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God Does Not Own This World
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So the author of this fictional work is considered to be the ultimate authority of it. Maybe they are the creator, director or producer of the work. They had the initial idea of this work (or at least this version of it) and most ideas are theirs, not to mention that they are the final authority regarding Canon. They must own this work, right? Except not. The main difficulty of creating a work is not always a creative issue. Very often the creator of a work is unable to produce their work the way they want without money. Other times, they want to use characters they don't own. The only way the author is able to produce their work, or using the characters they like but don't own, is by giving all the legal rights of their hard work to some big company in exchange for getting their work financed, or thanks to work for hire laws and contracts, the creator never actually owns their creation, everything creators do while working for a big company is instantly owned by the company. While this removes all the production costs, it can backfire for the author for the following reasons: The author is subject to Executive Meddling and can't do anything about it, losing their absolute creative control of the work. If the work becomes successful thanks to their input, even if the company gains a fortune thanks to it, the author won't be able to become rich themselves or earn more money beyond their salary. The author won't be able to use their work independently without executive approval. And even if the author gets permission, they will most likely be obliged to pay royalties to use their own work/creations. The author's Word of God can be demoted to fanfiction, while the executives can hire someone else to change the work or "interpret it differently". If the company doesn't want the original author, they simply replace/fire them from the project. On a related note, a creator who's the driving force behind a particular incarnation of a franchise, but was not involved in the original incarnation of same, won't have any of the rights to the franchise. This can be very painful for the author losing all their control of their work despite being the main creative force behind it and the ultimate authority of it. However, some fans may still consider them as "Word of God" in spite of this, and even hold them in higher regard. This in general is more common in film, TV, and mainstream comic books than in publishing where authors do retain a good number of control and influence of any intellectual property they personally created. However, if a given author sells adaptation rights to a major studio, then issues of merchandising rights and other rights, and ancillaries, vary depending on the lawyers they can afford. See also Death of the Author, a trope more about thought exercise (of the information that the author conveys, in and out of the work) rather than the situation behind the scenes as in this trope, although this is one of the ways that enables that trope. Sometimes, a creator may try to Torch the Franchise and Run in response to this situation. Not to be confused with I Do Not Own. Or with the beliefs of a Nay-Theist or Flat-Earth Atheist. |
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Sonic the Hedgehog (Archie Comics) became a rare example where this was not only averted, but fans sided with the big corporations instead of the individual creator. Ken Penders, who boasted one of the longest runs on the comic, would claim in the late 2000s that he owned multiple characters created for the comics. And Archie Comics lost the contracts that could prove that this wasn't the case. The end result was Archie effectively letting Penders keep his characters, even though he can't use the main Sonic characters that are still owned by Sega, and rebooted the comic universe, though Sega would ultimately revoke the license thanks to the whole debacle, with the comics restarting from scratch with the same creative team over at IDW. On Penders' end, the reason he even fought for character rights was because he'd wanted to use them in personal non-Sonic projects that still haven't come to fruition even a decade later. | |
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The first three Crash Bandicoot and Spyro the Dragon games on the PlayStation 1 were created under license for Universal Interactive Studios, who would also own the rights to the series and characters. Once they were completed (and Naughty Dog made a fourth, Crash Team Racing), both Naughty Dog and Insomniac Games wanted to make their next games with Sony Computer Entertainment directly, but that meant leaving Crash and Spyro behind with Universal. Many fans to this day think that they sold the rights to Universal, when Universal had always owned them to begin with. After a series of mergers, they both became the properties of Activision. | |
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The No One Lives Forever series was probably hit the hardest by this, as the rights are in a tangled, confusing mess involving three separate companies (Activision, Fox, and Warner Bros.). Worse, it predates any of their digital archives for what they own, so actually confirming who owns what would be more expensive than any of them think it would be worth - but they're all perfectly happy to threaten legal action regardless if anyone so much as considers even rereleasing the game on GOG.com or something. | |
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Within context of the Little Tail Bronx series, this is in full effect in regards to Tail Concerto and Solatorobo: Red the Hunter, as despite CyberConnect2 still having a good working relationship with Bandai Namco Entertainment, they are barred from doing anything with those two games without Bandai Namco's explicit approval, which is really bad considering both of them are Acclaimed Flops. This is one of the primary reasons why CyberConnect2 had to resort to self-publishing Fuga: Melodies of Steel and why it was envisioned as a distant Prequel, as they wanted to continue building upon the series' lore and figured it was easier to cut the middle man out rather than fight for a greenlight from Bandai Namco like they did with Solatorobo. | |
