Comic Book Journal

Tina Fey holding a sign is not a strike. Just ask any older American about a strike and they will go into a long detailed narrative about below freezing winters, food being scarce, and even a fear for their lives. So what’s this all about? The Writers Guild of America (and now the UK guilds are also starting to strike) is up in arms in a contract dispute that totals approximately 4 cents. Yes, they are asking 4 cents more to increase revenue on DVD and internet distribution sales. Now, I’m in full support of unions, I think unions are what made America a safe place to work in throughout the decades, however, note the key word–safe. The Writer’s Guild is not combating unsafe conditions, nor are they fighting for creator’s rights. They are simply requesting more money. The average salary for a contracted writer, working in television is approximately $200,000, for the average Joe, median salary, we’ll say nationwide is oh say, $70,000 (note here: I am overestimating this amount for sake of argument). So what’s the problem again? Unsafe conditions? No. A fair wage? For the type of work, I’d say yes.

Am I in support of the writer’s strike, definitely not. In fact, in writing this article, if I were to ever attempt to enter into the guild, as per their own strike rules, now I may not be able to join “the Guild” because I think this may indeed fall into the category of “scab” writing. See look here. Here is one of the “strike rules” in the FAQ section:

I’m not a member of the Guild. What can I write and what can I not write? What should I do if I am asked to do MBA-covered work?

Fine. I see how you’re going to play Writer’s Guild. After this, I doubt I will ever be a member in the future. I can always purchase supplementary health insurance for the self-employed, and I’ll save those annual union dues for say, a magnifying glass so I can read my contracts before I try and get an extra nickel for every DVD produced after I sign my rights away–which is what the majority of these writers are doing or have already done.

Let me explain what I mean. I sign a contract to produce a script for say, Lost, since Brian K Vaughn does some a few words on this issue I’ll share in a moment. I write the script for a said sum. Does this entitle me to DVD sales? No not unless explicitly stated in my agreement. I didn’t have a hand in it’s initial creation, series development, nor did I create an additional character. I did not own the sandbox, I was merely paid to play in it for a brief time. Can the series creator demand additional revenue from other product? Sure. Why not, they own the sandbox, sure they can charge people to play in it if they want. They can also charge people to take away grains of sand if they choose. So what’s my point? I say freelance work has become all the more beautiful. I’ll write some scripts for Jay Leno while he’s on hiatus. Give me an extra five grand for filling in some lines of dialog for Survivor. I say it’s time for rise of the freelancer.

So will the strike effect comics? Here is a blog by Brian K. Vaughn on the matter. I’m presented it in its entirety in an attempt not to look biased (though I think by this point you should notice I am).

Vaughan wrote:

***Why is the WGA striking?

Because writers believe we deserve a fair share of the revenue generated by the stuff we helped to create, crazy as that sounds.

There’s an excellent summary of what I consider to be our very reasonable demands at this blog, which has been a consistently dependable source of good information about the strike: http://www.unitedhollywood.com/

But basically, writers are looking to negotiate modest residuals and protections for use of our TV shows and movies on the internet, where most of us will likely be getting the majority of our entertainment from in the not-too-distant future.

We’re are also asking for a share of about 8 cents–that’s eight stinkin’ pennies–for every DVD of our work sold, as opposed to the criminally insane 4 cents we receive today.

I read that Warren Ellis was concerned about possibly being barred from writing for animation (which is largely outside the jurisdiction of the WGA) during the strike, and while I think his concerns were absolutely valid (the strike rules have since been amended), I believe those initial guidelines were born out of the fact that this negotiation is also about fighting to extend the same health benefits, pension, and other protections that writers like I enjoy to our equally important colleagues in animation (as well as those in “reality” television, which employs more writers than you can imagine).

I got to hear firsthand how hard the Writers Guild worked to negotiate a fair deal with the Alliance of Motion Picture and Television Producers, but after more than three months of talks, the AMPTP still hasn’t come close to even meeting the WGA halfway on its most important proposals.

It sucks.

***Do you support the strike?

Yeah, a hundred percent.

