This New York magazine profile of the great Louise Simonson found universal acclaim when it appeared yesterday. Not only is Weezie one of the nice people of the world, but an immensely talented writer/editor whose impact on comics history is undeniable, from co-creating Power Pack to co-creating Cable and Apocalypse and Steel and editing some of the most influential sueprhero comics of all times.

Buried in the profile, which was written by Abraham Riesman, was a few interesting notes on Marvel’s participation model;

While comics creators aren’t typically given much creative input on film adaptations of their characters, directors will often reach out to them to chat, get their blessing, or ask them to make cameos. I ask Simonson if Apocalypse director Bryan Singer ever communicated with her. “Oh, God, no!” she says, with a laugh. “I’m hoping my name maybe makes it into the credits.”

It doesn’t, as it turns out. But she does get to pad her wallet a bit from the movie. When Apocalypse debuted in 1986, Marvel had an agreement whereby creators could earn royalties when characters they created showed up in merchandise or filmed entertainment (something the publisher doesn’t do anymore). Though Fox — not the Disney-owned Marvel Studios (the folks who make the Avengers movies) — owns the film rights to X-Men characters like Apocalypse, that contract persists.

In any case, Simonson isn’t losing any sleep over getting credit. She’s been in the superhero hustle long enough to know the score. “You create a character,” she says, “and if people love him, you put him back in the sandbox. Then other people get to play with him.”

This is as clear acknowledgement of Marvel’s payouts to creators of older characters as I’ve seen, it’s obvious that Jim Starlin, Bill Mantlo and several others have received compensation for the use of their creations. While TV compensation for use of a character can be less than $100, I understand Marvel’s movie compensation can be quite a bit more.

That makes the lack of comics related credit on X-Men Apocalypse all the more disappointing. While Stan and Jack got their accustomed credits, the usual “additional thanks” type names were left off. This is probably because the cinematic X-men universe is now so convoluted that to show the names of all the comics creators would be almost as long as the CGI renderers, but aty least the CGI renderers got their name sin the credits. 

Truth be told, I don’t remember seeing any additional comics credits on Captain America Civil War either. Doesn’t mean they weren’t there just that I didn’t notice them. BvS called out Frank Miller and Dan Jurgens, c-creator of Doomsday, the film’s villain. 

Neither Marvel nor DC include media participation deals in newly created characters, part of the reason why creators aren’t always jumping up and down to create new ones. Getting your name in the movie credits was a nice little gesture, but it seems even that may be fading away. 

Not that any of that bothers Weezie, as the article states. She’s a true icon of comics and seemingly secure in that knowledge.


  1. Civil War did indeed have a Special Thanks section in the credits. I know Christopher Priest was in there but I don’t remember who else.

  2. Alas, we all know she will never see a dime thanks to the practice of Hollywood Accounting. A system that makes even Return of the Jedi still have red numbers. Stan Lee had to sue Marvel to get royalties from the Spider-Man movies. Don’t know how that turned out.

  3. I dunno, if I was her, I might be pleased that no one associated me with that trainwreck of a movie. Assuming, of course, that I got paid behind the scenes.

  4. The sample page posted in the article isn’t written by Louise Simonson, but by Chris Claremont…

  5. Chis Hero“Louise Simonson is genuinely one of the best comic book writers of all time.”

    Based on . . . what? Who ever talks about must-read Louise Simonson books?
    Such fanboy misogynistic comment!
    The majority of female superhero comic book fans all love Louise and consider her to be one of the all-time greatest comic writers,

    “. Stan Lee had to sue Marvel to get royalties ”
    The difference is that Louise is a woman and shouldn’t have to demand her royalties , they should be handled to her by gentlemen on a silver platter.

    I like Louise’s work. She’s a professional and should know what legal routes she can take to get money she may be entitled to. Let’s no infantile her by suggesting she is incapable taking care of herself.

    The comic book industry a industry known for giving creators a hard time for proper compensation. Why try to turn this into a gender thing?

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