By Matthew Jent

This Sunday morning panel was moderated by David Mariotte of San Diego’s own Mysterious Galaxy, a bookstore that specializes in “Martians, Murder, Magic & Mayhem.”

“Middle Grade Extravaganza” focused on the books and series for a pre-Young Adult audience, and the panelists were a mix of prose authors and graphic novelists, including Rachel Renee Russell, New York Times-bestselling author of the Dork Diaries series; EJ Altbacker, author of the Shark Wars series; “that scoundrel” Brandon Mull, author of the Fablehaven series (whose greatest regret is that he has “but one life to give for Gondor”); Paul Pope, author/illustrator of the Eisner award-winning Battling Boy; P. Craig Russell, illustrator of the graphic novel adaptation of Neil Gaiman’s Graveyard Book, as well as a number of comics adaptations of timeless operas; the “ever mysterious” and sunglasses-clad Pseudonymous Bosch, author of the Secret Series and the upcoming Bad Magic; and Mr. 50-million-copies-and-counting Dav Pilkey, creator of Captain Underpants and Ricky Ricotta’s Mighty Robot.

The Middle Grade panel at attention, with Paul Pope slouching in the middle.

The Middle Grade panel at attention, with Paul Pope slouching in the middle.

While it wasn’t a packed room, it was impossible to squeeze into the front rows — the fans here for this panel wanted to make sure they had a seat close to the authors.

David led off the panel by asking, “What is it about series that works so well with middle-grade readers?”

Paul Pope responded by paraphrasing Scott McCloud’s Understanding Comics assertion that the space between panels allows readers’ imaginations to fill in the gaps, allowing for a richer experience. “Episodic fiction does something similar,” he said. “You get to fill in the gaps yourself. And it’s a tradition — even the Iliad was told in episodes. ‘Come back tomorrow night, at the campire.’”

Many of the panelists said it went back to their own experiences as middle grade-age readers and wanting to spend more time with favorite characters. “I wanted to read more about Harriet the Spy,” said Rachel Renee Russell. “You want to stay with those characters.”

Asked how they keep their stories accessible for tween-age readers, Brandon Mull said it comes down to writing good scenes. “I create a chain of good scenes,” he said, with “a main characters you can relate to. But a good story is a good story.”

During the audience Q&A, a young fan asked Paul Pope how he came up with the idea for Battling Boy. Pope said he wanted to make comics for an underserved audience. “I have nephews who were your age,” he said, “and they thought it was cool I was making comics, but they can’t see most of it. It’s geared toward adults. And I’ve done work for Adventure Time or Disney, but — when I was young, I read old Fantastic Fours or X-Men, but there just aren’t that many comic books now written for people of your age group. I wanted to write the best superhero for people your age, so they don’t have to keep going back to Batman, who is 75 years old, and Spider-Man, who is middle-aged.”

Another young fan asked Dav Pilkey if he’d had a mean principal himself when he was young, and if that helped inspire his book.

“My teachers and principals were very abusive, sometimes physically,” Pilkey said. “It did not help me. I remember telling me mother — not about the physical abuse, but the emotional, psychological abuse — and my mother told me, everything happens for a reason. Maybe something good will come out of this. I don’t think she had this in mind.”

Pope added that “One of the joys have writing to a young audience is, you retain your innocence. I’m writing to myself as a younger person in a lot of way.”

Pseudonymous Bosch, who wore sunglasses throughout the panel, added that, “It helps if your own maturity level stays where it was when you were 12.” He then took an “unselfie” of the audience, asking them all to cover their faces as he took their picture.

Rachel said that her Dork Diaries were inspired by her own children, who had struggled socially as kids, but who had grown into successful artists in their own right. She introduced her daughter Nicky in the audience, and who had taken over the illustrations for the Dork Diaries with the second book.

The Q&A unfortunately ended while there was still a line of young fans waiting to talk to the authors, but the panel headed off for a group signing that would hopefully allow for some one-on-one interaction. There’s often talk around the comics industry about whether comics have left younger fans behind, but at this panel it was clear that kids were still excited about comics and illustrated prose.

The key is — as it has always been — respecting the intelligence and imaginations of your audience, regardless of their age, and creating art that raises interesting questions.

“A hundred years ago, a good sci-fi writer might image we’ll have cars,” Brandon said. “But a great sci-fi writer will imagine we’ll have traffic jams.”

