Augie De Blieck said somewhere in his blog that comic book artists, especially those who work for comic book publishers, don’t earn much. Especially if their creations and stories are owned by publishing houses that it can be hard to earn royalties from them if it goes to the publishers. This is also the case with American comic strips, only a few are truly creator-owned as far as I know.
Thankfully this isn’t the case with Philippine comic strips where the cartoonist does own them and can freely take them to other publishers, whilst receiving a lot of royalties. Well, I know one cartoonist who’s like this and his name is Pol Medina Jr. Okay, not all Philippine cartoonists are rich but if their comics are really popular it would enough to alleviate their economic and financial situation. (Then again, some work two jobs.)
A number of American comic book artists are essentially no different, they even work two jobs to make ends meet. It might be possible for American comic book artists to earn enough to live comfortable off of their creations, especially when it comes to the really popular or young adult comics. It’s always possible, but that involves realising one could earn more from earning royalties from owning their creations.
Even if not all novelists and writers in general are rich, if those books sell well it can make them live comfortably. It gets complicated by that in other cases, especially if creator-owned stories as published outside of DC and Marvel, authors and cartoonists don’t earn much working on those that they end up earning relatively more from working for DC and Marvel.
I think if the Philippines are any indication, it’s possible for a newspaper cartoonist to earn a lot from their own creations and freely move them to other publications. But not all countries are created equally, so it would be this hard for cartoonists to do the same if they lived in the States. Not to mention, not all can earn a lot from their creations comic strip or otherwise. Pol Medina had to take up advertising when his cartooning gig didn’t pay much.
Frank Cho had to switch to doing art for Marvel Comics as it paid more than if he focused on his own creation, Liberty Meadows. While it’s possible to earn generously from one’s own creations, not everybody will become this successful and in America it might not even be enough to support themselves and their families so either they switch careers or work two jobs to make ends meet.
This may not be unique to Americans themselves, if a good number of Philippine cartoonists are any indication, but I think while it’s possible to earn a lot from a best-selling comic book or cartoon strip not everybody can. Others are at least moderately successful enough to live nicely, there are those who aren’t so lucky so they switch to other industries to earn more.
Then again in some cases, a comic book career’s not that glamourous. Not just because it doesn’t always earn much, especially if that story’s not that successful and financially viable enough to live comfortably but also because that involves working long hours. Especially in Japan, where some cartoonists don’t even sleep that long when they and their assistants are made to work on that series for a long time.
This makes me wonder if working in newspaper cartoons might be relatively better, especially if it doesn’t involve working on so many panels that it gives authors enough time to do anything else. Surely it’s done daily, but since it doesn’t involve many panels so there’s enough time to do other things. While working on a 20 page story involves a lot more to depict, it consumes more time this way.
Trust me, I actually spent almost a week working on a six page comic. I spent less than an hour and just one day working on a three panel cartoon, which says a lot about how much time is spent on making a comic book story with more pages. If working as a comic book artist isn’t a bed of roses, it’s not just that you wouldn’t be paid much but you’d work longer hours if you do more pages.
So if working as a comic book artist isn’t cut out to be (for some people), would comic book adjacent stuff be any better to some extent? That’s what he pointed out, though to add my take on it if you really want to do comics but still want to own them and earn as much as you can whilst working for something big you better move elsewhere to do this. You wouldn’t become rich overnight.
But at least you earn enough to live comfortably, though living in a poorer country and working for a big international company by proxy would make you earn more. That’s if certain currencies are converted into the next nation’s equivalent, though that hasn’t stopped the likes of Gerry Alanguilan from working in architecture at some point. Though in light of this, whether if working in comic books is even a good thing depends on the circumstances one is in.
Perhaps a surprising one if you are say Filipino and work for Marvel and DC, if monetary conversions were taken into consideration.