It started at the Puerto Rico Comic Con last weekend, when Invincibles artist Ryan Ottley spied some veeeerrryy familiar art at the table of an artist working under the name of “GingerZap.”
As is the custom, he took his concerns to Twitter.
If your art consists of throwing a crap filter over other people’s art and selling them at cons….just stop. pic.twitter.com/8HHTKA0Rnf
Marvel and DC Comics have asserted joint-trademark ownership over use of the word “super hero” for several years. They forced the creators of “Super Hero Happy Hour” to change the name of their comic to “Hero Happy Hour” in 2004. And they imposed similar restrictions on the creators of other “super hero” products.
Graham Jules was about to publish his self-help manual “Business Zero to Superhero” in 2014 when he got a letter from Marvel and DC Comics claiming the word infringed their jointly-owned trademark.
But modest Mr. Jules fought back and even rejected an offer of ‘a couple of thousand’ to change his book title.
The legitimacy of the claim by Marvel and DC has often been challenged by commentators and many believe it would fail now.
By dropping the case, Marvel and DC avoid any judgment that others could then use against Marvel and DC. But it does also suggest that all someone has to do is let the case go to an official body and they’ll win.
Or even, just take the money when it’s offered. It’s possibly worth doing just for that.
Here are my thoughts…
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Q. I tend to draw things rather simple, colorful and a bit more “cartoony-expressive” than realistic, but they still have adult themes at times. My comics are mostly PG-13 type stuff. I was wondering how I would go about putting a rating system on the cover of my graphic novels? I feel that it is good to be upfront about this sort of stuff like movies, video games and music lyrics do. I did some research aon the ratings used by DC and Marvel. Marvel used a G-PG-R system until the Motion Picture Association of America complained, as it holds a trademark on such classifications. Marvel thus switched their system.
So… my question is… Does DC and Marvel hold copyright (or trademark) to these rating systems? Did Marvel choose their rating system so that they wouldn’t get in trouble from duplicating DC’s? Do I have to come up with some unique system of my own for my comics? Don’t video games use the exact same ratings as DC? Wouldn’t every single comic creator have to develop their own system? Wouldn’t that be hard to do and completely insane for EVERY author to make their own rating system? Would I get in trouble for duplicating theirs?
Or would a simple listing of the controversial things be sufficient. A small blurb somewhere that says…. “This book contains brief nudity, profanity, and adult themes.”
A. There’s way more here than meets the eye.
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ComiXology has just released ComiXology Unlimited, a monthly subscription service ($5.99 a month) that enables subscribers to access a large catalog of comics. Marvel and DC content will not be part of the offering. However, selected titles from publishers such as Dark Horse, Fantagraphics and Image will anchor the service. According to Entertainment Weekly:
…Comixology Unlimited will eventually cycle titles in and off its catalog in the future, though it already starts off with thousands of issues from dozens of different series. This could allow users drawn to a flashy name — such as Buffy the Vampire Slayer, the comic book continuation of the beloved TV show — to eventually find their way to lesser-known comics likeUmbrella Academy, My Chemical Romance singer Gerard Way’s surreal twist on the superhero tale.
Will webcartoonists who currently publish through ComiXology Submit be able to participate? And what will the royalty structure be? I put out some inquiries and got some interesting answers…
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We’ve had an excellent discussion in the Private Forum about traffic-building on the post-ad-blocker web.
In the course of the conversation, I started brainstorming on a special publishing strategy for longform comics that can’t/don’t use humor as a hook for their updates.
I think it’s worth experimentation.
And it’s all about cultivating the orbital reader.
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You don’t need a subscription to read today’s post!
If you’ve ever been curious about the kind of information, tutorials and advice that you’ll get as part of your subscription to Webcomics.com, this is a good example.
If you’d like to join the site, you can get a 12-month subscription for $30 — or you can get a one-month Trial for $5 … with no obligation after your 30 days expire. For less than three bucks a month, you can get a steady flow of information, tutorials and advice targeted towards your webcomic business — plus a private forum to discuss issues with other professionally minded cartoonists.
There are a few points of booth etiquette that you should be aware of as you’re exhibiting at a convention.
No poaching: You may never — ever — address an attendee while he or she is speaking to another exhibitor. Interrupting a discussion between an attendee and an exhibitor is unforgivable. And if you DO decide to open your mouth, for the love of god, make sure you know the shot! (NSFW language in the movie clip.)
No blocking: It’s important to get as much vertical display space as possible. Placing a tall banner stand behind your chair is perfectly fair. And so is erecting a display that stands above your table. But when you start blocking your neighbors’ ability to see down the walkway you’re treading on dangerous turf. If you have this kind of set-up, you should ask your neighbor’s permission — and be prepared to improvise if they say they’d rather not be blocked by your display.
Stay behind the table: You might think that standing in front of your table, handing out flyers and barking for your table is a great idea, but I guarantee your neighbors don’t. You’re disrupting the traffic flow, and you’re probably causing more than a few attendees to re-think how badly they want to walk down your aisle. Stay behind the table, where you belong.
