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Post by Reptisaurus! on Dec 22, 2015 21:39:05 GMT -5
Savage Dragon I know less well, but it seems to have a similar history. While it's had a consistent publisher, it seems to miss the odd month and seems to average about 9 issues a month. That's BARELY 7 pages a day. What a lazy hack.
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shaxper
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Post by shaxper on Dec 22, 2015 22:00:36 GMT -5
My bad for not clarifying in the OP that I meant American comic book creator. Yes, both are clearly outranked in both the worlds of Eurocomics and of Manga. As for the other American rivals you brought up, Aragones has not published consistently without interruption, and both the Pinis and the Hernandez brothers were not working solo. As Arthur notes, Fred Perry is American, published by an American company. I think he wins by any standard. Wow, well than I am completely and totally unfamiliar with the man and his works and would love to be enlightened I know nothing about Love & Rockets (it's high on my To Get To list) but when I looked it up, what I saw said it was the work of both Hernandez brothers. My bad for not clarifying in the OP that I meant American comic book creator. Yes, both are clearly outranked in both the worlds of Eurocomics and of Manga. As for the other American rivals you brought up, Aragones has not published consistently without interruption, and both the Pinis and the Hernandez brothers were not working solo. And consistency is a tricky word when talking about these comics. The first 5 years of Usagi were entirely inconsistent, showing up here and there in Albedo and Critters. When it got a regular series with Fantagraphics, it frequently missed a month or 2, sometimes coming out bimonthly, sometimes making 2 months in a row and then skipping a few. It averaged about 6 issues a year. Sakai is extremely proud of the fact that he kept to a 10 issue per year schedule like clockwork and never once missed a deadline in all his years. The delays you are referring to might be from assuming it was a 12 issue per year publishing schedule, or it might be delays on Fantagraph's part, but it was never Sakai. Sakai did not stop his work schedule during this time. I believe he was still sending scripts to Mirage with the hopes that they would be able to publish them, but I believe an Earthquake (?) had decimated their publishing capabilities, and Dark Horse eventually swept in to help out. Again, ten months per year. That was always the schedule. Yes, but I think that can be excused. And I suspect the real reason for the hiatus all along was early signs that things were not going well for his wife. He made a few comments on his facebook page about wanting to spend more time with her. If, by semi-regular, you mean ten months per year, then yes. If, by semi-regular, you mean missing deadlines, then I disagree.
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Post by Arthur Gordon Scratch on Dec 22, 2015 22:23:59 GMT -5
In the early 90ies, when my interest in comics was triggered, I was living in France, a place where US comic culture had barely any room. So additionaly to my comic reading, the two only outlets for htis culture were the socializing in the comic book shop, and reading the previews catalogue they were giving out for free to hteir faithfull customers. I rejoiced in its reading : 400-500 pages to scrutinize for under the radar publications with some of my fave creators name on, and countless images of exotic and often awefull publications, ones where I'd be looking for clues of familiarity. There I discovered the advertised Antartic Press books. I never read them, but months after month, I became familiar with the storylines and names, and remember distinctivly how they played on the nazi villain fetish in a pulpy Indiana Jones fashion, with extra boobs... I had forgotten how regularly Gold Digger turned up in those pages, but now that I think of it, I've seen new covers for this book every single months since my early days of comic book buying.
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Post by Reptisaurus! on Dec 22, 2015 22:42:02 GMT -5
Working completely separately, yes. There was a multi-year publishing gap between the first and second series, and now it's only annual. (Albeit 100 pages.) Although they weren't really trying to emulate the schedule of factory-system produced comics in the Marvel/DC/Dell vein, which - I gather - is the point of this thread. But they do have almost forty years of stories often (in Gilbert's case) or almost exclusively (Jaime's) set in the same universe.
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Post by coke & comics on Dec 23, 2015 1:38:32 GMT -5
I know nothing about Love & Rockets (it's high on my To Get To list) but when I looked it up, what I saw said it was the work of both Hernandez brothers. Well, they don't work together. Love & Rockets is like an anthology. Think like Critters or Albedo. With two different creators contributing their own work. I don't want to pull out the doctorate in math here, but 144 issues in just under 16 years is just under 9 issues per year.
