East Coast animators paid less than West Coasters
Of late we've been much focused on the economics of creating comics as a career, and the challenges of such an undertaking. Animation is often viewed as the "money spout" for comics types—more competition, more exposure more money. But an investigation by animation writer Amid Amidi reveals a disquieting story about East Coast animators getting paid much less than their West Coast analogs, even when employed by two branches of the same company, Titmouse Animation. In fact, in the NY office, animators are being paid $400 a week to work on Disney's Motorcity cartoon. In LA, a similar job for the same company pays a union-scale $1,055 a week.
Continue ReadingAre cartoonists doomed to die poor and homeless while pirates dance on their graves?
Even as the economy shows fitful signs of flickering back to life, the comics economy, which was "too small to fail" to really take much of a hit during the Great Recession, is still puddling along, under capitalized, under-recognized and with even the greatest cartoonists prone to spells of belt tightening. Comics have been traditionally immune to the effects of a recession—"cheap entertainment does well in bad times!" we've heard time and again—but the corollary is also true: Economic boom times rarely touch comics. During the late '90s and the first dot.com boom, one of the greatest eras of general prosperity in American history, comics were going through their WORST slump since the end of newsstand distribution, with sales numbers so low executives were crying over them. And then, paradoxically, comics began to do better even during the mini-recession following 9/11 and the end of the dot.com bubble.
Continue ReadingSean Murphy: You need a 5 Year Plan
Artist Sean G. Murphy (Joe the Barbarian) has posted a piece on his DA page called 5 Year Plan -- it's about planning for the future -- something very few young cartoonists seems to have the courage to do. I recently told a talented young cartoonist "Keep doing what you love until someone pays you for it" -- which is pretty basic "follow your bliss" advice. Murphy's is a little more practical:
Continue ReadingThe comics life: “Calendar pages fall.”
Via Evan Dorkin's end of year post, which in happier notes, reveals his 2012 projects -- New BEASTS OF BURDEN, woot.
Continue ReadingChris Onstad talks about his hiatus
This interview with Chris Onstad about his hiatus from ACHEWOOD could almost have come under our previous belt-tightening post.
Continue ReadingCartoonists: professional belt tighteners
Comics are a business that is relatively insulated from the ups and downs of the economy: things are ALWAYS marginal. While there's no doubt but that the global recession has impacted the comics industry — especially with customers dealing with price increases — quite frankly, there wasn't a lot to cut back. There's a good living to be made in comics, and many people do, but no one is buying a yacht — or not very many anyway. And maybe comics are a survival industry because it seems like everyone is just one or two issues away from square one.
Continue Reading2012: Year of the artist-entrepreneur?
It’s end of the year roundup/predictions time again at The Beat, but one pretty safe prediction is that we will likely hear of many more creators, in all sorts of media, exploiting new distribution channels to connect directly with fans. As Michael Wolff points out at leading tech blog GigaOM, “Everywhere you look, artists are taking more control over their own economic well being, in large part because the Internet has enabled them to do so.” Citing some well known recent examples such as comedian Louis CK, author Barry Eisler and comedy podcaster Marc Maron, Wolff sees a growing trend of artists cutting out traditional middle men and presenting their work unfiltered directly to customers, and especially in the case of Louis CK, profiting handsomely from it. And Wolff doesn’t even mention a number of other recent examples of the artist as entrepreneur trend, from multi-platform musician Cee-Lo Green to the Humble Indie Bundle video game collection.
Continue ReadingMust read: Publish or perish
Last year Dean Haspiel kick-started the creative juices of the new year with an essay called "Dear Content Maker" that confronted some of the excitement and uncertainties of the new horizons. Since then he's launched a new website -- Trip City -- and kept juggling all the balls a creator needs to. This year, he has a similar call to arms that surveys the current landscape called "Publish or Perish", named after a tweet by Jimmy Palmiotti:
Continue ReadingMust Reading: Warren Ellis on 2012
Warren Ellis takes a stab at Five Predictions About The Immediate Future Of Comics. It's brief -- just go read. A couple of main ideas: * Roll-your-own digital available to creators creates distribution opportunities and chaos * Creators will continue to explore Kickstarter and other methods to get paid for their work * DC and Marvel in diminishing returns. And this classic Ellis observation:
Continue ReadingKibbles ‘n’ Bits, 12/23/11 interview edition
One of the best comics traditions of the holiday season is The Comics Reporter's Holiday Interview series, which is running now. As usual it's an information- and insight-filled series. Thus far we have:
Continue ReadingHoliday reading: a Charles Burns interview
Paul Gravett asks Burns about X'ed Out and more. And this is the source of that preliminary cover for THE HIVE, BTW.
Continue Reading31 Days of Halloween: Dracula the Unconquered
BY JEN VAUGHN - Comic writer, podcast host and serial blogger at his own website, The Invincible Super Blog, and Comics Alliance, Chris Sims sat down to have a chat with me about his upcoming Dracula comic to be fully released on Monday, October 31st, also known as Halloween. Six delicious pages are up as a preview now.
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Marv Wolfman: The man who invented the Crisis
Here is a Village Voice interview with Marv Wolfman, which is interesting for many reasons. Because Wolfman is always a thoughtful commenter on the comics industry and its may pressures, but also because CRISIS ON INFINITE EARTHS --and NEW TEEN TITANS by the same Wolfman/Perez team -- is to the New 52 generation what Fantastic Four #1 (the 1961 one) was to so many before it. With its sweeping changes, dramatic deaths and multiple universes, it set the stage for many a crisis to come. And, famously, there was talk after CoIE of doing a line-wide issue #1 reboot. The idea lay dormant until now. But Wolfman points out that for an event to be an event it should have actual motivation:
Continue ReadingGrant Morrison: Seaguy’s my Watchmen
Props to the Mindless Ones for transcribing this interview -- recording the soft-spoken heavily accented Morrison is bad enough but when it's from a mike by a speaker phone...really guys, what WERE you thinking? Have you ever heard of SKYPE?
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