• David, the guy who charged the builder for $400. more than the agreed-on $600. for two tub surrounds.
• Juan, the guy who was touching up the walls around the trim with a 3″ wide brush. He’d touch up the walls, and slop gray paint onto the trim.
• The Guy With No Name, who just cleans up after David.
The spider spins again!
First of all, I’m going to appear at the New York Comic-Con on the 24th and 25th of February. Sorry for the short notice. If any of you folks are going to be at the convention, please come by and say hello. I’ll be making an official announcement there, but here’s the unofficial pre-announcement.
This year will bring (drumroll, please) a NEW COURTNEY CRUMRIN BOOK! Yes, it’s true, the next chapter in the grand Courtney saga will come out starting in August. This time, it’s going to come out a little different. Instead of four individual chapters, the forthcoming installment will appear in two perfect-bound 48 page editions; before being bound together into a single digest at the end of the year.
The final collection will be the same charming mini-format as the first three, while the two issues will look more like the Portrait of the Warlock one-shot. The format change has not been decided for sure, but this is what we’re leaning toward. Also, while the schedule hasn’t been set in stone yet, you can rely on the first issue making it in time for Comic-con International in San Diego. More info on this will appear here as it develops.
§ Dan Vado wonders if that Disney license was worth it.:
Yes, the learning curve has been pretty high. The way I see it, by the time we get this thing under control our license will expire (that, by the way, is August 2008, which in comic book time is a lot closer than you think). I allowed us to fall into one of those traps where every single thing needed to work out 100% correctly for things to run smoothly. I often caution people against making plans based on everything falling into place, so that was my bad. The worst thing to happen was that the initial sales for all of the titles were well under our expectations, which were pretty conservative to begin with. That started a spiral that we have not righted ourselves from.
I think we were also not ready to deviate so dramatically from our core business model of publishing creator-owned titles and I over-taxed our resources.
The Disney thing (as I call it) has not been what one might call a success for us. While the comics have sold better than the rest of our line (for the most part) the sales have not justified the amount of time, money and effort that has gone into these projects. ON top of that, I made some bad contractual decisions that are coming back to haunt me. Lesson learned, just as you should never get into a land war in Asia, you should also never make a deal with Disney that involves creating original content with their properties.
If you have ever wondered, as I once did, why there were not more comics based on Disney’s vast array of properties, well that’s why.
Dan has learned the hard way that the LCS system will not support the world’s most popular brand. Oh well. [Link via Johanna.]
§ Steve Bisette investigates the history of Rick Veitch’s collection of EPIC-era comics, SHINY BEASTS, with a look at the editors of the era and more:
Still, that gig was landed in part due to Heavy Metal art director John Workman’s shot at “Monkey See,” the story you’ll see in its totality in Shiny Beasts; John dug what Rick and I had done with that piece, even if it ended up at Epic, and we were shoed-in-to 1941: The Illustrated Story after John’s first choice, Alex Toth, declined the project despite John’s best efforts.
Thus, the burnout of Creative Burnouts via 1941: The Illustrated Story led directly into Rick’s most fertile creative relationship of the 1980s: his work with editor Archie Goodwin. Archie was already a legend to our generation via his work as a writer in comics, credited (his scripts and editing chops defined the entire Jim Warren horror comics line via the debut issues of Creepy and Eerie, etc.) and uncredited (Secret Agent x-9 scripting for Al Williamson, His Name is Savage script for Gil Kane, etc.), and Rick couldn’t have conjured a better editor or mentor in the wake of Rick’s tenure working with/under Joe Kubert.
§ We don’t know what this blog says because it’s in Spanish, but it seems to be a discussion of The Beat‘s “Satisfying Chunk” theory. IN SPANISH! I’m worldwide!