Tag Archives: gender

Push Comics Forward – A Move Towards Gender Parity

Among the big two publishers there is a fairly common occurrence whereby in order to revamp a team title that there is a shakeup of the characters that belong to that team.  The new characters figure out how to work together under some duress, and then they become an unstoppable team.  This is perhaps the most common with the biggest teams in the medium – the Justice League, The X-Men and the Avengers – as the smaller teams tend to stay more true to their membership.  What is notable about the dynamics of these teams is when the female membership is examined.  Although other teams arguably are better in terms of sales, the Justice League will generally serve as some of kind of touchstone for teams in the medium as it was the first and has the biggest names from a popular culture standpoint.  The League started as a collection of Superman, Wonder Woman, Batman, Green Lantern, Martian Manhunter, the Flash and Aquaman, and when looked upon from that standpoint, the ratio of female to male characters is six to one.

jla01Over the course of the Justice League’s publication history, and more or less for the publication history of every team, there has been a couple of general rules when it comes to its female members.  Female members, if they are written out of the team, and if they are written out of the team, they almost always have to be replaced by another female member.  Equally, when the characters are written out, there is not such a big pool to draw upon when replacing them as if a male character were written out of the story.  In 2006, the Justice League of America was rebooted once again, this time after the events of Infinite Crisis, and in order to tie into the rift between the big three heroes at the time, they decided to sit down and vote on each other’s inclusion into the League as well as all of the other heroes.  While this resulted in a new team, what it also did was to present a somewhat memorable cover (seen at the above right.)  While it is an impressive collection of heroes, the problem of gender parity is obvious here.  There is good representation of most of the popular characters here, but aside from female characters from another time, most of the female superheroes from DC are shown in one panel, whereas there are nunmerous lacking from well-known male characters, and even then the ratio of male to female characters in this picture is 30 to 12, not as bad as 6 to 1, but that still boils down to 5 to 2.

xmenDifferent teams have different compositions of characters.  Justice League International in the new 52 actually had a one to one gender parity (depending on who was counted in its members) and the X-Men have always been better at gender parity, the more so that the X-Men title is comprised of only female members.  At the same time, medium wide, there are generally fewer female characters to draw upon if there was to be a need for them.  In a real world sense, there exists equally the ability of a woman or a man to be a hero, and in terms of who could develop superpowers, seeing as the origins are so different, there is no real reason why men would be favored over women.  The favoritism only exists in character design.  It is not as though female characters should be expected to thrive in comics, at least from a sales standpoint, but creators should endeavor to at least create some interesting background or secondary female characters that would have a chance to grow into something more over time

Push Comics Forward – The Female Super-Scientist

j4p4n_Scientist_Woman_(comic_book_style)Recently the head honchos at BOOM! Studios put out the idea that comics needs to change and to not be stagnant as a medium.  Long since dominated by superhero stories, the medium has indeed made a number of changed in the past couple of decades and the change is noticeable in some regards.  Equally though, comics are somewhat of a niche when it comes to their perception in popular culture.  Although there is an increasing amount of female readers, the medium is slower to make the changes to draw in fans of all backgrounds, and especially at the big two publishers instead still focuses on mostly a collection of characters who are both white and male.  While the interest in push comics forward doesn’t necessarily lie solely with the big two publishers, change has to happen there as elsewhere in order for the medium to evolve.

Science in comics was a bit of an x-factor until the onset of the silver age.  Until that point, science was usually grossly misapplied in order to move along a plot.  Gross inaccuracies were made and aspects of scientific knowledge would be presented, leaving what was actually used of the science to be misappropriated and simplistic.  As the silver age started, the focus on science is what rescued comics from being a medium for children, and instead allowed the medium to mature.  The changes first came at DC, though with the generally more god-like powers of the characters, the science was not as pertinent.  Hawkman and Green Lantern became intergalactic police, the Atom used White Dwarf matter to give himself powers, and the Flash became a scientist that gained powers by a scientific accident.  While the science was there, it was not until Marvel arrived that it redefined science in comics.  Although still unreal, the science was still presented in a way that it could be real, at least in our imagination.  Instead of characters that were either given or born with their powers, the new wave of heroes earned it the hard way, by building it themselves.  Not every Marvel hero was a scientist, but there were a few – Peter Parker, Bruce Banner, Tony Stark, Hank Pym, and Reed Richards.  While this did push the envelope forward for comics as a medium, what was left behind were the women.  The female leads to these heroes were still sometimes heroes, but they fell back into the template of having powers given to them.  Sue Storm was a college dropout, and Janet van Dyne was just an girlfriend.  They even did better than Betty Ross, Pepper Potts and Mary Jane Watson, who were often relegated to secondary status as damsels in distress (though Sue Storm also performed this role despite being a power superhero.)