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Hanna is run not by the writer of the original screenplay (Seth Lochhead) or the director of the film (Joe Wright) but instead the screenwriter who revised Lochhead's screenplay (David Farr). | |
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Titus is based on the comedy special "Norman Rockwell is Bleeding" by comic Christopher Titus, which in turn is based closely on his own life to the point his family members had to sign wavers for the series. The show was canceled at the end of the third season, following a big Cliffhanger, due to Titus' contentious attitude with the network. Years later, still close with the cast and crew, he sought to make a continuation of the series through crowdfunding but FOX refused to let him, essentially meaning he can't continue the series based on his own life. | |
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In The Talmud, specifically the debate over the Oven of Akhnai, this is applied to The Bible itself, making this Older Than Feudalism. When the literal Word of God comes down from heaven to intervene in an argument, Rabbi Yehoshua stares down the Divine Presence itself: longer explanationA group of Rabbis has reached an agreement on an extremely esoteric ruling, only for one of their number, Rabbi Eliezer, to disagree. Eliezer calls down a succession of increasingly impressive miracles to prove that his interpretation is correct, culminating in God Himself chiming in to tell the others that Eliezer is right and they're wrong. The passage Yehoshua is quoting can be paraphrased as "the Torah is on earth and understandable by human beings, not in heaven and requiring divine wisdom to comprehend", and he's using this to argue that since the dispute in question is happening on earth, there's a relevant Torah passage, and humans have come to an understanding of it, God is outside of His jurisdiction by descending from heaven to offer an opinion, and He needs to get back in His lane and let the agreed-upon decision stand. And God accepts defeat and withdraws. | |
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The .hack is also an original creation of CyberConnect2, but much like with Little Tail Bronx, the license is owned by Bandai Banco Entertainment, meaning they get final say on what to do with the franchise (this extends to other adaptations, such as anime, manga, or light novels). The Vice President of CyberConnect2 even told fans that if they want to see the series return with a possible remaster or remake of the R1 quadrilogy, then they have to write to Bandai Namco showing interest. | |
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It happened again with the F.E.A.R. series, reaching the point where the original publisher, Vivendi, made expansion-pack sequels to the first game, while Monolith had to rename their own canon sequel for legal purposes. When they got the F.E.A.R. name back due to their new publisher (the aforementioned Warner Bros.) buying the rights to it, they immediately put those expansions into Canon Discontinuity. | |
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Every Fire Emblem game since the GBA entries had been developed by Intelligent Systems without the involvement of original creator Shozo Kaga, who quit the company after Fire Emblem: Thracia 776 and went on to work on his Fire Emblem clone for the PlayStation titled TearRing Saga. The similarities between the early Fire Emblem games and Tear Ring Saga, which included its working title of Emblem Saga and the involvement of Thracia 776 character designer Mayumi Hirota, led to Nintendo suing Kaga for copyright infringement, although Kaga won the case. | |
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Eberron has been owned by Wizards Of The Coast right from it's initial publication. That said, Keith Baker has retained a good relationship with the company, who have yet to bypass him in any major decisions about the setting. | |
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Somewhat the case with Masaki Kajishima and Tenchi Muyo!. He is still the main creative force behind the main continuity (Tenchi Muyo Ryo-ohki and GXP) but he doesn't own the rights to it, so his other media forays don't count as canon (though some elements of them have been worked into canon over time) and his Word of God isn't absolute. He also has no control over the numerous alternate universe spinoffs. | |
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This was standard practice in comic strips until the 1980s and Bill Watterson's famous fight to prevent Calvin and Hobbes merchandise. Today, creators generally own all rights to their strips, or have a contract that reverts all rights back to them after a certain number of years. | |
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Designer and writer Ted Peterson also played a large role in creating the series, but like LeFay, he left Bethesda before the release of Morrowind. Peterson managed to hang a little longer than LeFay though, in terms of creative influence on the series, since Bethesda hired him on as a freelance writer up until The Elder Scrolls IV: Oblivion, but he hasn't contributed to the series since. | |
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As they eventually left Marvel Comics, Millar and Bendis do not have any control of the Ultimate Marvel universe or its characters. In particular, Bendis was working for DC Comics by the time the film Spider-Man: Into the Spider-Verse (starred by his creation, Miles Morales) was released. | |
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On a more positive note, Applegate and Grant revealed in December of 2021 that Scholastic had returned to them the rights to Everworld and Remnants after almost two decades of sitting on them and doing nothing. Whether this means an actual continuation for the two book lines (both of which were infamously Screwed by the Network) or just re-releases is not yet clear. | |
