Stop Making Boring Comics! There's Other Formats That Actually Sell!

Summary

The video argues that traditional “floppy” comic book formats are not required to sell or stand out. Instead, creators can differentiate their work through alternative comic formats—smaller, larger, or uniquely structured physical designs—that make people stop, pick up the book, and remember it.

The creator walks through multiple examples (often by other artists), comparing how format affects:

• visibility on shelves
• rereading behavior
• tactile/print feel
• how well an art style translates across different sizes

It concludes with a broader takeaway: your comic’s delivery (format/presentation) can become your “calling card,” helping independent creators stand out in a crowded market.

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Artistic techniques / creative concepts / format ideas shown

1) Compact “pocket” / mini-book format (DIY punk vibe)

• Use small, high-quality mini volumes that feel personal and portable (e.g., Inktober drawing collections).
• Benefits discussed:
  • Less noticeable in a shop (easy to bring to places like cafés)
  • Creates a DIY/punk-rock feel
  • Can be more physically memorable than standard floppies

2) Ashcan-sized “artist edition” / reduced-size precursors

• Create smaller in-between editions (ashcan-sized) that act like precursor stories to later collected works.
• Format choice includes influences such as a risograph-like appearance.
• Benefits discussed:
  • Reduces the time people spend glancing, encouraging longer looking
  • Changing scale alters how line/brush textures are perceived

3) Material/finish as a visual hook (spot gloss)

• Add spot gloss to attract attention on shelves.
• Even if the cover isn’t especially text-heavy or story-heavy, reflective accents can “catch” the eye.

4) Small square books to amplify brush/ink styles

• Use a small square format for brushy, inky artwork.
• Concept:
  • Some styles become more striking when reduced—texture and details can stand out more.
• Example mentioned: “Gunk” by Kurt Maloo (brush/woodblock-like feel)

5) Vinyl/Lite-record-like square formats (12-inch LP mimic)

• Use a square format shaped and marketed like a record/LP slip-out.
• Creative concept:
  • Taps into classic record/music nostalgia by association.
• Caveat discussed:
  • Enlarging linework can reduce the artist’s signature “Allredisms” (but the risk is still admired).

6) Magazine-size for intricate linework + tactile “artifact” feel

• Scale up to magazine size when the art is highly intricate.
• Paper/print feel:
  • Mentioned: newspaper-print / low-gloss paper feel
• Benefits discussed:
  • Makes detailed artwork read better at larger scale
  • Creates a collectible “historical artifact/pamphlet” vibe
  • Emphasizes gutters/margins and the tactile experience of page-turning

7) “Newspaper” style oversized opening (Wednesday Comics)

• Create a comic that appears standard on the shelf, but becomes much larger when opened.
• Concept:
  • A “newspaper-like” reading object with internal stories and multiple creators.
• Motivation:
  • A surprising physical design presented as a collectible experiment endorsed by major publishers.

8) Ashcan format as a reread/attention mechanism

• Use smaller ashcan-sized stories (example: Murder Falcon 1).
• Concept:
  • The reduced scale changes how readers experience the work:
    • less “panel scanning” on the first pass
    • more rereading to uncover details
  • The emphasis shifts from art alone to the combined effect of art + story

9) Non-standard orientation / “windshield view” double-wide layout

• Create a book that looks like a normal floppy, but must be turned sideways to read properly.
• Structural concept:
  • When opened, it creates a double-wide, cinematic “windshield view.”
• Key idea:
  • The unusual format should tie into the story’s theme (driving), not just exist for spectacle.

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Advice / creative process steps explicitly implied

No strict step-by-step method is given, but the video frames a practical approach:

• Look for ways your comic can stand out beyond the cover.
• Test different physical formats (mini, ashcan, square, magazine, newspaper-like, sideways “double-wide”).
• Match format to the needs of your art:
  • intricate linework may benefit from being blown up with the right paper
  • brushy styles may read better when reduced
• Use a physical hook (e.g., spot gloss) to capture shelf attention.
• Treat format as your calling card—a delivery method that supports the story.

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Creators / contributors mentioned

• Becky Cloonan (three-part mini books; Inktober drawing collections; precursors/artist editions)
• Kurt Maloo (Gunk)
• Mike Allred (Red Rocket 7)
• Keenan Marshall Keller (The Humans)
• Tom Neely (The Humans; Jungle sequel reference)
• Paul Pope (Wednesday Comics contributor)
• Daniel Warren Johnson (signed Murder Falcon 1; ashcan stories including Star Wars, Gundam, wrestling)
• Sean Murphy (The Last Driver)
• DC (publisher approval referenced for Wednesday Comics)