lego women scientistsWhile there are perhaps more men than women in science still as a profession, there is no real clear reason why.  Women at younger ages are as adept as their male counterparts, and the interest for science is equally there.  Some consider it to be a genderized problem, that the “old boys club” of science discourages women from entering its field in some cases, and that women are taught gender roles by society to be less focused on science as opposed to other ventures.  While there is debate on these assertions, it is true that women have no more or less natural inclination to science than men do.  So why can’t there be a female version of a super scientist?  There are of course some very intelligent women in comics.  The female version of the Hulk is an accomplished lawyer, and others have shown an ability to pursue more academic fields than what is traditionally typified by their genders, but there is still a gap in terms of the heroes, and who can do what.  Female characters can still be powerful, but it is unlikely that their minds are capable of giving them those powers.  In fact a large portion of female characters derive their powers from either magic or the supernatural.

What has been an interesting and worthwhile development in the cinematic versions of comics, is that the women characters are presented in a way which is a lot more progressive.  Jane Foster is an astrophysicist and in the previous round of Fantastic Four movies, Sue Storm was shown to a be a scientific genius in her own right.  This is because as the characters move to a more popular medium, they are forced into a more acceptable presentation of the role that women play, more so than just damsels in distress, but also as able thinkers on their own.  So why is there no female superscientific genius yet in comics?  This comes back to the inherent idea behind #pushcomicsforward, that there can and should be such female characters, because the medium simply has not caught up yet to the reality of the world.  There is even maybe not a need for as many as Marvel has, but a character that is at least adept at science, and who knows the periodic table from the kitchen table.  There is no reason not to, as such a character wouldn’t even have to carry a series, but they could still be there, guiding the scientific discussion to a place that is more realistic.

Black (Comic) History Month: Demo-Graphics, African Americans & Comic Publishers

For Black History Month we’ve been taking a look at characters, series, and creators, but I thought it also might be nice to also look at some of the demographic data that exists. The first thing I wanted to see was if African-American comic fans varied as to what publisher they liked.

For this demographic report I again dove into Facebook using the data provided as per usual. In February, African-Americans accounted for 3.4 million of the 32 million “comic fans,” making them 10.63% of the population. In general on Facebook, African-Americans make up 11.24% of the Facebook population.

I decided to look at not just publishers, but “comics” and “manga” as well to see what the percentage of African-Americans like them as well as how it breaks down as far as men and women.

In general for all of the terms below African-Americans account for 10.83% of that population. Marvel, DC Comics, Dark Horse, Dynamite, and in general comics underperform that percentage. Image, IDW, BOOM!, Oni, and Manga outperform. BOOM! and Oni especially do well having the top two percentages.

When it comes to percentage, men and women are the closest for Image, Comics and Manga. The biggest difference between men and women is Dark Horse.

AA Comic Data 2.9.15This is just the first report! I’ve got two more Mondays to dive even deeper into the information.

Demo-Graphics: Beyond Gender, Age, and Ethnicity

The first day of each month (and a lot of Mondays) I break down the demographic data of those who “like” comics on Facebook. With about 32 million people this past month, the data represents those with an interest in comics (over 100 terms made up of publishers, generic terms like “comics,” and comic specific terms like “one-shot”). These are not necessarily purchasers or subscribers, they’d be a subset of this group, these are folks who are interested in comics, graphic novels, trade paperbacks, or publishers. That 32 million is the first audience we as a community should be reaching out to to push comics forward. They are the most likely to be interested in comics, and become regular readers and customers.

