1156:
564:. . . I don't own the originals but I do own the rights. That means everything. Every printing right imaginable. Do what you want with the originals—put 'em in your closet, hang 'em on your wall, give 'em away, sell 'em, but, if you sell your work and the guy you sell it to sells it to the next guy and he sells it to the next guy and he sells it to the next guy—all the way down the line—and if the 17th guy who buys it, prints it somewhere without my permission, I'm going to hold you responsible.
237:
135:
36:
831:, a document designed to protect their rights as creators and aid against their exploitation by corporate work for hire practices. Issues covered by the Bill included giving creators proper credit for their characters and stories, profit-sharing, distribution, fair contracts, licensing, and return of original artwork. Through a series of meetings, a document was finalized at the "Northampton Summit" held in
77:
726:, co-creator of many of Marvel's most popular characters, came into dispute with the company over the disappearance of original pages of artwork from some of his most famous and popular titles. Kirby had quit working for Marvel in 1979, angry over what he perceived as the company's mistreatment of him. Best-selling creators like
1032:
was committed to creator-owned projects, working on several "self with new writers and artists" as well as established names, with the express intention of "trying to bring new people into the industry, as well as use some of the best creators in comics". In addition to creator-owned series set in
738:
Marvel originals returned, and the pair won their battle in 1987, when Marvel returned original artwork to him and Kirby, among others. This decision helped lead to the modern industry's standard practice of returning original artwork to the artist, who can earn additional income from art sales to
692:
clashed over issues of creative control, and Gerber was abruptly removed from the series. This was the first highly publicized creator's rights case in
American comics, and attracted support from major industry figures. Gerber subsequently launched a lengthy legal battle for control of Howard the
875:
to embody the ideals of the Bill from a publishers' standpoint. As part of the initial group who "got together to form the" Bill, Eastman felt obligated to expand it beyond theory and into practice, providing a creator-friendly forum for comics creators to work for a publisher while maintaining
751:
were strong promoters of creator-owned superhero properties; their enticement of popular creators (such as Kirby) to their pages helped push the issue to the fore and put pressure on industry giants Marvel and DC. The alternative and independent publishers
492:. Members of the UCWA agreed that all cartoonists would demand the same rate per page of comics, whether they were stars like Crumb or being published for the first time. They also agreed to not work for any publisher who had "cheated" other cartoonists.
1264:
strategy is insidiously simple and outrageous—possibly even considered dirty tactics by the competition— such as higher page rates, artwork returned to the artist, rights to the creation of an original character, and a certain amount of professional
742:
Beginning in the 1980s, several new publishers and imprints went into business, offering comics writers and artists the opportunity to have their work published while retaining the copyrights to the characters and the stories. Publishers like
556:, and allowing the artists to retain their original artwork, giving creators the option to gain extra income by selling the pages to collectors. Nonetheless, Warren Publishing retained all creator's rights. As James Warren once told artist
950:
provided brisk competition for long-standing superheroes. Many popular creators followed Image's lead and attempted to use their star power to launch their own series; ones for which they would have licensing rights and editorial control.
804:, "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like crap". He joined other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for
883:, which would serve as a prominent example of creator-owned comics publishing. Propelled by star power and upset that they did not own the popular characters they created for Marvel, several illustrators, including the
808:
as well. Moore's outspoken opinions and principles, particularly on the subject of creator's rights and ownership, would see him burn bridges with a number of other publishers over the course of his career.
398:
name and title and the copyright on the strips it published, but the characters themselves were too intangible to qualify for copyright or trademark. This freed
Outcault to continue the strip in the
863:. In the end, however, many prominent comic book professionals, including some involved in its drafting, hold that the Creator's Bill of Rights itself had little or no impact on the industry.
787:, and other publishers led to an industry-wide debate about the issue; and in the fall of 1988, DC revised the company's work-for-hire agreements to give more power to individual creators.
530:, which operated from 1974 to 1975, offered some of the highest rates in the industry, plus return of artwork to artists and author rights to original character creations.
523:. Like Rip Off Press, it was founded as an alternative to the existing underground publishers, which were perceived as not being honest with their accounting practices.
794:
became increasingly concerned at the lack of creator's rights in
British comics. In 1985, he noted that he had stopped working for all British publishers except
1330:
1773:
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entered the field during this period as well. Creator-owned properties allowed series to continue with multiple publishers as circumstances required;
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247:
1014:
imprint, launched in 1993, was the company's first successful attempt to routinely publish creator-owned series (right from its launch with
711:, offering its writers and artists ownership rights and royalties in place of the industry-standard work for hire contracts. The success of
152:
49:
199:
171:
533:
Up to the mid-1970s, most comic book publishers kept all original pages, in some cases destroying them in lieu of storing them safely.
