions like North America, Europe, China, Japan, Southeast Asia and    India.

Highlights of the report:

The research study is derived from primary and secondary resources which consist of qualitative and quantative analysis

 It provides the information about the drivers and restraints of the market.

It presents a dynamic vision to conclude and research market size, key developments and competitive information.

It highlights the current scenario of the businesses along with historical records.

It focuses on some significant factors that are responsible for the progress of the business.

Buy the Full Research Report of Global Comic Book Market @: https://researchinformatic.com/reports/comic-book-market-216

If you have any special requirements, please let us know and we will offer you the report as you want.

About Us:

Research Informatic is a bulging market research and consultancy company based in Nevada, United States, with a report distribution centre in India. We are committed to assisting our clients in making critical business decisions by fulfilling their niche market research needs. Our clients are spread across more than 130 countries and in all business domains.

Our service offerings include syndicated research, tailored research, consumer surveys, and consulting. We concentrate on making investment decisions based on a variety of criteria such as growth size, benefits strategies, technical advances, and changing consumer inclinations, to name a few.

Our syndicated and custom research reports assist our customers in growing their businesses across a broad range of industries. In the fields of healthcare, chemicals and materials, ICT, Automation, Semiconductors & Electronics, Consumer goods, Energy, Food & Beverages, and Packaging, we include research studies in the form of syndicate reports, custom reports, market surveys, and consultancy projects.

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#Comic Book Market #Comic Book Market Share #Comic Book Market Future #Comic Book Market Opportunity

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Books & Reference Market Product benchmarking, Impact of COVID-19 & Competitive Landscape

The global books and references market size is expected to reach USD 17.9 billion by 2028, according to a new report by Million Insights. The market is expected to witness a CAGR of 14.1% from 2021 to 2028. The market growth is owing to the rising demand for in-built audiobook apps across the globe. A surge in the adoption of digital content of e-learning books from the consumers of India is further refueling market growth.

Growing demand for reading subscription services in the Asia Pacific is refueling market growth. Increasing demand for digital access to children's comics across the globe is anticipated to boost the market growth. Cloud technology-based digital apps and the availability of several online books on the platform of google play store and apple iOS store are propelling the market growth.

Click The Link Below To Request Free Demo of Books And References Market: https://www.millioninsights.com/snapshots/books-references-market-report/request-demo

Books And References Market Report Highlights

The Asia Pacific made the largest contribution to the market and accounted for a revenue share of over 50.0% in 2020. This can be credited to the rising demand for virtual learning-based audiobooks from the consumers of China and Japan

The google play store segment accounted for the highest revenue share of over 65.0% in 2020. This can be credited to the rising demand for google translate oriented e-book products from the consumers of Brazil and Saudi Arabia

The Apple iOS Store segment is projected to witness a CAGR of 15.5% from 2021 to 2028. This can be attributed to the growing disposable income of the consumers of emerging economies such as China and India to adopt iOS-based Apple books

In the Middle East and Africa, the market is projected to witness a CAGR of 16.8% from 2021 to 2028. Soaring demand for portable e-book apps in South Africa is estimated to escalate market growth over the forecast period

Key players are focusing to provide eye-care-oriented e-book apps. Several companies are providing virtual digitalize access to magazines, books, and newspapers. The surge in the adoption of 5G network-based smartphones across the globe will create lucrative opportunities for the global key players.

Apple iOS Store segment will register the highest growth rate over the forecast period. This can be credited to the growing demand for Excellent UI and fluid responsive iOS-based stores. Jailbreaking for customization features is refueling the market growth. A properly integrated app, a more secured Apple iOS Store, and a technologically advanced audiobook feature also reflect the significant market growth during the forecast period.

The Asia Pacific dominated the market and accounted for a revenue share of over 50% in 2020 due to the growing demand for downloadable e-book options from the consumers of China and India. Moreover, the rising demand for technology-based e-magazines in Japan is anticipated to boost the market growth.