But, any good marketer knows, that demographic data is just one small portion of who a “customer” is. To truly get the whole picture of who these individuals are, and get even better bang for the buck, you also need to understand their interests and habits.

With the call to “push comics forward,” I am happy to present for the first time these habits and affinity, and explain why this is important.

Why is this important?

Someone’s age, gender, or ethnicity is just a small part of the equation when figuring out who to market to or what to market. A person’s history of purchases in this case, or what else they’re interested in helps to not only target to the individual, but find others like them. Gender, age, and ethnicity is the broad categories and helps with messaging, but now we’re getting into the specifics!

The Specifics

Again, we’re able to dive into Facebook for this data, using the exact same terms used for the monthly reports. The only difference is this data is for those 18 and up, while our monthly demographic report is 13 and up. Facebook data is enhanced using available data warehouses giving us a better idea as to who these people are.

And now, the data!

Age and Gender

We can see the similar breakdown of percentages as I’ve been presenting for some time now. We get to see how that compares though to the Facebook population as a whole.

2015-02-02_1418Lifestyle

This is everyone’s interest data based on their actual purchase behavior, brand affinity, and other activities. Interestingly enough, comic fans are much greater than the general Facebook population in having children early in life. They tend to be renters, and still in school. On the flip side those in their mid-20s without children and owning their own home are also over represented by comic fans as well as similar folks with children.

Not surprisingly, the wealthy and “elite,” established, and elderly are under represented in the population.

Younger individuals with and without children are the bread and butter of the comic fandom in other words.

lifestyle_1 lifestyle_2 lifestyle_3Relationship Status and Education Level

Compared to the general Facebook populace, comic fans are much more likely to be “single,” “in a relationship,” or “engaged.” They are much less likely to be “married.” As far as education, they are slightly more likely to be college educated. Take the above and we’re looking for younger college educated individuals.

2015-02-02_1429Job Title

This is rather interesting. Based on likely industries from self-reported data, we have groups of what types of jobs comic fans have. It’s not surprising that with a younger set of individuals, the positions are less established with folks more likely temporary and seasonal, retail, food preparation, service industry positions.

They are much less likely lawyers, in the medical field, in computing or mathematics or in the science industry. Most of those involve longer career commitments, so comic fans might not be  there yet. Remember, they’re mostly young and in college.

job_title_1 job_title_2 job_title_3Page Likes

When it comes to what pages comic fans like, most shouldn’t be a surprise. We see lots fo video games, Marvel, DC Comics, comic characters, and Stan Lee. What’s also interesting is we see Loot Crate (showing a nice overlap and business decision to include comics in the service) and some fascinating bands.

2015-02-02_1434But how do those page interests compare to the rest of Facebook? We have that below! If I wanted to build a brand, I’d look at these pages first when targeting ads (along with the previous data mentioned). So far we have men, who are in college, in service jobs, and like Iron Man.

page_affinity_1 page_affinity_2Location

Comic fans are located in big cities according to this.

location_1 location_2 location_3 location_4 location_5Interestingly though, comic fans also over represent in smaller cities and towns.

location_overrepresentThey’re also underrepresented in larger cities.

location_underrepresentFrequency of Activity

Comic fans are also rather active on Facebook, liking commenting, sharing, likely, and clicking ads more than the average Facebook user.

frequency_of_activityDevices

Comic fans use a mix of mobile and desktop to access Facebook and are more prone to using Android devices… Yet we see iOs devices launched first for digital comic apps…

devicesHousehold

Comic fans tend to live alone or in larger households and rent.

home_1 home_2Spending Methods

Comic fans also primarily use cash, which makes sense since younger individuals might not have credit built up. They also spend much less on “travel & entertainment,” and “premium” things compared to the general Facebook users.

spendingIndividuals also are pretty average in their spending, while more likely to spend online or not spend online at all. They are also much less likely to be on the low end of online spending. Good news for digital comics!

spending_2What’s really interesting is the comic audience’s purchase behavior is lower for every category compared to the general Facebook population. Since they are generally even in spending compared to the audience, we can assume they’re buying something else…. comics maybe?

purchase_behaviorAnd that wraps up our first look at the affinity and actual interests of our monthly comic fandom! Expect for even more of a dive in and explanation of how one would use this data in the coming weeks and months!

