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Comics — Seriously
Creators of superheroes have typically been oppressed
Our story begins many years ago ...
As content, comics are now a primary source of material for blockbuster movies. But the business of comics is just that: a business, albeit a rapidly changing one. Once upon a time, there were many companies producing comics. But for the last 40 years or so, the best-known characters like Spider-Man, Superman, the Fantastic Four, Batman, the Hulk, and others, have come from two companies: Marvel and DC. Sales of traditional pamphlet-sized, individual "comic books" have dropped sharply over the last decade, while the sales — and mainstream cultural acceptance — of hard- and soft-cover compilations, as well as original "graphic novels," are ascendant.
If you grew up reading comics in the '60s or '70s, you were regaled with tales of the Merry Marvel Bullpen, a wondrous place where all the artists drew their comics while laughing and kibitzing with writer/editor Smilin' Stan Lee. They had a grand time.
Turns out the bullpen was essentially a myth. Few, if any, artists hung around the office, except to pick up a check and a new assignment. They toiled from home, or from their own rented studios. That's the way it's still done. Most of the creative work in comics is performed by freelance writers and artists on a work-for-hire basis, with the companies retaining ownership of the story, the characters (old and new), and any derivative works, like movies, TV shows, cartoons, lunch boxes, ring-tones — whatever. Creators are sometimes offered a slender sliver of the pie, but paying actual royalties to actual creators is a relatively recent innovation.
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