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      CommentAuthorEgon
    • CommentTimeApr 8th 2008
     (1719.81)
    I attended a small writing discussion you hosted at WWLA last year. Just wanted to say thanks. :)
  1.  (1719.82)
    Real ownership of our creation, and being published by the biggest publisher in the Direct Market were key.


    I am moderately familiar with how image works (during my Internship it came up for one client), so was assuming it was the case.
    I fully understand you can't talk about your specifics, I can fill in the blanks from your response nicely.
  2.  (1719.83)
    Image gives full ownership, too. At other publishers, it's different. Even in Europe, the publisher takes half of ownership. It's kind of fucked.
    • CommentAuthorDayan B.
    • CommentTimeApr 8th 2008
     (1719.84)
    Ed any further details you can give us on the rights issues with Sleeper? I was trying to talk a producer here in L.A. into making it into a cable show at one point - but had to admit I was stymied on who even "owns" it - basically because of Tao and Lynch.
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      CommentAuthorMegaGoosey
    • CommentTimeApr 8th 2008
     (1719.85)
    It's been mentioned that "Homicide" was a big influence on "Gotham Central," which brings up a question that is only slightly related. What did you think of the end of the TV series "The Wire?" That stuff must be right up your alley.
  3.  (1719.86)
    I watched on YouTube a video where you arm-wrestled ( and soundly defeated the majority of your) fans at a comic book signing.

    My question: who wins in an Arm Wrestle: You or Warren?
  4.  (1719.87)
    Image gives full ownership, too.


    Well, from my end, I have seen more publishing contracts for books.

    Limited period exclusivity (usually defined in terms of number of books not duration of contract) with full ownership subject to an exclusive license to publish, with possibilities of first refusal, are standard. Standard even in the worst contracts in that field. And of course those limited rights are paid for. And I saw many "bad" contracts - since first refusal almost always locks in the price of later rights, sometimes for as many as 3 or 4 books, and new writers often face costs subtracted from their royalties.

    It always takes me aback how much healthier comics would be even under the worst literary contracts. Great to hear Criminal is under a much more literary deal.
    • CommentAuthoravantard
    • CommentTimeApr 8th 2008
     (1719.88)
    Hey Ed,

    Gotta say I'm loving everything you're working on at the moment. I'm such a good little minion that I've turned several friends onto Criminal and they've all 5-starred the hell out of the TPBs on Good Reads because they loved it so much. Anyway...

    I have a comment/question regarding Daredevil:

    I'm not one of them, but seems like complains about the title as of late is that it's too dark, too abusive to the title character, etc. I'm not really buying it. To me, DD is at his best when his world is crumbling, it's what separates him from nearly everyone else in the MU. I couldn't imagine how terrible it would be if that element of constant tragedy was taken away from the book. That said, seems to me an element of the readership is a little fatigued of the perceived dumping on Matt. So, my question:

    Will we be seeing any DD storylines that aren't directly tied to his personal life? Also, was The Hood's appearances in the last DD arc a one-off thing, or should we expect to see him making big moves in the next year?
    • CommentAuthorart4899
    • CommentTimeApr 8th 2008
     (1719.89)
    Hey Ed,

    I'm reading everything you do (even Uncanny which is something I was sure could never happen again). You have this way of making what would seem like the worst ideas (bringing back Bucky, killing Cap) some of the best reads out there. And Criminal is amazing.

    Have you read Alan Furst? If so, what do you think? It's not crime fiction but it's espionage (from Night Soldiers on, this books are set in Europe from '33 to the end of the war - most of them in the time before the war even breaks out) among the expatriates and people living on the fringe that get swept up into history. If you haven't read them, I think you'll dig them.

    I think I've read that Out of the Past is your favorite noir (correct me if I'm wrong). What's your favorite heist film?
    • CommentAuthorChasRhett
    • CommentTimeApr 8th 2008
     (1719.90)
    Speaking of ownership, when you said earlier that the rights on <em>Scene of the Crime</em> had reverted to you and Michael Lark, what does that mean? Can you take it to another publisher now?
  5.  (1719.91)
    Ed any further details you can give us on the rights issues with Sleeper? I was trying to talk a producer here in L.A. into making it into a cable show at one point - but had to admit I was stymied on who even "owns" it - basically because of Tao and Lynch.

    Yeah, any deal has always had to cut them out of the property, obviously, because they were previously established. Sleeper has always gotten a lot of serious interest from Hollywood, though. Maybe someday someone will sort through the mess and close a deal. My biggest career mistake, not doing Sleeper as a fully creator-owned book. I was early in my career, though, so we all make those kinds of mistakes, and I figured a participation deal was good enough. There are all sorts of other things that come with creating a company character, though, that we don't think about ahead of time.
  6.  (1719.92)
    you said earlier that the rights on Scene of the Crime had reverted to you and Michael Lark, what does that mean? Can you take it to another publisher now?

    We can do whatever we want, yeah. It's ours finally. Took 9 years to get the reversion of rights.
  7.  (1719.93)
    wow, thats a wake up call. i had previously thought that vertigo rights issues werent the clusterfuck that other companies are.
    • CommentAuthorChasRhett
    • CommentTimeApr 8th 2008
     (1719.94)
    Honestly, I'm kinda surprised that DC let <em>Scene of the Crime</em> go at this point. I'd think it would make for perfect cross-marketing sales with <em>Criminal</em>. Of course I'm happy that they did if it means more stories are possible. I'm one of the few who bought that in singles when it was originally released, and I still want to read more about Jack Herriman. I enjoyed reading about a PI who (at the time) was in my age range.
  8.  (1719.95)
    scene of the crime and LOWLIFE are the two comics that my mother likes, by the way. i thought you would find that humorous.
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      CommentAuthorJosh T.
    • CommentTimeApr 8th 2008
     (1719.96)
    Patton Oswalt did an essay on Blast of Silence in issue 4 begging for a Criterion release and now Criterion is putting it out with Sean Philips doing the cover and part of the booklet. Do you know if Criterion approached anyone about the DVD release (Sean went to them, they came to him) or if the release had anything to do with the essay?

    Loving Criminal, Cap, Iron Fist and DD by the way. I don't know about people not selling out of Criminal, if I'm not in my shop on Wednesday, I'm usually out of luck.
  9.  (1719.97)
    Criterion came to Sean, through seeing his art on that Blast article Patton did. Criterion even took out an ad in the new issue for the release.

    That's one other cool thing about Criminal, I'm starting to get free DVDs from a few places.
  10.  (1719.98)
    Long or complex reversions are fairly standard at Vertigo from what I hear.
  11.  (1719.99)
    It's not just them, it's any major comics publisher around the world. They all want a piece of ownership and control. In Japan and Europe, here in the US. The trade-off is you generally get paid handsomely to write and draw stories and characters you've created, with the publisher taking that risk. It's a fair trade, but you have to know what you're going into, eyes wide open.
    • CommentAuthordeadhuman
    • CommentTimeApr 8th 2008
     (1719.100)
    just wanted to know if Frank Kafka, private eye would come back in future issues?
    I loved them so much.