Frank Miller got me thinking...

Above photo (Left to right): Klaus Janson and Frank Miller at the School of Visual Arts’ “100 Years of Genius: The Life and Legacy of Will Eisner” event in April 2017. Photo by (DC Comics editor and SVA faculty member) Joey Cavalieri.

Frank Miller got me thinking.

On April 4, 2017, during his chat at the School of Visual Arts’ “100 Years of Genius: The Life and Legacy of Will Eisner,” Frank Miller talked a bit on the topic of Will Eisner and comic book Creators’ Rights. Miller explained Will’s views on comic book Creator’s Rights and contracts:

The most frequent business advice [Will Eisner] gave me was: ‘Stop whining.’ Because I would go in saying: ‘Creators’ Rights this, Creators’ Rights that, Creators’ Rights this.’ And he’d say: ‘Look, if you sign the contract, it’s over. Stop complaining about anything.’ His point of view was simply that if you’re working on other people’s material, then you don’t have that much of a claim. And so, clearly, his whole point was that the future of comics was for people to be introducing new material.

(You can watch the entirety of SVA’s “100 Years of Genius: The Life and Legacy of Will Eisner” event here on Youtube.)

In the book EISNER/MILLER, Will stated:

Take a look at the marketplace and understand what its realties are. I never subscribed to this Creators’ Bill of Rights because I believe that there was no reality to it. In the marketplace, moral rights are often disregarded.

And…

Well, there is no ingrained right, there are no God-given rights here. The rights are what you negotiate.

Now, it’s true that Will was a very savvy business person. (And you really have to be if you want to have a successful career in the arts.) I don’t think that Will would have needed to be reminded by something like (the very important) Creators’ Bill of Rights. However, the vast majority of young artists do need to be reminded and told about the Bill and about Creators’ Rights.

(I lecture on all of this in my Sequential Art: Comics Illustration class at SUNY Orange.)

In an interview on the Creators’ Bill of Rights and Creators’ Rights for THE COMICS JOURNAL (No. 137, September 1990) by Gary Groth and with Steve Bissette, Scott McCloud stated:

Whatever crimes are going on at companies where Creators’ Rights are not honored become pretty quickly irrelevant because essentially it’s your own damn fault if you decide to work there… if there is an alternative… yeah, if you went in with some knowledge. ‘What’s smoking?’ As long as the warning is there.

(A must-read and/or must-listen interview with Stephen Bissette and Scott McCloud.)

Over the years, I’ve been quite outspoken about comic book Creator’s Rights.

In 2005, I began becoming more vocal and more public about my views on Creators’ Rights. I started conversations with folks like Steve Bissette, Dave Sim, Rick Veitch, Scott McCloud, and even with Denis Kitchen, Erik Larsen, and Fernando Ruiz.

(All of these discussions are collected and posted at www.yacanteraseink.com)

Dave Sim had suggested to me that my eventual departure from Archie Comics may have been due to my public outspokenness on Creators’ Rights. Dave could very well be right.

In 2010, I officially ended my contributions toward work-made-for-hire.

(Two weeks ago, for about an hour, I was on the phone with a publisher and trying to convince him that I had no interest in working on their work-made-for-hire project.)



Above photo: This photo was taken in June 2014 during the "Creator-owned Comics (vs. Corporate-owned Comics)" panel at the Special Edition: NYC comics convention which was held at the Jacob Javits Center in New York City. I was joined on the panel by Mike Allred and Kurt Busiek.

In 2014, I was on the “Creator-owned Comics (vs. Corporate-owned Comics)” panel held at the Special Edition: NYC comics convention. The panel featured a discussion between myself, Michael Allred, and Kurt Busiek. That panel pretty much summed up my view on Creators’ Rights in regards to Creator-owned Comics versus Corporate-owned Comics.

Simply put: Comic book publishers have a horrible history with treating their writers and artists. If you’re interested in playing in the work-made-for-hire sandbox, then know the environment in which you’re working and know what your rights are. For me, now, creator-owned comics are the only thing that I’ll be doing in comics.

The topic of comic book Creators’ Rights does still interest me a great deal. I still believe that, at the very least, the Creator’s Bill of Rights is a must-read for professional comic book creators and for young artists who wish to have a career in comics and/or in animation.

It’s just that, now, I don’t know if we can actually change the policies of comic book publishers that promote work-made-for-hire. Maybe it’s just best to ignore the likes of Marvel and DC. There are more creator-friendly publishers out there. Why keep flogging a dead horse?

My opinion hasn’t changed, exactly. I like to think that my focus has just evolved. I don’t care what the corporate comic publishers are doing anymore.

I’m wondering if Will Eisner was more often correct about Creators' Rights than I previously thought.

LETHARGIC LAD 2011...

