Who Do You Consider A, B, C (and possibly D) List characters?

[Flightpath07]

Heh.
http://www.nytimes.com/2014/08/07/mo...edit.html?_r=0

“As they see characters that were C- and D-level in the comics but can open a movie, everything becomes new again,” said Marc Tyler Nobleman, an author who has written about the origins of comics publishing. “You can take almost anybody,” he said, “and make a big movie out of it.”

Articles like that, are why i spread things like this: "Support Artists, Not Companies! Creator-owned comics are where the real art is at!"

[Tawmis]

Articles like that, are why i spread things like this: "Support Artists, Not Companies! Creator-owned comics are where the real art is at!"

But is creator owned comics really where the real art is at?

There's PLENTY of talented people who work for Marvel and DC, who do amazing work. (There's a BUNCH of them that are not what _I_ would call "talented" that work at Marvel too, though).

For me, I just go where I find a good story and good art. Whether that's "creator owned, indie comic" or if that's in Marvel, DC, or Image or whatever.

[Flightpath07]

But is creator owned comics really where the real art is at?

There's PLENTY of talented people who work for Marvel and DC, who do amazing work. (There's a BUNCH of them that are not what _I_ would call "talented" that work at Marvel too, though).

For me, I just go where I find a good story and good art. Whether that's "creator owned, indie comic" or if that's in Marvel, DC, or Image or whatever.

I was talking more about these points from the article:

As Michael explained in a telephone interview, the focus on his brother has encouraged the studio to reconsider its obligations to him. “The more often Bill’s name gets mentioned, and the more often he is given public credit for something that he did, the easier it is for me to go to Marvel and say, ‘You might want to consider raising your offer.’ ”

Note: This is quite different than the way that Marvel addresses their care for Bill Mantlo. Two sides to every story?

he did not know a movie was planned until comics fans contacted him on Facebook a few years ago.
Michael said he had then contacted Marvel executives and told them, “If you’re making a film with Rocket Raccoon, you need to talk to me about the use of that character.”

“The negotiation started at that point,” he said, “and we managed to secure a very nice contract for Bill.”

Marvel declined to comment for this article, as did DC.

Once again, a VERY different story than the much more benevolent one that Marvel tells.

While movies like “Guardians of the Galaxy” represent a certain triumph of multimedia synergy, they are also a reminder that as comic-book characters increasingly provide the basis for lucrative film franchises, these characters’ creators must take their own measures to prevent their rights from being crushed in Hollywood’s engines.

At certain publishing companies, writers and artists are given at least some ownership of the properties they help generate. But very often, these creations are regarded as works for hire, owned by corporations that have little or no further need to reward the people who dreamed them up.

With the biggest comics publishers supplying content to two major studios — Marvel is owned by Walt Disney, and DC is a unit of Warner Bros. — writers and artists accept that credit and compensation for their contributions to films come only with the expenditure of their blood, sweat and tears, if at all.

“My attorney is very good,” Michael said. “I’m not going to say Marvel came to me and opened up their hearts and their purse strings.”

All I am saying is this; artists don't have these issues, if they keep and maintain their own rights to their own creations.