Sentences with phrase «audience than the comic»

The Walking Dead is a phenomenally popular comic, but it's also one you would expect to do a bit better in digital than in print, because the television show has a much larger audience than the comic, and most people who don't read comics regularly don't even know that comic shops exist, much less how to find one.

Not exact matches

Comic fans are one of the hardest - to - please audiences imaginable for popular adaptations of their favorite books, so even getting a passing mark makes Disney look better than just about anyone else.

In its new incarnation, «The X-Men» continued to speak to a teen audience, but its appeal was subtly different; rather than allowing disempowered or alienated kids to identify with superempowered alter egos, the new comic drew attention to the metaphoric possibilities of being a mutant.

A comic actor who began his Hollywood career working behind the scenes, Orlando Jones is more than just the popular pitch man exhorting the 2000 - 2001 TV audience to «Make 7 - Up Yours.»

Deadpool 2 is laden with jokes, in context to the story, to comic book movies in general, and in subtle hints directed toward the audience, all coming at the viewers faster than they can be processed.

Keeping up his namesake, he's also pretty darn funny — the «pencil trick» had our entire theater audience both laughing and wincing simultaneously — and comes closer to the true spirit of the comic book Joker than anything we've ever seen before.

Here's further proof that scatological humor is not a comic evil unto itself, and that it can work if the setup (a hypochondriac) and focus (said hypochondriac's reaction) serve something more than just grossing out the audience.

It was inevitable that at some point, the characters and stories of Marvel's movie universe would be more important than the comics which inspired their writers, stars, directors, and the audience too.

And, impressively, Deadpool 2 ends up being funnier than the original, assaulting its audience with a consistent stream of wickedly insightful jokes that lampoon everything from the current landscape of comic - book properties to Reynolds» own roller coaster ride as a celebrity, both on the screen and off.

Yep, a somewhat obscure comic book nobody (to a general audience) made more money than the two most popular superheroes ever.

Gamers — the core, and hardly insubstantial (far bigger than comics fans, in fact) audience that studios hope to capture by translating their favorite properties — are used to interactive experiences, and film is an inherently passive medium.

As if there weren't enough doomsday - themed films released last year, 2013 will see no less than five different movies on the topic — that is, if you include «World War Z.» But before audiences flock to theaters to watch stars like Brad Pitt and James Franco try to survive the end of days, writer / director Todd Berger's «It's a Disaster» offers a darkly comic tale about a group of friends (and one stranger) who are forced into an impromptu therapy session following a biological attack on the city.

But more than that, it's a starkly original film that plays on its audience's immersion in the culture of sitcoms, video games, and comics.

Now with our own books, we can reach a far broader audience than capes comics or art / autobiographical comics can.

They have audiences that are bigger than the audiences in comics shops — or at least different, or at least mainstream.

In general, they have a policy of not allowing super-sexy comics or other material for in - app purchase (violence seems to get a pass), perhaps because they see different audiences for the two types of reading — and it may be that younger readers are more likely to use in - app purchases than the grownups.

Certainly, selling a title through Amazon or iTunes has the potential to reach a wider new reader audience than selling a title through a comics - specific app.

While some of your traditional comics readers are starting to read comics digitally, it seems a lot of this can be a new audience because the titles that are selling best for us are the big licensed tie - ins: «Star Wars,» «Mass Effect,» «Buffy» and the Whedon titles, more than the creator - owned titles like «Hellboy» and «B.P.R.D.»

While a bit unmoderated, which leads to a few more tangents than desired, each member provided encouraging words for any developing artist along with keen observations on the mercurial nature of success in the comics world, which at least allowed the audience to hear some informative anecdotes.

Taro and the Magic Pencil takes this a step further than other all - ages manga in serving as a bridge between children's story books and comics, similar in the approach of the Diary of a Wimpy Kid and Captain Underwear books, if for a slightly younger audience.

Perhaps the fact that manga has a younger audience than American comics, which has always been considered a strength, is now a weakness: older collectors have money and like to spend it (and in fact, art - house manga publishers like Vertical and Drawn & Quarterly have weathered the storm better than most), but many teenagers don't have credit cards or paypal accounts to pay for things online, and for really young kids, free - to - play is what they know.

Though it makes sense for Archie... again, much more of a female audience than a lot of American comics....

Now, French company Aquafadas is at the head of a new wave of software developers who are providing the tools for comics creators to self - publish digitally, hopefully reaching a bigger audience than the people who pass their card table in the Artists Alley.

I think I mostly succeeded at this, perhaps more so with the indie gaming audience which... how can I put this nicely... are a bit more open minded than the comics audience.

«We get much more of the casual pop - culture - consuming audience [than comics shops get] that doesn't necessarily know about comics shops or know that their favorite shows are in comic books.»

Although American superhero comics were sold in more locations and read by a wider audience in the 1980's, in some ways it feels like they are far more accessible now than they were a quarter century ago.