EVERYTHING BUT IMAGINARY #252: THE NEW DEAL FOR ARTISTS

[Blake Petit]

Controversy abounds this week, as DC comics has announced a new standard contract for their pencilers. In an attempt to curb the rash of late books that derailed some high-profile storylines last year, DC’s new standard agreement for artists will require them to turn in a full 22 pages of artwork in four weeks’ time. If you crunch the numbers, this works out to less than a page a day. Of course, it also gives the artist less than a month to complete the comic book.

An agreement of this nature is meaningless if there’s no consequence for failing to meet the requirements, and this contract comes with a consequence: if you don’t get the work done, pages can be reassigned to another artist.

Now before I get into a breakdown of this situation or my opinion about it, let me remind you for the record that I don’t work for DC, and have never seen a DC contract. (Although if they’re interested, I’ve got an idea for a Tawky Tawny miniseries that would blow their minds.) And even if I did, I’m a writer. I can’t draw a straight line with a ruler on graph paper, and I really don’t know the rigors of a professional comic book penciler, so I’m pretty much talking out of my keister here.

In theory, I think this is a good idea. If a comic book story is really good, there are few things that can hurt it as much as an unanticipated delay between installments, as evidenced by the loss of steam in the Thor relaunch. Of course, one of those things that can hurt it is bad artwork. When this announcement was made, there were a lot of cynical people on the Internet (I know, I was shocked too) who said this would hurt DC’s ability to sign artist to exclusive contracts, and they may well be right. If an artist knows he can’t hit that deadline, he’ll have to either seek employment elsewhere or make some changes to how he works – refine his work, find ways to get the job done, or else see the job passed on to someone else.

Again, I’m not an artist, but for someone who considers himself a professional comic book penciler to do less than a page a day… under normal circumstances, I don’t see anything wrong with that. Heck, even if you take time off on the weekends, that’s still only 1.1 pages every day.

“But Blake!” you shout, “some people just can’t do that much!”

Yeah. Some. But I also believe that most of us are capable of far more than we give ourselves credit for, and that with a more stringent deadline imposed, most truly professional artists will find themselves riding to meet the challenge.

But even the most capable artists who aren’t accustomed to this deadline will no doubt take a little time to adapt. So at least in the short, run, this will almost certainly result in more books with multiple pencilers. That means the next question is, do you (as the reader) consider this an acceptable trade for comics coming out on time?

A great number of the Internet trolls were in an uproar – “I’d rather wait forever than have bad art!” they scream. They seem to be completely unaware of the irony in the fact that just months ago these same troll could be heard howling, “The Zod story in Action Comics isn’t finished yet? Can’t DC get their act together?”

If you’re the type of reader who reads comics more for story than art, I can understand being upset about this. But personally, I am far more willing to suffer bad art than a bad story. For example, I wasn’t crazy about the artwork in the most recent issue of Punisher War Journal, but I was still able to appreciate a really good story by writer Matt Fraction. On the other hand, no amount of pretty Jim Lee artwork could save the utter, incomprehensible mess that was Superman: For Tomorrow.

And the thing is, I honestly don’t mind more than one penciler on a story, as long as their styles aren’t drastically different from one another. It wouldn’t make sense to be reading a comic drawn by – say – Humberto Ramos, only to turn the page and see John Cassaday’s artwork all of a sudden. Their styles are too different to work on the same story.

But if you put Mike Norton and Todd Nauck together… yes, they have different styles, but their styles aren’t light years apart. I would probably notice the shift, but not enough to lose my enjoyment of the comic.

There’s one more think here I think we need to discuss. It’s easy to point out comics delayed by artwork. Adam Kubert’s work on Action Comics has delayed the Zod storyline for nearly a year. Howard Porter left sizable gaps between issues of Trials of Shazam!, although to be fair, he was doing far more work than the average penciler. And based solely on Brian Hitch’s track record, I fully expect his 16-month stint on Fantastic Four to conclude sometime around the season six finale of Lost.

