This entry is trivia, which is cool and all, but not a trope. On a work, it goes on the Trivia tab.

Ashcan Copy

A cheaply and quickly produced work, not intended to be shown to the masses and disseminated only to the extent required to fulfill some non-artistic obligation like claiming a trademark.

The term originated in The Golden Age of Comic Books, when there was a big rush to copyright as many characters and titles as possible, but the actual production time of a comic book made it a bit problematic when days or even hours mattered. The solution? Create a simple mock comic, often just a cover and some unrelated filler made up of garbage sheets, and submit it to the copyright office. The term itself comes from the fact that these comics often weren't actually distributed to newsstands, just going straight to the ashcan (period vernacular for trashcan) once they did their job.

Starting in The Dark Age of Comic Books, an "ashcan" copy of a comic, often black and white and limited in distribution, would sometimes be distributed as a promotional item. These comics were called "ashcans" for marketing reasons (i.e. to imply rarity and value like the Golden Age versions) but really had little to do with Golden Age ashcans.

If, by chance, these works ever actually do see distribution, expect Snark Bait. See also Franchise Zombie for other cases of exploiting a trademark.

This is mostly an American (and sometimes, Western) trope, due of the notorious way how copyright laws works in the U.S., albeit some non-Western cases could happened as well.


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    Comic Books  
  • The most widely-known example is Flash Comics, which was actually the title of two different ashcans from different companies seeking claim to the title. DC Comics' Flash Comics combined cover art from Adventure Comics #41 with pages from All-American Comics #8; Fawcett's Flash Comics (also printed under the title Thrill Comics) featured the origin of Captain Thunder, who made his first regular appearance as Captain Marvel in Whiz Comics #2 (there was no Whiz Comics #1).
  • DC Comics's Action Funnies ashcan contained pages from Detective Comics #10 and cover art that would later appear in color on Action Comics #3.
  • Fawcett's 5-Cent Comics and Nickel Comics ashcans (black-and-white, no cover art) marked the respective debuts of Dan Dare and Scoop Smith, both of whom subsequently appeared in Whiz Comics. Nickel Comics became a regular series, but without Scoop Smith.
  • Eerie #1 was a hastily assembled digest of horror comic stories with a print run of a few hundred copies, created by publisher James Warren to deny the title to rival publishers Myron Fass and Robert W. Farrell, whose company was named Eerie Publications.
  • Following the "DC Implosion" (where DC Comics cancelled a whole bunch of titles all at once) they "published" Cancelled Comic Cavalcade, two 250 page editions of the comics which had been cancelled just to ensure copyright on the stories which had already been written & drawn. Only 35 copies were made, though black-and-white photocopies of the originals exist. The reprint was notable for being the first "appearance" of JLA member Vixen.
  • DC Comics, owner of Wonder Woman, made a huge mistake at the time of the character's inception: they never thought about making a "Wonder Man". Marvel Comics played a prank to them by doing so first. They were not serious about it: it was a one time villain, who dies at the end of his single adventure. But, when the rights to this minor character were about to expire (and DC would be able to use them), Marvel Comics resurrected the character and turned it into a steady character for the Avengers, retaining the rights.
  • Marvel has another case: after DC sued Fawcett regarding how close Captain Marvel was to their own Superman, Marvel noticed that the name was legally up for grabs created their own Captain Marvel (given the company name, they couldn't be blamed). Then DC bought Fawcett and incorporated the now rebranded Shazam into their universe. In turn, Marvel has had to publish a Captain Marvel title every year or two since, leading to a number of ongoing series, limited series and one-shots featuring a range of characters using the Captain Marvel alias (the original Mar-Vell, many of his sons and clones, and the current one that used to go by Ms. Marvel).

