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‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. However, the work-for-hire contracts used by comic book publishers are alienating creators from their content; intellectual properties and derivative works are owned by companies and not the creator, under these contracts. These contracts also create other insecurities for artists and writers by not providing benefits like insurance, retirement funds, and salary wages, something common in the “gig economy.” This is disheartening to the creator, leaving them internalized with the idea that they are “not writing the great American novel… just writing funnybooks.” In some ways the era of social media and crowdfunding is allowing these creatives to challenge this traditional approach of content creation, and raise awareness of these issues. However, these solutions are not perfect either. Although these solutions do away with a lot of gatekeepers, they also do away with quality controls and often times fall short of fulfillment because of the logistic challenges. iv Acknowledgments A.D. Merchant. You know what you did. My wife, Elizabeth, who put up with all of the things. Dean Phillips of Krypton Comics in Omaha, Nebraska, who has been an incredible friend for many years and allowed me access to many of the inner workings of comic books. Joel and Gene and the crew at Astrokitty/Gamenut in Lawrence, KS. All my co-workers at those stores. Thanks to the long list of everyone who allowed me access to their creative activities during the course of this writing. Thank you so, so much to those who agreed to speak with me about an industry that could stand to do a little better. J.N. -- You’re still the worst. All my writing groups, but mostly Elizabeth Wilhelm and Kristina Youngblood. Frequent collaborators Joshua Richardson and Alex Stucky. Friends ‘til the end—Rachael Rost, Jon Seagrass and Micki Dietrich. My committee: Ben Chappell, Elizabeth Esch, Henry Bial, Germaine Halegoua, Joo Ok Kim, and my other committee members who helped out over the years. My cohort mates: Stephanie and Tyler. The Graphic Novelty Podcasters: Spencer, Brandon, Jessica, Kyle, Shane, and Ephemily. All of the students who told me how cool my project sounded for years and years until I actually believed it myself. Also: Anna Potter, Robert Chamberlin. And T.W. My trivia team and roller derby friends, who gave me something else to think about. The staff of O-Comic Con, especially Rebekah. Thanks to Dr. Heather Fryer and Dr. Partick Murray, who believed in me. The University of Kansas libraries, the American Studies Department at the University of Kansas, The Humanities and Western Civilization Department at the University of Kansas. v Metropolitan Community College, Washburn University, and Avila University. The waitstaff at Perkins restaurant, McAlester’s Deli, and Slim Chickens. All of the people who make comics and podcasts and art. Thank you! And anyone else I have forgotten. vi Dedicated to those were with me the whole time. Charles Frank McWilliams, who bought me my first comic book and was supportive all the way. Seth Hanson and Mary Kalajama, who cheered me on all along the way. vii Table of Contents Preface: It’s About the Labor ...................................................................................................... 1 Chapter 1: A House of Mystery: A Giant-Sized Introduction to Magic and Method ............ 9 Introduction ............................................................................................................................... 9 Literature Review ................................................................................................................... 19 Labor & Alienation ................................................................................................................. 22 Art ............................................................................................................................................ 27 Comic Book ............................................................................................................................. 32 Comic Book Industry .............................................................................................................. 34 Intellectual Property ............................................................................................................... 39 Work for Hire .......................................................................................................................... 42 Precarious ................................................................................................................................ 46 Conclusion ............................................................................................................................... 50 Chapter 2: Days of Future Past: ‘Lo! There Shall Come an Origin Story’ .......................... 54 History ...................................................................................................................................... 54 Funnies & Pulps ...................................................................................................................... 58 Case Study: Superman ........................................................................................................... 65 Industry Practice ..................................................................................................................... 70 The Comics Code Authority .................................................................................................. 76 Chapter 3: —Rise of the Independents ..................................................................................... 84 Independent Comics ............................................................................................................... 84 viii Case Study: Teenage Mutant Ninja Turtles ......................................................................... 91 A Bill of Rights for Comics Creators .................................................................................... 92 Image Comics .......................................................................................................................... 94 The Kirkman Manifesto ......................................................................................................... 96 Case Study: Howard the Duck .............................................................................................. 97 Chapter 4 – Across the Multiverse – Captain America and the Divided States: Politics in Comics ........................................................................................................................................ 104 Current issues ........................................................................................................................ 104 Politics in comics ................................................................................................................... 104 The “Diversity Mandate” ..................................................................................................... 109 “Too Much” Diversity? ........................................................................................................ 113 Women in the Industry ......................................................................................................... 119 Minority Creative and Representation ............................................................................... 124 Case study: Secret Empire ................................................................................................... 126 The alt-right enters the discussion ...................................................................................... 137 Chaykin & The Divided States of Hysteria .......................................................................... 141 Chapter 5: “Welcome to the Comic Book Industry… Hope That You Survive the Experience.” .............................................................................................................................

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