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During the early years of the Metal Gear series, Hideo Kojima didn't have much name recognition and thus, had no control over what Konami did with the franchise. As a result, Konami made the NES version of the original Metal Gear, as well as its sequel Snake's Revenge without Kojima's involvement. After the success of Metal Gear Solid elevated Kojima's name and status within the industry, every game he directed from Metal Gear Solid 2: Sons of Liberty to Metal Gear Solid V: Ground Zeroes was released with the tagline "A Hideo Kojima Game" on the cover, while spin-off works such as Metal Gear Ac!d and Metal Gear Rising: Revengeance, while not directed by Kojima, were still made with his acknowledgement. This went full circle with Metal Gear Solid V: The Phantom Pain marking not only the end of Kojima's involvement in the series, and the end of his ties with Konami altogether, but also the use of his name to promote the brand. After Konami announced Metal Gear Survive a year after Kojima's departure, Kojima made it no secret that he wasn't involved in its conceptualisation or development: | |
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One of the few appearances of a Sandman character in the main DC line after the original series was the Daniel version of Dream in an arc of JLA (1997). Gaiman reviewed the dialogue and thought it was pretty damn good. In particular, describing the Green Lantern Ring as a "wishing ring" is something he wishes he'd thought of himself. | |
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While nothing has ever been confirmed, multiple rumors and reports spanning several years that the full rights to Cave Story is no longer in the hands of its original creator, Studio Pixel, with claims that they were being taken advantage of by publisher Nicalis when it came to the contract they signed and the latter abusing due to the language barrier between the two of them. Nicalis has never clarified one way or the other, but not helping their case is when they tweeted a celebration of Cave Story's 15th anniversary and hid replies accusing them of conning Studio Pixel rather than clearing the air. A report in 2019 of the publisher mistreating their employees and clients also didn't help their image. It's no surprise people have very little reason to not believe in the rumors and reports. | |
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The creators of W.I.T.C.H. — Elisabetta Gnone, Alessandro Barbucci, and Barbara Canepa — struggled to get Disney Italia to greenlight the series in the first place and found themselves losing creative control as soon as it became a surprise hit, with the series going on to be more lighter and softer than they intended. Gnone, the writer of the team, would leave Disney to pursue a career writing children's books, while artists Barbucci and Canepa would leave to form their own comic book studio after unsuccessfully suing over the rights for the series in 2004. Of additional note is Francesco Artibani, a writer who had helped Gnone conceptualize the first story arc. Artibani was given full writing duties after the other three were removed from the comic, but upon the failure of the lawsuit, would leave Disney in response after issue 37. | |
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Pat Mills created a whole bunch of strips for 2000 AD, but owns none of them; however, due to his influence, it's very rare that anyone else is allowed to write any of them. Mills famously blocked the publication of an ABC Warriors strip by Alan Moore for decades, and also got pissy at Andy Diggle for commissioning a new Satanus series from Robbie Morrison, despite the fact that Mills had originally resurrected Satanus in story he wrote for Judge Dredd, for which he came up with the name and nothing else. | |
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This happened to Toby Gard with Tomb Raider when he objected to making Lara Croft bustier and ended up leaving during the development of Tomb Raider II. He came back as a consultant after The Angel of Darkness tanked, but Eidos Interactive (and its parent company Square Enix) still holds the rights to Lara. | |
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Dungeons & Dragons: Dungeons & Dragons hasn't been owned by its original creators since Gary Gygax had control of TSR wrested from him in the mid-1980s. Strangely enough, despite being the Trope Codifier for the entire RPG concept, Gygax has had very little effect on advancing the game's canon since it was first created. He created the original Greyhawk setting but was involved very little with it afterwards before eventually leaving the company because of massive Executive Meddling. Very few gamers would actively prefer Gygax's game mechanics to what is produced today, though there is a certain flavor in classic adventures like Temple of Elemental Evil and the Tomb of Horrors made during his tenure that makes for fun throwbacks. Dave Arneson, the other half of the creative team behind Dungeons & Dragons, got more than a little dicked over in regards to the game himself. Arneson and Gygax worked on the original game together, based on Arneson's personally-designed game, Blackmoor, which became the namesake of Supplement 2: Blackmoor (which Arneson himself wrote). Eventually, a second version of the game called Basic Dungeons & Dragons came out, which effectively was OD&D with most of the Greyhawk and Blackmoor rules added together in one single rules set. Arneson left TSR relatively soon after, however, and was dealt a real gut-check when Gygax's Advanced Dungeons & Dragons came out (which he hadn't known about). Legal battles occurred throughout the '80s over the rights to D&D, with Arneson, and Gygax & TSR finally settling out of court, though Arneson wasn't awarded royalties for AD&D, as AD&D was ruled a radically-different product from Original and Basic D&D. Though Basic D&D existed, as a whole, for longer than any other version of D&D (effectively from 1977 to 1999), Advanced Dungeons & Dragons was far-and-away the more-popular of the two games. Coupled with the fact that Gygax was with TSR for longer and produced much more material for the game (including infamous modules like the Tomb of Horrors), most modern gamers know of Gygax as the sole Father of D&D, with only diehard enthusiasts or game historians knowing Arneson's fairly-tragic yet important role in the story. Likewise, Ed Greenwood had originally created the Forgotten Realms setting through a series of articles published in TSR's Dragon magazine in the late '80s. TSR eventually bought the rights to the setting outright, publishing it in a comprehensive campaign boxed set. Since then, it had been a playground for authors like R.A. Salvatore to publish mostly original novels based in the setting's backdrop, almost turning it into an Expanded Universe. As for the setting itself, Greenwood continued to have some gradually decreasing input, or at least the right to complain, all the way until the release of 4th Edition, where the Spellplague and other interdimensional weirdness caused The End of the World as We Know It against his explicit objections. Dragonlance is currently owned by Wizards of the Coast, and not by Tracy Hickman, Margaret Weis, or Jeff Grubb, all three of whom (among many) who contributed greatly to the setting. Eberron has been owned by Wizards Of The Coast right from it's initial publication. That said, Keith Baker has retained a good relationship with the company, who have yet to bypass him in any major decisions about the setting. |
