A longtime Senior Editor at Marvel Comics has acknowledged the simple reality that crossovers and major event stories boost sales, which is why they have come to dominate Marvel’s publishing schedule over the past few years. While a vocal subset of fans have seemingly grown weary of crossover-after-crossover, “the sales data is pretty conclusive.”
On his Substack, Tom Brevoort bluntly stated “the only reason” Marvel’s crossover events have become so prolific: they sell well.
So, at the cost of being “disruptive” to the publisher’s current slate of titles, Marvel has every incentive to continue focusing on tentpole event series, as long as the sales numbers continue to make it worth their while.
Crossover Events Do Big Business For Marvel , Making Them Increasingly Important To Its Business Model
As Explained By Senior Editor Tom Brevoort
Tom Brevoort is currently the Senior Editor in charge of Marvel’s X-Men line, and his tenure at the company stretches back well over three decades. He is a Marvel lifer, and has been integral to the publisher behind-the-scenes through many of its highest highs and lowest lows. It also means he’s watched the comic industry evolve significantly over the years.
Crossovers have always been a selling point for Marvel, and superhero stories in general, going back to the industry’s early days. Yet the idea of the big tentpole event series is a bit more modern, and the routine, practically constant stream of crossover events that typifies modern Marvel storytelling is even newer still.
However, there’s a simple, even obvious reason for it: crossovers make Marvel money. Despite some fans starting to feel a bit fatigued by the nonstop pace of major Marvel events, the numbers don’t lie. As Brevoort explained:
The only reason that we do these sorts of stories so often is that in general sales get stronger during them, not the opposite. So I understand some fans feeling as though they’re disruptive, and they may even be. But the sales data is pretty conclusive, and we need to make our decisions based on what readers do rather than what they say.
While this makes all the sense in the world, some readers were surprised at Brevoort’s admission that this policy might, in fact, be “disruptive.”
“Disruptive” how? Critical fans will point to both creative and commercial ramifications for all these crossover events. Ultimately, Marvel has decided, for now, that these concerns don’t outweigh the fiscal gain provided by these crossovers, which Brevoort says do better business than “normal” releases. In other words, business is the driving force behind what Marvel publishes.
“What Readers Do,” And What They Buy, Is More Important To Marvel Comics Than Fan Criticism
Marvel’s Sales-Driven Publishing Philosophy Means More Crossovers
Under Tom Brevoort, the X-Men franchise is gearing up to hit pause on all of its existing titles in lieu of the Age of Revelation event, which takes place in a dystopian future ruled by Revelation, the successor to Apocalypse. At the same time, the wider Marvel Universe remains caught up in the massive One World Under Doom saga, in which Doom becomes the Emperor of the entire world.
At the same time, the wider Marvel Universe remains caught up in the massive One World Under Doom saga, in which Doctor Doom becomes the Emperor of the entire world. This series and its tie-ins have lasted much of the calendar year 2025, running alongside Marvel’s slate of existing series, rather supplanting it.
There are benefits to big, spectacular crossover storytelling of this kind, as well as drawbacks. Yet arguably knowing that these events, and their frequency, are driven primarily by sales metrics changes the conversation. It is no longer about whether these events are good, or bad, or whether they should be less frequent, and more special.
Instead, it is worth considering where the disconnect between fan sentiment and sales figures comes from. As Tom Brevoort plainly noted, “we need to make our decisions based on what readers do rather than what they say.” Meaning Marvel can weather criticism as long as the financial return is worthwhile, which provides fascinating context for the contemporary comic industry.
Despite Some Marvel Fans’ Crossover Fatigue, Sales Figures Say It’s What People Want
Marvel Feels The Need To Go Big Or Go Home
This phenomenon isn’t exclusive to comics: the idea of a loud subset of fans being critical online whose opinions might not necessarily reflect the feelings of the wider audience. This happens with every big TV show and movie. It’s a problem in professional wrestling. Even politics isn’t immune, far from it. Judging by the increased sales for event series, it is clear there is a silent majority with an appetite for crossover events.
As far as comics are concerned, judging by the increased sales for event series, it is clear there is a silent majority of comic-buyers with an appetite for crossover events. Further, it’s clear that these events do exactly what they’re designed to do, which is to grab readers’ attention. And that means both hardcore readers and casual fans.
After all, comics have to compete in a crowded attention-economy. It is ever-more important to give readers on the fence about committing their money to a Marvel comic a great reason to do so. The reality is, the more vocal fans are more likely to already be invested in closely following Marvel Comics, meaning they aren’t the target audience for big event series.
As a business, Marvel’s best interest is to follow where the sales lead, and over the past few years, that has proved to be major event stories. Until there is a reversal of fortune in this regard, Marvel Comics will continue to be increasingly dominated by major crossovers that seek to capitalize on this trend.
