Well, last week the hare jumped as they say. Not that everyone believed that the cartoonists and writers who work for DC and Marvel were extremely happy with how they were happening depending on what things in recent times, but it seems that things are more serious than the most pessimists (where I include myself) could imagine. The box of thunder was opened with an open letter from the screenwriter Paul Jenkins (Hellblazer, Inhumans, The Incredible Hulk, Spectacular Spider-man, Witchblade, Sentry and a long etc.), after announcing his desire not to work for DC and Marvel again, and to do so at BOOM Studios for which he develops Fairy quest with Humberto Ramos and Deadmatch with Carlos Magno. The letter was followed by an interview with CBR where it was explained in more detail about what in his opinion is an unworthy treatment that the authors are receiving from the publishers of the two big ones.
I leave you with some extracts of the juiciest that Jenkins released through his mouth and that has been seconded by many colleagues:
Over the course of my career in this industry I have had the opportunity to work with all the great characters from Marvel and DC, and for most of that time it was a lot of fun. But honestly, the medium deserves more than what we are giving it. And also the fans, those people who are paying $ 4 for each comic. We have eliminated all consequences of the stories that we are telling you, and I think that the mainstream comic has become a homogeneous potingue of "meh" *. I have no desire to encourage reader indifference or to be involved in a product that I don't quite believe in.
To continue reading the words of Paul Jenkins you just have to click on Continue reading:
I know when everything was so much easier, and it's back in the Marvel Knights days. In those days, Marvel had been bankrupt, and they had no choice but to give us creators the freedom and trust that so many of us deserve. I look back and I notice Inhumans y The Sentry, in my Spidey with with Bucky [Mark Buckingham] and Humberto [Ramos], and other hits like Wolverine: Origin, and I know - because I was there - that they were successful in large part because they gave me the freedom to create without being hampered by editorial mandates.
This is not the case for a while. In recent years, I have seen helpless as editors make useless and destructive changes to scripts and drawings that they did not previously intervene in. It bothers me that creators were the main focus when major publishers needed them, and now that large corporations are in charge, creative decisions are being made again by shareholders. I want to create comics the way it's supposed to be done. I want characters to die and stay dead, or at least make sure that creative decisions on a show lead to more than just an inevitable return to the same status quo.
I will never forget what he told us bill jmas during one of the first editorial meetings (Joe [Quesada's] first, actually): he told editors to make good series, and that the job of the marketing department would be to advertise and sell those series. He told all the staff to be brave and believe in the quality of the works. He made it very clear that the commercialization of the series would not interfere with creative decisions. Well, that went very well in those exciting times, but a few years later I noticed a very obvious change. And that change, I now realize, coincided with Marvel's negotiations with Disney. Suddenly it was big events and crossovers that were important, and I'm probably not cut out for that.
I have had an editorial relationship with Marvel that has lasted for many years. It wasn't always a perfect relationship, as Marvel and I know. And while we haven't always agreed, that stays between me and Marvel. Fans would do well to have a problem with me if I were simply airing my day-to-day complaints publicly without having a good reason to do so. But DC is a completely different matter. Why am I willing to describe certain specific details that occurred during my brief encounter with them in the New 52? Because I'm appalled at the way creators are being intimidated, and somewhat blown away by the things I've seen in my time there. I have come across more lies and veiled threats - and attempts to justify a dysfunctional system and behavior - than I have ever seen in my career.
DC has gone down the toilet. It reminds me of what Marvel was like just before Marvel knights. […] And worst of all, they intimidate their authors. They tried to intimidate me, and I told them to go to hell. The horror stories are many and varied. I have a few, and I've heard too many from different authors being beaten into compliance, always with the threat that they will lose their jobs if they don't go along with the flow. DC seems to have developed a culture where they think "professionalism" is fucking an author somehow, and then pretending to be friends at a convention. Professionalism is about delivering quality work on time, or being nice to fans at conventions, or working towards a mutually beneficial goal. […] This is what bothers me about this situation: I don't have to be Genius to see that there are a lot of very unhappy authors in DC lately. Well, can you imagine how many more out there that we don't know because they feel that if they speak they will be blacklisted? […] The thing is that DC has started acting like a bully, to force people to accept shitty working conditions as if they were doing them a favor. […] I have many other interests, such as cinema, video games and my first novel.
More information - Fairy Quest: Jenkins, Ramos and crowdfunding
Source - Negative Zone