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The creator of Clarence, Skyler Page, was removed from the show during its first season due to sexual harassment of female crew members, as well as worsening psychotic episodes as a result of his bipolar disorder. The series continued under the guidance of storyboarder Nelson Boles, and later Stephen P. Neary. Likewise, he was replaced as the voice of the title character by head writer Spencer Rothbell. | |
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Matsuno is responsible for the entire Ivalice concept and developed the majority of games taking place in the setting... but stepped down from his position at Square Enix during the production of Final Fantasy XII and lost what say he once had with regards to the setting. The biggest point of contention is the status of Vagrant Story — Matsuno says it was never part of the Ivalice setting and references between Ivalice games and Vagrant Story were just in-jokes. Square Enix says it's the canonical end of the setting's timeline. | |
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L J Smith was fired from writing The Vampire Diaries by the company that owns the rights, allegedly because she disagreed with them about who the heroine should be romantically paired with at the end. The company intends to get someone else in to write it the way they want. | |
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Animaniacs (2020) was developed without any involvement from original series creator Tom Reugger due to Warner Bros. owning the rights. In fact, Reugger publicly stated his displeasure at not being involved with the reboot. | |
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Disney owned the intellectual property rights of all of Pixar's franchises from Toy Story up to Cars, which was a major point of contention between Disney executives and Pixar's owner Steve Jobs; it was such a sticking point that when Disney bought Pixar in 2006, one of the main stipulations was that Disney would transfer those IP rights back to Pixar post-merger and allow them to control any future IP rights to franchises that they'd create. This was a level of autonomy not normally seen in Hollywood. | |
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Likewise, Ed Greenwood had originally created the Forgotten Realms setting through a series of articles published in TSR's Dragon magazine in the late '80s. TSR eventually bought the rights to the setting outright, publishing it in a comprehensive campaign boxed set. Since then, it had been a playground for authors like R.A. Salvatore to publish mostly original novels based in the setting's backdrop, almost turning it into an Expanded Universe. As for the setting itself, Greenwood continued to have some gradually decreasing input, or at least the right to complain, all the way until the release of 4th Edition, where the Spellplague and other interdimensional weirdness caused The End of the World as We Know It against his explicit objections. | |
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Danny Phantom: A Glitch in Time, a graphic novel continuation of Danny Phantom, does not have the involvement of series creator Butch Hartman nor developer Steve Marmel. | |
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The rights to Traveller are almost all owned by its original creator Marc Miller, and he has made nearly all of the material from the various editions available in .pdf file format from his current holding company, Far Future Enterprises. There are two notable exceptions, however: The licensed materials produced by Digest Group Publications. They produced a magazine and high-quality supplements and adventures for the second edition of the game - MegaTraveller - under license. When DGP closed shop in the mid-nineties a fan bought the rights to all of their material, and he and Marc Miller have never agreed on a price to allow them to be reprinted or issued as .pdfs along with the rest of the MegaTraveller material. The other exception is the two Mongoose versions of the game. That is simply because it's an active license - Mongoose continues to produce new material for its version of Traveller. If they ever stop the license will revert to Miller. |
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No one would use Starman characters without at least giving James Robinson a heads-up. | |
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Despite being the creator of Gargoyles, Greg Weisman doesn't own any of the stuff he made. Disney owns all of it. First he, along with all his team, were replaced by other crew. When his show got cancelled, he tried to continue it via comic books, but was unable to pay the high royalties to Disney. | |
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One of the best-known examples in anime is Gundam; after working on the franchise constantly for 14 years, creator Yoshiyuki Tomino (suffering from severe Creator Breakdown at the time) sold the rights to the franchise to Sunrise before moving on to other projects. Sunrise would go on to produce various Alternate Universe shows: G, Wing, X, SEED, SEED Destiny, 00, AGE, Iron-Blooded Orphans, The Witch From Mercury, and so on. For years, legends persisted that Tomino absolutely despised what Gundam had become without him; in published interviews, he admitted that he was upset at first but mellowed out after realizing that he should be more supportive of up-and-coming directors. Eventually, Tomino gave his indirect blessing with ∀ Gundam, which is supposed to be the Grand Finale of the entire franchise and suggests that all of Gundam (both his and Sunrise's works) is part of a single, massive timeline. | |