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Toys  Market by Development Strategy, Competitive Landscape, Future Trends and Forecast 2028

Toys Market

Toys are an integral part of a child’s co-curricular activity where incorporating the right toys at an early age will help promote the overall development and decrease the chances of stunted physical and mental growth. According to a recent study by MRFR, 90% of young children’s playful activities involves toys. Furthermore, toys help in keeping the children engaged while guardians perform other important tasks or simply rest.

Toys also assist in bridging an emotional gap and improve the quality of interactions between older and younger family members. Additionally, construction games participate in the development of skills and abilities of a child. Educational games make the learning easier and more effective for children due to several interactive activities that are preferred over traditional teaching pedagogies. The toys market size was valued at $92.2 billion in 2019, and is expected to reach $103.8 billion by 2027, registering a CAGR of 2.5% from 2021 to 2027. The sports and outdoor toys segment led in terms of toys market share in 2019 and is expected to retain its dominance throughout the forecast period.

The increasing demand for toys among children is offering a lucrative opportunity to market players, thereby encouraging new and innovative product launches. However, the shift toward game consoles and smartphones from traditional toys and games is expected to hamper the market growth during the forecast period.

Access Full Report Below Click link: https://www.marketresearchfuture.com/reports/toys-market-8001

Top Companies

The LEGO Group (Denmark), Mattel, Inc. (US), Hasbro, Inc. (US), Playmates Toys Limited (Hong Kong), Tomy Company, Ltd (Japan), Kenner Products (US), Spin Master Ltd (Canada), Jazwares, LLC (US), VTech (Hong Kong), Funko Inc. (US), NECA (US), Tru Kids Brands (US), MGA Entertainment Inc. (US), Basic Fun, Inc. (US), are the key manufacturers toys in the global industry.

Regional Study

The regions where the Toys market Growth industry should witness growth at varying rates include Europe, MEA or Middle East, the Americas along with APAC/Asia Pacific.

The North American market for Toys Industry is the highest gainer among all the regions, primarily due to the presence of reputed manufacturers and the burgeoning fanbase for superhero movies. A striking trend in the North American toy market, especially in the US, is the popularity of collectibles, such as mini-cars, cards and stickers, coins, figurines and dolls antiques, stamps, and comic books. The collectibles market also receives a push from the influx of major brands like Fingerlings from WowWee Group Limited and LOL Surprise! from MGA Entertainment Inc. trying to widen their customer base armed with innovative marketing campaigns.

The APAC Toys market Growth industry should record the fastest CAGR between 2020 and 2027, as the region has witnessed incredible growth in the organized retail sector over the years. The rising significance of educational games with parents growing focused on enhancing their children’s mental capabilities has also favored the Toys market Growth in the region. Intense product advertising and the launch of technically sophisticated toys in China, Indonesia, and Japan further add to the regional market’s value.

Market Segmentation

The toys industry can be considered for type and distribution channel.

The various types of toys available in the global industry include soft toys and dolls, preschool toys, arts and crafts toys, action toys, vehicles, construction toys, and others.

The distribution channels listed in the market study are store-based as well as non-store-based. The store-based channels are specialty stores, supermarkets, and hypermarkets, and more. Mounting use of online channels among consumers has fostered the accessibility to different types of toys. Easy access and high internet penetration have boosted e-retailing of a variety child products, especially toys, since it is cost effective and saves time.

NOTE: Our Team of Researchers are Studying Covid19 and its Impact on Various Industry Verticals and wherever required we will be considering Covid19 Footprints for Better Analysis of Market and Industries. Cordially get in Touch for More Details.