A few months ago, I was thrilled to start my second season as a writer and now a co-producer over at LOST, and have been unbelievably fortunate enough to help write a few scripts for what I think could end up being the show’s best season.

And much as it breaks my heart for my colleagues and I to have to walk away from a job we love, we all think it’s vitally important to the future of our industry.

At least in the short term, my friends and I stand to lose a great deal both creatively and financially in this strike, but every working writer I’ve ever met feels a responsibility to help protect those writers less fortunate than we are, as well as the next generation of creators to follow in our footsteps.

These last few weeks have been a real crash-course in unionization for me, and I’ve come away a bigger supporter than ever.

When we first started talking about a strike, I figured the Teamsters (our faithful truck drivers, location managers, etc.) would hate us “spoiled, overpaid typists” if we threatened their livelihoods with a work stoppage. But instead, they’ve been incredibly supportive of us at every turn, with many vowing not to cross our picket lines.

I know I sound like a second-rate Norma Rae (or Chief Tyrol from Battlestar for you young hipsters out there), but seeing all kinds of laborers, regardless of our different crafts, treat each other like brothers and sisters during the negotiations with the powerful corporations that employ so many of us has been one of the best experiences of my selling-out time here in Los Angeles.

***What does this mean for your comics work?

Comics are not covered by the WGA.

I’m lucky that my phone started ringing from editors at Marvel and DC as soon as the threat of the strike materialized, and while I’ve gotten some cool offers to work on existing books, I think I’m going to take however long the strike lasts (which could be anywhere between a day and forever) to concentrate on making Ex Machina kick as much ass as possible as we start to head into that series’ final year, and to continue to develop my next big creator-owned projects now that I’ve finished all my scripts for Y: The Last Man, Runaways, Buffy, The Escapists, Doctor Strange, and the upcoming Logan mini with Eduardo Risso. (Sorry, gratuitous plugging isn’t prohibited by the WGA during the strike.)

But this isn’t a vacation. I’ll be walking the picket line every single day, so if you’re visiting sunny Burbank, drive past and honk your support for the pasty bald kid, won’t you?

***Does this mean there’s going to be a flood of Hollywood writers coming into comics?

Maybe? I know a few creators–and a lot of readers–are sometimes annoyed by carpet-bagging movie/television writers swooping into comics to steal “their” jobs, but film/TV writers have been enormously generous about letting me into their world, and I think we should return the favor. Art is not a competition, and there’s always room for talented creators.

That said, no one wants these screenwriters to just try to shoehorn their unsold pitches and scripts into comic form. But trust me, the many writers out here who truly love comics already know that it’s a totally unique medium, one that deserves unique stories.

I guess I’d be a hypocrite to completely frown on translating existing movies/shows into comics (I had an awesome time doing that with Buffy) or translating existing comics into movies/shows (happily done it with Y and Ex Machina), but I think what each medium really needs is NEW ideas specifically created to play to the strengths of that particular artform.

***What does this mean for your comic-book movies?

Like I said, I’ve written adaptations of both Y: The Last Man and Ex Machina for New Line, and while they could conceivably move either or both of those drafts of mine into production during the strike (without any rewrites or other contributions from me), that seems pretty unlikely for lots of different reasons. As with most comic-to-screen adaptations currently “in development,” I imagine they’ll stay in limbo as long as the strike lasts.

I was also about to begin work on a particularly exciting new comic-to-screen adaptation that I can’t really talk about, and while I’m hopeful the gig will still be waiting for me if/when the strike ends, who knows? That’s one of the many risks that comes with this very necessary strike.

***Will comic writers ever unionize?

I certainly hope so, though I’m sure that makes many of my beloved employers cringe.

I talked about this when Whedon interviewed me over at CBR a few months back, but I think it’s worth repeating here…

When I used the great Cloak and Dagger in Runaways, Bill Mantlo, the man who helped create them, didn’t get anything, to the best of my knowledge. Not even a credit. And I’m not blaming my friends at Marvel (or DC, for that matter), all of whom are good people who’ve always been beyond fair with me. It’s just indicative of the broken system, one that I’m very much a part of.