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Some Marvel characters have had their film rights shared between different companies, if they are associated with more than one franchise, but with restrictions on what each company can do with the character. A current example is the Kingpin (Wilson Fisk): Sony can only use the character as a Spider-Man villain (as he was in Spider-Man: Into the Spider-Verse), while Disney can only use him as a Daredevil villain (as he was in Daredevil (2015)). Another past example was Quicksilver and the Scarlet Witch, who are associated with both the X-Men and The Avengers, and thus were shared between Fox and Marvel Studios – so two different versions of Quicksilver appeared in the X-Men Film Series and the MCU, played by different actors, and the X-Men movies could not refer to the Avengers while the MCU couldn't refer to him or Scarlet Witch as mutants. | |
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Yoshihisa Kishimoto, creator of the Double Dragon series, lamented over how the series was handled by various licensees, specifically U.S. publisher Tradewest, resulting in a lack of consistency in later games and spin-off works that were produced without Technos Japan's direct involvement. He particularly disowns the 1994 live-action version starring Scott Wolf and Mark Dacascos, seeing it as a blatant cash-grab that has nothing to do with the original game except the name, and even takes a few potshots at the comic book and animated series, which turned the Lee brothers into ninja-like costumed crusaders. | |
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Chris Savino was terminated from Nickelodeon due to sexual harassment of female crew members, leaving The Loud House during production of the show's third season, with story editor Michael Rubiner taking over as executive producer. | |
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Devil Engine's Troubled Production can be attributed to this trope: Shortly before the Expansion Pack, Devil Engine Ignition was to be released, Dangen Entertainment took rights to the game away from Protoculture Games, preventing them from releasing Ignition. Protoculture also was not getting any money from the game's sales. Once rights reverted back to Protoculture, another issue popped up: Only Sinoc, the lead developer was getting any money from sales of the game, with the artistic side of the staff (artist Thomas Bailey and composer Joseph Bailey) still not receiving any of the revenue. The Baileys also revealed that Devil Engine is being sold without their consent. |
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Extra Credits kickstarted with Daniel Floyd as the narrator, James Portnow as the writer, and Allison Theus as the artist. As of October 20, 2019, all three of them had left the show, having been gradually replaced by a new team of showrunners who promptly continued without their input. | |
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In 2008 Stratovarius went through a long period of silence before main songwriter Timo Tolkki announced that the band had officially broken up, citing internal tensions within the band. The rest of the band, however, weren't ready to break up, and so Tolkki handed the rights to the remaining members and left for good. | |
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The reason the theme song from the original game is seldom heard is because Sega does not own it. It's owned by Dreams Come True, the band that originally composed it. The development team of Sonic Spinball didn't know this and originally used the theme in the game. They were forced to come up with a new theme at the last minute when the legal situation was explained to them. | |
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The Elder Scrolls: Programmer Julian LeFay was a instrumental member of Bethesda back in the late '80s and early '90s, but his biggest contribution to the company was probably playing a central role in creating the series as he spearhead the development of both The Elder Scrolls: Arena and The Elder Scrolls II: Daggerfall as well as the spin-off game, Battlespire, earning him the affectionate nickname "The Father of the Elder Scrolls". But at the time of the third main installment in the series, The Elder Scrolls III: Morrowind, LeFay was not picked as a part of the initial development team for the game, something that evidently disappointed him greatly and, combined with concerns over the company's changing culture, prompted him to resign from Bethesda, citing Creative Differences. At the personal request of Christopher Weaver, the founder of Bethesda and his personal friend, LeFay eventually did some consulting work on Morrowind, but it was only tangential and he has not been involved with any Elder Scroll title since. Designer and writer Ted Peterson also played a large role in creating the series, but like LeFay, he left Bethesda before the release of Morrowind. Peterson managed to hang a little longer than LeFay though, in terms of creative influence on the series, since Bethesda hired him on as a freelance writer up until The Elder Scrolls IV: Oblivion, but he hasn't contributed to the series since. |
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Seiichi Ishii, the original director and lead designer of the Tekken series, left Namco shortly after finishing Tekken 2 and has not been involved with the series since then. | |
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When The Boondocks was adapted for television, its creator Aaron McGruder sold all the legal rights to Sony Pictures Television. After three seasons, McGruder left the show due to a contractual dispute with Sony, so a fourth (and final) season was produced without any of his involvement. Season 4 was ill-received by most fans and critics. | |
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For the first two movies, Rebuild of Evangelion was subject to this, with Hideaki Anno leaving Studio Gainax, founding Khara and eventually licensing his masterpiece from his old studio to return working on it. Somewhere around the end of 2014, however, Khara's Eva-related works stopped crediting the now near-vestigial Gainax, with all indications being that Khara - and by extension, Anno - bought the rights of the franchise. | |
