An Open Letter Concerning Marvel Comics New Computer Coloring Policy

In all fairness, Joe Quesada was not responding to my letter when he made this statement which appears on www.comicon.com/splash/ and www.silverbulletcomicbooks.com . So it wouldn't be fair to criticize him for not addressing the issues I brought up. However, if you read very closely, many of my concerns are indeed confirmed. Quesada says, "What has actually happened is that our exclusive contract with one of our vendors who got the bulk of our books has ended and it has opened the field for many more colorists to send in bids to color our books. What it does is free up our hands from giving the bulk of the work to one specific house and will in a very short time improve the coloring on all Marvel books across the board. As we moved into the digital age so must the medium and many of our colorist have made the transition from paper color guides to digital.

"Unfortunately, as it's fairly evident that we are in tough times, Marvel must continue to join the rest of the modern world as it moves into the electronic age and use what's available to cut its cost. If we do not do this, the effect will be felt immediately on the consumer. The fact that some of the better coloring houses have stepped to the plate with aggressive bids has indeed tilted the tables, but I would be a fool to not entertain these offers just as it would be foolish for a freelancer to work for the lowest paying company. We will still be using most of our highly talented, lone, nonstudio artists on the upper echelon books because in truth that is the only place we can afford them. It's simple economics and don't be fooled, it's not like colorists are the first ones who have had to take a serious look at their pricing, this has been going on for years now as all of that rich, fat Image money dried up."

MY RESPONSE:

First of all I have never been paid "rich, fat Image money". When I first started coloring at Marvel, I got the bottom rate, $16 a page. After twelve years, I was amongst the top paid colorists at Marvel, but had still not reached the rate cap. In other words, I was paid a rate that MARVEL established for me.

Secondly, the contract Joe refers to was with a separation house. Not a coloring studio. For several years work was taken away from computer colorists becouse of this contract that REQUIRED color guides to be done by hand. Marvel has taken this opportunity to cut their costs at the expense of freelance computer colorists. At least one these new houses (located in Korea) were created specifically to unbid colorists. I say this with certainty, becouse I was approached with a job offer to help set up this sweat shop several months before this fiasco began.

Thirdly, It is my understanding that these coloring houses will be getting contracts for a minimum number of books. There is also talk that they will recieve rush rates as well. Something previous computer colorists ever got (to my knowledge anyway). If that is true, then their aggressive bids are not so aggressive after all. Since the vast majority of Marvel's books are late, they will be paid, essential, the previous standard rates, which results in no cost savings. Again, if this is true, the result (if not the intent) is a classic bait and switch. In other words, it gave them a good publicity reason to get rid of all their colorist in one fell swoop. High paid or not.

Fourth, "most of our highly talented, lone, nonstudio artists" can be counted on one hand, and they too have been asked to aggressively bid on work.

Fifth, Remember what I said about liscensing out books? Read the second paragraph of Joe's statement again. Times are tough. Gotta cut costs. Marvel "would be a fool to not entertain these offers". After all, you pencilers, inkers, and writers: "It's simple economics and don't be fooled, it's not like colorists are the first ones who have had to take a serious look at their pricing, this has been going on for years now as all of that rich, fat Image money dried up."

Kevin Tinsley
Stickman Graphics

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