But it would be highly disingenuous to assume that every late comic is the fault of the artist. There are a good number of writers who have trouble with their deadlines too. (Oddly, I have never heard of a comic delayed by a colorist or letterer). The fifth issue of Joss Whedon’s Runaways run hit stands today, some four months after issue four, which was also late. Allan Heinberg had a pretty good (if not great) Wonder Woman story in the works, then we had to wait over six months for the last chapter to appear in the annual, including a pretty big status quo change that writers in the meantime had to dance around. And I’ll be sitting in a nursing home someday, blanket over my lap and large, comical horn-shaped device stuck in my ear, when my caretaker will come up to me and say, “Your great-grandson brought you some comics. Look, it’s part two of Daredevil: Target!”

So I don’t think artists should be the only ones to bear this restriction. I think it’s only fair that the standard writer agreement require a 22-page script every four weeks as well. If a page a day is reasonable for an artist, it’s ridiculously generous for a writer. And I say this as a writer – there is no reason you should take more than a month to write a 22-page script. Most writers should be able to do it in a week. If it’s taking you six months to write 22 pages, you’re in the wrong line of work.

There will, of course, be exceptions to this new standard. DC has already said that some artists – Jim Lee was their example – would not be bound to the standard contract. (This means it’ll be another year before All Star Batman and Robin, the Boy Wonder finally ends.) But in the long run, I think a contract like this could prevent creators from biting off more than they can chew. It’s about responsibility. Frank Cho gave a big mea culpa for the terribly late Mighty Avengers. Ethan Van Sciver has pretty much accepted he can’t keep a monthly schedule, and only really works on miniseries and specials now, plus his cover work. He knows his limitations. And that’s a lesson that several people in this industry are far overdue in learning.

Favorite of the Week: February 13, 2008

There were a lot of books last week. There were a lot of good books. But The Walking Dead #46 made me drop my jaw and swallow my bubblegum in a way that no comic book has in a very long time. Exciting? Yep. Horrifying? Yep. Brutal? Boy, do you know it. Robert Kirkman’s ongoing epic about the survivors of a zombie apocalypse now features one fewer survivor, and a feeling, more certain than ever, that nobody in this comic is safe. And that makes for some highly good readin’. I honestly couldn’t believe my eyes – and any time I can get left flabbergasted, that’s a great comic book.

Blake M. Petit is the author of the superhero comedy novel, Other People's Heroes, the suspense novel The Beginner and the weekly “Think About It” humor column at Think About It Central. He’s also the co-host, with the inimitable Chase Bouzigard, of the 2 in 1 Showcase Podcast. E-mail him at Blake@comixtreme.com and visit him on the web at Think About It Central.

[JX141]

Nice article Blake though I am torn on where I stand. Definitely a non-compelling story would turn me off as well but terrible art in a book has made me put books down before reading them to even find out about the story. Catch-22 I am sure it must suck for the creators to be on deadlines but late books really hurt, and I can't remember anything ever being late more than a week or so back when I collected years ago.

[TobiasJeth]

I am definitely the type of person who stays with a book because of the story, not because of the art. In my opinion, the art is the medium in which to tell the story, not the other way around. I like having these limits placed on the artists because, while many are extremely talented (Mark Bagley, being one of my favorites) there are others who see themselves as too "important" to get in trouble for taking 4 months to put out a new issue. (Brian Hitch!)
When a book is delayed by a writer, I can understand. As someone who attempts to write but cannot call themselves a "writer", I know that writer's block is a fickle b!tch. But with the art, I just don't see it as something that can or should take that long. You're pretty much being told what scene you need to be drawing, and most of the artists are simply penciling it, not even inking and coloring it by themselves. I don't want to come off as a hater for all the talented artists out there, but it's time to realize that they are paid to do a job, and do it on time.

