>>78926492 When he challenged Bendis about work-for-hire and creator-owned.
I agree that you can find success outside of Marvel and DC but his argument boiled down to "Look at me I'm fucking rich! You can do it too!" Ignoring the fact his sort of success comes along once or twice in a generation.
>>78926837 It was years ago, had to look it up. 2008. I got it backwards though, Kirkman was the one telling creators to leave Marvel and DC since he had more success that way, Bendis said his success is not typical, then they went back and forth for awhile. I think Bendis was right in that the average Marvel/DC creator makes more than the average indie creator, but that was 8 years ago so maybe that's changed.
>>78927719 I challenge you on that, sir. They don't speak in lists, they speak with no voice. At least in TWD. Everybody pretty much sounds the same. It's the problem with having a large cast, you soon start spreading yourself so thin everybody is a slightly different version of the next person, but they're all cut from the same cloth.
>>78927853 The problem is he writes this all by the seat of his pants, so no proper preparation beyond some slight notes. Compare this to Providence by Moore where that shit is researched and referenced to the 5th dimension. Even the artist had special instructions on what to draw and how. Kirkman just writes it without much attention to detail because he's working on other projects at the same time.
It also doesn't help that he more than likely knows his readership is made up of 90% gullible rubes that'll buy anything with his name and the title "Walking Dead" on it. So he slacks off with the dialogue, the plot, the motivations. Hell, in the latest issue of TWD, the entire Grimestown (not the name, but can't be arsed) commitee went crazy ass in the span of a minute. It would've been okay if it was foreshadowed better and an atmosphere was built up, but again Kirkman hasn't the time or the fucks to give.
I just wish he did it the way Avatar does the Crossed: anthology series with a rotating group of writers and artists. But he's too arrogant to do that. It's his baby. It made him famous. Nobody can do it justice but him.
Indies (specifically, the Image model) pass a lot of costs on to creators that the larger publishers have to deal with in-house. So a lot of the legwork - finding artists/writers to pair with, developing the stories (which you don't get paid for as a writer in most jobs, but which in an ongoing with a major publisher you can kind of fudge while you figure out what directions to go in after your initial push), editing scripts, figuring out what audiences actually want (which Image are also doing, but which Image hopefuls have to figure out if they want to get a shot at being published) and so on and so forth, all of that gets passed on cost-wise to the creative teams. Which is fine if you're making enough to hire an assistant to cope, but which is also very overwhelming if you're a creative arts major with no managerial experience, as a lot of creatives tend to be.
Leaving aside the issues this creates in terms of narrowing the available pool of talent, Image isn't really paying more if you're getting 80% of sales or whatever just because the Big 2 would pay a flat rate at a much lower per-sale amount. For one thing your tax liability goes up for the same amount of work, which at some levels of remuneration is going to be perversely affecting how worthwhile the job is; but you've got all these hidden costs to pay as well whether you understand that or not. Just running your own home office on an uncertain freelancer income is hard enough - you might find it easier to be getting 5% on a Big 2 title (or whatever the rate is) than nearly all of a much lower selling indie at Image or another publisher.
Really I think it's likely to be a case by case problem; Kirkman is wrong to generalize, and so too is Bendis to a degree, but he's for once the least wrong party in an argument.
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