For the record, Bill Mantlo was struck by a hit-and-run driver a few years ago, and now requires expensive daily care that’s way beyond what modest means he was left with after dedicating much of his life to our industry. And while things like The Hero Initiative, an absolutely worthwhile cause that I totally support, exist to help comic creators in financial need, THOSE CREATORS SHOULD NOT BE IN FINANCIAL NEED.

I know the Writers Guild of America isn’t a perfect union, but I was afforded more benefits and protections in my first few months with the WGA as a work-for-hire screenwriter than I was ever given in a decade of working in comics. And again, I’ve been treated pretty honorably throughout my career, and have made more money than I ever deserved doing this “job,” but that doesn’t mean that I can’t still be concerned about the generations of writers and artists before and after me.

Anyway, I know that smarter people than I have tried and failed to unionize in the past, so for now, we’ll have to help creators like Bill Mantlo by donating directly to organizations like The Mantlo Project, or to the aforementioned The Hero Initiative. But it would be nice to see the day when they weren’t necessary:

***I’m not in the WGA, but I support the cause. What can I do to help?

Thanks for asking! At this stage, I suppose the best thing you can do is to think critically about everything you’re going to hear regarding the strike, especially because so many of the news outlets we all rely on are owned and controlled by the very people against whom we writers are striking.

None of us wanted this strike, and we all hope it’ll be over before any of you loyal viewers even notice we were gone… but in the very likely scenario that this is going to be a long, tough slog, I’ll try to check back in with more thoughts.

For now, wish us luck!

Now Mr. Vaughn doesn’t seem to think this will effect the comic book industry much. I beg to differ. As Hollywood script writers are out of work, in effect on strike, what will stop them from flooding the comic book market with new scripts. After all, there is very little difference in terms of format between a comic book script and screenplay. Also note, he is going to start resuming his comic book work in lieu of the strike, now, I wonder if this will stop him from gaining membership into the guild as what he is doing, by working during the strike is essentially being a “scab” writer, only in a different type of sandbox. I also wonder if the strike will stop the airing of Tina Fey’s Mastercard commercial, which I’m sure she garners more than 4 cents per play for? I think it should. After all, if principle, not money is the thing, what is 4 cents after all.

Well there you have my two cents, I hope this gives you a greater understanding of the insanity of the writer’s strike. If you’re interested in another person’s opinion on the strike feel free to read all categories of 451 Press, where at least opinions are worth far more than 4 cents.

Ah comics and politics. I don’t think any other genre or medium, with the exception of television of course, has commented more on the state of the world in political terms. Today is Guy Fawkes day and anarchism reigned in the UK. This brings me to the subject of election day and politics in comics in general. Stephen Colbert, and therefore Tek Jansen is trying to run for president with a sponsorship from Doritos. In the DC realms, Lex Luthor was already president. Apparently his win was based solely on a platform for technological progress. Is technology dangerous? I suppose it depends if you’re a glass half-empty or half-full kind of person. Yes, technology is inpersonal, but is is well, efficient. If I had to take this article, say to a printing press, then distribute it manually, do you think it would have as much readership? Doubtful. See. I’m a glass half-full person. On the other hand, the danger of technology is we will eventually, despite having (hopefully) billions of readers, be isolated from those readers, becoming nothing more than a link on a search bar, instead of having a truly interactive experience, which I hope you all are having here on comic book journal. Lex Luthor is but one example of politics in comics, however. How can we forget the fifth of November with V for Vendetta. This powerful politically charged comic book, was colored with shades of 1984 and Moore’s detest of totalarianism. Does change have to be violent to make a difference? Does a comic book series have to be shocking to make a point? I believe the latter is true, but not the first. Violence begets violence, so if that is the case, what is the point of violence to begin with. In terms of change, comics have often showed a welcome of change and reflected new policies. Howard Chaykin’s American Flagg and American Century both reflect America in a climate of change. The latter has a pre cold-war feel to it, and at the same time is a nostalgic glance back to the early and mid fifties. 451 Press has a number of columns devoted to politics, but if you want just an average person’s opinion of the recent democratic debates rather than talk of right wing and left wing, see
http://www.lezkeepitreal.com/i-might-as-well-run-for-office/
For more on election day and genre comics in general continue reading my blog– showcasing the benefits of technology and the pinnacle of communication almost every single day.