Above: Cover to Greg Hyland’s LETHARGiC LAD 2011. Lethargic Lad and all other prominent Lethargic Lad characters are TM and © 2012 Greg Hyland.

Tired of comics that are reboots? Annoyed with comics that are the "New" that, or "Next" this, or full of "52" crap? Then, it’s time you gave up on corporate super-hero comics and paid more attention to super-hero comics that are fun.

Today, my mailbox gave me LETHARGiC LAD 2011. The book was signed, numbered, and included a keen "Holy Crap" Lethargic Lad cover sketch by cartoonist Greg Hyland. LETHARGiC LAD 2011 is nicely printed, and the widescreen format is brilliant (as always). (Greg is still very smart.)

Greg’s writing is hysterical and his artwork is sharp. (Nice inking, Mr. Hyland.) And Greg’s annotations are entertaining and informative.

With LETHARGiC LAD 2011, Greg mocks WIZARD magazine (and who really doesn’t want to?), Rebecca Black (I forget who she is), super-hero deaths in comics, DC’s ‘New 52’, and Frank Miller’s HOLY TERROR (My favorite part of the book. But unlike Greg, I did enjoy HOLY TERROR.).

If you want to read comics that are witty and fun, then you’ll love LETHARGiC LAD 2011. I did.

To order the limited edition LETHARGiC LAD 2011 and to read new weekly LETHARGiC LAD webcomics, stop by the LETHARGiC LAD website.

I give LETHARGiC LAD 2011 four out of five NM’s:

What’s occupying Frank Miller’s mind?

Above photo: Comics creator Frank Miller (DAREDEVIL, SIN CITY, THE DARK KNIGHT RETURNS, and HOLY TERROR).

Frank Miller shares his thoughts on the "Occupy" movement which started (at least here in the United States) in New York City's Zuccotti Park.

From Miller’s blog, Frank Miller Ink:

The "Occupy" movement, whether displaying itself on Wall Street or in the streets of Oakland (which has, with unspeakable cowardice, embraced it) is anything but an exercise of our blessed First Amendment. "Occupy" is nothing but a pack of louts, thieves, and rapists, an unruly mob, fed by Woodstock-era nostalgia and putrid false righteousness. These clowns can do nothing but harm America.



Above artwork: Over the many years, Frank Miller has been very vocal concerning hot topics like Creator’s Rights, Censorship, Hollywood, and terrorism.



Above: Artwork from Frank Miller’s recently-published graphic novel, HOLY TERROR.

It’s refreshing to see an opinion from our industry, the comics industry, that is not so (typically) Liberal. The "Occupy Wall Street" movement is made up of Socialists and Anarchists whose views are not the same as those of America’s Founding Fathers. You can’t just move into a privately-owned park, smoke dope, assault police officers, and commit rape (news that I have not seen reported by the media).



Above: Cover artwork to Frank Miller’s DAREDEVIL #188.

Comics versus Terrorism: Frank Miller’s HOLY TERROR...

Above: The cover to Frank Miller’s HOLY TERROR. HOLY TERROR is Copyright © 2011 Frank Miller, Inc.

Comics have the potential to be a powerful medium. This is a form of literature and entertainment that should say some things. Frank Miller addresses a certain something, Islamic terrorism, in his graphic novel, HOLY TERROR.

I could have done without the harsh language, though. Naughty words make me squeamish.



Frank Miller posted on his website:

My new comic book (or "graphic novel", I suppose it should be called, because it’s square bound) is naked propaganda.

And…

3000 of my neighbors were murdered. My country was, utterly unprovoked, savagely attacked. I wish all those responsible for the Atrocity of 9/11 to burn in hell. I’m too old to serve my country in any other way. Otherwise, I’d gladly be pulling the trigger myself.



In 2006, at the WonderCon convention in San Francisco, Miller shared a bit about how politics have played a role in comics:

It is, not to put too fine a point on it, a piece of propaganda... Superman punched out Hitler. So did Captain America. That's one of the things they're there for.



In an interview with NPR, Miller stated:

I schooled myself in the writings of Madison and Franklin and Adams and Jefferson. I came to love those noble, indestructible ideas. They were ideas, to my young mind, of rebellion and independence, not of idolatry.

And…

Then came that sunny September morning when airplanes crashed into towers a very few miles from my home and thousands of my neighbors were ruthlessly incinerated — reduced to ash.

And…

For the first time in my life, I know how it feels to face an existential menace. They want us to die. All of a sudden I realize what my parents were talking about all those years. Patriotism, I now believe, isn't some sentimental, old conceit. It's self-preservation. I believe patriotism is central to a nation's survival. Ben Franklin said it: "If we don't all hang together, we all hang separately." Just like you have to fight to protect your friends and family, and you count on them to watch your own back.