Nat Gertler has made a chart, and even though his name is not Clarissa, it might just explain it all for you.
"Once creator ownership was on the table, the moviable properties were largely works that creators maintained ownership of."
Continuing the thread of inquiry that has been going on here at The Beat of late, Dean Haspiel has a nifty little slideshow for you.
Ruben Bolling, aka Ken Fisher, is much loved in most quarters for Tom the Dancing Bug, his long running, surgical strike weekly political comic. Of course, the field for weekly political comics is not exactly busting at the seams with dough. So recently Bolling came up with a new idea, called The Inner Hive which would offer a subscription model for goodies to readers:
Like any good cartoonist and comics evangelist, a road trip cannot just be days of blasting Mates of State and stopping at roadside attractions like Corn Palace. No, no, on my trip from The Center for Cartoon Studies in White River Junction, VT to Fantagraphics in Seattle, WA will be punctuated by a few stops to conduct portfolio reviews and drop off some Schulz Library tote bags at great comic book stores across America.
Creator/publisher Zak Sally weighs in on the Kirby Matter, and the actions he suggests are more proactive:
actually, over the course of writing this, i think i DO have an answer– not THE answer, but an idea anyway: it’s somewhat presumptive on my part, and it is NOT what “should” happen, but it falls under the category of “the least you could do”.
The Comics Journal jumps right back in the fray with an exit interview with Chris Roberson, who uses the occasion to express thoughts Twitter cannot contain. According to Roberson, his distaste with BEFORE WATCHMEN was stated in podcasts, but no one picked it up until his tweets were posted. The whole thing is one big must-read, but here are some quite nice statements that no one can possibly take issue with in the comment section:
The date was December 9th, 2011 when cartoonist and Center for Cartoon Studies professor Alec Longstreth shaved off his beard and shaggy do. A promise to himself in 2008, he decided to chart his progress through pictures of his hair and beard growth that would undoubtedly remind him daily of his commitment. Living in a small town with a beard as his shadow, Longstreth went from industrious Fellow of the school to an instructor of both summer workshops and graduate classes to the Acting Director (while James Sturm takes a much-needed sabbatical) . Even after all the excitement, he is still growing and evolving, deciding to learn watercolor on the side. Venture on to read more about the amazing cartoonist Alec Longstreth.
Unsurprisingly, after his public statement on not working with DC over their ethical practices towards creators yesterday, it turns out Chris Roberson’s arc on FAIREST, the FABLES spin-off, will not get written.
Yesterday Batman artist Cameron Stewart tweeted about a particularly awful “job” offer; we put job in scare quotes because “job” usually implies something you get paid for.
As was widely noted yesterday, writer Chris Roberson tweeted the end of his working relationship with DC Comics:
Once again, Dean Haspiel blogs about the difficulties faced by freelancers in the current event/editorially-driven superhero world in a piece plaintively called Make Mine Me:
The first post was so popular, here’s a sequel! More of Alan Gardner’s reports from the Success in Comics seminar.
Despite all the gloom and doom talk in the biz of late, there is still room for Success in Comics, Alan Gardner writes. In fact they held a whole seminar devoted to the topic!
After my long post yesterday, there were a few loose ends and misstatements and yet more viewpoints that deserved some linkage.
Wow! All hell has broken loose in comic book-land! Last week’s surfeit of Aquarian-born comics creators created a busy circuit of birthday parties, and if I had a dime for every time the name “Gary Friedrich” came up, his legal fees would be paid.
IP Wars are breaking out everywhere.Why here, why now? As always, follow the money. The most visible and lucrative segment of comics industry has, since the great distribution collapse of the ’90s, been primarily in the IP business. Entire comics companies have sprung up just to create movie storyboards masquerading as comics. Big media corporations outfit swanky offices just for the purpose of developing existing IP. It’s become a cottage industry. No wonder then, that controlling and profiting from IP has become THE major preoccupation of the comics industry from the CEO selling movies to the colorist selling prints.