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This thread is really interesting. I think the problem with "studios" is that there is too much focus on the group, and not enough on the product. Making comics is ultimately a lonely job, one person has to sit for a long time and draw. It's hard. At most, you can break it down into artist and writer, but that's as big as a group should be, in my opinion.

That is, when it comes to *making* comics. When it comes to publishing comics, group collaborations make more sense.

I've set myself up not as leader or part of a group but as a publisher. It just makes more sense to me, I don't have to count on anyone else doing stuff, except draw their own comic. This works, I started in January, and have published a comic book combining the efforts of three people.

Not lying: http://itchpublishing.blogspot.com/search/label/Titles

It sold pretty well at our first event. But anyway, I don't want to hijack the thread, just say that maybe the "studio" model doesn't really make the best kind of sense. I think you need to have something to show *before* you start a group. Work on your own first, draw and write yourself. Make awful comics, like the kind megrar is talking about (yeah, I got some of those! xd ) and learn about the whole process.

Then, once you know, and people know you, you can start looking to collaborate with others.
I think Willie brings up a decent point, except that the group should really be upped to five positions in my opinion--the writer, penciller, inker, colourist, typesetter. Sure, some of those jobs the artist should be able to do already, but really, this is how the comic industry is set up. Still, when thinking about studios and comics, I fins it odd for them to have pages done by more than one artist (read pencillers) because the art style would change a lot(though, of course, this could be used to an advantage). If I remember, CLAMP is only one artist and three writers, no?
Not to rain on anyone's parade, but I think CLAMP is garbage. I tried reading X/1999, Tsubasa, and xxxHolic; I was not impressed.

I have to disagree with you, though, Emi. I think that consolidation is the best method; the fewer people involved, the fewer people you have to pay at the end. It's more work, but there's less risk of people abruptly quitting and interrupting the creative process. Plus I prefer doing as much of the work myself as possible. Gives me this warm, fuzzy feeling down in my gut.
Haha, true. Personally, I hate CLAMP too (perhaps with the exception of xxxHolic, everything else was crap [to me at least]). But to make it as big as they did, they must've done something right, right?

Like, yeah, the fewer people the better in a group, but I was just suggesting that the max number should be five (well, maybe six if you really want to count a manager/slave master). If you can find a jack of all trades, by god! forgo the rest of the crew and utilize Jack.
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Not to rain on anyone's parade, but I think CLAMP is garbage. I tried reading X/1999, Tsubasa, and xxxHolic; I was not impressed.

I have to disagree with you, though, Emi. I think that consolidation is the best method; the fewer people involved, the fewer people you have to pay at the end. It's more work, but there's less risk of people abruptly quitting and interrupting the creative process. Plus I prefer doing as much of the work myself as possible. Gives me this warm, fuzzy feeling down in my gut.


Hooray. I'm not the only person who doesn't get what is so amazing about CLAMP.

>_> I don't really like groups... The more wheels, the more tires that can manage to pop and a unicycle or a bike works just fine. *metaphor fail*
I suppose so. I mean, The Matrix trilogy is a ******** train wreck in the form of narrative film but it's still a cultural phenom.

Yes, Kaxen. That was a terrible analogy. Please think more before you try to sound wise. *pats her head* whee
I actually rather like the analogy. (I would've replied sooner had my hands not been so sticky... eek I swear I wasn't doing anything perverted. I was just eating a pear, really!) It kind of shows how the less wheels there are, the faster it goes (well, except maybe the unicycle), but the more wheels, the easier it is for one person. However, easy doesn't always mean productive, sadly.
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i haven't read any of those. the ones i read, and loved, were Clover, Tokyo Babylon, and Magic Knight Rayearth. the newer stuff just hasn't caught my eye. they were one of my early influences (although i know you can't see it in my work NOW), so i still hold a great deal of respect for them.

but yes--i agree with willie. getting together for marketing and publishing is awesome--for actual creative work? not so much.

congrats on kicking a**, willie, btw. the books on your site look great.
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I suppose so. I mean, The Matrix trilogy is a ******** train wreck in the form of narrative film but it's still a cultural phenom.

Yes, Kaxen. That was a terrible analogy. Please think more before you try to sound wise. *pats her head* whee


I have the metaphor-making power of a reformed prince Zuko... sweatdrop
Kaxen
I have the metaphor-making power of a reformed prince Zuko... sweatdrop
Katara ftw. I always find her fights to be the most intense. Especially when she's fighting the Fire Nation's royal family.
Funny how the topic like instantly changes to Avatar. Iroh. That's the way to go. He's just freaking awesome. Too bad he's kinda missing right now in Avatar... stressed
The new VA is no match for Mako. I wish Mr. Miyagi hadn't died. gonk
Ah~ Why must you keep reminding me of such sad topics crying
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...Okay, we have definitely detracted from the original purpose of this thread. sweatdrop

Has no one in this thread read Chobits? That's the only CLAMP title I've read, but I love it. o^^o I've been meaning to read others like Tsubasa, because apparently they all take place in the same universe, and overlap in terms of characters, plot etc.

I liked the bicycle analogy! And I agree that there are a lot of good arguments against groups. But I think it all depends on who you've got: if you have a group made up of dedicated, talented artists (writers included in the 'artist' bracket, since writing is an art form) who work their socks off to produce comics, then great, no problem. Obviously, that's pretty rare, but still. Also, I think having a comic group is a great way of enabling people who maybe can't produce a comic all by themselves to have a go at making one. Like, I can write fine, but am pretty terrible at art. Some other people might be great at art but have no ideas. Maybe there's someone who can visualise the way a comic script would be laid out, but can't necessarily draw it themselves to a generally accepted standard. (In our studio that would be the storyboarder). Or maybe some people just need to be part of a group in order to motivate themselves. Again, there's only going to be a few people like that, but for the sake of those few, I wouldn't knock studios altogether.

Most people in this thread agree that a) fewer people usually works better, and b) 99% of the people who try to start up studios usually fail. So, what's the problem? If you don't think that studios are a good idea in the first place, then it shouldn't matter if they don't succeed, right? Maybe then all the individual members of the failed studio will go on to create awesome comics by themselves.

And Katara is such a Mary-Sue. C'mon, she became an expert water-bender in like one episode. I'm still a KatAang fan, but Katara's such a sensible do-gooder that it gets annoying. I <3 SOKKA!
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<moan> those who are postin' new...plz concentrate on the topic crying
(the rest of u could go on chattin'....i've got no issues...)

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