351:
or publisher purchase of the material being standard practice. This article traces the changing standards of the comic book industry.
178:
2019:
1976:
vol. 1, #3 (Jan./Feb. 1993), pp. 16–17: on creators' rights; includes text (draft) of "A Bill of Rights for Comic
Creators".
98:
85:
1195:
185:
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formed Image, an umbrella label under which several autonomous, creator-owned companies existed. Image properties, such as
1479:
167:
1519:
1807:
1088:
Many sources erroneously assert this case was over the Yellow Kid; no records exist of a lawsuit over the Yellow Kid.
500:
formed the "Local 2 — Milwaukee" branch of the UCWA, and the UCWA brand appeared on a number of comix from that era.
299:
281:
218:
116:
63:
386:. Outcault had not applied for a copyright to Buster Brown, but asserted a "common-law title"—what comics historian
259:
55:
1819:"Bye Bye Marvel; Here Comes Image: Portacio, Claremont, Liefeld, Jim Lee Join McFarlane's New Imprint at Malibu",
1136:
Winchester, Mark D. (May 1995). "Litigation and Early Comic Strips: The
Lawsuits of Outcault, Dirks, and Fisher".
156:
839:
was the principal author of the Bill; other artists and writers participating in the Bill's creation included
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1890:#137 (Sept. 1990) — special coverage of the Creator's Bill of Rights, including the full text of the Bill:
2009:
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1520:"An Extraordinarily Marketable Man: The Ongoing Struggle for Ownership of Superman and Superboy"
2014:
1426:
1190:
Estren, Mark James (1993) . A History of
Underground Comics (2 ed.). Ronin Publishing, p. 250.
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1727:
1394:
1318:
1300:"The Comics Guild: A Professional Guild to Protect the Rights of Visual Creators: A Report",
1045:
986:
731:
620:
527:
464:
The United
Cartoon Workers of America was an informal union organized in 1970 by cartoonists
734:, and many other stars became vocal advocates for Kirby. Neal Adams also petitioned to have
1882:
McEnroe, Richard S. "Packaging: Work-For-Hire in the Real
Publishing Industry", p. 44.
1034:
568:
By 1975 or 1976, both DC and Marvel also began returning artists' original pages to them.
8:
1902:
Groth, Gary. "Creator vs. Corporate
Ownership", pp. 101–106: on "creators' rights",
1454:
1390:
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1116:
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1011:
674:
receiving decades-overdue credit and some financial remuneration from
Superman publisher
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365:
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had a mixed history of responding to the issue of creator's rights. In 1978, Marvel and
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1111:
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In 1990, Creator's Bill of Rights signatory Kevin Eastman founded the creator-friendly
771:
497:
437:
340:
1803:
1491:
1254:, ed. (January 1975). "Comixscene: Exclusive preview of Seaboard's new comics line".
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928:
872:
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541:
453:
415:
382:
339:, creator ownership has historically been standard. In other fields—such as comics,
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asserted is one of the earliest claims to creators' rights. The court decided the
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creator retains full ownership of the material, regardless of whether the work is
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1955:#122 (June 1988), p. 11: Editorial on British comics and creators' rights.
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1998:
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McEnroe, Richard S. "Lies, Damned Lies, & Dick Giordano", pp. 25–27.
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1251:
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among many comics creators, including those working in the dominant genre of
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444:, an alternative publishing venue to burgeoning Bay Area publishers like the
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716:
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640:
632:
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576:
485:
441:
662:, notably and vocally helped lead the lobbying efforts that resulted in
1986:
Mescallado, Ray. "Fanboi Politik: Creator's Rights in the Mainstream",
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In 1992, a number of popular Marvel artists formed their own company,
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for instance has been published by four succeeding publishing houses.
27:
Business agreement for comic creators, especially in the United States
1861:
1370:
994:
968:
827:, a number of independent comic book artists and writers drafted the
795:
780:
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675:
549:
512:
1879:
McEnroe, Richard S. "Copyrights & Consequences", pp. 41–44.
1800:
Comic Book Rebels: Conversations with the Creators of the New Comics
134:
1450:
840:
663:
644:
1899:
Groth, Gary. "Steven Bissette and Scott McCloud", pp. 72–92.