Most importantly, to really build the comic market, we need to understand who the fans and purchasers are. By doing so, we make our job easier. The above is a piece of that puzzle.

Review: She Makes Comics

she-makes-comicsAs a literary critic and cultural historian with both feminist and queer-ally persuasions, I am often frustrated by the type of historical revisionism that provides the history of a marginalized group by telling their story as adjunct or incidental to “mainstream” or “normative” history. Such scholarship marginalizes the narratives of oppressed groups in the very attempt to recover their histories.

I was thankfully relieved, then, to enjoy the hour-plus-long documentary She Makes Comics, directed by Marisa Stotter and made by Sequart Organization in association with Respect! Films. This documentary does what very little of comics scholarship (and journalism) has been able to achieve: it narrates the story of women comics creators, editors, and readers through dozens of personal interviews (see a list of interviewees below), incorporating them as central to the history of the comics industry while highlighting individual creators’ push toward greater inclusion and respectability in a medium largely controlled by men.

She Makes Comics begins with an opening montage of interviews in which creators Kelly Sue DeConnick, Chondra Echert, Wendy Pini, Gail Simone, and others speak to the importance of the comics medium for female creators and readers. Particularly powerful is DeConnick’s declaration that “representation in comics is absolutely vital,” followed by the injunction that “we need to celebrate the women who work in comics and who have always worked in comics, and we need to go back and find their stories and bring them to the fore” (00:55-01:07). DeConnick bring an absolute necessity to the project of reclaiming the history of women in comics.

DeConnick’s spirited call drives Stotter’s She Makes Comics as it traverses the editorial bull-pens, creator biographies, convention floors, retail spaces, and four-color universes that make up the world(s) of comics. The documentary begins by establishing the medium’s long history of female readership in comics strips of the late 19th century and the early 20th century, pointing at the same time to the generous number of female comics strip creators, including Jackie Ormes and Nell Brinkley. Trina Robbins reminds us that “nobody at that time thought, ‘Oh how unusual! She draws comics!'” Despite the comparative preponderance of women in comics in the early 20th century, a cultural moment that abounded in strong women heroes and adventurers (and with a 55% female readership!), the “comics crusade” of the early 1950s began by Frederic Wertham resulted in the Comics Code Authority. The CCA significantly reduced the type and quality of comics produced, and the documentary makes the very brief argument that the “sanitization” of comics led to a boom in the masculinity-celebrating superhero genre and a subsequent decline in female readership.

The documentary then tracks the work of Ramona Fradon at DC and of Marie Severin at Marvel in the 1960s, transitioning rather quickly to the misogynist, cliquey underground comix scene of the 1960s and 1970s, where creators such as Trina Robbins and Joyce Farmer carved out a feminist space for comics. As Robbins recalls, “if you wanted to do underground comix [with the male creators] you had to do comics in which women were raped and tortured. You know, horrible things!” But in the pages of feminist comix and zines creators were allowed the freedom to depict women from women’s point of view—points of view that occasionally had legal repercussions.

The remainder of She Makes Comics focuses heavily on the history of women creators in comics from the mid-1970s to the present, owing both to the interviewees’ considerable experiences in the period following the late 1970s and to the growing visibility of female readers and creators. Particular highlights include the description of early comic book conventions and the fan scene, which Paul Levitz describes as 90/10 men/women. Creators and fans like Jill Thompson and Wendy Pini bring their personal fan and creator experiences to bear on this unique moment in comics fandom history. Wendy Pini’s entrance into fandom via her (in)famous Red Sonja cosplaying is historicized and linked directly to her entrance into the comics industry as writer and, later, creator of Elfquest. For those with an interest in cosplay, Pini’s Sonja is marked as the beginning of an opening up of convention competitions to women, and the documentary subsequently details the critical importance of cosplay to fandom, to female fans, and to creators.

The documentary also gives considerable attention to Chris Claremont’s run on Uncanny X-Men, uniquely noting the considerable influence of Louise Simonson and Ann Nocenti as Claremont’s editors on one of the most famous runs in comic book history. Interviews by female fans, creators, editors, and retailers highlight the importance that Claremont’s X-Men saga had to marginalized groups, with a number of interviewees describing the “mutant metaphor” as particularizable to women’s experiences in geek culture.