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logo-pod-more-to-come-1400.pngLive from San Diego Comic Con, it’s More To Come! Publishers Weekly’s podcast of comics news, interviews and discussion with Calvin Reid, Kate Fitzsimons and The Beat’s own Heidi MacDonald.

In part five of More To Come’s San Diego Comic-Con special podcast, Calvin Reid interviews award-winning author Chuck Palahnuik about his decision to write the sequel to his hit ‘Fight Club’ in comic book form, and the comics professionals who helped it happen. This has been San Diego Comic-Con 2014 from Publishers Weekly’s More To Come!

Download this episode direct here and catch up with our previous podcasts on the Publishers Weekly website, or subscribe to More To Come on iTunes

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A computer crash that I still haven’t been able to get fixed has resulted in my not being as thorough this time around as I would’ve liked. I hope you’ll let me know if there were any really good indie or GN covers I missed.



This is a fantastic composition. Shape of the gun and position of the figures inside already does a solid job of leading the eye from upper left to lower right, but the shifting color also helps. My one nitpick would be that the bullets at the lower left establish a ground plane that makes it seem like the gun is being fired into the ground, which I don’t think was the intent.



This is an interesting contrast of fun and quirk (the goat, and the videogame-esque composition) and dark (the blood and chalk outline). I like the exclamation point and question mark, but I’m not sure I follow what the other face balloons are trying to express (if they’re expressing anything?).


RAI #3

This is a nice image, but after issue one had so many different covers of just the main character, I find myself automatically assuming I’m looking at another variant before spotting the issue number. This cover is also a great example of demonstrating flow (good and bad). The top sword does a good job of leading our eye to the logo, but then the bottom sword leads us from the logo off to whatever cover is sitting to the left of this book (and it doesn’t help that the bottom sword is brighter than the top one). One of the challenges of creating a well-designed illustration is try to figure out a way to keep the viewer’s eye bouncing around within in the image.



I’ve been loving all the All-New X-Factor covers, so I’m going to be a little more critical of this one. After the previous issue had several characters shown full-figure, I think it would’ve been good to keep changing it up. In particular, this image would be a lot more powerful if it was a close-up that only showed the gun and the character’s head (with the words “You have five minutes to comply.”) I feel like going full-figure not only removes the impact, but the pose of the villain has a very campy ’60s Batman tone (and the Dutch angle doesn’t help). Unless that was the intent?



Look at this, its a DC cover with a centered logo! They even went above and beyond and centered it vertically as well as horizontally! I’m not sure the magenta and yellow really fits the character, but I like the illustration and logo placement. Though I think the cover would’ve balanced out better if the position of the barcode and 75 Years logo were reversed (see sloppy mock-up).



This is a really nice image, but there are a few things holding it back. The thin strokes of the logo are so thing that it kind of hurts readability. The logo also has some major kerning issues, and the shape of that “S” looks really awkward. The logo is also placed kind of strangely, in that the logo has been designed flush left but has been placed on the right. I also kind of wanted to see the logo interact with or relate to the image on the cover in some way.


Here’s a sloppy mock-up of how I might’ve approached it. The bar of flat color helps to frame the volcano, and placing the bar behind the character creates a more dynamic sense of depth. Having the logo contained within the bar also helps lead our eye from the logo to the figure (via the gun on the figure’s back), and then to the volcano the figure is looking at. This likely isn’t the only solution, but it’s the first one I went to.

For the font, I went with trusty Univers Thin Ultra Condensed, which has a very epic feel. It’s the font used for the logo of Aliens, the first edition of the Dark Knight Returns TPB, and the credits at the bottom of so many movie posters.

Kate Willaert is a graphic designer for You can find her her art on Tumblr and her thoughts @KateWillaert. Notice any spelling errors? Leave a comment below.

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BMETRL_Cv26By Kyle Pinion

One of the bigger initiatives to come from the Big Two this year is the advent of the three weekly titles from DC Comics: Batman Eternal, Futures End, and Earth 2: Worlds End. With the latter on the verge of release, and Batman Eternal continuing to perform well in DC Sales Figures, members of the various creative teams for the titles gathered for DC’s Weeklies panel. Writers on hand included: Scott Snyder, James Tynion IV, Ray Fawkes, Kyle Higgins (Batman Eternal), Dan Jurgens, Jeff Lemire (Futures End), Marguerite Bennett and Daniel H. Wilson (Worlds End).

