Artikel über Comicstrips (englisch)

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(Dieser Thread bezieht sich auf Zeitungsstrips)


Von 2001 bis 2005 gab es auf "Suite 101" eine Artikelserie über Comicstrips und ihre Zeichner:
http://www.suite101.com/articles.cfm/cartoonists/more


"Suite 101"-Comicexpertin Susanna McLeod hat eine eigene Website, auf der man auch aktuellere Artikel über Comicstrip-Zeichner finden kann (wenn man lange genug sucht):
http://www.thecartoonists.ca/index_files/index.htm

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Ein Artikel über John Graziano, den aktuellen Zeichner von "Ripley's Believe It Or Not":
http://www.sptimes.com/2007/07/12/Pa..._not__he.shtml

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Mort Walker ("Beetle Bailey") startet in den USA ein kostenloses Comicmagazin. Es erscheint monatlich, hat 20 Seiten, soll durch Anzeigen finanziert werden und heißt "The Best of Times"
http://www.mediainfo.com/eandp/news/..._id=1003611961

Mal sehen, ob das klappt.

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Mark Tatulli erzählt von seinen mühsamen Anfängen als Comicstrip-Zeichner, von seiner erfolglosen ersten Serie "Bent Halos" (nur in zwei Zeitungen), seiner erfolgreichen zweiten Serie "Heart of the City" (in 56 bis 113 Zeitungen), die dennoch nicht ausreichte, um eine Familie zu ernähren, und von seinem Riesenerfolg mit "Lio" (in 285 Zeitungen).
http://spotthefrog.squarespace.com/b...the-thing.html

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"12 Memorable Newspaper Comic Strip Deaths"
http://www.avclub.com/content/featur...ewspaper_comic

Dazu passt der ältere Artikel
"The Biggest Events in Comics History"
http://cagle.msnbc.com/hogan/feature...big-events.asp

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Scott Adams ("Dilbert") gibt einem Online-Comiczeichner gute Ratschläge.
http://dilbertblog.typepad.com/the_d...instruc-1.html
http://dilbertblog.typepad.com/the_d...instructi.html

Many of you advise that Scott Meyer should take his work directly to books and calendars and Internet publishing.

Has that ever worked?

Yes, on a small scale. I believe Scott could leverage the visibility he is getting here to earn perhaps $100.000 per year with a small book deal, small calendar deal, self-publication in smaller alternative newspapers, and a small but growing Internet presence. I put his odds of making that strategy work at about 90%.

Now let’s look at newspaper syndication. Assuming the comic got picked up by 500 newspapers in five years, and licensing started to take off (books, calendars, greeting cards), that would put him in the $500.000 to $1 million per year range, with lots of room for upside growth. But what are the odds of that happening, even with my support?

Only a handful of comics per decade have made it to 500 newspapers. And the newspaper industry is struggling, so the odds of it happening again are falling fast. In all likelihood, Dilbert will be the last mega-comic, and it launched in 1989. (...)

What are Scott Meyer’s odds of making the syndication path work? (...)
I think his odds of getting an offer for syndication are 90%, and his odds of making 500 newspapers, even in a declining market, might be as high as 50%.

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Bill Watterson ("Calvin and Hobbes") über die neu erschienene Biographie von Charles Schulz ("Peanuts"):
http://online.wsj.com/public/article...326956694.html

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Kann der erfolgreiche Comicstrip "Shoe" von "Tribune Media Services" zu "King Features" wechseln, wenn im April 2008 der Vertrag abläuft?

"Tribune Media Services" meint, dass der 1995 abgeschlossene Vertrag eine Option auf Vertragsverlängerung enthält.

http://dailycartoonist.com/index.php...media-services

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Ein Interview mit "Prinz Eisenherz"-Autor Mark Schultz.
http://blog.oregonlive.com/steveduin...k_schultz.html
Er antwortet auch auf die Frage, wann er endlich "Xenozoic Tales" fertigzeichnen wird.

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Shaenon K. Garrity berichtet über das Wochenende, an dem die NCS den Reuben Award verliehen hat:
http://www.comixology.com/articles/7...onists-Society

The NCS is old: established in 1946, a date more than a few members can still remember. It's big: "the world's largest organization of professional cartoonists," saith Wikipedia. It's a literal old boys' club, originally created as an excuse for newspaper cartoonists to drink, smoke cigars, and do some much-needed socializing (...)

There's another difference between the NCS and the rest of the American comics industry, a big one. (...) The NCS has money. Most of the members are older, established strip cartoonists, editorial cartoonists, and commercial illustrators. They're not starving artists like the comic-book crowd; they're experienced tradesmen who have, for the most part, succeeded in their trade. This particular NCS weekend is hosted at the Ritz-Carlton. The Reuben Awards, held on Saturday night at the Ritz banquet hall, are a black-tie affair (...)

Comic-book artists don't have the sugar-daddy relationship with their publishers that comic-strip artists do. The syndicates exist to sell cartoonists' work, not acquire and exploit it. And even though the NCS is not a union or trade organization, its sixty-year existence as a society connecting cartoonists to one another—and to their editors and publishers—has probably helped keep that relationship friendly, those cartoonists comfortable.

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Es ist zwar auf deutschem Boden, aber eine rein amerikanische Angelegenheit: US-Comicstripzeichner und Karikaturisten besuchen verletzte Soldaten, um sie aufzumuntern:
http://www.stripes.com/article.asp?s...&article=57833