[scarletneedle]

Source ICV2

Une interview de Dan Didio et Jim Lee : ici.

Je mets ce passage :

	Citation:
	There’s been a recent buzz about the degree of editorial control over storytelling at the Big Two and how that relates to the overall use of the intellectual property. Has that changed in the last decade, or is there a different reaction to it? Why is that happening? Didio: I think it’s actually been a little bit less in the last decade than it’s ever been. There’s always going to be editorial control over our products. As long as these are house products that we’re trying to constantly build, and we’re building a continuous continuity in a continuous universe, it’s important to have that level of parameters and guidelines given to the characters so we know there’s consistency in how they act and behave. We’re always asking the artists and writers to push the boundaries but we also have to establish those boundaries. It’s their job to push against them, and it’s our job to make sure they stay on track with what our expectations are for the series and characters. Lee: Without getting into the specifics, from the outside looking in, it might look like there’s a string of changes that point to one common theme, as you suggest. But from the inside looking out, you’ll see that each one has a different set of circumstances and conditions that ultimately led to the conflicts or the resignations or changes in creative personnel. To me it’s the normal course of business in that not everyone’s going to agree creatively what to do with a book. The company has to reserve the right to control the destiny and the futures of the characters, and the creators have to decide if they’re willing to work in an environment where they’re telling their story but in the framework of a universe that has continuity and you have to work with all of these other different creators and editors that would want to control the directions of the characters. It’s not for everyone all the time. If you look at it that way, you’ll always have people coming in, doing work and then maybe they’ve reached a threshold where they want to have more control over their project and do something more creator-owned. The great thing about the industry is that we’re at a point now that this is not the only game in town. You can do stuff for Vertigo; you can go self-publish; you can go do a Kickstarter; you can go work at competitors. There’s a lot of freedom for these creators, so at the end of the day if you were working The New 52, you’ve got to love it and thankfully we have a tremendous number of creators that love working in this shared universe, love telling these stories with these characters. We’re super happy with the creative teams that we have on the books that we’re publishing. Didio: I feel that right now we probably have a stronger bench than we did when we first launched the series. We launched the series really hard and fast and were figuring some of the things out as we went along. The good news is that we’re going into our second year and 60% of our line is still intact. So most of the changes you’ve seen occurred on the bottom tiered books as you’re always experimenting on more difficult titles and trying to find ways to find the right mix to find the best sales opportunity for them. We’re constantly revising the line. We’re always going to take more risks with our line. We’re also going to make sure every book has the best chance possible to succeed.

Sinon, Vertigo va être mis en avant en 2014.