[Ben Lehnsherr]

I think DC has the right intentions in mind, but I still think this is a very bad idea for them. There is probably going to be a "wounded animal" response by some artists over this, and the other comic book company will end up scooping these guys up.....

The big no-no though is the double standard given to guys like Jim Lee. I'm sure the other artists absolutely love that ......If you're going to make a rule like this, you better run with it all the way instead of this.

[Blake Petit]

Originally Posted by TobiasJeth

I am definitely the type of person who stays with a book because of the story, not because of the art. In my opinion, the art is the medium in which to tell the story, not the other way around. I like having these limits placed on the artists because, while many are extremely talented (Mark Bagley, being one of my favorites) there are others who see themselves as too "important" to get in trouble for taking 4 months to put out a new issue. (Brian Hitch!)
When a book is delayed by a writer, I can understand. As someone who attempts to write but cannot call themselves a "writer", I know that writer's block is a fickle b!tch. But with the art, I just don't see it as something that can or should take that long. You're pretty much being told what scene you need to be drawing, and most of the artists are simply penciling it, not even inking and coloring it by themselves. I don't want to come off as a hater for all the talented artists out there, but it's time to realize that they are paid to do a job, and do it on time.

I agree in part, Tobias, but I think that by the time you actually sign the contract, you should already know most of your story, at least the broad strokes. You should be beyond the point where writer's block is a factor. And if writer's block is a CHRONIC problem... well, like I said, a peridodical medium isn't the best place for you.

[Blake Petit]

Originally Posted by Ben Lehnsherr

I think DC has the right intentions in mind, but I still think this is a very bad idea for them. There is probably going to be a "wounded animal" response by some artists over this, and the other comic book company will end up scooping these guys up.....

The big no-no though is the double standard given to guys like Jim Lee. I'm sure the other artists absolutely love that ......If you're going to make a rule like this, you better run with it all the way instead of this.

I think there's two sides to it here. Yes, there will be some artists who get burned and decide not to work with DC... however, I think these will mostly be the people who caused delays in the first place. And I think that there are an awful lot of talented artists out there who CAN hit their deadlines who may get a chance to rise to the top once they have a chance to prove their reliability.

As for the Jim Lee thing -- yeah, it's a double-standard, and yeah, I can understand the artists being upset over it. I think there's only one possible way that can be accepted -- don't make exceptions for a regular monthly title. If you're going to make exceptions, it should ONLY be for one-shots or miniseries that won't hurt the flow of any other titles if the "superstar" artist falls behind. For the most part, I think that's the case -- All Star Batman is in its own little world, and other artists who are likely to get this deal (Ethan Van Sciver comes to mind) will most likely only do special projects, outside of the standard agreement.

[Adam Chapman]

Speaking of having reader's whiplash when artist's styles are so wildly different...

Try reading Uncanny X-Men #352, which on the cover said it featured possibly the most artists ever on one book.

And this wasn't a special extra-sized book, their regular penciller Joe Mad had left, #351 was covered, and Bachalo didn't start until #353. And this wasn't a fun jam session... this was just trying to put together a book and ended up having a lot of contrasting styles...

Pencils:

Cully Hamner (p. 1-4);
Tommy Edwards (p. 5-7);
Daryl Banks (p. 8-10);
Terry Dodson (p. 11-17);
J.H. Williams III (p. 18-20);
John Cassaday (p. 21-23)

Inks:

Gary Martin (p. 1-4);
Tommy Edwards (p. 5-7);
Jon Holdredge (p. 8-10);
Rachel Dodson (p. 11-17);
Mick Gray (p. 18-20);
John Cassaday (p. 21-23)

[Adam Chapman]

I'd rather have timely very good art than rare fantastic most amazing art I've ever seen, because ultimately I'm buying a serial, and flow of the story is an important thing. A monthly book shold be just that. If you can't handle it, don't take the assignment.