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Puyo Puyo went through a legal nightmare after the bankruptcy of Compile, the original owners and creators of both Puyo Puyo and Madou Monogatari, which were separate franchises due to the games very different genres but took place in the same universe and featured the same characters. SEGA had been loaned the rights to Puyo Puyo and kept them after Compile's closure, but did not buy Madou Monogatari, which was purchased by D4. Thus no Puyo Puyo games can be made in the same world as the original gamesnote They instead take place in SEGA created worlds and no Madou Monogatari games can be made using the characters from the originals. Moo Nitani has not been involved with either SEGA or D4's games since, instead working on another puzzle game entirely. | |
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Sonic the Hedgehog: The reason the theme song from the original game is seldom heard is because Sega does not own it. It's owned by Dreams Come True, the band that originally composed it. The development team of Sonic Spinball didn't know this and originally used the theme in the game. They were forced to come up with a new theme at the last minute when the legal situation was explained to them. Sega of Japan and Sega of America both have creative control over how Sonic is portrayed, meaning that throughout the '90s, the Sonic franchise was often radically changed in the West from how it was originally conceived in Japan. Most notably, Dr. Eggman was renamed Dr. Robotnik in America, which required Sonic Team to make "Robotnik" the character's real name and "Eggman" an Appropriated Appellation. Sega often neglects to establish creative ownership when they license Sonic to be adapted into shows, films and comics, meaning they do not own any concepts introduced in them. For example, despite Sonic X utilizing the cast and concepts of the franchise, as well as adapting the plots from the Adventure games, Sega does not own any of the characters or plots created for the series and cannot use or reference them in any other Sonic product. The only Canon Foreigners Sega does own are those created for Sonic the Hedgehog (IDW), hence why they're allowed to cameo in other media. The comics went through an incident where an individual artist managed to secure the rights of multiple characters and fans were not amused, see above. |
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Disney themselves do not own the rights to The Muppets Take Manhattan, Muppets from Space or Kermit's Swamp Years, which are all held by Columbia Pictures. | |
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Sakura Wars co-developer Red Entertainment hasn't been involved with the franchise since Sega bought their co-ownership rights in 2017. | |
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Due to the religious controversy around Dogma the normal distributor for Kevin Smith's films, Miramax, didn't want it in their library so producer Harvey Weinstein bought the rights of the film directly and licensed it out to different companies for theatrical and home video releases. Those licenses eventually expired and ownership of the film remained with him personally. Smith had some interest in doing a sequel but had a falling out with Weinstein that made any attempt near impossible, and after the Weinstein scandal that created the #MeToo movement Smith just wanted to wash his hands of anything they did together. | |
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IO Interactive's development of Hitman (2016) was a very messy, somewhat confusing one. While it received rave critical success, it was suddenly reported in May 2017 that Square Enix decided to abruptly cut all business ties with IOI, with the main purported reason being that the game had underperformed commercially, with many citing the biggest factor being the game's episodic format. In a surprising twist for this scenario, and notable defiance of this trope, IOI was allowed to keep the rights to the Hitman franchise, something almost entirely unheard of in a developer-publisher relationship of this sort, allowing them to independently develop and publish future Hitman games. With the release of Hitman 2 and Hitman 3 (effectively the future "seasons" that would've been DLC of the 2016 game), fully completing their intended World of Assassination Trilogy, as well as reports of increasingly solid financial returns, it seems that IOI actually came out the other end fairly well. | |
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Dave Arneson, the other half of the creative team behind Dungeons & Dragons, got more than a little dicked over in regards to the game himself. Arneson and Gygax worked on the original game together, based on Arneson's personally-designed game, Blackmoor, which became the namesake of Supplement 2: Blackmoor (which Arneson himself wrote). Eventually, a second version of the game called Basic Dungeons & Dragons came out, which effectively was OD&D with most of the Greyhawk and Blackmoor rules added together in one single rules set. Arneson left TSR relatively soon after, however, and was dealt a real gut-check when Gygax's Advanced Dungeons & Dragons came out (which he hadn't known about). Legal battles occurred throughout the '80s over the rights to D&D, with Arneson, and Gygax & TSR finally settling out of court, though Arneson wasn't awarded royalties for AD&D, as AD&D was ruled a radically-different product from Original and Basic D&D. Though Basic D&D existed, as a whole, for longer than any other version of D&D (effectively from 1977 to 1999), Advanced Dungeons & Dragons was far-and-away the more-popular of the two games. Coupled with the fact that Gygax was with TSR for longer and produced much more material for the game (including infamous modules like the Tomb of Horrors), most modern gamers know of Gygax as the sole Father of D&D, with only diehard enthusiasts or game historians knowing Arneson's fairly-tragic yet important role in the story. | |
