The breadth of the potential readership is also a factor.
From Mark Millar
However, if I can expand this to Top Cow or Avatar I'm helping the sales, however small, on my Marvel books because I'm almost certain to pick up some new readers.
I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.
I'd love to do something else for Avatar after this.
At the moment, I have it planned as a six or seven year experiment, but the books will only ever appear in bursts like this every couple of years and only with the best quality artists.
It's been the most creatively liberating thing I've ever done and so I'm bringing some of that mad enthusiasm to Marvel for the next couple of years as they let me loose on some Marvel Universe titles you'll be hearing about soon.
Wanted has gone into second, third and fourth printings of the individual issues and the north American printings of Wanted #1 are now close to 100,000.
Artists, no matter how good their intentions, are always slower than they think.
Their argument, and I think it's a correct one, is that they'll make more money from the trades and the hardcovers if nobody messes with the creative team.
I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.
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