The documentary also gives attention to particular auteurs such as Kelly Sue DeConnick and Gail Simone, as well as the editor Karen Berger, who founded DC’s Vertigo imprint at a fairly young age in the early 1990s. She Makes Comics points especially to the rise of the independent comics scene in the 1990s and its boom in the contemporary moment, especially in the form of Image’s new-found success, as a meter for the rising prominence of women comics creators and a female (but also queer and non-white) comics readership. Anyone who reads Image comics regularly knows that its creators do not shy away from feminist themes even while Wonder Women is avowedly “not feminist.”

She Makes Comics ultimately signifies that a change in the comics industry has occurred, albeit slowly, in favor of greater inclusion and representation of women and other oppressed minorities. Despite this, the documentary comes dangerously close to assuming that all the good that needs doing, has been done, asserting a stance that suggests a triumphant growth of women in comics (or as readers) as a victory over patriarchy. While I do agree that strides have been made, as my articles on Wonder Woman and Neko Case show, I don’t think we can ever be complacent. She Makes Comics reifies “women” as a singular, almost non-intersectional category and in doing so creates a narrative of emerging possibilities for that monolithic category without discussing the many and complex factors that continue to challenge, harangue, and complicate both women’s participation in comics and women’s representation. There is, in fairness, a brief moment in which Marjorie Liu speaks about using her position to empower women of color, though its importance is overshadowed by its anecdotal treatment.

She Makes Comics has very few shortcomings and is ultimately a treasure trove of information that is otherwise spread across thousands of online or print media articles, books, and interviews. Marissa Stotter and her crew, in collaborations with a riot (isn’t that what mainstream media calls a gathering of political dissenters?) of talented creators and fans, have made a unique contribution to the history of women in comics. I challenge academics and journalist, myself included, to heed Kelly Sue DeConnick’s introductory injunction with a critical eye to the politics of representation. If we could get a few books about gender politics in comics that aren’t solely about masculinity, that’d be a start.

Interviewees listed in the order that I happened to write them down (after I realized it would be good to write them all down): Marjorie Liu, Nancy GoldsteinTrina Robbins, Ramona Fradon, Janelle Asselin, Heidi MacDonald, Paul Levitz, Michelle Nolan, Alan Kistler, Karen Green, Ann Nocenti, Chris Claremont, Colleen Doran, Joyce Farmer, Wendy Pini, Jackie Estrada, Jill Thompson, Lauren Bergman, Team Unicorn, Chondra Echert, Jill Pantozzi, Kelly Sue DeConnick, Gail Simone, Colleen Coover, Holly Interlandi, Blair Butler, Louise Simonson, Jenna Busch, Amy Dallen, G. Willow Wilson, Tiffany Smith, Jenette Kahn, Shelly Bond, Karen Berger, Joan of Dark, Brea Grant, Joan Hilty, Lea Hernandez, Christina Blanch, Liz Schiller (former Friends of Lulu Board of Directors member), Andrea Tsurumi, Miss Lasko-Gross, Molly Ostertag, Hope Larson, Amy Chu, Nancy Collins, Ariel Schrag, Raina Telgemeier, Miriam Katin, Felicia Henderson, Carla Speed McNeil, Shannon Watters, Jennifer Cruté, Nicole Perlman, Kate Leth, Portlyn Polston (owner of Brave New World Comics), Autumn Glading (employee of Brave New World Comics), and Zoe Chevat.

You can purchase She Makes Comics on Sequart’s website for as low as $9.99. If you ask me, it’s a fantastic deal.

Sequart Organization provided Graphic Policy with a free copy for review.

Demo-Graphics: Comic Fandom on Facebook

It’s the first of the month, and first of the year, and that means a new look at the demographics of people who “like” comics on Facebook. This data is compiled using demographic data from Facebook, and is limited to the United States.

This data is compiled using key terms, “likes,” users have as part of their profiles. Primarily terms are focused on generic ones such as “comics” or “graphic novels” or publishers. I stay away from specific characters, creators or series, because this does not indicate they are a comic book fan. Over 100 terms are used for this report.