Who here hasn’t read classics illustrated? Chances are quite a few people have read these adaptations of the classics. While totaling over 100 issues and still counting, this series gives a visual interpretation of some of the most beloved classics in literature. Classics Illustrates does a couple different things, which are unique. It makes reading a lot more fun, and it teaches children the value of a story. When a reader can become immersed in a world of fiction, the reader will ofter come back for more escapism. I applaud Russian-born Albert Lewis Kanter for creating a timeless series which really encourages children and adults alike to love the written word. I have compiled a list of the classics that have been adapted thus far and noted which stories I think are worth checking out.

1. THE THREE MUSKETEERS Alexandre Dumas–check this out if you like high action, think Errol Flynn
2. IVANHOE Walter Scott
3. THE COUNT OF MONTE CRISTO Alexandre Dumas
4. THE LAST OF THE MOHICANS James Fennimore Cooper
5. MOBY DICK Herman Melville
6. TALE OF TWO CITIES Charles Dickens
7. ROBIN HOOD–Who can’t love a man who steals from the wealthy only to give it to the poor
9. LES MISERABLES Victor Hugo
10. ROBINSON CRUSOE Daniel Defoe
11. DON QUIXOTE Miguel DeCervantes–if you’ve never read this you’ll never think of windmills the same way again
12. RIP VAN WINKLE & HEADLESS HORSEMAN Washington Irving–one of the greatest, creepiest, stories ever written Irving is a master wordsmith
13. DR JEKYLL & MR. HYDE Robert Louis Stevenson–Again, a suspensful masterpiece.
14. WESTWARD HO! Charles Kingsley
15. UNCLE TOM’S CABIN Harriet Beecher Stowe–Important for it’s time period, definitely worth a read.
16. GULLIVER’S TRAVELS Jonathan Swift
17. THE DEERSLAYER James Fennimore Cooper
18. THE HUNCHBACK OF NOTRE DAME Victor Hugo
19. HUCKLEBERRY FINN Mark Twain
20. THE CORSICAN BROTHERS Alexandre Dumas
21. THREE FAMOUS MYSTERIES Doyle-Poe-Maupassant–Just plain fun.
22. THE PATHFINDER James Fennimore Cooper
23. OLIVER TWIST Charles Dickens–Please sir, may I have another.
24. A CONNECTICUT YANKEE IN KING ARTHUR’S COURT Mark Twain
25. TWO YEARS BEFORE THE MAST R H Dana Jr.
26. FRANKENSTEIN Mary W Shelley–Good creepy fun, high adventure, great for children and adults alike
27. THE ADVENTURES OF MARCO POLO
28. MICHAEL STROGOFF Jules Verne
29. THE PRINCE AND THE PAUPER Mark Twain
30. THE MOONSTONE William Wilkie Collins
31. THE BLACK ARROW Robert Louis Stevenson
32. LORNA DOONE R D Blackmore
33. THE ADVENTURES OF SHERLOCK HOLMES Arthur Conan Doyle–While he didn’t invent the mystery story (Poe did with the Murder in the Rue Morgue) he certainly perfected it.
34. MYSTERIOUS ISLAND Jules Verne
35. THE LAST DAYS OF POMPEII Bulwer-Lytton-Edward
36. TYPEE Herman Melville
37. THE PIONEERS James Fennimore Cooper
38. THE ADVENTURES OF CELLINI
39. JANE EYRE Charlotte Bronte
40. MYSTERIES Edger Allan Poe
41. TWENTY YEARS AFTER Alexandre Dumas
42. SWISS FAMILY ROBINSON Jonathan Wyss
43. GREAT EXPECTATIONS Charles Dickens
44. MYSTERIES OF PARIS Eugene Sue
45. TOM BROWN’S SCHOOL DAYS Thomas Hughes
46. KIDNAPPED Robert Louis Stevenson
47. TWENTY THOUSAND LEAGUES UNDER THE SEA Jules Verne
48. DAVID COPPERFIELD Charles Dickens
49. ALICE IN WONDERLAND Lewis Carroll
50. TOM SAWYER Mark Twain
51. THE SPY James Fennimore Cooper
52. THE HOUSE OF THE SEVEN GABLES Nathaniel Hawthorne
53. CHRISTMAS CAROL Charles Dickens
54. THE MAN IN THE IRON MASK Alexandre Dumas
55. SILAS MARNER George Eliot
56. TOILERS OF THE SEA Victor Hugo
57. SONG OF HIAWATHA Henry Wadsworth Longfellow
58. THE PRAIRIE James Fennimore Cooper
59. WUTHERING HEIGHTS Emily Bronte
60. BLACK BEAUTY Anna Sewell
61. THE WOMAN IN WHITE Wilkie Collins
62. WESTERN STORIES Bret Harte
63. THE MAN WITHOUT A COUNTRY Edward Everett Hale
64. TREASURE ISLAND Robert Louis Stevenson
65. BENJAMIN FRANKLIN-AUTOBIOGRAPHY
66. CLOISTER AND THE HEARTH Charles Reade
67. THE SCOTTISH CHIEFS Jane Porter
