“Just Pay Ditko!” Part Six : Perils Of The DIY Reprint Approach

Posted: August 10, 2013 in comics
Tags: , , ,



“Gosh, that sure is a good-looking Steve Ditko hardcover reprint book you’ve got there.”

“Thanks. It’s over 200 pages long and has all kinds of his old Charlton Comics work on heavy, sturdy paper. Plus it’s got this nice embossed cover and all kinds of cool info in the introduction, including rare photos and larger art reproductions of certain panels and covers.”

“Wow, cool — do you mind if I take a look inside?”

“Be my guest, man — just be careful, that thing was expensive!”

“So I see!  Wow! Fifty bucks!”

“Yeah, but it was worth it, though. Look how big and bright and bold everything looks on this quality paper stock, and how the art just jumps off the page.”

“Well, yeah, but Ditko’s art always jumps off the page, even when it’s on cheap newsprint, doesn’t it?”

“That’s true, but I mean — come on, this is some deluxe shit!”

“Oh, no question — and I’d love to borrow your copy just for the new info I’d glean from reading the introduction, but — ”


“Well, considering nothing in here’s been color ‘corrected’ or ‘remastered’ in any way, how do you know that whoever put this thing out didn’t just run their old comics through their scanner at home, stick it between some sturdy covers on nice paper, and charge you an arm and a leg for it?”

“I hadn’t thought of that, but ya know, I prefer these original colors anyway, sorta preserves the ‘grimy’ feel of the old, original comics.”

“Oh, I agree with you on that completely — I hate all these digitally-fucked-with reprints that are coming out, but still — I mean, don’t you feel like you got played for a sucker, at least on principle?”

“Not really. I mean, just because anybody with a scanner can do this shit doesn’t mean everyone has the resources or time on their hands to do so.”

“I’ll give ya that on the resources front, although if you’ve got a semi-major comics publisher bankrolling your advance to the printer and providing you with a distribution network via Diamond to all the major comic shops — I hope you did buy this at your LCS and not through Amazon! — well, it’s a pretty risk-free proposition for you then, isn’t it? Heck, if somebody else loans you the comics to scan from their collection — somebody I hope you’re giving at least some cut of the action to — how much do you really even need at all to do something like this?”

“Ummmm — just a scanner and some knowledge of basic page-formatting software, I suppose. But that’s the great democratizing power of all this new technology, I guess.”

“Yeah, it does have its plus side, no question — a lot of  once-rare books that you used to have to beg some creepy old collector to look at in his basement you can now find readily, and in a much nicer format than anyone could have hoped for even five or ten years ago.”

“Right! See! So we’re living in a new golden age for fans and collectors, no matter what you killjoys think!”

“So you don’t mind slapping down a big chunk of your hard-earned cash on basically a collection of scanned pages? A gorgeous collection of scanned pages, I’ll give ya that, but a collection of scanned pages nonetheless.”

“Not at all! This stuff would be lost to history otherwise! The publishers are doing us a huge favor!”

“Well, that’s undoubtedly true — life’s better with a book like this on your shelf. But who do you think should be raking in the lion’s share of the money you spend on this kind of thing?”

“Well, Ditko, I suppose — his name’s on the cover and all, and he drew it.  No Ditko, no book.”

“What if I told you that Ditko didn’t want to be paid for this work?”

“Well, assuming I believed you, then I’d have to say — whoever owns the rights to the work?”

“That’s a thorny question. Do you read Rob Imes’ ‘Ditkomania’ magazine?”

“No, why?”
“Well, you should. Rob’s mentioned this is in reviews of books like the very one you’re holding — that some of this stuff has been reprinted before, with relevant copyright information included, yet if you look at the indicia page of your hefty tome here, or the first page of each of the stories, you’ll see —”

“No copyright info? So is this stuff all public domain?”

“I think so. I hope so. I really want to believe so. And for most of it, yeah, that’s probably the case. But possibly not for all of it.”

“What do you mean?”

“Oh, we’ll save all that for the next post in this series, shall we?”

“Okay, you sound like you’re kinda ducking the question, though.”

“That’s because I am! Truth be told, I’m doing a little legwork to find out why certain of these pages may or may not be PD while others apparently are without question.”

“Sounds pretty boring.”

“I dunno, I’m enjoying it, but then I’m kinda warped like that.”

“Well, let me know what you find out — I guess. For now I just wanna go enjoy my book here.”

“You do that, don’t let me stop stop you — I appreciate you letting me leaf through it.”

“Oh, one question, though — if Ditko doesn’t make, or even want, any money from it, and if the stuff’s at least supposedly in the public domain, then who’s making the money off this thing?”

“Would you believe — the guy with the scanner?”

“No shit? Well, what can I possibly say that would top that? God bless America, huh?”

“Sure — I guess.”

“Wow — hmmm,  just thinkin’ —”


“What if he didn’t even own the scanner and just borrowed somebody else’s?”

Note : This is a purely speculative conversation, variations of which may nor may not have occurred among comic fans over the course of the current Steve Ditko reprint bonanza. I have no reason to believe that any of the volumes of Ditko’s work issued in recent years were so quickly, thoughtlessly, and haphazardly assembled. But it could happen, what with today’s technology and the plethora of freely-available material with expired, or supposedly expired, copyrights on it. Please remember that the only Ditko material from which we are absolutely certain he personally profits in the new work he’s publishing with Robin Snyder, and in the spirit of the image presented from that work reproduced above, perhaps “Innocent? Convince Me!!!!!!!!!!” is something we should be requesting and/or demanding from all publishers, at all times, in regards to reprint volumes of the type under discussion in this series.

As far as the copyright questions I’ve raised in this entry go, let me just say for the time being that I have put some “feelers” out to certain parties who I hope can provide answers to at least some of them. We’ll see. I think that a natural assumption, understandably, has been made that all the Charlton stuff reproduced so far is, in fact, PD material for anyone to do with as they see fit. My gut feeling, and my earnest hope, is that this assumption is accurate. But there are some inconsistencies in regards to the legal handling of this material that have popped up from time to time over the years, and if I don’t get answers from anybody in the next couple of days, I may just post the questions themselves that I have on here and hope that somebody with a much keener legal mind than I (not a difficult thing to possess, I assure you)  will see them and respond  in the comments section.




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