"... but *actually* from a non-linear, non-subjective viewpoint - [time is] more like a big ball of wibbly wobbly... time-y wimey... stuff."
The Comic Age
The two haven't worked together in years. It's kind of unfortunate. Hopefully they can resolve something eventually where both parties are happy.
I was just thinking the other day that, given the opportunity to get one-on-one time with Kirkman, I would probably ask him about how he sets up things with his creative partners, because he's (co-)created a lot of big properties now, and he's seemed to do a lot to do right by them. Up until this, I guess, but I'm not going to assume who is in the right on this one.
I work with an artist who is one of my closest friends, and I always want to make sure, in anything we do, there's no question as to it being equal for both of us. He's definitely more experienced than I am, but we both kind of shrug things off, because we've not ever had to worry about that sudden level of success like what Kirkman and Moore have hed with Walking Dead. But how can you ever be prepared for something like that? It's possible it changes you, and you can't know how you're going to react.
Being that this isn't Marvel or DC, and therefore not Disney or Time/Warner, maybe this whole thing can be smoothed over in time. I'd like to hope so.
I imagine it varies. He's listed as the sole owner of The Walking Dead in indicia but Invincible is owned by he, Cory Walker and Ryan Ottley. Haunt is owned by TMP.
Last edited by GRANT!; 02-09-2012 at 09:48 PM.
The 9th Blog
A Blog made with friends about comics, the 9th art
friends and money.
Does Adlard get TV show money? Seems like he's more deserving of a cut than Moore at this point.
It'd be a shame if he wasn't a co creator at this point.
Moore & Kirkman profit agreement via animated gif.
Information is not knowledge.
BEBOP--"Roland = pinnacle of objectivity"
Wow, I can't believe this keeps happening. It seems like a comic can't be made without someone getting shafted in the process. It's one thing for there to be creative disputes from the 30s to 70s, but you'd think the comic book industry would have itself sorted out by now. Maybe art schools and college writing programs should have classes about the relevant law, a creator's legal claims to a property, and how not to get screwed over in general.