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#Toys Market Trends Toys Market Research Toys Industry Outlook Toys Market Growth

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Comic Book Market Research Report

The comic book market, one of the most profitable and dynamic comic book market segments on the worldwide web, is enjoying exceptional growth both as a direct revenue source and an indirect source of revenue through comic book related events, merchandise and licensing. The comic book market, now featuring hundreds of comic book titles, continues to expand at a fast pace due to a variety of factors. However, comic book market players must address several issues in order to secure their position in the comic book market. comic book market Research, comic book market forecasting and comic book market analysis are some of the critical tools required by comic book market players in order to stay ahead of the comic book market competition.

https://www.reportmines.com/tattoo-aftercare-products-market-in-china-r184846

https://www.reportmines.com/tattoo-aftercare-products-market-in-us-r184847

The global comic book market, according to a variety of studies, is today highly concentrated in two regions of the world. In the North American region, there is a large assortment of comic book market players including top comic book sellers DC Entertainment, Marvel Entertainment, Hasbro, DC comics and IDW. On the other hand, in Europe, there are dominant comic book market players such as Marvel, DC and Hasbro. These comic book market players have evolved over the years based on their business models and strategies but often face the same challenges in terms of sustaining their share in the comic book market.

https://www.reportmines.com/tattoo-aftercare-products-market-in-japan-r184848

https://www.reportmines.com/tattoo-aftercare-products-market-in-south-korea-r184849

A variety of factors contribute to the concentration of comic book market shares in these two different regions of the world. One is the increasing demand for comic books from various age groups across the different continents and the second is the different pricing structures that are applied by retailers. comic book market players face the double challenge of increasing demand from both new and old audiences. It has been observed that comic book stores have resorted to adopting price wars to increase their revenues. This has resulted in the emergence of two different price brackets for comic books, namely the "ground level" and the premium level.

https://www.reportmines.com/tattoo-aftercare-products-market-in-india-r184850

The global comic book market has faced certain challenges and difficulties over the past few years. The most prominent is the decreasing profitability, which has resulted in less profit margins for comic book market players. The reduction in profit has also led to a saturation in the market. There are basically two types of comic book market players, namely the retailers and distributors. The retailers are those who physically display comic books and related merchandise in their establishments while the distributors are the ones who sell comic books online through the World Wide Web. The comic book market in its varying segments can be broadly categorized into five different segments, namely: local market, regional, international, internet, specialty and international.

A global comic book market refers to those comic book market players who have operations across the globe. It includes both online stores and brick and mortar outlets. A number of comic book market players operate both online and offline with the regional ones specializing in certain countries or regions. It is important for comic book market players to understand the global demographics and preferences so that they can effectively cater to the retail needs of their customers. For instance, comic book readers in Japan prefer Japanese comic book stores more than those belonging to North America and Europe.

The comic book market has several key players covered here. Two major players include DC comic book company and Marvel comic book company. DC comic book company operates under the comic book industry organization or comic book publishers association, while Marvel comic book company is the sole owner of the Marvel comic book world. Both companies have their respective marketing channels that they use to expand their territories and boost their sales.

One of the many factors that have contributed to the increase in the comic book market size is the increasing demand among comic book readers for related merchandise such as movies, games, television shows, and other media. Another reason for the growth is the proliferation of comic book stores and comic book specialty shops all over the world. In most cities around the world, there are at least a few comic book stores in existence. These comic book stores usually operate within the vicinity of the main commercial establishments such as shopping malls, coffee shops, and other specialty stores. The comic book market players benefit from the increased patronage of these comic book stores as the latter in turn provides them access to a potentially huge clientele.

The comic book market research report has been conducted to help comic book store owners in understanding the different factors affecting the comic book market growth. The market research is done by firms specializing in conducting market researches on a regular basis. They conduct focus groups, surveys, focus groups, and focus group discussions with the assistance of the different factors affecting the comic book market. This helps the comic book store owners to take wise decisions about the future expansion and development of their business.

Summary

The report forecast global Comic Book market to grow to reach xxx Million USD in 2019 with a CAGR of xx% during the period 2020-2025 due to coronavirus situation.

The report offers detailed coverage of Comic Book industry and main market trends with impact of coronavirus. The market research includes historical and forecast market data, demand, application details, price trends, and company shares of the leading Comic Book by geography. The report splits the market size, by volume and value, on the basis of application type and geography.