[Terry Verticchio]

But in the long run, I think a contract like this could prevent creators from biting off more than they can chew. It’s about responsibility. Frank Cho gave a big mea culpa for the terribly late Mighty Avengers. Ethan Van Sciver has pretty much accepted he can’t keep a monthly schedule, and only really works on miniseries and specials now, plus his cover work. He knows his limitations. And that’s a lesson that several people in this industry are far overdue in learning.

This kinda of thinking could also lead to the demise of the monthly book. If big name artists aren't willing to tackle a monthly title because of the time restrictions then soon every artist won't bother.

Who knows some day the Trade Paper Back might be the only way to get a book, with titles coming out maybe twice a year, which is in keeping with the six-issue story arc format anyway.

[Blake Petit]

Originally Posted by Adam Chapman

I'd rather have timely very good art than rare fantastic most amazing art I've ever seen, because ultimately I'm buying a serial, and flow of the story is an important thing. A monthly book shold be just that. If you can't handle it, don't take the assignment.

For once, Adam, we are in 100 percent agreement. Couldn't have said it better myself.

[Blake Petit]

Originally Posted by Terry Verticchio

This kinda of thinking could also lead to the demise of the monthly book. If big name artists aren't willing to tackle a monthly title because of the time restrictions then soon every artist won't bother.

I think it's far more likely that lesser-known artists will see this as a chance to prove themselves. I think this kind of thinking will help SAVE the monthly book.

(And you don't want to get me started on the "six-issue arc, written for the trade" mentality... grrr... )

[Ben Lehnsherr]

Originally Posted by Blake Petit

I think there's two sides to it here. Yes, there will be some artists who get burned and decide not to work with DC... however, I think these will mostly be the people who caused delays in the first place. And I think that there are an awful lot of talented artists out there who CAN hit their deadlines who may get a chance to rise to the top once they have a chance to prove their reliability..

Possibly, but I still think this will hurt them in the long run......I see this as a knee jerk reaction to lagging DC sales. January's sales reports just came in, and DC has all of one book(JLA) in the top 15 of actaul unit sales.

Originally Posted by Blake Petit

As for the Jim Lee thing -- yeah, it's a double-standard, and yeah, I can understand the artists being upset over it. I think there's only one possible way that can be accepted -- don't make exceptions for a regular monthly title. If you're going to make exceptions, it should ONLY be for one-shots or miniseries that won't hurt the flow of any other titles if the "superstar" artist falls behind. For the most part, I think that's the case -- All Star Batman is in its own little world, and other artists who are likely to get this deal (Ethan Van Sciver comes to mind) will most likely only do special projects, outside of the standard agreement.

Its still a double standard for the stars. This will alienate guys for sure.

[Terry Verticchio]

I don't know why Jim Lee should get special treatment. I've never liked his squiggly style. It's outdated, too '90s.

Alex Maleev did all the work himself on DD and I'm pretty sure that book was on time. Love his style.

[TobiasJeth]

I agree with the whole writer's block argument, Blake, and I wasnt saying that delaying a book because of it is acceptable, just that I understand it a bit better. Artists probably understand art delays better than writing delays, it all depends on what background you come from.

p.s. Adam, i completely agree, i'd rather have average art come out on time than excellent art 4 months late.

[PinchyWearO]

I agree with Blake's position here. Less than a page a day is completely reasonable. If an artist can't fulfil that, than he/she shouldn't be on a MONTHLY title and should remain on special projects (annuals, mini-series with lead time etc.)

This will help DC in the long run and I hope Marvel follows suit.

[B. Schatz]

Jim Lee gets a pass mainly because it was part of the contract he signed with DC when he started on All Star Batman. Less of a double standard, and more of a "let's not pooch a signed contract" thing.

[Blake Petit]

True, but there is the implication that future contracts will include exceptions too. And I stand by my statement -- any such exceptions should be kept to miniseries and specials. "Special" projects. And, of course, books that go beyond just pencils -- you couldn't expect Alex Ross to turn out fully-painted pages at the rate that a penciller turns in his work.