  • While most prevalent in comics, other entertainment fields have done similar things, including the 1994 The Fantastic Four movie. The studio was given a certain number of years to make a film and would lose the rights if none was produced. It was made on the cheap and produced by famed B-Movie schlock-meister Roger Corman and never got a wide release. It only exists in bootleg copies, including online ones.
  • Fantastic Four (2015) didn't fare any better. The film was rushed to meet a deadline for 20th Century Fox to keep the film rights of the Marvel characters as opposed to letting them revert back to Marvel Studios. The key concern by Fox with production is that Marvel would then be able to integrate the characters into the Marvel Cinematic Universe, which would both cost Fox a property that they could still profit from and strengthen one of their direct competitors. The initiative behind the reboot led to a Troubled Production faced with the issues of Executive Meddling and an infuriated fanbase from without, and director Josh Trank's Creator Breakdown and multiple Special Effect Failures from within. The final result was a significant Box Office Bomb and one of the worst-reviewed comic book movies ever made, disowned by Marvel itself and badmouthed by the director, along many people involved with the production. A planned sequel to the film vanished from Fox's release calendar in November of 2015. Many have expressed the opinion that Fox would have made more money if they had simply sold the rights back to Marvel Studios instead of going through the trouble of making another movie, or struck a deal with Marvel Studios to have the characters appear in the MCU like Sony did after the diminishing returns of The Amazing Spider-Man Series.
  • The 1966 adaptation of The Hobbit was this. Producer Bill Snyder bought the rights to make a film from J.R.R. Tolkien's (1892-1973) estate on the cheap, and just before it was set to expire the popularity of Tolkien's Lord of the Rings books skyrocketed. Realizing he could make serious cash selling the rights, he decided to get it extended. However, a film had to be made and released in order for that to happen. With the contract set to expire in one month, he got Gene Deitch to hastily produce a 12 minute film using still drawings and got it finished in 30 days, which was then screened in a Manhattan theater on the day the contract expired. The deal being fulfilled, the contract was extended and Snyder sold the rights for $100,000 (in 1960s money). In 2012 the film finally resurfaced when Snyder's son uploaded it on YouTube.
  • Hellraiser: Revelations was made in a few weeks so that The Weinstein Company could hold onto the rights to the Hellraiser franchise long enough to get a planned remake off the ground. The result is widely regarded as the worst film in a franchise that has seen its fair share of bad sequels, to the point where Clive Barker (who wrote and directed the original film) publicly disowned it and Doug Bradley (who played Pinhead in every film prior) refused to have any part of it.
  • Critics of Sony's Amazing Spider-Man Series have often accused it of being this. Much like 20th Century Fox's Fantastic Four reboot in 2015, it's been argued that The Amazing Spider-Man was born from a deadline that Sony had to meet if it wanted to keep the Spider-Man film rights from reverting back to Marvel Comics (who, by that stage, would never be giving the rights back). After Sam Raimi's fourth Spider-Man movie fell apart in the planning stage, a rebooted origin story was put into production with an all-new cast and crew.

    Here's where things get wacky. The rebooted film was a big enough hit to generate talk of a franchise of its own to rival the Marvel Cinematic Universe, with Sony confident that Spider-Man was theirs for the foreseeable future. Even before the second film came out, Sony was hyping up spinoffs focusing on Venom and the Sinister Six. However, The Amazing Spider-Man 2 wound up disappointing with critics and at the box office, derailing all of Sony's carefully-laid plans to hinge their future blockbuster hopes on Peter Parker. Sony started scrambling, throwing any idea at the wall to see if anything stuck; at one point, there was talk of a spinoff focused on Aunt May (a rumor that was quickly quashed by Sony, but which people had no problem believing). Eventually, after the infamous hack of Sony's email servers in 2014 revealed that they were considering throwing in the towel and cutting a deal with Marvel Studios, pressure from fans who wanted to see Spidey "return home", as it were, led Sony to do just that in early 2015, signing a deal that would let them maintain co-ownership of the film rights with Marvel.
  • Matt Damon, in an interview with Screen Rant, stated that The Bourne Legacy was made entirely because Universal's contract with the Robert Ludlum estate would have expired by 2012 if they didn't make another Bourne film, yet Damon was busy and couldn't reprise the role. As such, they cast Jeremy Renner as a new character, Aaron Cross, and made the movie without him. They did eventually make another Bourne movie with Damon, titled simply Jason Bourne.

