The origin of this post is inspired by an event a few days ago. A day like any other, while they are busy shopping at the mall (although the designers have material needs), and finish as usual in the toy department, one near the crates to see if came something captivating . And here I see a thing.
This simple action is developed in the following days, with an incredible domino effect, a reflection that gradually evolves into something inconceivable at first. Mysteri creative ... But what was the gizmo that scatanato this Chernobyl neural tell at the end of the post.
will be good to start then with a little 'back-story, as in a mathematical equation from the data in some, and if I start talking without explaining the concept is lost.
Here is some of our data:
There were once Bratz . Dolls that changed the world of games for girls forever.
Even if you were not a girl, you did not age and you never looked at the doll before then, you could not hear them. They were not girls soap and water, as always were the dolls. Girls were sophisticated ipertruccate , iperglamour , with accessories very trendy girls very "in", with very short skirts, dresses very low cut and high-heeled shoes very high. "Showy " was a good definition. And got a hit ... Soon, you would not believe. During the period of their boom (early 2000), managed to crack the domain of the Barbie doll, forcing the production company of the latter, the Mattel, to run for cover. It was evident when, after decades of Barbie in each variant, suddenly in the windows of toy stores and on the shelves of supermarkets saw on display a new variety of dolls marked Mattel. She had reached the new line of dolls as " My Scene".
was obvious that it was a ploy by giant dolls to try to stem the popularity of the dolls opponents. The My Scene Barbie were a version of the most glamorous, the most fashion, more chic, more ... more Bratz short. To the extent that the MGA ( owner of the mark Bratz ) came to mention the Mattel for plagiarism. But it was only the beginning of hostilities.
Why that was the beginning of "Dolls Wars." Why? Why, why?
The only way to know who invented the Bratz . He had designed and fabricated this Carter Bryant , then an obscure employee Mattel, which left the ' azienza proposed the idea MGA Entertainment to . When he invented? Good question. While working at Mattel or when it was already out? And working for them, or sketching designs on paper at lunch, so how could he write down the cost of the day? And above all , what chance could have a big head doll with a multinational who had Barbie as the main product, which had put KO more powerful opponents (who remembers Big Jim Happy Family and stand up)?
The only way, of course, was in a house competitor. But at this point in our legal battle was the Mattel to sue the MGA, claiming that those dolls were invented by an employee, when he still worked with them, relying on "intellectual property . After years of legal battles and several rulings, it was possible to demonstrate that the first drawing was done on paper that was given to Mattel , who was in their offices, and so were their property.
What happened next? The Bratz disappeared overnight from the banks of the shops. Were briefly re-proposed with the new mark after, but did not last long. The
MGA accepted defeat, and put in the pipeline of new dolls, not "bad boy" of the Bratz the Moxie.
End of the sad history of dolls dumplings. Now we have our reliable data. Our example of intellectual property.
"Jack, but that f *** ing stupid to the point of telling this story?" I certainly question the casual reader, unaware that usually always start from a distance to get there (boldly) where no man has gone before. But from a designer who has James T. Kirk hero I would say this is the minimum.
Why you see, Mr. Bratz was an employee Mattel. And imagine for a moment that the whole world works like at home (I know not, but this is just one example, Okke ? Suspend your disbelief for a moment and follow the keynote address, please ), we can deduce how our man had a salary, bonus, paid vacation, social security, and if everything went smoothly, would one day reach retirement age and would be moved to Florida.
But for all this there was only one condition that should adhere: as an employee, whatever you did in that period would remain the property of his employer. Including any ideas he had. Why was paid by them for ideas. But where does the ownership of ideas? Was written somewhere that anything invented or thought it was owned by his employer. Certainly not ... but had used card company.
Another example. Work as a laborer in an automobile factory? You are paid for action and not for the work of the intellect. Screw the rearview mirror, only you. You shall have no right to brag that they are properly set, when Quattroruote will report it in their road test, but you will not even be complaints if they fall. The blame will be the company. No faults nor merits you had just screwed mirrors.
And here we come to the drawings, the protagonists of this post. Why is precisely to avoid this problem we designers are free professionals.
"Yes, I know," said the young rookie.
No, maybe you are not really clear what it means. Follow me, my young Padawan ...
Case number 1:
We are happy in the 60s, but could also be our first years of the 21 th century. Publishing industry will take. Become his employee. You pay a monthly salary, pays you leave, you pay the contributions, it gives you 'the thirteenth, and in return you just have to work for him, asking you to draw what you draw, and so on. Whether you do 20 drawings that day, or made only 1, you will be paid the same amount, same every day, guaranteed. What more do you want?
Well, but we imagine that what you draw is a huge success. To be reprinted. Who publish in America. What Spielberg and Tarantino azzuffino to make a film, after which realizes (perhaps ass) Ridley Scott , and the movie earns billions and makes a lot of money to copyright holders, so (in the order ), a Scott, Spielberg , Tarantino, the studio, the American publisher who reprinted, and the Italian publisher who has published.
