Just curious. At these annual summits, do they discuss how they might use Marvel's war/western/horror properties? Or is it primarily road-mapping the Marvel U for the next year?
It just seems like there would be some great fits...like you on a 'Nam series...and a bunch of great properties that fans would like to see again.
Tall Tales from the Badlands - The critically acclaimed Western anthology
His point had nothing to do with breaking into the business - his point was about working professionals in the comic biz, and how it takes more guts (and sacrifice) to do something non-mainstream than it does to work on a popular book and cash a bigger paycheck every month. Anyone who thinks it takes more balls and sacrifice to write the Hulk every month than it does to put out a book like Enigma is laughably detached from reality. The monetary rewards are going to be less, the number of people that your book reaches is going to be less, and you'll likely have to fight to get people to believe in your book versus pitching the Hulk, a character who has a long-standing established fan base and market. If you want to make this a discussion about breaking into the business then feel free
For that matter, Jason Aaron's article wasn't even about breaking into the business, it was about indy versus the big 2
No one, not one single professional "breaks into the business" and then "that's it."
There is a WORLD of sacrifice and guts that it takes to maintain a career IN the mainstream. It's NOT a cakewalk to STAY in the mainstream. There is a CONSTANT need of "what have you done for me now?"
You think it DOESN'T take "sacrifice to write the Hulk every month"-- and, to use your own words, that opinion of yours is truly "laughable and detached from reality." Have a talk with Peter David sometime if you don't believe me. :-)
Yes, it DOES take guts to strike out on your own. But to think that working and MAINTAINING a job in the mainstream is "easy" is... well, easy to say from an armchair, not so much in the thick of it. Yes, Jason's article was NOT about breaking into the industry. That's not the point I was making. Getting to the point in one's career where they let you write the Hulk takes a HELL of a lot of sacrifice, and getting to KEEP writing the Hulk takes even MORE. If you don't get that, I'm sorry.
It was my understanding that Pyramid meant "the easiest thing to do [between continuing to work on established corporate properties and striking out on your own]", not "the easiest thing to do [in general]". I don't think anyone really believes either option is is "easy".
"So being a corporate whore means I get to write comic books for a living and tell whatever sorts of stories I want to tell? In that case, sign me the fuck up."
And, if this were true, there would be very little problem with the WFH system. But it's only true up until a point-- either until the sorts of stories you want to tell aren't mainstream superheros, or until editorial decides they want something to happen that you don't want to do. It's only true until you get One More Day'd, or they decide your Hulk needs to be dumb-Hulk again-- to hell with your character development-- or that Oracle is getting her legs fixed right up.
It's all great. Until it isn't.