We’re coming back to ideas we’ve already discussed but with new references that provide food for thought. Brian Wood recalls a simple truth about the comic book industry: “This is a job. This is a business, not a hobby or a social activity. That may sound a little cold, and it doesn’t mean I don’t get immense creative satisfaction from doing what I do (if I didn’t, I’d go be a stockbroker or something) but it’s about finding the right balance. Not making business decisions based on being a fan, or social pressure, or making too many allowances for the quirks of this industry” (Graem McMillan, “Wood: Comics is a Business, Not a Hobby or a Social Activity,” Newsarama, January 2, 2013).

Falcone however adds an important nuance that makes a big difference: the idea of teamwork. “Compared to other industries, I find it surprising and overwhelming how pedagogy and mentorship is so deeply ingrained as part of the comic book industry. I’ve seen creator after creator look at someone’s work and give advice and pass on years of wisdom because someone did it for them. Comic creators believe in returning kindness and helping aspiring talent” (Anthony Falcone, “Breaking into the Comics the Marvel Way,” www.comicbookdaily.com, May 30, 2013).

Despite this, the commercial aspect can’t be ignored because creating comics costs money even if you are publishing your work online yourself. This is because comic require a high production rate, which entails certain labour costs (“Mark Waid on the True Cost of Digital,” http://www.comicsbeat.com, January 1, 2013).

These costs mean that even artists like Mark Waid wonder about how to generate revenue (“Holiday Interview #22 – Mark Waid,” www.comicsreporter.com, January 22, 2013). In the same interview Waid sees the industry moving to a more direct and personal relationship between creator and fans. In such an environment how is it possible to generate mass revenues without losing the direct contact?