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Sega often neglects to establish creative ownership when they license Sonic to be adapted into shows, films and comics, meaning they do not own any concepts introduced in them. For example, despite Sonic X utilizing the cast and concepts of the franchise, as well as adapting the plots from the Adventure games, Sega does not own any of the characters or plots created for the series and cannot use or reference them in any other Sonic product. The only Canon Foreigners Sega does own are those created for Sonic the Hedgehog (IDW), hence why they're allowed to cameo in other media. | |
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Another semi-exception exists in the case of Judge Dredd. It was originally conceived by John Wagner (writer) and Carlos Ezquerra (artist), but copyright and publication rights lie with Rebellion (at present). Plenty of other writers regularly write new material, but an unofficial understanding exists that only John Wagner is allowed to alter the status quo. | |
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This is a big aspect of the fiasco involved with the Call of Duty series and the fighting between Treyarch and Infinity Ward over proper royalties. | |
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Alien: Covenant was originally going to reveal that the Engineers had created the Xenomorphs and that David-8 had been trying to replicate their work, but late into development Scott thought it would be more interesting if David-8 was the sole creator of the Xenomorphs — scrapping all the scenes featuring the Engineer-made Xenomorphs and redesigning David's Xenomorphs to lack the biomechanical exoskeleton. This was very poorly received by fans, many of whom had expected the Engineer-made theory to be canonized; and Fox subsequently ignored it in Alien: The Roleplaying Game, instead going with the explanation that the Engineers had created the Xenomorphs and David had been trying to replicate their work. | |
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All rights to the Blood videogames and their source code are still under Atari, and until 2019, they had consistently stopped all attempts at releasing the source code, remaking the games, or making sequels (including simply refusing to let the original developers make an Updated Re-release, then demanding an exorbitant price for another developer to buy the rights). | |
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Generally, the only one of the Endless that will be used without Gaiman's involvement is Destiny, the only member of the family not created by Gaiman. Destiny predated The Sandman (1989) by many years (and was host of one of DC's horror anthology comics) and was retconned into the Endless by Gaiman. His personality has stayed pretty consistent, so it's not seen as any problem. | |
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Pac-Man has a strange case: due to some complex behind-the-scenes legal issues, Bandai Namco Entertainment owns the rights to the characters of Ms. Pac-Man, Pac-Baby, and other members of Pac's supporting cast, but not their games and designs, which were initially created by Bally Midway and are currently owned by AtGames. Because of this, later Pac-Man games and artwork (and modern rereleases of older games they appear in, like the Pac-Man Museum + and Arcade Archives versions of Pac-Land) give these characters drastic redesigns so Bandai Namco can avoid paying AtGames royalties every time. Conversely, AtGames can rerelease the original games with the original designs as much as they want, but can't make any new games featuring the characters. | |
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Scooby-Doo! and the Curse of the 13th Ghost, which is based on The 13 Ghosts of Scooby-Doo, does not have the involvement of series creators Tom Ruegger and Mitch Schauer. | |
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The Dragon Quest franchise has a history of having soundtracks composed by Koichi Sugiyama since the first game, who avoided this by being the owner of his compositions. However, Sugiyama had a controversial history of not giving Square Enix enough creative liberty to use his music the way they wanted, and that led to many games and localized versions having inferior, MIDI soundtracks, apparently because Sugiyama wanted to profit on concert tickets and record sales while leaving the actual games with low-quality synthetized music. | |
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The first two Tenchu games on the original PlayStation were developed by a company called Acquire. Originally, the IP belonged to Sony Music Entertainment (not Sony Computer Entertainment as it is mistakenly assumed). It was then sold off to Activision for the making of the second game. However, Activision would go on to produce the third game, Tenchu: The Wrath of Heaven on the PS2, without Acquire's involvement before selling off the IP to FromSoftware, forcing Acquire to make their own Spiritual Successor to Tenchu titled Shinobido. After several games in the series made by other developers, Acquire eventually came back to the franchise with Tenchu: Shadow Assassins on the Wii and PSP, which ended up being the final game in the series. | |
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While Felix the Cat was created by Otto Messmer, he never owned the rights to his own creation, and was never once recognized as the creator until very late in his life, with Felix being considered and marketed as Pat Sullivan's character—and even though Pat Sullivan claimed before his death that Otto is the owner of Felix, Sullivan's estate secured the rights to the character while Otto worked on the comics. Eventually, Otto's assistant and friend Joe Oriolo would inherit the franchise and later continued by his son, Don Oriolo, and the franchise today is owned by DreamWorks Animation since 2014 and then by NBCUniversal since 2016 when they bought out DreamWorks Animation. | |