[Ryan Broussard]

i think it is wrong actually......some pages take longer than a day to do. It is easy for any one of us to try and say that it doesn't seem like alot of work in weeks time....but you are wrong.......

In fact let us all remember that each page needs to be inked and colored as well.....one page of art can take anywhere from 2-3 days with over 12 hours a day at the least....

For an artist to meet that deadline they would have to be way a head of schedule to make sure the inker and colorist have a go before the book is published.

plus you say just less than a page a day.....well you are forgetting that each panel takes sketches first and layout planning of each page....Alot can go into one page. Even going out and scouting locations and taking pictures or researching angles online....

It is not a matter of get up and just draw 9 panels on a page for a day...it is soooooo much more than that...

[Blake Petit]

Originally Posted by Ryan Broussard

i think it is wrong actually......some pages take longer than a day to do. It is easy for any one of us to try and say that it doesn't seem like alot of work in weeks time....but you are wrong.......

In fact let us all remember that each page needs to be inked and colored as well.....one page of art can take anywhere from 2-3 days with over 12 hours a day at the least....

True, but this agreement is specifically for pencils, not for inks or color work. If the artist is doing pencils and inks, or everything straight to colors, I'm sure the agreement will be different.

I'm not saying that doing a page of artwork is easy -- lord knows I couldn't do it -- but I do think that there are a lot of artists out there who lack a degree of professionalism when it comes to meeting agreements they've made with their editors. Hopefully, this agreement will help curb that sort of thing.

[Chriscross]

I hope you guys like your books with lesser quality...

because most artists hit that 5 and a half week schedule. Some pencil and ink their work. Are they saying that an artist that handles both chores need to get his/her work in in 4 weeks?

or the 7 to 8 that a penciller with separate inker gets?

and if the storyline is great but there are two to three artists on the book, can you adequately follow the energy of a story...?

Because every artist can only bring to the table what they know. And if an artist is presented with 3/4 of a book at the last minute and is told that he/ she has 3 days to get the work done.. which can be 6 to 8 pages of work... whether it's pencilled or inked or both.... can you actually tell me all that counts is the book comes out?

and i'm talking within reason... i see no reason why it should take 3 months to get a book out.

and why that company, unless they deal in graphic novels... should tolerate that....

no matter how great the artist is...

I'm saying ultimately that the books will suffer. The better more well known artists will drift to just minis and the okay artists that just do things to beat the deadline.. you will never get their best.

Never.

and then there's the personal toll. People have things to do. There's their family life, their washing clothes, shopping for food and things, seeing friends and family, medical situations... or even just relaxing. If a person is mentally dead from a hellish schedule and is thrown into another one because the editors and the uppers don't schedule right.. eventually, that artist will mentally crash...

i know.. i've been there.

Don't think that it's all going to be hunky dory on the administration's end.

There should be an alloted amount of time to get work done and they should work within the artist parameters as well as the artist working within realistic parameters.

If the artist get the book late because of the imposed deadlines that will affect writers and inkers also...

you will see a downgrade in the quality of the material.

The companies never, if ever, RARELY do a book with enough of a time spread that allows an artist to do the work without the pressure that if he or she doesn't get it done within at least five weeks, there will have to be a guester coming in.

I've always said that an artist should be at least 5 books ahead before even advertising or should be on the fifth book by the time they're run is advertised.

That way, an artist and an editor can do the work without the unnecessary pressure to make unrealistic deadlines. Body parts get wounded from repetitve movement... especially if you have to get multiple pages done in a day...not to mention being sedentary...the problems that can bring to a person.

once again.. .i know...


This will be instituted for a year or so and then go right back to be amended.

And there will be an influx of people either doing finite assignments.. which is probably the way to go anyway.. or leave to go to another company where the stress won't kill them.

and DC is only doing this because they think that artists need them more than they need the artists...so they can impose just about anything and they'll take it because the artists need the money.

I'm just saying.

It won't last long.