The panel, moderated by Bob Wayne, was neatly delineated with each title receiving its own focus time. With that, things were kicked off with Batman Eternal.

- Scott Snyder thanked the attendees for picking up Eternal and making it such a sales success: “We came up with an idea that we felt would be so big and infect that neighborhood in Gotham. I helped write the first few and I’ll come back and do the last, but it’s these guys that are just killing it on the series. The great thing about it is that it’s not happening in a small corner.” Snyder also stated that when Batman returns in Issue 34, it will deal with the fall-out of Eternal, flashing forward past the Weekly time-frame, with the consequences of the series reverberating through a number of books.

- Fawkes discussed the breakdown of writer tasks and interests within their team, stating that he specifically will be writing the sub-plot dealing with Jim Corrigan and Batwing through the duration of the series. Higgins also chimed in, mentioning that despite coming onto the series late (replacing outgoing writer John Layman), his arc would begin in the 30′s and he would be bringing back The Architect in those issues (a character he co-created with Snyder in the Pre-New 52 Gates of Gotham mini).

- In describing the break-down of the series’ acts Higgins added: “The way that we’re structuring this is three acts. The end of the first big act of the series will be right around issue 20. Section two tees up something new and different with different characters. That’s the stuff I’m doing; I’m working with Jason Fabok to tell the end of section two.” Snyder added in that each of the acts are designed to raise the stakes until the city is on the edge of destruction while reaching a giant crescendo in its finale.

- Moving on to Future’s End, the panelists were a little less verbose regarding future plans, with a big as of yet unannounced event on the horizon, but they discussed the dynamics of the “incredibly unlikely group of writers” that make up their team. With Lemire pointing out that the unusual mix of writers gave way to the eclectic cast that makes up the title’s roster.

- Jurgens and Lemire were especially quick to praise Ryan Sook as the unsung fifth member of their team, who sat in on their writing meetings and created character sketches based on the ideas being bounced around.

- Regarding writer specific favorites, Lemire mentioned that it was Brian Azzarello who was gravitating towards Terry McGinnis, and this in turn led to a discussion amongst the panelists as to whether Terry is called Batman or Batman Beyond in the book proper. (A: He’s not called anything as of yet, as he has few associates per Lemire).

- Lastly, the panel’s focus turned to Earth 2: Worlds End, with “show-runner” Wilson describing the series as: “We’re in a situation where we’re continuing what’s going on in Earth 2 and there are some catastrophic events on the way and we’re bridging into the future. On the ground level, we have characters like Dick Grayson who are surviving on the ground, then you bump up a bit and you have the World Army, then, to the top level. Having all of this play out at the same time is really interesting; figuring out who deals with what and what’s happening to the world.”

- Both Bennett and Wilson agreed that the series will be shifting its gaze less to the big picture and more to the people within it, with Bennett specifically citing Batman Eternal as a huge influence on her work here: “It’s not just a story of attrition or the death of the world, it’s a story about the people in that world. It’s a story of triumph, of love and hope that’s coming out of the ruins.”

- Both writers also wanted to stress the importance of the series having a sense of accessibility, and the first issue will provide an intro as to the happenings within the Earth 2 monthly title.

- Lastly, Wilson mentioned that readers should be on the look-out for them to address some unanswered questions, particularly in regards to the fate of Sam, Alan Scott’s partner.

- The panel then moved into the Q&A portion, which begun with an elaboration on who is tackling what character in Futures End; Lemire is writing Frankenstein and any space characters, Giffen has the Cadmus team and Grifter, Jurgens is writing Tim Drake and Superman, and Azzarello oversees Terry McGuiness.

- Regarding any restrictions on ideas that the Eternal crew might have proposed, they said there weren’t any, and that in issue 20 the status quo will shift tremendously. With Tynion adding in: “We’re marching closer and closer to the end with every single issue, and issues #21-23 is the real turning point to set up that next section and things are going to start changing rapidly. Gotham is going to become very dangerous very quickly.” Fawkes also added that characters like Killer Croc, Jim Gordon, and Batwing will come out of the events of Eternal with new lives.

- On what the writers of Eternal would remember from the series as a whole: Snyder answered that the title is key theme. With Fawkes emphasizing this point, stating that the team wanted readers to believe this is the story that would destroy Batman, but once they reach the conclusion they’ll get the meaning of the title in that context.

