Why the fuck wasn't there a Calvin & Hobbes TV show?
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Date: March 19th, 2013 8:12 PM Author: lavender razzle church
Syndicate ownership of strips also gives them control over comic strip merchandising. Today, newspaper sales can't bring in a fraction of the money that licensing can bring. As the number of newspapers has diminished, and as the remaining papers run pretty much the same 20 strips everywhere, the growth of a syndicate now depends on dolls and greeting cards more than newspaper sales. Consequently, the quickest contracts are going to strips with licensing potential. One syndicate developed a comic strip after it had settled on the products: the strip was essentially to be an advertisement for the dolls and TV shows already planned. The syndicate developed the characters and then found someone to draw the strip. Lots of heart and integrity in that kind of strip, yes sir. Even in strips with more honorable beginnings, the syndicates are only too happy to sell out a comic strip for a quick and temporary buck, and their ownership and control allows them to do just that.
Of course, to be fair to the syndicates, most cartoonists are happy to sell out, too. Although not to the present extent, licensing has been around since the beginning of the comic strip, and many cartoonists have benefitted from the increased exposure. The character merchandise not only provides the cartoonist with additional income, but it puts his characters in new markets and has the potential to broaden the base of the strip and attract new readers. I'm not against all licensing for all strips. Under the control of a conscientious cartoonist, certain kinds of strips can be licensed tastefully and with respect to the creation. That said, I'll add that it's very rarely done that way. With the kind of money in licensing nowadays, it's not surprising many cartoonists are as eager as the syndicates for easy millions, and are willing to sacrifice the heart and soul of the strip to get it. I say it's not surprising, but it is disappointing.
Some very good strips have been cheapened by licensing. Licensed products, of course, are incapable of capturing the subtleties of the original strip, and the merchandise can alter the public perception of the strip, especially when the merchandise is aimed at a younger audience than the strip is. The deeper concerns of some strips are ignored or condensed to fit the simple gag requirements of mugs and T-shirts. In addition, no one cartoonist has the time to write and draw a daily strip and do all the work of a licensing program. Inevitably, extra assistants and business people are required, and having so many cooks in the kitchen usually encourages a blandness to suit all tastes. Strips that once had integrity and heart become simply cute as the business moguls cash in. Once a lot of money and jobs are riding on the status quo, it gets harder to push the experiments and new directions that keep a strip vital. Characters lose their believability as they start endorsing major companies and lend their faces to bedsheets and boxer shorts. The appealing innocence and sincerity of cartoon characters is corrupted when they use those qualities to peddle products. One starts to question whether characters say things because they mean it or because their sentiments sell T-shirts and greeting cards. Licensing has made some cartoonists extremely wealthy, but at a considerable loss to the precious little world they created. I don't buy the argument that licensing can go at full throttle without affecting the strip. Licensing has become a monster. Cartoonists have not been very good at recognizing it, and the syndicates don't care.
And then we have established cartoonists who have grown so cavalier about their jobs that they sign strips they haven't written or drawn. Anonymous assistants do the work while the person getting the credit is out on the golf course. Aside from the fundamental dishonesty involved, these cartoonists again encourage the mistaken view that once the strip's characters are invented, any facile hireling can churn out the material. In these strips, jokes are written by committee with the goal of not advancing the characters, but of keeping them exactly where they've always been. So long as the characters never develop, they're utterly predictable, and hence, so easy to write that a committee can do it. The staff of illustrators has the same task: to keep each drawing so slick and perfect that it loses all trace of individual quirk. That way, no one can tell who's doing it. It's an assembly line production. It's efficient, but it makes for mindless, repetitive, joyless comics. We need to see more creators taking pride in their craft, and doing the work they get paid for. If writing and drawing cartoons has become a burden for them, let's see some early retirements and some room for new talent.
And while cartoonists and syndicates continue to cheapen their own product, newspapers worsen the situation by continually shrinking the comics to ever smaller sizes.
http://web.archive.org/web/20060210115506/http://hobbes.ncsa.uiuc.edu/comics.html
(http://www.autoadmit.com/thread.php?thread_id=2209788&forum_id=2#22847228) |
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