Nimona: It's about villany! And an impertinent shapeshifting sidekick. Irregularly updated, but I'm hooked to see what they'll do next. Power Nap: It's about a world full of sleepless, and the monsters in dreams. That suggests that the distribution of money will look different, too. But it means nobody is saying "no" to a comic artist- they might be a failure in the market, but they aren't getting rejected by an editor. The web changes this, although in a complicated way because the revenue stream isn't the same. You either are the top 1% and earn a decent living, or eventually go do something else with your life. (One stat was something like 1 in 3500 applications gets accepted by the syndicates.) A gatekeeper can cut off this supply curve, thereby keeping prices (wages) high. We know people will make comics- even surprisingly good comics- for a pittance, and that there are thousands of hopeful cartoonists out there. And the gatekeeper function of that oligopoly is, I think, a large part of what kept artists paid. Many of the interviewees have created web-based comics, and so there was a longer-than-necessary section on "how do webcomic authors make money." (Like I said, it tried to do too many things.) There was also a fair amount of incomprehension from the older artists: "that's the part I want somebody else to take care of", "how do these kids make money", "I just like it when a bag of money shows up regularly", etc.Īlthough the comics syndicates do compete with each other, they form an oligopoly. The part I enjoyed most was hearing the artists talk about their process for "being funny" every day. But it was trying to do too many things to really be a good documentary. I watched the documentary "Stripped" last night, and enjoyed it.
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