     Live-Action TV 
  • This trope was parodied in Arrested Development, where a fictional version of the 90s Fantastic Four movie is stated to be one of several movies made by Imagine Entertainment (the studio that makes the show) for the same reason as the real life one was: Ron Howard was told by a drunk lawyer at the company Christmas party that Imagine's license on the Fantastic Four would expire if it remained unused for six more days. They made a film where the people working the bar were hired to be the actors, then hired them to work at the film's wrap party five days later.
  • On February 9th, 2015 (at 1:30 AM!), Winter Dragon, a 30-minute adaptation of part of The Eye of the World (the first volume of Robert Jordan's Wheel of Time series) appeared on FXX. What keeps it from being just another One-Episode Wonder are the circumstances of its production. According to the director's tweets, filming began on January 20th and post-production was completed on February 4th. The TV rights to the Wheel of Time series were set to revert from Red Eagle Entertainment (who has held them since the mid-2000s) to The Bandersnatch Group (which is owned by the Robert Jordan estate) on February 11th. Needless to say, Jordan's widow was not pleased.
  • A TV pilot called Black Bart, based on Blazing Saddles, was produced just to preserve the sequel rights to that film. Mel Brooks explained that Warner Bros. wanted to make sequels to Blazing Saddles, something that Brooks opposed. To attempt to secure the sequel rights, Brooks included a clause in his contract for Blazing Saddles that all sequel and spinoff rights would revert to him unless Warner Bros. made a sequel movie or a TV spinoff within six months of the release of the film. Brooks knew that they couldn't make a sequel so quickly, and knew that network TV would never be able to air a TV show based on Blazing Saddles. However, to ensure they would hold the rights, Warner Bros. produced a pilot with CBS, and quietly kept it. Several years later, they asked Brooks to make a sequel, and when he refused and said they didn't hold the rights anymore, they took Brooks onto the lot at CBS and screened the pilot episode for him. Brooks realized that the contract only specified that they had to make a TV show to hold on to sequel rights (which they ultimately never used), not actually air it. The Black Bart pilot was eventually released to the public as a bonus feature to a DVD release of Blazing Saddles, and it was basically a condensed 24 minute version of the movie, with Louis Gossett Jr. as Bart and plenty of language that made it clear that the show would never air on network TV.
  • In 2010, Turner Classic Movies quietly aired a bizarre special in which Leonard Matlin interviewed Warren Beatty in character as Dick Tracy. This special was made solely so that Beatty could hold onto the rights to make a second Dick Tracy film, as he was still interested in making a sequel.

  • The 'contractual obligation album'. When an artist has to produce a certain number of records for a label and wants out of their contract, a common way to go about this is to essentially dump the stuff that didn't make the cut for their other albums (B-sides, demos, live performances, and assorted unreleased content) onto a record and push it out the door. The appropriately-titled Monty Pythons Contractual Obligation Album is a typical example. Sometimes, they won't even care that much, and will simply release a Greatest Hits Album to do this.
  • Bob Dylan's The Copyright Extension Collection was an official 4-CDR release by Sony of many unreleased sessions and alternate takes from the early 60s. Much of this music was not considered commercially viable, so had not been released. However, the rules at the time the music was made was that it would go into the Public Domain after 50 years unless it was released officially. As the title suggests, it was released as a way of renewing the copyright. They did not want to draw much attention to it, so released it as a limited edition of 100 copies in Germany and some other parts of Europe, and did not promote it. The set became immensely popular and copies sell for high prices - the music has not been released again. Ironically, its limited availability and official status has encouraged far more downloading than it would have done if they had let it pass into the public domain.

     Video Games 
  • In a non-Western example of this, Japan had a law prohibiting arcade cabinets from being distributed without games. Manufacturers obliged by providing very simple games good for little else but testing the monitors and controls. Sega's Dottori-kun and Taito's Minivader are typical examples, featuring primitive black-and-white graphics and no sound.
  • In 2007, Atari commissioned a simple flash game produced in just four days in order to maintain trademark on Star Control.
  • Tony Hawk's Pro Skater 5 has been suggested to be this, given that it was released in a horribly unfinished state with game breaking bugs galore. Professional skateboarder Tony Hawk's long-term contract with Activision, signed in 2002, was set to expire at the end of 2015, and so (it is claimed) Activision rushed the game out the door in September of that year as one last cash-grab (and possibly to renew interest such that a new deal could be signed).
  • The Spectrum version of SQIJ! is often considered this. The author wrote it to fulfill his contract with his publisher, The Power House, even though he had no real interest in working for them. The game is horribly slow, has no proper collision detection, and shipped with a game-breaking bug caused by the Caps Lock key being incorrectly enabled.

    Web Original 
  • This trope is the first point on Cracked writer David Christopher Bell's list of "6 Brilliant Explanations For Why Modern Movies Are So Stupid", describing it as "a juggling act of rushed sequels". He goes into several cases of movies being made solely to hold onto the rights, including the Fantastic Four, Dick Tracy, Bourne Legacy, and Hellraiser: Revelations examples listed above.