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A. Heathen


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I imagine the problem is that the future market for comics is in Graphic Novels and collections but the companies wont take a risk shifting their market over to that so they continue to pump out floppies which guarantee short term stability at least.


Running parallel you have the talent who cut their teeth on interesting creator owned fare that is perfect for the Graphic Novel hungry public, but they're forced to do it in monthly instalments so they can afford to live as that's the only way to get money upfront from the publishers.


Because the publishers are scared to take the leap to a grown up method of publication they prop up their most profitable lines by attracting the talent from their creator owned work to banal superhero fuckery with relatively large pay offers (relatively, no where near what they deserve, there's a reason Warner and Disney now own 80% of the comics on the shelves, profit).


Meanwhile in the real publishing world Dean Koontz is a millionaire while Warren Ellis lives in a semi detached house in South End. Ellis by his own admission has the most graphic novels in print of any comics writer, thousands and thousand of pages of work each book retailing usually for £10 or over but he's almost completely unknown to those outside comic book circles, so he has to write spandex patrol for Marvel so he can pay the mortgage.


The publication and distribution of comics in the world is maintained and controlled by those who benefit from the status quo and would suffer under any change to the more open publishing methods of books.


Bendis wrote Goldfish

Millar wrote Chosen

Hickman wrote The Nightly News

Ennis wrote Preacher

Morrison wrote The Invisibles


Bendis wrote New Avengers

Millar wrote Ultimate X-Men

Hickman wrote The Fantastic Four

Ennis wrote The Resurrection of Ma Gnucci

Morrison wrote Final Crisis


Kirkman writes Invincible and The Walking Dead http://www.comicbookresources.com/?page=article&id=17705

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