- Snyder closed the panel stating that the coordinated work amongst the writers on Eternal affected the narrative of his upcoming Batman arc “Endgame”: “When I seehow much they’re doing, it was like, ‘Let’s make Batman do that too.’ ‘Endgame’ is about taking Batman and giving readers a Gotham they’ve never seen before.

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bvr-social-69431By Kyle Pinion

As per usual, DC Animation has announced the next part of its animated slate following the premiere of one of their films. This time the news came on the heels of the SDCC screening of Batman: Assault on Arkham.

While we already knew Justice League: Throne of Atlantis, the direct sequel to Justice League: War, was coming in 2015; two more films will be joining it on shelves next year. They are:

Batman vs. Robin, which despite sharing a title with an arc of the Grant Morrison Batman run, will be based on Scott Snyder and Greg Capullo’s Batman “Court of the Owls” storyline.


Justice League: Gods and Monsters, an original story written by Bruce Timm, and is not related to the 2001 Dan Jolley comic.

No casting information was announced, but I wouldn’t be surprised if Jason O’Mara returned for another spin as Batman (having played the role in Justice League: War, Son of Batman, and will be reprising it again in Justice League: Throne of Atlantis). DC Animation is clearly getting committed to the idea of a new animated continuity between some of their films. We’ll soon see which of these will fall under that banner, if not both.

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As just reported, the NY Times delivered a pretty strong diss to the economics of Comic-Con, and I’m sure con vets and observers will be responding very soon, as Marvel’s CB Cebulski already did:

In the meantime, the Bonfire Agency’s founding partner Steve Rotterdam/strong> penned a response for the Beat. The Bonfire Agency specializes in crafting ad campaigns to the geek demo, so they have some thoughts on branding strategies in general:

Sadly, the NYTimes article reflects the writers’ misunderstanding of the relationship the brands cited have with pop culture consumers, in general, and SDCC attendees, in particular.  Most of the brands cited in the article are, in fact, returnees and many have extended their sponsorships to other pop culture “superfan” conventions throughout North America. More importantly, these brands have come to know that overt, hard-sell, commerce-before-content posturing and tactics at such events not only do not work with attendees, but have a tendency to backfire – particularly in the social realm. So what is dismissed by the writers as laid-back soft sell is, in fact, the best strategy for success when sailing through fan-infested waters.  

Be it at the San Diego Comic-Con or at a local comic shop, brand support that smartly celebrates the passions of the geek demographic pays off in increased brand awareness, loyalty and word of mouth.  Because when brands like Hyundai, Dr Pepper, Pizza Hut, Schick, MAC Cosmetics and Uber help superfans better connect to what it is they care about, they better position themselves with these discriminating, socially influential consumers for when the time comes to buy.

One thing the writers did get right. Compared to attendees of other conventions and trade shows held in San Diego, attendees at Comic-Con don’t spend as much to wine and dine themselves at area restaurants. First of all, the majority of them don’t arrive with expense accounts.  More importantly, they prefer to direct their indulgences and dollars to the dealers and vendors on the exhibit floor.

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Veteran NY Times entertainment business writers Michael Cieply and Brooks Barnes have perhaps put the final curse on a year in which SDCC got a little bit smaller, by reviving claims that con-goers are low rent consumers unworthy of high end sponsorships:

In truth, companies that might flock to a Tribeca Film Festival, which for years was backed by American Express and now has AT&T as its lead sponsor, would do well to stick with the soft sell here, because nobody is buying much.

In a recent report from the San Diego Convention Center, where Comic-Con is held, the fantasy fans ranked first in terms of the convention center’s attendance, far outstripping the combined total of its next four largest conventions, expected to be about 62,500 people.

But the Comic-Con fans were expected to spend only about $603 each during a convention that began Wednesday night and ran through Sunday. And that was only a little more than a third of the per-capita spending by those who showed up for the American Association for Cancer Research gathering in April, and similarly lower than per-person spending at the next three largest conventions in San Diego.

At Comic-Con, dining out is apt to mean eating a sandwich while squatting on a city street.

While it’s hard to forget the searing third world image of packs of con attendees roaming the streets and gnawing chicken bones in the doorway of the Hard Rock while eluding security (isn’t there a new Image comics about this?) the whole “no one spends money at Comic-Con” still seems to be a bit of a holdover from older arguments about why the show had so little impact on the city. I’ll be back later with a longer wrap up of all the huge changes this year at the show—and intimations of more—but

(Photo by Chandler Moses for ComicsBeat)

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Finally deciding to firmly tie something in to their ‘Agents of SHIELD’ TV series, Marvel have announced a new book by writer Mark Waid, which’ll see him working with an assortment of different artists to bring the agency to life.

