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nweathington

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nweathington
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  • Re: Episode 1671 Talkback - 2017 NYCC Chat and October Previews

    A question about the "retrospective" books that are published regularly, such as "Joe Sinnott: Embellishing Life" that caught my eye this month. When such volumes are published (about Marie Severin, Herb Trimpe, etc., etc.), or when IDW's artist editions are released, do these fine silver-age creators that we love receive any royalties? I like to think that they do because they were so frequently exploited during the silver age, and because these volumes contain many reprints of their artwork. Does anyone know? I'd probably buy even more of these volumes than I do currently if I was certain that these creators were receiving a "financial thank you" for their time in the trenches.
    For the most part, I think the answer is yes. It certainly is the case with every such book that TwoMorrows publishes. In the case of the Matt Baker book I co-edited, since Baker was long dead when we did the book, his step-brother and nephew received the payment Baker would have been offered. After Mike Wieringo passed away, we began giving his royalty payments for the Modern Masters book I did with him to the scholarship fund at SCAD that his brother Matt had set up in his name. After Nick Cardy died, we gave his royalty payments for the book I did with him to the Hero Initiative in Nick’s name. But you get the idea.

    I can’t speak with absolute certainty about every book from other publishers, but I think it’s safe to assume that the overwhelming majority, if not all of them, also pay royalties to the creators.
  • Re: A Comic Cover A Day (is awesome)

    Going into 1975, Kirby was becoming increasingly unhappy at DC. Changes in editorial and their quick trigger fingers left Kirby feeling unwanted in his role as a one-man operation. On top of that, he could see that DC was struggling financially. So when October’s “Bullpen Bulletin” announced, “The King is back! ’Nuff Said!” it wasn’t the shocking announcement his move from Marvel to DC had been.

    For the next few months, new Kirby work appeared at both Marvel and DC (ending with his pencils—and only pencils, no writing—for Kamandi #40). One of the first things Kirby drew upon his return to Marvel was the cover to Giant-Size Conan #5, inked by Joe Sinnot—the only time he would ever draw the barbarian for publication. Of course, John Romita redrew Conan’s face.

    image
  • Re: Classic Comic Ads (are awesome too)

    This Aurora model kit came up in a discussion I had at NYCC, and I thought it was appropriate for the season. I'd never heard of this one, but it's freaking fantastic. The ad comes from an issue of Creepy. “Harmless fun” for the whole family!

    image
  • Re: A Comic Cover A Day (is awesome)

    1973 ended with the cancellation of Mister Miracle, and 1974 led off with the cancellation of The Demon, leaving Kirby with only one monthly book. But OMAC, a bimonthly, launched in the fall, with Sandman, another bimonthly (this time written by Joe Simon), not far behind. And 1974 closed with Kirby taking over Our Fighting Forces (featuring the Losers)—another bimonthly—with issue #151. Meanwhile, Marvel not only (re)printed twice as many Kirby covers as DC, but reprinted more Kirby interior pages than DC printed new Kirby pages. Here’s Kamandi #16 (Apr. 1974), inked by D. Bruce Berry.

    image
  • Re: The Inescapable... MISTER MIRACLE Thread!!! (Also, to know them is to hate them--SPOILERS!)

    Great analysis, @nweathington.

    It's kind of odd how when Scot is dreaming, or unconscious, that his memories appear "glitchy," almost as if they're being broadcast.
    Thanks. But is he really dreaming/losing consciousness during those moments, or is he waking up/being knocked back to his senses during those moments, and becoming aware that what he’s seeing is merely a projection?