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Post by Deleted on Dec 23, 2015 2:55:40 GMT -5
Oh, BTW, I think Fred Perry got them both beat : Each issue colored, lettered, inked, drawn and written by Fred Perry, with its three volumes including annuals, specials etc, that's already 300 consecutive issues since 1993... That's impressive
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Post by Deleted on Dec 23, 2015 2:56:54 GMT -5
Love And Rockets is all Hernandez Bros, and nothing else.
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shaxper
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Post by shaxper on Dec 23, 2015 6:59:52 GMT -5
I don't want to pull out the doctorate in math here, but 144 issues in just under 16 years is just under 9 issues per year. Well, assuming that Sakai is not a liar, there must be an algorithm to reconcile math with Sakai's proud assertion that he never once missed a deadline adhering to the ten issue a year schedule I'm thinking that, in addition to the 9 issues per year you calculated, this includes the extra Usagi content he generates for one shots, for Dark Horse Presents, for the annual sketchbooks, etc. Reconcile it how you will; this has always been his claim.
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Post by Icctrombone on Dec 23, 2015 7:54:00 GMT -5
Very interesting article by CBR. Dave Sim had a lot of help from what the article says. Gherard did most of the artwork from #66 on as he did all the art except the figures in the foreground.
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shaxper
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Post by shaxper on Dec 23, 2015 8:28:37 GMT -5
Very interesting article by CBR. Dave Sim had a lot of help from what the article says. Gherard did most of the artwork from #66 on as he did all the art except the figures in the foreground. So part of the issue in discussing this comes down to how much of the "heavy lifting" a creator has to do in order to be eligible. Sim did not do 100% of the artwork in the way that Larsen and Sakai did, but he also gave more thought and consideration to that art than Larsen or Sakai and directed the guy who finished it.
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Post by Icctrombone on Dec 23, 2015 8:55:16 GMT -5
Very interesting article by CBR. Dave Sim had a lot of help from what the article says. Gherard did most of the artwork from #66 on as he did all the art except the figures in the foreground. So part of the issue in discussing this comes down to how much of the "heavy lifting" a creator has to do in order to be eligible. Sim did not do 100% of the artwork in the way that Larsen and Sakai did, but he also gave more thought and consideration to that art than Larsen or Sakai and directed the guy who finished it. I think the opposite. He only did the principle figures. The assistant did all the rest. It's easier to draw Thor if you're not drawing the Rainbow bridge, Asgard, the people walking by etc.
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shaxper
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Post by shaxper on Dec 23, 2015 9:01:08 GMT -5
So part of the issue in discussing this comes down to how much of the "heavy lifting" a creator has to do in order to be eligible. Sim did not do 100% of the artwork in the way that Larsen and Sakai did, but he also gave more thought and consideration to that art than Larsen or Sakai and directed the guy who finished it. I think the opposite. He only did the principle figures. The assistant did all the rest. It's easier to draw Thor if you're not drawing the Rainbow bridge, Asgard, the people walking by etc. I have a fixed impression of Sim and Gerhard working together with the two in an office with mock ups of each panel of each page tacked to the wall for review and discussion, all directed by Sim with Gerhard's input. I know this must be based on something I read somewhere at some point, but my memory is terrible with things like that, so I have to admit it's possible I've invented some of this, and yet I'm relatively sure I know this from somewhere -- an interview, a letter column, a website? I have no idea.
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Post by Arthur Gordon Scratch on Dec 23, 2015 12:32:50 GMT -5
Dave Sim : Writing, Self publishing, drawing main characters much better than Larsen and Sakai do their backgrounds, breakdowns, editor, letterer = heavylifting
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Post by Icctrombone on Dec 23, 2015 14:12:42 GMT -5
Dave Sim : Writing, Self publishing, drawing main characters much better than Larsen and Sakai do their backgrounds, breakdowns, editor, letterer = heavylifting I disagree.
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Post by antoine on Dec 23, 2015 15:21:17 GMT -5
Eurocomics wise, I don't see a single creator with such a long lasting run... But Fred Perry is American, published in the US almost exclusively, he's even a veteran marine Cauvin has been writing Les Tuniques Bleues since 1968 (still is!) and Lambil is the artist since 1972. It's only about 60 issues though, but they are double issues when you compared with american comics. They both do a ton of other work too. But they indeed are two doing the books. Still, 47 years!
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