Spencer Bonez/ZPP

759 notes

skottieyoung:

#DailySketch Lumpy Space Princess. 
I love Adventure Time so much. Besides creating something new, a lot of people want to do epic runs on things like Batman, Spider-man, X-Men, etc. Not me. I want to do 100 issue runs on things like Harry Potter, Labyrinth, and Adventure Time. I would love to sit in a  room and plan out the next 5 years of the epic comic saga of Finn and Jake. I’m about to cry just thinking about hit. 
Original art available in my store

PLEASE DO!

skottieyoung:

#DailySketch Lumpy Space Princess. 

I love Adventure Time so much. Besides creating something new, a lot of people want to do epic runs on things like Batman, Spider-man, X-Men, etc. Not me. I want to do 100 issue runs on things like Harry Potter, Labyrinth, and Adventure Time. I would love to sit in a  room and plan out the next 5 years of the epic comic saga of Finn and Jake. I’m about to cry just thinking about hit. 

Original art available in my store

PLEASE DO!

957 notes

Regarding single issue sales: they are incredibly important to a lot of Image creators. On Rocket Girl, it’s by far the biggest chunk (of course, we don’t have a tpb yet). And every reader counts. A few thousand copies can make or break a series. If Rocket Girl dips into the 8000s, we’ll start thinking about when to wrap it up. If it stays above 12,000 we can do it forever. At 12,000 copies I can make as much writing Rocket Girl as Hulk; Amy Reeder can make as much penciling/inking/coloring as she would on Batwoman. 8000 vs 12,000 is a significant difference in percentage, but it’s not a huge amount of readers. A lot of Image creators are in the same boat, albeit their individual line might be a bit higher or lower. Certainly collected editions and digital and ancillary media/merchandise contribute as well. But a lot of making creator-owned work is down to financing: and single issues have the biggest impact on cash flow–and the only impact on cash flow for almost a full year when you take into account early production to ‘get ahead’ as well as solicitation. Also: your comment forgets artists, who are forgotten way to much nowadays. A writer can maybe juggle 4 simultaneous projects, but an artist can do just one book at a time. It is much harder for an artist to make the plunge into creator-owned–so consider that when choosing what to support.

Brandon Montclare in comments at The Beat

Reblogging because the economics of creator-owned comics are of interest to me, and because this is the kind of thing I should probably take into account when it comes to who gets their comic pre-ordered, who gets shelf picked, and who gets trade-waited.

(via knitmeapony)

…some of my casual wisdom…

(via bmontclare)

(Source: northstarfan, via imagecomics)