First, this report covers the present status and the future prospects of the global Comic Book market for 2015-2024.

And in this report, we analyze global market from 5 geographies: Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia], Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland], North America[United States, Canada, Mexico], Middle East & Africa[GCC, North Africa, South Africa], South America[Brazil, Argentina, Columbia, Chile, Peru].

At the same time, we classify Comic Book according to the type, application by geography. More importantly, the report includes major countries market based on the type and application.

Finally, the report provides detailed profile and data information analysis of leading Comic Book company.

Key Content of Chapters as follows (Including and can be customized) :

Part 1:

Market Overview, Development, and Segment by Type, Application & Region

Part 2:

Company information, Sales, Cost, Margin etc.

Part 3:

Global Market by company, Type, Application & Geography

Part 4:

Asia-Pacific Market by Type, Application & Geography

Part 5:

Europe Market by Type, Application & Geography

Part 6:

North America Market by Type, Application & Geography

Part 7:

South America Market by Type, Application & Geography

Part 8:

Middle East & Africa Market by Type, Application & Geography

Part 9:

Market Features

Part 10:

Investment Opportunity

Part 11:

Conclusion

Market Segment as follows:

By Region

Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia]

Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland]

North America[United States, Canada, Mexico]

Middle East & Africa[GCC, North Africa, South Africa]

South America[Brazil, Argentina, Columbia, Chile, Peru]

Key Companies

Warner Bros

Marvel Entertainment

Toei Animation

Mirage Studios

Image Comics

Charlton Comics

Fawcett Comics

Kyoto Animation

Shueisha

Kodansha

Futabasha

Houbunsha

Hakusensha

Akita Shoten

CHING WIN PUBLISHING

Market by Type

Child Direction

Adult Direction

Market by Application

Online Sales

Offline Sales

Frequently Asked QuestionsWhat is the USP of the report?

Global Comic Book Market report offers great insights of the market and consumer data and their interpretation through various figures and graphs. Report has embedded global market and regional market deep analysis through various research methodologies. The report also offers great competitor analysis of the industries and highlights the key aspect of their business like success stories, market development and growth rate.

What are the key content of the report?What are the value propositions and opportunities offered in this market research report?Related Reports

Global Comic Magazine Market

Global Command and Control Systems Market

Global Commercial Air Traffic Management Market

Global Commercial Aircraf Engine Market

Contact us: https://www.reportmines.com/contact-us.php

[stormbraindesigns]

What You Need to Know About 2021 Graphic Design Trends

What You Need to Know About 2021 Graphic Design Trends

 What's amazing about graphic design is every year it changes. This year’s trends gave us a welcome change from the norm. This year designers are putting people first, including using abstract psychedelic, which has its roots from the music and arts industry way back in the 1960's. Today it is being experimented with in graphic design, showing that designers are not being restricted by the traditional designs anymore.

 This year designers will be bringing psychedelic back through intensity and excessive colors with intricate abstractions, these take on lives of their own, which means every viewing is unique. Using symmetry, graphic designers make the most distorted shapes and images more stable.

 Symbols are also making a comeback. That's right, symbols have universal meanings, which can convey a warming or identify a cause. Classic symbols are powerful and able to share information in a universal language. Designers are using symbols to create icons of growth and empowerment by using known symbols of power, while modernizing the traditional symbol.

 In addition to this, sci-fi designs are a thing of the past, today retro futurism is a visual style using bold imagination and with an optimistic futuristic outlook. The optimism is found through expression of the bright colors and curves, transporting you back to the old days. Using surreal is an illusion that is seamless, separating one image from the next. It is used as a high concept approach, which is increasing in album art, book covers and posters.

 A good graphic designer can tell a story, making the story memorable. Many can include characters, which are quirky and add personality that make them unforgettable. This incorporates concept illustrations, providing character poses and personalities that are hand drawn. They can add humor to your website or advertising campaign. You will also see that past styles never really die with comics and pop art, which is making a comeback this year.  Comics came out when there was very primitive printing technology, using dot shading and color. These days modern trends include flat design through grainy textures, with great depth, that make sense of the comics and pop art pictures being introduced.