902:
893:
430:
1923:"Alan Moore Refuses Marvel Permission to Reprint Dr. Who Work",
1850:
Groth, Gary. "Editorial: Creator's Rights: The Latest Panacea",
347:—creator ownership has traditionally been uncommon, with either
1618:"Neal Adams Receives Art Without Signing Marvel's Short Form",
1068:
imprint in part to provide star creators like Frank Miller and
429:
Rip Off Press was founded in 1969 by four men—two of whom were
1683:
McEnroe, Richard S. "Lies, Damned Lies, & Dick Giordano",
885:
246:
deal primarily with the United States and do not represent a
1972:
Berntsen, Christian and Relkin, Richard. "Cultural Corner",
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movement; these themes were exemplified in the formation of
1944:"UK Creator Rights Panel Argues the Kirby-Marvel Dispute",
1317:#42 (October 1978), pp. 21-28. Full list of Guild members:
414:
Creator-owned titles began to appear during the late-1960s
344:
1860:#121 (April 1985) — special issue on creator's rights and
1239:
A History of Underground Comics: 20th Anniversary Edition
575:
was politically active in the industry, and attempted to
1756:'s interview with Moore, 1 November 2005. Originally at
1930:"The Work-Made-For-Hire Contract, a Legal Definition",
1765:
1592:"Ploog & Kirby Quit Marvel over Contract Dispute",
876:
ownership of their work. Tundra went bankrupt in 1993.
1937:"Comics Contracts: What the Various Companies Offer",
715:
led to the 1982 formation of the long-running imprint
1979:
Rodi, Rob. "Blood & Thunder: Rights and Reason",
1049:, DC published several creator-owned series, such as
769:
In the mid-to-late 1980s, creator ownership became a
1867:
Friedrich, Mike. "Ownerous Differences", p. 21.
579:
its creative community. Adams attempted to form the
422:, the United Cartoon Workers of America (UCWA), and
1579:"The Artist Waives Any Claim the Artist May Have",
1107:"Outcault, Goddard, the Comics, and the Yellow Kid"
159:. Unsourced material may be challenged and removed.
1798:Wiater, Stanley & Bissette, Stephen R. (ed.s)
722:Around this same period, however, industry legend
1951:Plowright, Frank. "And As Ye Reap Shall Ye Sow",
1631:"Jack Kirby Returns to Comics with Cosmic Hero",
1172:
1996:
1313:Groth, Gary. "Birth of the Guild: May 7, 1978",
1836:#49 (Capital City Distribution, January 1993).
1566:"Marvel Plans to Augment Creators' Benefits",
705:, Marvel created the mature readers anthology
1896:"What Are Creators' Rights?", pp. 66–71.
1250:
719:, which specialized in creator-owned titles.
507:venture by cartoonists Griffith, Spiegelman,
244:The examples and perspective in this article
1870:Grant, Steven. "What Dick Said", p. 24.
1873:Slifer, Roger. "Screwed by DC", p. 25.
1279:
1277:
1275:
1273:
1028:). From the start, Vertigo founding editor
955:, famous for his long run as the writer of
812:
651:. The effort failed to get off the ground.
548:dynamic by offering higher page-rates than
64:Learn how and when to remove these messages
1553:"Gerber Sues Marvel over Rights to Duck",
1206:
1204:
1162:
1135:
359:
1721:
1719:
1644:Friedrich, Mike. "Ownerous Differences",
503:Cartoonists' Co-Op Press was a 1973–1974
300:Learn how and when to remove this message
282:Learn how and when to remove this message
219:Learn how and when to remove this message
117:Learn how and when to remove this message
1508:
1270:
1826:
1212:The Apex Treasury of Underground Comics
1201:
1064:In 1994, Dark Horse Comics founded the
328:or published by a corporate publisher.
14:
1997:
1965:"Creator's Rights in the Real World",
1792:
1716:
1605:"Marvel Returns Art to Kirby, Adams",
1468:
1241:(Ronin Publishing, 2012), pp. 251-253.
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1166:
1101:
1072:an avenue for creator-owned projects.
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1474:
1095:
693:Duck, culminating in a 1981 lawsuit.
1514:
583:, with a contentious meeting in May
230:
157:adding citations to reliable sources
128:
70:
29:
1990:#215 (Aug. 1999), pp. 119–120.
1969:#139 (Dec. 1990), pp. 110–114.
1893:"Creator's Rights", pp. 65–71.
1813:
1149:
835:, and signed by all in attendance.
654:In addition, Adams, along with the
24:
1941:#113 (Dec. 1986), pp. 19–232.
1843:
779:. Creators' repeated clashes with
25:
2031:
1983:#171 (Sept. 1994), pp. 2, 6.