This data is important in that it shows who the potential comic audience could be. This is not purchasers, these are people who have shown an affinity for comics and are potential purchasers and those with an interest. This Monday we’ll have a new portion of this monthly report.

Facebook Population: Over 32,000,000 in the United States

The total population remains steady from the previous month. The Spanish-speaking population last month was 14.38%, and this month is also 14.38%, remaining unchanged..

Gender and Age

Last month women accounted for 48.13% and men were 50.63%. Even with the population increase, the results this month as far as percent the results are close to last month. Women now account for 45.63% and men account for 53.13%. The decrease in women when it comes to the percentage was gained by men.

gender 1.31.15

We’ll next look at how the percentage of women and men break down through age.

gender age 1.31.15Compared to last month, the loss for women was pretty across the board. Women under the age of 17 gained a bit while those 18 and over dropped in population.

gender age raw 1.31.15

Relationship Status

Compared to last month, the single population dipped a bit, while there were more people engaged. Congrats!

relationship 1.31.15And for those that like pie charts.

relationship pie chart 1.31.15

Education

Generally, these stats are similar to last month’s. Changes are primarily due to the shift in gender.

education 1.31.15

Gender Interest

Compared to last month these stats are very similar. Changes are primarily due to the shift in gender.

gender interest 1.31.15

Ethnicity

It’s the third month we’ve had data on ethnicity. Facebook compiles the data based on “behavior that aligns with people of that race.” It’s unknown the specifics of what that entails.

New this month is the inclusion of Asian Americans in this stat. The population is small, but expect it to grow as the months go forward.

African Americans account for 3.4 million, about 10.63% of the comic fandom, while all Hispanics account for 7.4 million, around 23.13%. Asian Americans account for 820,000 individuals, around 5.62%.

I’ve presented the data in raw form for this first report, but will do graphs as this data progresses.

ethnicity 1.31.15Generation

We’ve been tracking what generation individuals are a part of. We present that information for the first time below.

generation 1.31.15And that wraps up this month’s report! Join us Monday for even more information!

Demo-Graphics: Transformers

It’s Monday and that means another dive into Facebook‘s data. This week I thought I’d take a new look at Transformers who are gearing up for a major storyline in IDW Publishing‘s comics as well as tie-in toys from Hasbro.

The last time I looked at the Transformers was in 2013 and since then there’s been some massive changes in Facebook’s toolset that delivers a lot more data.I’ve broken down the data a few ways, but kept it focused on size of the universe and the gender of people who “like” the various terms. There’s a grand total stat where I looked at 128 different terms including character names, series, movies, toys, etc. Then, there’s a break down of specific terms. Finally, I have the gender break down of all of the characters.I think what’s interesting is that most of the percentages for women are in the 40% range, showing how genders like different things, but it’s all pretty consistent.Check out below for all of the various breakdowns.transformers facebook 1.19.15

Demo-Graphics: Comic Fandom on Facebook. New Year’s Edition!

It’s the first of the month, and first of the year, and that means a new look at the demographics of people who “like” comics on Facebook. This data is compiled using demographic data from Facebook, and is limited to the United States.

This data is compiled using key terms, “likes,” users have as part of their profiles. Primarily terms are focused on generic ones such as “comics” or “graphic novels” or publishers. I stay away from specific characters, creators or series, because this does not indicate they are a comic book fan. Over 100 terms are used for this report.

Facebook Population: Over 32,000,000 in the United States

The total population increased by 4 million. This is likely due to the massive jump in Marvel’s page due to their consolidating various pages into one. The Spanish-speaking population last month was 15%, and this month is 14.38%.