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A recurring/notable issue among authors in the Star Wars Legends Expanded Universe seems to be this, combined with Too Many Cooks Spoil the Soup. Prominent Mandalorian writer Karen Traviss has expressed dislike of the Mandalorians' portrayal in Star Wars: The Clone Wars and has even stated that if she had the power, she'd do a Continuity Reboot to erase that portrayal out of existence. For the record, it was George Lucas' idea to depict them that way and there did end up being a long-term plan for this (reportedly for the Underworld live-action show that never came to be, but was later reused for Rebels and The Mandalorian)... seen in a Continuity Reboot that booted everything in the EU bar The Clone Wars out of existence. Though whether or not Traviss likes it now is unknown. Timothy Zahn is aware of this trope and does find it interesting to see how other authors use his characters as he has said at DragonCon 2018, but he has also stated on the matter of Legacy of the Force that he doesn't like it when they kill off his characters (in this case, Mara Jade and Pellaeon), especially without telling him. On the other hand, he wasn't told anything about Thrawn's depiction in Rebels until episode production came to a wrap, meaning he had little say, but he has shown approval of their use of Thrawn, including writing half a dozen tie-in novels. |
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This happened to Toys for Bob with Star Control 3, although unusually for this circumstance, Toys for Bob do retain the rights to the setting itself, just not the right to create Star Control branded games. | |
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This is why it took so long for Groo the Wanderer to be published — Sergio Aragones did not want Groo to be owned by anyone else but him, but in the late '70s, the default assumption was that comics had to be "work for hire". It was only with Destroyer Duck and the advent of "creator-owned labels" that sprung up in the wake of Steve Gerber's protests over Marvel's ownership of Howard the Duck that Aragones found an imprint that he could feel comfortable publishing Groo with. (ironically, Groo's longest-running imprint was actually a subdivision of Marvel, their creator-owned "Epic" imprint). | |
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Heretic and its sequels Hexen: Beyond Heretic, Hexen II, and Heretic II. In 2009, id Software (who published the first three games and still hold the rights to them) was bought by ZeniMax Media, forcing them to cut all ties with the series' Activision-owned developer Raven Software. Ten years later, the staff of Human Head Studios (made up of former Raven Software employees, including the original team that worked on Heretic and Hexen) joined ZeniMax Media as the newly-formed subsidiary Roundhouse Studios. Despite having both the original publisher and the original developers that made these games, ZeniMax will not be able to revive the series, nor do anything with Heretic II or the Portal of Praevus expansion of Hexen II since all of these still belong to Activision. This could change though, since ZeniMax's parent company Xbox Game Studios announced they were acquiring Activision Blizzard in January 2022, making it possible that the series will be revisited after the acquistion is complete. | |
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Dragonlance is currently owned by Wizards of the Coast, and not by Tracy Hickman, Margaret Weis, or Jeff Grubb, all three of whom (among many) who contributed greatly to the setting. | |
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Despite Scott using Prometheus and Alien: Covenant to de-canonize the AvP films, they still received mythology gags in The Predator. | |
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Prior to joining Square, Matsuno directed Ogre Battle: The March of the Black Queen and Tactics Ogre on the Super Famicom, but then left Quest to work on Final Fantasy Tactics. As a result, Quest went on to continue the Ogre Battle series without him, resulting in the development of the third and final mainline entry, Ogre Battle 64, as well as two handheld side-stories Prince of Zenobia for the Neo Geo Pocket Color and Knight of Lodis for the GBA. In later years, Square Enix would acquire all of Quest's assets and Matsuno would briefly return to the franchise to supervise the PSP port of Tactics Ogre in 2010, but otherwise doesn't seem to have any intention of reviving the IP beyond catalog releases of the original titles. | |
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Kingdom Hearts: While the series is often considered to be a Square Enix series with Disney characters, Tetsuya Nomura has made clear that it's still owned by Disney and that all the Original Generation characters qualify as Disney characters, which can be seen in the fact that merchandise for said original characters exist that is only licensed by Disney and not by Square. That said, when Sora got added to Super Smash Bros. Ultimate, Disney's name was added to the copyright list on the title screen. In other words, Sora is a Disney rep and not a Square Enix rep. | |
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Lilo & Stitch brain child Chris Sanders does not have any creative involvement in the sequels, TV series, or video games beyond voicing Stitch (plus one-shots Experiment 627 and Leroy). In fact, he has no involvement at all with the Stitch! anime and Stitch & Ai, where Ben Diskin replaces him as the voice of Stitch (and 627 in the former). The closest person to being a curator that the franchise has would actually be Lilo & Stitch: The Series executive producer and screenwriter Jess Winfield, who has also been the voice of Stitch's In-Universe creator Dr. Jumba Jookiba. | |
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In the case of Grendel, things got hairy for a period of time. The copyrights for the comic were owned jointly by the creator, Matt Wagner, and his publisher, Comico. When Comico filed for bankruptcy in 1989, the interim ownership claimed the character as a company asset and refused to let Wagner take the character elsewhere. Grendel: War Child was planned to be released during this period, but would not be published (by Dark Horse) until 1993. Dark Horse would not have the right to reprint the original series until the 2000s. | |
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The following is a list of statements referring to the current page from other pages.
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Continuity Tropes | |
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Show Business | |
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Trivia | |
| BumbleKast (Podcast) / int_ec159b71 | type |
God Does Not Own This World |
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