1948:#114 (Feb. 1987), pp. 23–24.
1657:Grant, Steven. "What Dick Said",
1210:Goodrick, Susan. "Introduction",
45:This article has multiple issues.
1823:#148 (February 1992), pp. 11-12.
1789:#137 (September 1990), p. 65-71.
1670:Slifer, Roger. "Screwed by DC",
526:The short-lived genre publisher
235:
133:
75:
34:
1958:"What the Copyright Law Says",
1832:"Interview with Karen Berger",
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320:is an arrangement in which the
144:needs additional citations for
53:or discuss these issues on the
2020:Intellectual property activism
1927:#102 (Sept. 1985), p. 19.
1854:#87 (Dec. 1983), pp. 6–8.
1244:
1231:
1217:
1214:(Links Books/Quick Fox, 1974).
1184:
1082:
544:began changing the industry's
402:as long as he did not use the
13:
1:
1962:#130 (July 1989), p. 12.
1934:#104 (Jan. 1986), p. 11.
1776:. Accessed 26 September 2008.
1700:#110 (August 1986), pp. 9-10.
1687:#121 (April 1985), pp. 25-27.
1532:(263): 13–17 . Archived from
1075:
168:"Creator ownership in comics"
1802:(Donald I. Fine, Inc. 1993)
1713:#125 (Oct. 1988), pp. 11-13.
1622:#116 (July 1987), pp. 15-16.
7:
1557:#62 (Mar. 1981), pp. 11-13.
1304:#42 (Oct. 1978), pp. 15-17.
1258:. No. 11. p. 29.
1057:, that were set within the
944:and especially McFarlane's
440:—as a sort of cartoonists'
318:creator ownership in comics
258:, discuss the issue on the
10:
2036:
1228:#3 (Last Gasp, June 1972).
833:Northampton, Massachusetts
816:
354:
1674:#121 (April 1985), p. 25.
1661:#121 (April 1985), p. 24.
1648:#121 (April 1985), p. 21.
1285:"Wrightson's Warren Days"
571:During the 1970s, artist
1696:"First Comics Pays Up",
1609:#116 (July 1987), p. 15.
866:
829:Creator's Bill of Rights
819:Creator's Bill of Rights
813:Creator's Bill of Rights
696:
459:
424:Cartoonists' Co-Op Press
409:
89:may need to be rewritten
1764:; accessed through the
1709:"New Contracts at DC",
1635:#65 (Aug. 1981), p. 23.
1596:#44 (Jan. 1979), p. 11.
1583:#105 (Feb. 1986), p. 2.
1570:#54 (Mar. 1980), p. 13.
975:, also made popular by
360:Early twentieth century
566:
1742:Thrill-Power Overload
1728:Thrill-Power Overload
987:WildStorm Productions
581:Comics Creators Guild
562:
528:Atlas/Seaboard Comics
1785:"Creator's Rights".
264:create a new article
256:improve this article
153:improve this article
1117:Fantagraphics Books
366:Richard F. Outcault
2010:Comics terminology
1988:The Comics Journal
1981:The Comics Journal
1967:The Comics Journal
1960:The Comics Journal
1953:The Comics Journal
1946:The Comics Journal
1939:The Comics Journal
1932:The Comics Journal
1925:The Comics Journal
1888:The Comics Journal
1858:The Comics Journal
1852:The Comics Journal
1821:The Comics Journal
1787:The Comics Journal
1711:The Comics Journal
1698:The Comics Journal
1685:The Comics Journal
1672:The Comics Journal
1659:The Comics Journal
1646:The Comics Journal
1633:The Comics Journal
1620:The Comics Journal
1607:The Comics Journal
1594:The Comics Journal
1581:The Comics Journal
1568:The Comics Journal
1555:The Comics Journal
1525:The Comics Journal
1484:The Comics Journal
1315:The Comics Journal
1302:The Comics Journal
1112:The Comics Journal
1096:General references
498:Kitchen Sink Press
476:, Nancy Griffith,
454:Company & Sons
368:took his creation
331:In some fields of
1291:#4 (Spring 1999).
1289:Comic Book Artist
1262:David and Goliath
1196:978-0-914171-64-5
873:Tundra Publishing
758:Dark Horse Comics
542:Warren Publishing
416:underground comix
383:New York American
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266:, as appropriate.
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1480:"Jerry Robinson"
1478:(October 2005).