Gender and Age

Last month women accounted for 47.14% and men were 53.57%. Even with the population increase, the results this month as far as percent the results are close to last month. Women now account for 48.13% and men account for 50.63%.

comics gender 12.31.14We’ll next look at how the percentage of women and men break down through age.

comics gender and age 12.31.14Compared to last month, the gains were generally across ages. Percentage wise, those 33 and under dipped, while over increased. Also of note, women age 17 and under are the majority.

comics gender and age raw 12.31.14Relationship Status

Compared to last month, the results are almost exactly the same. Even with the vast increase, percentages haven’t shifted all that much.

comics relationship status 12.31.14And for those that like pie charts.

comics relationship status pie chart 12.31.14Education

Generally, these stats are similar to last month’s.

comics education 12.31.14Gender Interest

Compared to last month these stats are very similar.

comics gender interest 12.31.14Ethnicity

It’s the second month we’ve had data on ethnicity. Facebook compiles the data based on “behavior that aligns with people of that race.” It’s unknown the specifics of what that entails.

African Americans account for 3.4 million, about 10.63% of the comic fandom, while all Hispanics account for 7.4 million, around 23.13%.

I’ve presented the data in raw form for this first report, but will do graphs as this data progresses.

comics ethnicity 12.31.14And that wraps up this month’s report. Later today we’ll explore this data as its evolved over the year.

Demo-Graphics: Marvel’s Netflix

It’s Monday and that means another dive into Facebook‘s data. This week I thought I’d look into the future a bit, and see what the demographics are for people who like Daredevil, Jessica Jones, and Luke Cage, the characters who will headline the first two series of Marvel‘s slate of shows that’ll begin to stream on Netflix in 2015.

First up though is the look as to who “likes” Netflix in the United States. Netflix has a little over 40 million people who like their page of which 17.2 million are in the United States. Of that the majority are women, who account for 52.33% of the likes.

netflix gender 12.29.14The first show that’ll premiere in 2015 is based on the character Daredevil. The page dedicated to the show has 37,477 while the character himself has 1,578,910 individuals who like him. Of that, a little over 79% are men while just under 19% are women.

I also decided to look at the various actors who are playing some of the characters. Lead actor Charlie Cox doesn’t have a Facebook presence, but Rosario Dawson and Vincent D’Onofrio both do. Dawson especially has a very large presence and fandom. 68.75% of Dawson’s 3.2 million likes are female, while Do’Onofrio is 65.45% male for his 220,000 likes.

When you add in the main actors with Facebook pages into the Daredevil character stats, you get 63.16% female, primarily due to Dawson’s following.

Dardevil Netflix 12.29.14The second series that’ll launch is based on the character Jessica Jones who will be played by actress Krysten Ritter, and will feature Luke Cage who will be played by Mike Colter. Colter doesn’t have a Facebook presence, but the rest do.

Ritter has the most female friendly Facebook stats with 44.44% women, and Jessica Jones the character has 35.38%. Cage has just a little over 19% of his fans as such.

All together, when you combine Jones, Ritter, and Cage, 30.67% are female, under Netflix’s 52.33%.

Jessica Jones Luke Cage Netflix 12.29.14We’ll stay on top of this and revisit the stats as we get closer to the show’s premieres.

Demo-Graphics: Comics on TV. Mid-Season Report!

It’s Monday and that means another dive into Facebook‘s data. This week the second release of a multi-part study where I gather throughout the television season. This data breakdown concerns television shows based on comic books that are currently on the air and have debuted. There’ll be a couple more looks including the spring launch, and then when the seasons are complete.

When we did our initial report in late October, Arrow had the strongest female following, while its sister show on The CW, The Flash had the least. I also included the percent of the individuals in the coveted 18-49 demographic. The Flash was the best when it came to the 18-49 demographic, while Arrow was the worst.

Below are the raw stats and data from Facebook of those who like each show in the United States.

Facebook comic tv showsFlash forward almost two months and here’s where things stand now.

In total likes for their pages, Agents of S.H.I.E.D. is the only show to have lost likes in the past two months. Constantine gained over a million likes, while The Flash earned about 1.9 million likes, over doubling its count.

When it comes to fans in the United States, Agents of S.H.I.E.L.D. and Gotham both lost fans.

For gender, Agents of S.H.I.E.L.D. and Gotham both lost male likes, while Agents of S.H.I.E.L.D., Arrow, Gotham, lost female likes. The Walking Dead now has the highest percentage of female likes while The Flash continues to have the least.

In the coveted 18-49 demographic, The Flash continues to be the best, while Arrow is still the worst.

Check out below for the full stats.

facebook comics tv 12.22.14

« Older Entries