And the author?
Oh no. He did not. He was a mere employee. It has no copyright. But he has a pension. His employer begins to collect Lamborghini and pass weekend in Bali, but our employees can easily take Sunny in Marina Julia . And if a dark of Yale University complaint claiming that all that he had invented the story, you do not need to fill veins, it's not your problem. or maybe, if your boss wants shift the blame to someone ...
Case No. 2:
Our designer is a free professional . The employer shall provide the commission an opera , not paying for ownership of what he does, but the only use.
A story comes out. It 'a success, and reprint: to earn money. as published abroad is: you get money. We make a movie? Money. We sued for plagiarism? Your cabbage. But you are the author, you are recognized , and you can levarti the satisfaction.
Okay, all well and good, but ... but if history is not a success and will NOT be reprinted, And we do not make a movie, or even a miniseries web? If it's just one of many projects monthly Italian folk? Steps to the next project monthly popular Italian ...
Dear colleagues, this is why we are free professional, fully mobile, we might almost say that we are the forerunners of labor mobility (which Kulo, eh?). Years ago, when I entered the bracket as a designer Bonelli, I showed the local labor office, ask for it to be recorded that a regular job now and continuous I had. s useless, the polite and courteous employee in charge is changed in a few moments by a mastiff wrestling. And a few seconds later I found myself with a like Hulk Hogan that she scolded because that agreement was not mentioned in the report continuous (so was not a job!), Ignoring my "Triple S "printed on the face (smile, spontaneous, honest), suggesting as I was just a" Triple I "(Naive, deluded, ignorant) and I were leaving understood as well as a" Triple M "(Wretched Wetsuit and merdaccia).
I do not remember how it ended that visit, it 'if that night I ended up with blood on their hands (and in any case I do not want to know, and if you know something, I do not know you)
What then realized, now so long ago was that as I continued to do this job, I'd always been a precarious free professional. In addition to wish to never see the true Hulk Hogan , of \u200b\u200bcourse ... Since then
occasionally, in moments when you're down, the moments where you think the work you do, your insecurity and so on ... Think of those moments in your myths. Think Milton Caniff , who drew Steve Canyon to the end. A Wally Wood , dead on a drawing board. A Sparky, who died the same day that the last Peanuts strip appeared in newspapers . And Magnus committed to Castel del Rio to draw the last story of Unknow ...
And you? Do you really want to find themselves 100 years from now you passed on your work table, with the ink container overturned, struck down in the prime of life while you were busy inking another product of the popular Italian comic strip? You who were so devoted to the drawings hard not to realize that you were born around families, the children grew, the friends went on vacation, I-phone they changed the condition of existence and walkman lost their battle against entropy? Be ... maybe not, if I possibly could.
Several years ago, an edition of Trevisocomics (forse1993) saw Magnus to a meeting with the public. With him on stage were Moebius / Jean Giraud and a timid Franco Matticchio (the "3M" comic strip, had called the meeting's organizers ). At the time of applications stood up and asked a friend to Magnus curious if she had received something from countless reissues of his material. Minutes of that little man, with mustache and a quiet voice, said in a tone as quiet (or so) "Revenues should be rights-holders." It was a first sign that perhaps the golden world of comics was not so golden. But then I did not think too much, too because I was just a player. And also because I was walking to a meter above the ground for having un'autografo with a dedication by the Master a few hours before meeting him by chance while I gave a quick glance at the trade show, before heading to the Ca 'dei Carrara where he was to take place the 'meeting with the public. And where my friends had gone away. And where risked to make me hate them for quell'autografo unexpectedly.
And so, years later, who loved me told me to take my precautions. "You want to draw forever? What will you do when you are no longer able to keep the money?" You have to make do, think about your personal, very private pension insurance . Be realistic. dramatically realistic. Plus you'll also receive reimbursement from the state the equivalent of your withholding. So arranged, finding the opportunity for you, and subscribe. All by myself. And until you are on time.
So these days I find myself thinking - with this premise - in all the events heard and perceived in these recent months, leaving from my work environment. Of crisis, plaintive voices of problems that await you around every corner. I think my colleagues who supply the labor and property of the table, because "No one said do not do this", or colleagues who are wondering when it will be possible for them to start a family, have children and a possible retirement pension (though not strictly in that order). And the publishers who publish material knowing that they will never reprint it, because although only come with the sale to balance the costs will be happy and satisfied with the finish line, because that for them will already be a great victory, and do not aspire to large systems, the publication abroad, film, 3D.
Finish. And all this came to my mind when I saw on display at the mall the Moxie , and at that moment I realized that the Bratz were nicer. And I miss it ...
Already, the mechanisms of our thoughts travel uncharted paths. But sooner or later they spout ...
And yes, the post title there guesses a lot, but try to replace "pens" to the word "glasses" of the song below, and good listening.