S.H.I.E.L.D. features Phil Coulson – the character played by Clark Gregg in the TV series – as the lead character, bringing together superheroes and spies to form an international peace-keeping force. The first issue, it’s been announced, will have Carlos Pacheco on art duties, with the intention of new artists every subsequent issue, it appears. Alan Davis will also take on an issue somewhere down the line – a hot 10 cents says it’s one with Storm in it!

The series will begin in December.

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President of the Comic-Con board of directors, John Rogers, returns for the Talk Back.

President of the Comic-Con board of directors, John Rogers, returns for the Talk Back.

By: Nick Eskey

Signifying the end of the four day odyssey that is SDCC is the Comic-Con Talk Back with John Rogers (president of the Comic-Con board of directors). As it normally does, the room has a line that runs the length of the room all the way to the back, and then some. The pressure is thick in the room. A mini argument even breaks out in the middle of the line before the Talk Back begins. Last year, the main points of discussion were the crass behavior of security, and Hall H issues in general.

Some of the more minor things that were mentioned maybe once or twice were; the ridiculousness of how Ace Parking decided to sell parking spots during the duration of comic-con instead of on a day-to-day basis, trying to add real-time line numbers to the online ticket queues, and how ill-informed the security can be. “If you have a solution for well informed security guards, I’d love to hear it,” said John looking over his glasses. Another thing was the bathroom passes given to those in Hall H. “How can you keep track if the same person is returning with the pass?” Rogers agreed to it, but reminded “We tried scanning people’s passes one year to keep track, but the process took too much time. I wish there was a simple way.”

A great number of discussion was over the frustrations regarding the online registration, and that people wanted a return to the onsite badge sales. John responded by saying, “Unfortunately because of the growing popularity of the convention, onsite sales would only increase wait times for everyone.” Despite this fact however, those who proposed the return stayed resolute to their request. One woman went so far as to ask, “well how about next year can you get me extra passes? I’ve been trying to get other family members some tickets, but I don’t understand the website. What can you do for me?” Rogers looked surprised, and went to say, “There’s a large demand and not enough to meet it. I don’t know what I can do.” “What about the press and the professional people? They get passes? What can you do for me?”

For those that can’t get into Hall H, or rather not brave the lines, there is a room designated for a Hall H play back. One of the downsides to it however is the lack of exclusives. Studios ask for certain things to be only viewable in the hall, so as to lessen the risk of recording. One man proposed that John give the studios an ultimatum. That they allow exclusives in the play back room, “or else. Comic-con  doesn’t need them. They need comic-con.” “We are about being fair and equal to everyone,” said Rogers. “How fair would it be if we don’t let 6’000 people get to see it because 900 people can’t?”

For serious issues, there certainly were some big ones this year. An observation of mine was that there were quite a bit of handicapped individuals lined up this year compared to las. And for good reason, for all of them had something to say. A couple points were that the comic-con website was not as insightful as some of them would have liked to, sometimes even confusing to the point of frustration. A large issue was especially the handicapped line for Hall H. As one gentlemen put it, “we didn’t have provisions such as the able bodied people did, and we weren’t given wristbands.” At the part about the wristbands, Rogers looked surprised. “They didn’t give you wristbands?” he asked. About two other people in the crowd also seconded it. “It wasn’t supposed to be that way,” answered Rogers. Apparently a line moderator deemed it “useless” for those in the line to have wristbands.

For Hall H, any handicapped person is allowed an attendee to help them traverse the lines and crowds. But one oddity that one woman brought to light was how the disabled individuals were then being separated from their attendees when led in the hall, and those left behind had to wait. “By the time I was allowed in, it was an hour and a half later,” said the woman. She also observed most of the attendees weren’t even allowed to sit next to those they came with. Rogers apologized and full heartedly agreed that in no world should something like that happen, and also would find out what was going on.

Though not everything was complaints. There was quite a bit of praise over the issuance of wristbands for the Hall H line. “It made it so much easier to counter people cutting when others have been waiting all day.” One man commented on how he wished he could grab multiples for those that couldn’t be with him at the time, but John pointed out that if they allowed this, “there’d be the risk of people selling them to others.”

