Does Stan Own the Usagi comic?

[TankPolice96]

I was initially under the impression that Stan was the owner of Usagi (hence shifting from publisher to publisher while still being the writer and artist), but when I tried to confirm it on Wikipedia there wasn't any mention of it being a creator-owned comic book. I'm a big supporter of creator rights and it's sad to see that for almost the entire history of American comics, comic book creators never really owned their comics.

[Stan Sakai]

Yes, I do own those rights and I do not just own the comic book, but I own the entire IP so control the licensing and merchandising--within limits. I can do whatever I want with the licensing, but when I sell the option, say for an animated series, I am held by contract not to sell that option rights to some other company, at least for the designated duration of the option. So, it is very important to spell out exactly what rights I am selling to a company and for what period of time. For instance, Dark Horse owns the black and white rights to those stories they published, but I kept the color rights separate. That is why I can publish those stories in color through IDW.

[OnitsukaTiger]

Thanks for the peak behind the curtain Stan!

[TankPolice96]

That's great to hear (and very comforting too). This is why you're an industry legend!

Out of curiosity, do they own the B&W rights perpetually or for a limited amount of time?

[Stan Sakai]

Out of curiosity, do they own the B&W rights perpetually or for a limited amount of time?

If the B/W stories fall out of print for a specified amount of time then those rights revert back to me. Fantagraphics still own the rights to those stories that they originally published because the stories that appears in the first 7 UY volumes have never been out of print for any substantial time in the past 30 years.

[Angilasman]

^ Stan, what about issues and short stories that are already in color and reprinted in DH's Saga editions?

[Stan Sakai]

^ Stan, what about issues and short stories that are already in color and reprinted in DH's Saga editions?

Dark Horse has those rights, and will retain them, for as long as they remain in print. They were able to publish the color stories published by Fantagraphics by negotiating for those rights with them.

As a creator, it is important to know exactly what rights you want to license, for how long, and when and how those rights revert back to you. The tricky part is technology. When I started Usagi, the internet was in its infancy. Who could have predicted that people would read comics or watch movies online through e-books and streaming service. Disney had a clause in their contracts that states something like they own all rights in perpetuity in all media known and unknown throughout the universe.

[Angilasman]

^ Yikes!

Thanks for the reply!

[Maka]

Dear Stan,

Do you get paid for digital purchases on digital.darkhorse.com and comiXology? Do you get paid for your content on digitalhoopla.com?

I assume so but your comments about digital makes me wonder if digital is a profitable addition source of income or takes away from profits because it is often cheaper to access over time?

Peace, maka

[Stan Sakai]

Dear Stan,

Do you get paid for digital purchases on digital.darkhorse.com and comiXology? Do you get paid for your content on digitalhoopla.com?

I assume so but your comments about digital makes me wonder if digital is a profitable addition source of income or takes away from profits because it is often cheaper to access over time?

Peace, maka

I do get paid for content online through legitimate licensed sources. Theoretically, the percentage of royalties from online stories are supposed to be greater than traditionally published books because there is no cost of printing, shipping, retail, etc. This is offset by the fact that it is cheaper online.

[maichan]

Fascinating! Thank you for these insights into publishing Stan. This just goes to show how complicated and involved this industry (art form) actually is.

[TankPolice96]

I agree with Maichan; the ins-and-outs of the comic book industry are pretty fascinating. You've been a fixture for decades and worked through entire eras of comics. I'm planning on checking out "A Drifting Life, by Yoshihiro Tatsumi," he's a manga creator who pioneered the Geikaga genre and was started working in the industry around the beginning of Japanese comics. He even knew Osuma Tezuka (Astro Boy), who was a living legend for most of his life. It would be pretty cool if you wrote an autobiography since you don't get that much insight into the American comics industry that you would for Hollywood. I don't how much it would sell if it isn't published traditionally through the publishing industry, but I'd definitely buy myself a copy (a digital one I love my Kindle too much to go back to print media).

[Stan Sakai]

He even knew Osuma Tezuka (Astro Boy), who was a living legend for most of his life.

I met Dr Tezuka a couple of times when he came to the US. In 1999, I was invited to Japan as a guest of Tezuka Studios and met publishers and mangaka. He had passed away by this time, though. The highlight of the time there was being a special guest at a 100 Year Party--Dr Tezuka would have been 77 and the studio he had founded was 33 years old. The best part of that evening was a girls' children's choir of 100 decked out in plaid school attire and gloves singing the Astro Boy theme. I still have the commemorative clock that was given to each guest.

[TankPolice96]

Wow, that must've been a night to remember.