68. JULIUS CAESAR William Shakespeare
69. AROUND THE WORLD IN 80 DAYS Jules Verne
70. THE PILOT James Fennimore Cooper
71. THE MAN WHO LAUGHS Victor Hugo
72. THE OREGON TRAIL Francis Parkman
73. THE BLACK TULIP Alexandre Dumas
74. MR. MIDSHIPMAN EASY Frederick Marryat
75. THE LADY OF THE LAKE Walter Scott
76. THE PRISONER OF ZENDA Anthony Hope
77. THE ILIAD Homer
78. JOAN OF ARC
79. CYRANO DE BERGERAC Edmond Rostand
80. WHITE FANG Jack London
81. THE ODYSSEY Homer– There are no original stories, unless you count the Odyssey here’s where fiction began.
82. THE MASTER OF BALLANTRAE Robert Louis Stevenson
83. THE JUNGLE BOOK Rudyard Kipling
84. THE GOLD BUG ETC Edgar Allan Poe
85. THE SEA WOLF Jack London
86. UNDER TWO FLAGS Ouida
87. A MIDSUMMER NIGHT’S DREAM William Shakespeare
88. MEN OF IRON Howard Pyle
89. CRIME AND PUNISHMENT Dostoyevsky
90. GREEN MANSIONS W H Hudson
91. THE CALL OF THE WILD Jack London
92. MILES STANDISH Longfellow
93. PUDD’NHEAD WILSON Samuel L Clemens
94. DAVID BALFOUR Robert Louis Stevenson
95. ALL QUIET ON THE WESTERN FRONT Erich Maria Remarque
96. DANIEL BOONE John Bakeless
97. KING SOLOMON’S MINES H Rider Haggard
98. THE RED BADGE OF COURAGE Stephen Crane
99. HAMLET William Shakespeare
100. MUTINY ON THE BOUNTY Nordhoff & Hall
101. WILLIAM TELL Frederick Schiller
102. THE WHITE COMPANY Arthur Conan Doyle
103. MEN AGAINST THE SEA Nordhoff & Hall
104. BRING ‘EM BACK ALIVE Frank Buck
105. FROM THE EARTH TO THE MOON Jules Verne–Classic, fun, (although at times campy) sci-fi.
106. BUFFALO BILL
107. KING OF THE KHYBER RIFLES Talbot Mundy
108. KNIGHTS OF THE ROUND TABLE
109. PITCAIRN’S ISLAND Nordhoff & Hall
110. A STUDY IN SCARLET Arthur Conan Doyle–Again a Doyle classic.
111. THE TALISMAN Walter Scott
112. THE ADVENTURES OF KIT CARSON
113. THE FORTY FIVE GUARDSMEN Alexandre Dumas
114. THE RED ROVER James Fennimore Cooper
115. HOW I FOUND LIVINGSTONE Henry M Stanley
116. THE BOTTLE IMP Robert Louis Stevenson
117. CAPTAINS COURAGEOUS Rudyard Kipling
118. ROB ROY Walter Scott
119. SOLDIERS OF FORTUNE Richard Harding Davis
120. HURRICANE Nordhoff & Hall
121. WILD BILL HICKOK
122. THE MUTINEERS Charles Boardman Hawes
123. FANG AND CLAW Frank Buck
124. THE WAR OF THE WORLD SH G Wells–The only thing which made this tale better was the invention of the radio.
125. THE OX-BOW INCIDENT Walter Van Tilburg Clark
126. THE DOWNFALL Emile Zola
127. THE KING OF THE MOUNTAINS Edmond About
128. MACBETH William Shakespeare
129. DAVY CROCKETT
130. CAESAR’S CONQUESTS Julius Caesar
131. THE COVERED WAGON Emerson Hough
132. THE DARK FRIGATE Charles Boardman Hawes
133. THE TIME MACHINE H G Wells
134. ROMEO AND JULIET William Shakespeare
135. WATERLOO Chatrian Erckmann
136. LORD JIM Joseph Conrad
137. THE LITTLE SAVAGE Frederick Marryat
138. JOURNEY TO THE CENTER OF THE EARTH Jules Verne
139. REIGN OF TERROR G A Henty
140. ON JUNGLE TRAILS Frank Buck
141. CASTLE DANGEROUS Walter Scott
142. ABRAHAM LINCOLN
143. KIM Rudyard Kipling
144. FIRST MEN IN THE MOON H G Wells
145. THE CRISIS Winston Churchill
146. WITH FIRE AND SWORD Henry K Sienkiewicz
147. BEN HUR Lew Wallace
148. BUCCANEER
149. OFF ON A COMET Jules Verne
150. THE VIRGINIAN Owen Wister
151. WON BY THE SWORD G A Henty
152. WILD ANIMALS I HAVE KNOWN Ernest Thompson Seton
153. THE INVISIBLE MAN H G Wells
154. THE CONSPIRACY OF PONTIAC Francis Parkman
155. THE LION OF THE NORTH G A Henty
156. THE CONQUEST OF MEXICO Bernal Diaz Del Castillo
157. THE LIVES OF THE HUNTED Ernest Thompson Seton
158. THE CONSPIRATORS Alexandre Dumas
159. THE OCTOPUS Frank Norris
160. THE FOOD OF THE GODS H G Wells
161. CLEOPATRA H Rider Haggard
162. ROBUR THE CONQUEROR Jules Verne
163. THE MASTER OF THE WORLD Jules Verne
164. THE COSSACK CHIEF Nikolai Gogol
165. THE QUEEN’S NECKLACE Alexandre Dumas
166. TIGERS AND TRAITORS Jules Verne
167. FAUST Goethe–Classic story of a deal going horribly wrong.
168. IN FREEDOM’S CAUSE G.A. Henty
169. NEGRO AMERICANS