 Now that you have been through the cartoons, retro styles and symbols, there are also the infusion of fine art. Fine art and design have always been separated, but in 2021, they are coming together with traditional borders. You can expect to see more acrylic brush strokes and abstract expressions that will bring graphic design to a whole new level this year. The focus will be to create designs that have the depth and surface variation of graphic design, making them look real enough to touch.

 Nature has never been as important as it is today with global warming, as a result, it is no surprise to find nature elements in graphic designs. With the COVID-19 pandemic, people are being restricted to work and live at home, which means there is a desire to spend more time in nature. From leaf shaped patterns to earth toned colors, you can expect to see more nature elements in designs moving forward.

 Color transitions and gradients have been a popular part of graphic design for some years now, but these days designers are working on blended and blurry backgrounds adding grain filters, which can make the design look real. The benefit to this is that it allows any foreground elements to pop against the background, whether it’s an image or bold typography.

 About Us: Storm Brain is an innovative digital marketing agency offering customers branding and creative services to help them achieve new results in their businesses. They cater to companies of all sizes and industries, providing them with comprehensive marketing and branding services to meet their particular project or campaign needs. Storm Brain offers superior levels of customer service and support with a range of services to meet each customer’s unique ongoing marketing requirements. They have a dedicated team of designers, developers and content strategists offering web design and development, search engine optimization, online and offline marketing campaigns, app development and so much more. To find out more, visit www.stormbrain.us

#graphic designer san diego #graphic design san diego

[researchetcsblog]

Comic Book Market Research Report

Comic Book Market Research Report

The comic book market, one of the most profitable and dynamic comic book market segments on the worldwide web, is enjoying exceptional growth both as a direct revenue source and an indirect source of revenue through comic book related events, merchandise and licensing. The comic book market, now featuring hundreds of comic book titles, continues to expand at a fast pace due to a variety of factors. However, comic book market players must address several issues in order to secure their position in the comic book market. comic book market Research, comic book market forecasting and comic book market analysis are some of the critical tools required by comic book market players in order to stay ahead of the comic book market competition.

The global comic book market, according to a variety of studies, is today highly concentrated in two regions of the world. In the North American region, there is a large assortment of comic book market players including top comic book sellers DC Entertainment, Marvel Entertainment, Hasbro, DC comics and IDW. On the other hand, in Europe, there are dominant comic book market players such as Marvel, DC and Hasbro. These comic book market players have evolved over the years based on their business models and strategies but often face the same challenges in terms of sustaining their share in the comic book market.

A variety of factors contribute to the concentration of comic book market shares in these two different regions of the world. One is the increasing demand for comic books from various age groups across the different continents and the second is the different pricing structures that are applied by retailers. comic book market players face the double challenge of increasing demand from both new and old audiences. It has been observed that comic book stores have resorted to adopting price wars to increase their revenues. This has resulted in the emergence of two different price brackets for comic books, namely the "ground level" and the premium level.

The global comic book market has faced certain challenges and difficulties over the past few years. The most prominent is the decreasing profitability, which has resulted in less profit margins for comic book market players. The reduction in profit has also led to a saturation in the market. There are basically two types of comic book market players, namely the retailers and distributors. The retailers are those who physically display comic books and related merchandise in their establishments while the distributors are the ones who sell comic books online through the World Wide Web. The comic book market in its varying segments can be broadly categorized into five different segments, namely: local market, regional, international, internet, specialty and international.

A global comic book market refers to those comic book market players who have operations across the globe. It includes both online stores and brick and mortar outlets. A number of comic book market players operate both online and offline with the regional ones specializing in certain countries or regions. It is important for comic book market players to understand the global demographics and preferences so that they can effectively cater to the retail needs of their customers. For instance, comic book readers in Japan prefer Japanese comic book stores more than those belonging to North America and Europe.

