Does Superman Have Rights?

First published here.

Being a fan of the graphic novel medium, I always find it interesting to see how these stories transfer to the big screen. Some of the most visually inspired films of the last few years are based on comics and graphic novels, and considering some of the attributes of the medium, such as a pre-conceived "story board" it's not surprising that directors are keen to move these often striking static images to full motion films.

I've always wondered how the original artists feel about their work being transferred to different mediums though. Did Alan Moore and Eddie Campbell like the film version of From Hell, with Johnny Depp and Heather Graham?

Answer: No. Campbell said "anything that meant anything was ditched" from the film script.

Alan Moore's V for Vendetta has now just made it to the big screen, thanks to the Wachowski brothers.

Recently, Moore told The Independent, "All I'm asking [the producers] for is the same kind of deal that they had no problem extending to Siegel and Schuster (the creators of Superman). I want them to say, 'We're not going to give you any money for your work, you're not going to get any credit for it, and we're not going to put your name on it.' I don't see the problem."

Perhaps it's the previous butchering of his work that has led this great artist to shun any adaptations of it. It is certainly understandable that he wouldn't want his name on something he doesn't like.

With that in mind, perhaps now is a good time to take a retrospective look at revolutionary document that was published back in 1988 by veteran comic artist Scott McCloud:

A Bill of Rights for Comics Creators

For the survival and health of comics, we recognize that no single system of commerce and no single type of agreement between creator and publisher can or should be instituted. However, the rights and dignity of creators everywhere are equally vital.

Our rights, as we perceive them to be and intend to preserve them, are:

1. The right to full ownership of what we fully create.

2. The right to full control over the creative execution of that which we fully own.

3. The right of approval over the reproduction and format of our creative property.

4. The right of approval over the methods by which our creative property is distributed.

5. The right to free movement of ourselves and our creative property to and from publishers.

6. The right to employ legal counsel in any and all business transactions.

7. The right to offer a proposal to more than one publisher at a time.

8. The right to prompt payment of a fair and equitable share of profits derived from all of our creative work.

9. The right to full and accurate accounting of any and all income and disbursements relative to our work.

10. The right to prompt and complete return of our artwork in its original condition.

11. The right to full control over the licensing of our creative property.

12. The right to promote and the right of approval over any and all promotion of ourselves and our creative property.

McCloud says, "the Bill never generated much noise in the industry - and I wouldn't want to exaggerate its influence - but in looking over its articles more than a decade later, they provide an interesting snapshot of our attitudes at the time, and of the climate that was fueling self-publishers, progressive business people, and artists trying to reinvent the comics industry."

Perhaps now is a good time to take a look back and see if there's something in that document that's relevant for us today. I, for one, think there is.