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1123:on June 12, 2016
1119:. Archived from
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1760:/Comicon.com's
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686:Howard the Duck
629:Marshall Rogers
597:Chris Claremont
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482:Spain Rodriguez
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1399:Michael Netzer
1387:Roger McKenzie
1383:Rick Marschall
1363:Archie Goodwin
1359:Michael Golden
1339:Howard Chaykin
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817:Main article:
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660:Jerry Robinson
609:Archie Goodwin
605:Michael Golden
593:Howard Chaykin
511:, Jerry Lane,
494:Dennis Kitchen
478:Art Spiegelman
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1538:. Retrieved
1534:the original
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1499:. Retrieved
1487:
1483:
1470:
1463:Marv Wolfman
1439:Roger Slifer
1423:Jim Salicrup
1403:Martin Pasko
1395:Frank Miller
1367:Klaus Janson
1323:Mike W. Barr
1319:Terry Austin
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1125:. Retrieved
1121:the original
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1046:Fallen Angel
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1030:Karen Berger
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881:Image Comics
878:
870:
849:Larry Marder
823:In November
822:
805:
799:
789:
785:First Comics
770:
768:
761:
741:
739:collectors.
735:
732:Frank Miller
721:
712:
706:
700:
690:Steve Gerber
680:
668:Jerry Siegel
653:
649:Marv Wolfman
621:Frank Miller
587:attended by
580:
570:
567:
563:
538:James Warren
535:
532:
525:
521:Diane Noomin
517:Willy Murphy
502:
470:Justin Green
466:Robert Crumb
463:
438:Jack Jackson
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413:
404:Buster Brown
403:
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396:Buster Brown
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371:Buster Brown
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209:January 2023
206:
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151:Please help
146:verification
143:
113:
104:
93:Please help
88:
86:lead section
61:
54:
48:
47:Please help
44:
1476:Groth, Gary
1443:Jim Starlin
1431:Jim Shooter
1411:Ralph Reese
1379:Paul Levitz
1351:Steve Ditko
1331:Rick Bryant
1179:Harvey 2016
1167:Harvey 2016
1144:(2): 16–25.
1059:DC Universe
1007:for Image.
991:Kurt Busiek
979:, launched
929:WildC.A.T.s
911:Rob Liefeld
857:Peter Laird
853:Rick Veitch
777:superheroes
717:Epic Comics
672:Joe Shuster
641:Jim Starlin
633:Jim Shooter
613:Paul Levitz
601:Steve Ditko
486:Roger Brand
442:cooperative
431:cartoonists
1999:Categories
1540:2006-12-22
1501:2007-11-18
1459:Bob Wiacek
1455:Alan Weiss
1407:Carl Potts
1401:(Nasser),
1391:Bob McLeod
1327:Cary Bates
1260:Goodman's
1256:Mediascene
1225:Young Lust
1076:References
1070:John Byrne
1037:, such as
1035:continuity
1033:their own
1004:Astro City
961:, created
941:Witchblade
916:Spider-Man
792:Alan Moore
728:Alan Moore
724:Jack Kirby
625:Carl Potts
617:Bob McLeod
589:Cary Bates
573:Neal Adams
509:Kim Deitch
446:Print Mint
394:owned the
335:, such as
333:publishing
322:comic book
179:newspapers
50:improve it
1862:DC Comics
1496:0194-7869
1371:Joe Jusko
1265:courtesy.
995:Alex Ross
781:DC Comics
676:DC Comics
666:creators
550:DC Comics
536:By 1974,
513:Jay Lynch
374:from the
364:In 1906,
272:July 2022
260:talk page
56:talk page
1762:The Beat
1740:Bishop,
1451:Len Wein
1127:June 12,
1001:created
841:Dave Sim
664:Superman
658:creator
645:Len Wein
577:unionize
400:American
254:You may
1012:Vertigo
903:X-Force
894:Jim Lee
806:2000 AD
801:2000 AD
790:Writer
688:writer
380:to the
355:History
312:In the
193:scholar
1914:, and
1806:
1774:Part 2
1770:Part 1
1494:
1461:, and
1194:
1066:Legend
1040:Enigma
1025:Enigma
997:, and
989:; and
913:, and
859:, and
647:, and
519:, and
488:, and
452:, and
406:name.
392:Herald
195:
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181:
174:
166:
1010:DC's
947:Spawn
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886:X-Men
867:1990s
697:1980s
656:Joker
460:1970s
410:1960s
343:, or
262:, or
200:JSTOR
186:books
1804:ISBN
1772:and
1492:ISSN
1192:ISBN
1138:Inks
1129:2016
1055:Xero
1053:and
1043:and
1018:and
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967:for
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