The monthly numbers for April 2013 are up over at Bleeding Cool, so it’s time to dig a little deeper into the minutia of the stats and see what the Big Two were up to this month.
DC was down more than a percentage point from their average over the past six months, but there were a couple of bright spots here and there. Let’s look at the comparative numbers:
Being down this low from your overall average isn’t a great sign, but hopefully it’s something we can chalk up to a bad month more than anything else. DC’s been relatively consistent for a while, so their low overall total may just be an aberration. We’ll keep our eye on it. By category, editorial had a bad time of it, and colorists, pencillers, and inkers are all down from their recent average. We got a small uptick for cover artists and a slightly larger one for writers, with letterers having the best month of all relative to past performance.
Now to the odds and ends:
- By “letterers” I mean, as always, Saida Temofonte. She’s DC’s only female letterer, and works on a lot of the digital first, licensed, and kid’s books, and her numbers have been growing each month.
- After two months of having at least one female writer each week, the streak was broken in April.
- In fact, none of the creative categories had a female creator every week. There was at least one week with a 0 for all of them.
- In terms of new books at DC, Li’l Gotham #1 was at 2 of 4 (Saida Temofonte lettering, Sarah Gaydos editing) and He-Man and the Masters of the Universe was 3 of 9 (Kathryn Layno coloring, Saida Temofonte lettering, and Sarah Litt assistant editing). It was a quiet month on the new book front.
- The busiest book of the month was Detective Comics #19 with 22 credited creators, 1 of them a woman. It was, technically, Detective Comics #900, so they did a big special issue.
- There was a tie for the book with the highest percentage of female creators: Looney Tunes #212 was 2 of 5 and Smallville Season 11 #12 was 4 of 10.
It was an up and down sort of a month for Marvel compared to their recent average, but it all seemed to even out. Here are the comparisons:
Marvel was just about right on the mark overall, which isn’t too bad. Ideally we’d see some growth, but no significant change overall is better than a big loss. There was some nice progress, like noticeable gains for writers and editors, but these were counteracted by losses for colorists and assistant editors in roughly the same amounts. Cover artists did slightly better than usual while pencillers and inkers were down. The art situation for women at Marvel hasn’t been great lately, and from the solicits it doesn’t look to be shaping up much any time soon.
Some odds and ends:
- Marvel had 2 female writers every single week in April. This was helped by a small X-crossover that Marjorie Liu had a hand in.
- Sara Pichelli accounted for all of the penciling and inking credits this month, partly from her last issue on Ultimate Spider-Man and partly from some guest pages in Guardians of the Galaxy #2. She’s set to become the primary artist on the latter title soon.
- Again, no female letterers. This makes it 882 DAYS since January 26, 2011, the last time Marvel employed a female letterer.
- For new titles, Dark Tower: The Gunslinger – Evil Ground #1 was 2 of 8 (Robin Furth co-writing and Sana Amanat editing), Thanos Rising #1 was 2 of 9 (Ellie Pyle and Sana Amanat assistant editing), and Ultron #1 was at 2 of 6 (Kathryn Immonen writing and Lauren Sankovitch editing).
- The busiest book of the month was Astonishing X-Men #61 with 19 credited creators, 3 of them women. It was part of the aforementioned X-crossover, and from the 5 artists credited it may have been a little bit rushed.
- The book with the highest percentage of female creators was a tie between Avenging Spider-Man #19 and Journey Into Mystery #651, both at 3 of 7.
- To learn more about this statistics project and its methodology click here, and to see the previous stats click here.