The Second Series

1. The Raven & Other Stories
2. Great Expectations
3. Through The Looking Glass
4. Moby Dick
5. Hamlet–Pictures definitely make Shakespeare more interesting.
6. The Scarlet Letter
7. The Count Of Monte Cristo
8. Dr. Jekyll & Mr. Hyde
9. Tom Sawyer
10. The Call Of the Wild
11. Rip Van Winkle
12. The Island Of Dr. Moreau
13. Wuthering Heights
14. Fall Of the House of Usher
15. The Gift Of the Magi–The irony in every O. Henry story was purely genius.
16. A Christmas Carol
17. Treasure Island
18. The Devil’s Dictionary
19. The Secret Agent
20. The Invisible Man
21. Cyrano de Bergerac
22. The Jungle Books
23. Robinson Crusoe
24. Rime of the Ancient Mariner–I want this Coleridge classic on my bookshelf. Trust me, if you think Pirates of the Carribean was a fun flick, then you’ll be amazed at the Mariner.
25. Ivanhoe
26. Aesop’s Fables
27. The Jungle–Like Uncle Tom’s Cabin, important to culture and society at the time.

If you have a particular favorite or just want to talk about comic books in particular, feel free to leave me a message and I’ll be glad to send an e-mail back. For more of my favorites including writers and artists feel free to check out my archieves at www.comicbookjournal.net/archive.