Difference between revisions of "Chris and the industry"

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#redirect [[Chris and business#Pipe dreams]]
 
Chris has had numerous '''aspirations to work in creative industries'''. So far, he has expressed his desire to make [[Sonichu (game)|several official Sonichu video games]], and work on a real [[Sonichu (comic)|Sonichu comic]] for a real comic publisher. However, for the reasons best known to himself, he elects not to find out how these industries actually work.
 
== Publishing ==
 
Chris put his [[Chris's resume|resume]] online, hoping that the major comic publishers (Archie, Marvel, etc) would take note of his widely varied skills with both pens and crayons.
 
Unfortunately for Chris, the publishing industry doesn't work this way, especially not in case of "original" creations. In the case of an original work, the publishers expect complete works to be submitted to them, usually through an agent. An agent's job is to separate the wheat from the chaff and find the correct publisher for the work, taking a small percentage of the eventual profit for their reward. If the publishers take unsolicited submissions, they have to sift through a gigantic backlog (often called "slushpile") of submissions of highly varying quality, most of which end up rejected multiple times before there will be a publisher with right market in mind and the right publication schedule to allow the publication deal to go forward. The whole process can take years in case of a single work.
 
If comic book publishers have salaried artists, they usually need to have a portfolio of previous work, usually work that has already been published commercially, or (if the comic house is ''particularly'' lenient, and most big names aren't,) there has to be evidence of a successfully self-published, high-quality comic. And even in this case, these artists usually only work on characters and plotlines that come from inside the house; it can take time before the artist is in any position to present their own ideas for comics, or use their own original characters.
 
In short, Chris is deluded if he thinks that any company will just pick him up and tell him to work on Sonichu comics.
 
Even ''if'' Chris does get in, there's also the problem with scheduling. Most comics are worked on far in advanced, thus allowing for any changes concerning a book, such as plot problems, character availability changes or even cancellations. Even still, many of them maintain a certain schedule, either monthly or bi-monthly (one every two months). Very rarely do comics go bi-weekly (one every two weeks), though weekly series have been more common (DC Comics, for example, experimented with the weekly format in the 1980s with ''Action Comics Weekly'', which bombed and put the title on hiatus for a few months, returning it to it's normal ''Action Comics'' title. Twenty years later, DC has churned out a number of weekly series, including ''52'', ''Countdown'' and ''Trinity''.)
 
Chris, however, has no schedule. His schedule consists of "whenever he has the inspiration" to work. That doesn't cut it. If Chris went with that alone, he would have a release schedule that would rival that of infamous artist [[Wikipedia:Rob Liefeld|Rob Liefeld]]. And where Liefeld, for the most part, could get away with it because he owned his own company at one point (and people have gotten him to actually do the work), if Chris pulled this kind of stunt, he'd be out on the street so fast, his head would spin.
 
== Fan fiction and ideas from the public ==
 
Chris could approach Sega and Nintendo and ask them to make Sonichu games, comics and merchandise. This plan would also be doomed to failure.
 
None of the media companies want unsolicited ideas from the public. There are several reasons for this.
 
Firstly, it takes effort to sift through idea piles and they can't give equal amount of thought on the bazillion ideas fans send them. While the game companies ''do'' listen to their fans, they usually just want to know if the time is ripe for something they've been planning to do. (For example, no doubt a big part of the reason why the newer ''Fire Emblem'' games got worldwide release was because the fans of Marth and Roy from ''Super Smash Bros. Melee'' were wondering aloud "why the hell isn't Nintendo releasing these games outside of Japan?") They most certainly don't have the capability of starting a whole new game project just because someone asks. If the game companies respond by saying, as Chris so [[Homemade Nintendo Power magazine|eloquently put]], "rocks in his head", then you probably don't get a slice of their previous time for making a second impression. Simply put, Chris thinks that even when the companies aren't busy with other projects, they still have time to think of ''his'' grandiose ideas ''and those things only''.
 
Secondly, there is an age-old problem in a litigious society: A fan writes to the company and says "I have this cool idea", the company says "thanks, but no thanks", one of the in-house writers comes up with the exact same idea by accident, and boom, you have a fan who's suing you for idea theft, and even if that lawsuit will usually go nowhere, it wastes perfectly usable time, energy and most of all ''money'' that could be used for more fruitful ventures. A famous example is British novelist Terry Pratchett, who used to post in his Usenet fan group until one of the fans was convinced Terry had stolen his ideas.
 
Therefore, most media houses will just say they will not take any ideas from the public. Game industry is not an exception. This fact has been pointed out to Chris a lot of times (and at least twice by real Nintendo representatives, as evidenced by the letters he has read in the Captain's Logs<ref>[[Captain's Log, Stardate August 15th, 2008]]</ref><ref>[[Captain's Log, Stardate February 10th, 2009]]</ref>). Unfortunately, Chris misinterpreted all this.
 
Another thing that Chris disregards is the fact that writing games takes a lot of effort - in Edison's words, getting things done is "1% inspiration and 99% perspiration'. Many good ideas don't get implemented. No one is going to invest energy in developing an idea alone if they don't know if the idea can be implemented. Game companies may be willing to negotiate a deal to use their properties (such as characters) in games developed by third parties, but those proposals are usually backed up by real companies, actual creative teams of developers, and serious, complete plans for games - if not outright working prototypes already. Even in the case the properties are tacked on the prototype later on, the prototypes are usually fully developed so that they can be used ''without'' those properties if the plans fall through. (Example: ''[[Wikipedia:Star Fox Adventures|Star Fox Adventures]]'' began as a game that was completely unrelated to Star Fox universe, but Nintendo felt the game was better with SF characters.)
 
Theoretically, it would be possible, though highly unlikely, for Sega and Nintendo to cooperate enough the make a game featuring a Sonic/Pikachu hybrid named Sonichu.  They would not, however, need any input from Chris, or even his permission, to combine characters that ''they'' own.  Think about it. Of course, the idea of releasing it cross-platform for ''Sony consoles'' remains yet another absurd and fevered dream on the part of Chris.
 
== Sauces ==
<references/>
 
== See also ==
* [[Chris and copyright]]
* [[Chris's resume]]
* [[Sonichu (game)]]
 
{{Chris and}}
 
[[Category:Chris-chan]]

Latest revision as of 20:12, 30 November 2017

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