It was good to see that one of the main points from last year was surely worked on. I maybe heard of one guard issue this year. I personally could see that they were more professional in their manor. But the Hall H issue is still on the table. In fact, it might be getting worse. And with all the issues that arose this year with disabled services to compound it, there was definitely a disconnect somewhere.

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Author Blake J. Harris surrounded by Sega and Nintendo.

Author Blake J. Harris surrounded by Sega and Nintendo.

By: Nick Eskey

Once upon a time, Nintendo resurrected what remained of the home console market, and thus ruled the gaming world. Almost 95% of the market belonged to them. People didn’t play videogames, they played “Nintendo.” But then, a competitor slowly loomed in sight. Sega’s star was on the rise, threatening the hold that Nintendo held over the industry. And a war was on. It wasn’t fought on any battlefield with guns, but in the retail market.

Blake J. Harris lived in the time where Nintendo and Sega’s war was at its peak. In his adulthood, Blake realized that there wasn’t anything officially written with a deep level of research regarding that time. So he took it upon himself to take three years to write what he later entitled “Console Wars: Sega, Nintendo, and The Battle that Defined a Generation.” But aside from himself, Blake also collected a few others who actually “fought” in the battle: Bill White and Perrin Kaplan on behalf of Nintendo of America, and Tom Kalinske and Al Nilsen on behalf of Sega of America.

During the high sales of the NES, Sega wanted to create a mascot of their own. Nintendo had Mario after all. Al Nelson was presented with two possible candidates: Something that as Al put it looked a lot like “an egg shaped, weeble-wobble character,” and a spike-haired hedgehog that dated a human girl. “I chose the lesser of two evils.”

Around the same time, president of Sega Japan approached Tom Kalinske and asked him to help place his company in a prime position in the market. Tom had worked with Flinstones Vitamins and Matel (on their franchises such as Barbie, He-man, and Matchbox). The president of Sega had heard of Tom when he was with Matel, and sought him out after he left the company. Tom Kalinske suggested to the board that they take out Altered Beast (the game that originally was bundled with it) and replace it with Sonic. He also wanted a lowered price for the system, aggressive marketing that called out Nintendo, and more games made for adults. The Japanese executives didn’t agree with him, but the president had brought him on to help Sega, so he allowed the moves.

It was Bill White of Nintendo who had to steer the marketing when Sega had started to exert itself. He first came in 1987 when Nintendo was attempting to resurrect the collapsed home console market. Bill tried hard to advertise the titles themselves, which he knew would “drive the hardware.” He also helped to sell the movie rights to Mario, which lead to the box office flop “Mario Bros. 2000.” “I was told to not get anything less than $100,000,” said White. “But at the end of the day, it really was about using it in hopes of further driving the brand.”

When Sega started to gain ground on what use to be Nintendo territory, Perrin Kaplan was brought in as someone who was outside of the industry. “I was a fresh face,” she said. “And I definitely didn’t play games.”

When Tom’s aggressive marketing started, they boasted about their faster processes, and poked fun at how slow Nintendo’s hardware’s was in comparison. The aggressive marketing was paying off. “It was an exciting time where we felt we could get a piece of the pie,” said Al Nelson. Bill White pushed for the Super Nintendo which was in the works to get released sooner. “Our competitor was 16 bit… I felt we needed to match it, but the executives felt that the NES still had legs. That there were still homes that it could still find itself in.” So instead, Bill pushed for large marketing campaigns. They did the Nintendo Championships that toured the malls, “so people could play the game.” Bill continued to use the games as a big focus.

Sega took to another tactic and marketed their system more to teenagers. “Nintendo marketed more for kids,” said Tom Kalinske. “We decided to be unique… We were on college campuses and concerts… it was very grass roots.”

Eventually, Sega had claimed a good slice of what use to be Nintendo’s. This became a wakeup call to Nintendo. “Nintendo was poked, made fun of. And when awakened, it went back to what it was best at.”

Today, we all know how the wars ultimately ended. But for the time, it created competition, and forced videogames into new directions that are still felt today. So even though Sega is no longer in the console industry where Nintendo still is, the war they fought definitely shaped the generation we live in now.

For more on battle between the two, go and pick up Blake J. Harris’ book, “Console Wars: Sega, Nintendo, and The Battle that Defined a Generation.”

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