Be friendly, but know when to shut up: A little friendly chatter is always welcome, but here’s a short list of what your neighbor doesn’t necessarily want to hear:
A running tally of your sales
How much you made yesterday
A running commentary on the cosplayers
Your thoughts on what they could be doing better as exhibitors
How drunk you got last night
And watch for those little nonverbal cues that indicate that your neighbor isn’t interested. I once had a booth neighbor talk to me for an hour straight. I hadn’t made eye-contact with him once. If your neighbor is working on a commission, they’re probably “in the zone” (or trying to get there) and they’re not interested in talking to you.
Loud and/or repetitive noises are murder on your neighbors: I’ve seen it all, at this point — bullhorns, those spinning prize wheels that go “clack-clack-clack-clack,” blaring music on a loop. I wrote an entire post about exhibiting next to a Zombie Run event that used an obnoxious high-striker as their promotion. Listen, I know that the marketing book that you bought advised you that noises like this are supposed to draw people to your booth or table. But you’ve got to have a little sensitivity to that poor schmuck sitting next to you who has to listen to it all weekend long.
Neighborhood Watch: Many people do these shows on their own. Or there are times at which their help isn’t around. When a neighbor asks you to watch their table while they take a brief break — to go to the bathroom or grab a snack — you should honor that request. Ask whether there are particularly valuable items (original art, for example) you should know about — and consider advising them to hide it under the table until they return. If you don’t think you can accept the responsibility, say so and explain why.
Don’t bump the table: One of the most lucrative parts of a convention, for many artists, is doing on-site commissions. But executing good art under convention conditions is daunting. If you must exit the area, take special care not to bump, jostle or shove the table. This is especially true in Artist’s Alley, where all of the tables are connected. You could be ruining a very expensive piece.
Don’t sprawl: Conventions demark floor space pretty clearly. It’s not hard to figure out what space you’re supposed to inhabit — and what space is your neighbor’s. Don’t let your crap drift over into your neighbor’s space. This is especially annoying in Artist’s Alley. many shows now demark a little walkway behind the tables so exhibitors can easily get in and out. Don’t put your stuff into the walkway.
Got friends behind your table? Tell ’em the rules. This should go without saying. If they’re gonna be back there. tell ’em how to act.
Some cartoonists have been asking me to give them my thoughts on their Patreon pages. And I’ve opened up a new Hot Seat critique series based on members’ Patreons. And — honestly, I’m a little obsessed — when I see a new Patreon page being promoted, I go over and see how they’ve got it structured. Sometimes, I find ideas worth stealing. But more often, I’m seeing a lot of the same mistakes being made over and over again. And, in my opinion, it’s having an adverse effect on your ability to generate support.
Now, this is usually where I cut the article and throw the rest of the post behind the paywall. But this one is so damned important, I’m not going to do that. If this is you, you need to stop, rethink and rebuild.
It’s not charity. It’s a business transaction
Asking for pocket change, thanking patrons in advance for their generosity, and any appeal that relies more on emotion than on the value of your work are poor strategies. In general, anything that makes your Patreon campaign sound like a hand-out, an act of mercy, or a charity is setting exactly the wrong tone for what you’re trying to do.
Honestly? I’d make it a point to avoid words like “generous.”
This is the A-1, second-to-none, deal-breaker mistake that people make on Patreon.
Why? Because it not only puts your potential patrons into the wrong mindset, but — more importantly — it puts you in the wrong mindset. And if you’re in that mindset, you’re going to make a bunch of bad decisions.
Keep reading. You’ll see exactly what I mean.
When you’re trying to get someone to give you charity, you make promises — often promises that you have no idea how you’re going to keep. You’re a panhandler on the subway rattling an empty coffee cup. You’ll say anything to get someone to pay attention.
So, what should you do?
OK… Webcomics.com isn’t a charity either…
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Recently, after reading my critique of a member’s Patreon campaign, a fellow subscriber wrote:
Here’s something that scares me about this sort of crowd-funding : When is it acceptable to make changes, and how do you do that?
How drastically can you change things like the goal before users feel like you’re moving the goal posts and taking advantage of them? I assume you’d do it at the end of a month so you’re not literally lying to them, but do you worry about it still feeling like a bait and switch? Does etiquette require that you announce changes some period ahead of time? …How quickly can you make those changes without angering customers?
Here are a few DOs and DON’Ts
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Remember that scene in The Graduate, in which Mr. McGuire pulls Benjamin (played by a young Dustin Hoffman) aside to give him some life advice?
Mr. McGuire: I want to say one word to you. Just one word
Benjamin: Yes, sir.
Mr. McGuire: Are you listening?
Benjamin: Yes, I am.
Mr. McGuire: Plastics.
Benjamin: Exactly how do you mean?
Mr. McGuire: There’s a great future in plastics. Think about it. Will you think about it?
My father-in-law, having read about a global colored-pencil shortage, has taken on the same demeanor. But when he pulls me aside, it isn’t “plastics.” Instead, it’s…
“Coloring books.”
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This is the last in a series of critiques that focuses on the creator’s Patreon outreach. Our goal is to try to workshop some best practices and strategies that work. I’m going to open the discussion with my opinions. Then members are welcomed to join in the conversation.
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