The comic book market has several key players covered here. Two major players include DC comic book company and Marvel comic book company. DC comic book company operates under the comic book industry organization or comic book publishers association, while Marvel comic book company is the sole owner of the Marvel comic book world. Both companies have their respective marketing channels that they use to expand their territories and boost their sales.

One of the many factors that have contributed to the increase in the comic book market size is the increasing demand among comic book readers for related merchandise such as movies, games, television shows, and other media. Another reason for the growth is the proliferation of comic book stores and comic book specialty shops all over the world. In most cities around the world, there are at least a few comic book stores in existence. These comic book stores usually operate within the vicinity of the main commercial establishments such as shopping malls, coffee shops, and other specialty stores. The comic book market players benefit from the increased patronage of these comic book stores as the latter in turn provides them access to a potentially huge clientele.

The comic book market research report has been conducted to help comic book store owners in understanding the different factors affecting the comic book market growth. The market research is done by firms specializing in conducting market researches on a regular basis. They conduct focus groups, surveys, focus groups, and focus group discussions with the assistance of the different factors affecting the comic book market. This helps the comic book store owners to take wise decisions about the future expansion and development of their business.

Summary

The report forecast global Comic Book market to grow to reach xxx Million USD in 2019 with a CAGR of xx% during the period 2020-2025 due to coronavirus situation.

The report offers detailed coverage of Comic Book industry and main market trends with impact of coronavirus. The market research includes historical and forecast market data, demand, application details, price trends, and company shares of the leading Comic Book by geography. The report splits the market size, by volume and value, on the basis of application type and geography.

First, this report covers the present status and the future prospects of the global Comic Book market for 2015-2024.

And in this report, we analyze global market from 5 geographies: Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia], Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland], North America[United States, Canada, Mexico], Middle East & Africa[GCC, North Africa, South Africa], South America[Brazil, Argentina, Columbia, Chile, Peru].

At the same time, we classify Comic Book according to the type, application by geography. More importantly, the report includes major countries market based on the type and application.

Finally, the report provides detailed profile and data information analysis of leading Comic Book company.

Key Content of Chapters as follows (Including and can be customized) :

Part 1:

Market Overview, Development, and Segment by Type, Application & Region

Part 2:

Company information, Sales, Cost, Margin etc.

Part 3:

Global Market by company, Type, Application & Geography

Part 4:

Asia-Pacific Market by Type, Application & Geography

Part 5:

Europe Market by Type, Application & Geography

Part 6:

North America Market by Type, Application & Geography

Part 7:

South America Market by Type, Application & Geography

Part 8:

Middle East & Africa Market by Type, Application & Geography

Part 9:

Market Features

Part 10:

Investment Opportunity

Part 11:

Conclusion

Market Segment as follows:

By Region

Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia]

Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland]

North America[United States, Canada, Mexico]

Middle East & Africa[GCC, North Africa, South Africa]

South America[Brazil, Argentina, Columbia, Chile, Peru]

Key Companies

Warner Bros

Marvel Entertainment

Toei Animation

Mirage Studios

Image Comics

Charlton Comics

Fawcett Comics

Kyoto Animation

Shueisha

Kodansha

Futabasha

Houbunsha

Hakusensha

Akita Shoten

CHING WIN PUBLISHING

Market by Type

Child Direction

Adult Direction

Market by Application

Online Sales

Offline Sales

Frequently Asked QuestionsWhat is the USP of the report?

Global Comic Book Market report offers great insights of the market and consumer data and their interpretation through various figures and graphs. Report has embedded global market and regional market deep analysis through various research methodologies. The report also offers great competitor analysis of the industries and highlights the key aspect of their business like success stories, market development and growth rate.

What are the key content of the report?What are the value propositions and opportunities offered in this market research report?Related Reports

Global Comic Magazine Market

Global Command and Control Systems Market

Global Commercial Air Traffic Management Market

Global Commercial Aircraf Engine Market

Contact us: https://www.reportmines.com/contact-us.php