The Twelfth Draft

Hello and welcome to The Final Draft. My name is Alan Donald and I'm your host for this wondrous mixed bag of stuff. Before you go on I should remind you to check out some of my previous columns if you've missed them as there's plenty there to interest everyone, especially with the Panel.

Oh yeah...you didn't miss my interview with Bill Rosemann during the week did you? If so click here to check it out.

The Panel

Nine very different people from different parts of the comicbook industry, with different experiences and ideas on the industry come together to answer your questions. Jock, the New Boy who encourages you to go and buy the ultracool Losers from Vertigo; Peter David, the Old Boy, he's been there and done that, a comicbook superstar, novelist and more; Evil Rick Shea, the Retailer, Fabulous Faces and Funnies, go there, buy comics from this very cool and well informed dude (shit did I just actually say dude?); Caren Kirsten, the fan, she supplied this week's question; Shawna Ervin-Gore, the Editor, she's Dark Horse's newest Editor and a very nice person to boot; Joe Quesada, the Publisher, the man who gave Marvel a much needed kick up the arse; Lee Dawson, Dark Horse's Publicity guru, go on ask him if there's a Sock Monkey/Star Wars crossover coming; Craig Lemon, the Hack, SBC's second-in-command, he edits loads of columns and runs one of the most respected review sections in the industry; and me, The Columnist.

This week's question is:

"What rights should a creator have over a new character they create for an existing series? Should they be allowed to "own" that character or exercise some control over them? I believe that there is sometimes an unwritten agreement over new characters (for example Alan Grant being the only one to do Anarchy, Denny O'Neil being the main man for Azrael and Pat Mill's in 2000AD being the sole writer on most of the things he created), should this be the norm or should it go further (or not happen at all)? "

New Boy: "That's an interesting one- and kind of relevant right now with THE LOSERS coming out. There have been all sorts of noises of movie options etc. but i don't know if I’ll see anything from a deal struck. Perhaps fair enough, as it's a DC property and I'm work for hire- plus it's a story set in present day (it's not like I designed the look of a Chinook helicopter!!) But still part of me would feel slightly short changed if nothing came of it.

Of course I'm also a new creator, so I wasn't about to start throwing my weight around and insist on this or that when I first came on board for the series, it may have burned bridges before I even got a chance. In an ideal world I'd see a reasonable reward for my work, but it isn't always an ideal world is it? (God, is that cynicism creeping in
already???!!). "

The Old Boy: What rights should a creator have over a new character they create for an existing series?

Depends on the agreement under which they're producing the work.

Should they be allowed to "own" that character or exercise some control over them?

Depends on the agreement under which they're producing the work.

I believe that there is sometimes an unwritten agreement over new characters (for example Alan Grant being the only one to do Anarchy, Denny O'Neil being the main man for Azrael and Pat Mill's in 2000AD being the sole writer on most of the things he created), should this be the norm or should it go further (or not happen at all)?

Unwritten agreements, as the saying goes, are worth the paper they're written on. I think it shows a great deal of class for comic book companies--if they're under no obligation to do so--to nevertheless respect a creator to the point where they won't muck with character he's created. Comic book companies, however, are interested in making money, not class."

The Publicist: "I think it is really just a simple question of what has been discussed up front. If the publisher and creator have a clear agreement over ownership and control of what is created then both parties should be happy. The danger is probably the "unwritten" agreement...I always say get it in writing! Both the publisher and creator should be absolutely sure of all the details before a single page is drawn or written. Once the rules are established, then it can be a great opportunity for both parties to have exciting things happen and memorable characters created...with no hard feelings."

The Retailer: "This week's question leads to a big catch 22. I think the creators should have some sort of participation if they create new or unique characters in an existing series that do catch on. However, I don't think creators should introduce new characters if the story doesn't call for it. If you're just trying to pitch new series or throwing a dozen new characters into the book, hoping that the fans become enamoured with one of them, that's not going to work. That happened all throughout the nineties and basically laid the groundwork for early IMAGE. Hundreds of "characters" but little actual character. But each was a valuable trademark with endless marketing potential, yet how many are still around today? Some creators "create" by taking one overused character or concept and tweaking it five different ways for five "different" marketable ideas.

I do like the fact that the creators control some characters and that's only fair. Starman, Sandman, Hitman, Azrael and Jessica Jones from Alias are prime examples of this. However, if someone wedges a new character deep into the middle of the X-Men continuity, they can't really be shocked when another writer kills them off five years later. I guess creative control depends on the creator's level of participation and history with whatever publisher they're working for. If it's something like Sandman, where the creator is in it for the long haul, I definitely believe the creators should be able to control the destiny of the character beyond the series. Some books like Clandestine or more recently Agent X have proven that the fans will come and go with the creator and sales prove that."

The Hack: "What rights should a creator have over a new character they create for an existing series?

Whatever is in their contract. If they signed a typical work-for-hire agreement, then they should expect (and receive) no consideration or rights for their creations.

Should they be allowed to "own" that character or exercise some control over them?

No.

I believe that there is sometimes an unwritten agreement over new characters (for example Alan Grant being the only one to do Anarchy, Denny O'Neil being the main man for Azrael and Pat Mill's in 2000AD being the sole writer on most of the things he created), should this be the norm or should it go further (or not happen at all)?

It's all contractual! Anyone else at DC can exploit Anarky if DC feels it right, Alan Grant does not have to be involved. Ditto Azrael. And ditto Mills' work - he feels he has an unwritten agreement, but this is precisely that - unwritten. If creative types want control of their creations, then they should negotiate it upfront, otherwise they should expect nothing...when you play in someone else's sandbox, you leave all the
sandcastles you make behind."

The Fan: " I'm all for it. It allows stronger characterisation and continuity."

The Columnist: "It's a tough one, on the one hand this is still a business and there are still legal concerns. On the other hand these are people creations we are talking about. And then again if those creations are within an existing continuity how much does that creator owe to those who came before. Tough question. Bringing Pat Mills into it doesn't quite fit though as his 2000AD work is something different. On the whole his stuff was created and then written entirely by him. The unwritten agreement in this case I would argue should have been cemented properly years ago into a real contract with Mills getting proper control over his characters."

This Week

Let's see what's caught my interest in this week's comicbook news.

The headline: Libraries urged to carry more comic books

The story: OTTAWA - Comic books deserve a permanent place in public libraries and a legitimate spot in the pantheon of children's literature, says a B.C. librarian who is making the case for this oft-derided art form to an international gathering of the children's book world." People think they're easier to read, but they're not," said Kirsten Anderson, who works in the young adult section of the Richmond Public Library. "The word count is high, the language level is just as high.... A comic book is not lowbrow."

She is making her impassioned plea for greater inclusion and acceptance of the "sequential art" today as part of the International Forum on Canadian Children's Literature, where she will be preaching to fellow librarians, authors, teachers and book-industry insiders, many of whom have traditionally shunned comics and graphic novels as inferior to conventional books.

"Although sequential art has been part of human expression and communication since the first people marked cave walls, comic books have generally been considered to be low-quality escapist ephemera for children," said Ms. Anderson, herself a latter-day convert to the graphic side of children's literature.

She argues in favour of putting aside the old-fashioned contempt for this engaging medium, particularly since it resonates with young readers and may actually act as a conduit to further reading.

"Kids who read comic books read everything else, too," she said. "There used to be this big debate about giving kids what they want versus what they need. I think now we realise that what they want is what they need."

She said when teenagers come into her library and see the burgeoning collection of graphic novels and comic books, "a lot of them are surprised really to see that their library has something good, something they like."

Opinion: Anyone speaking out in public in favour of comicbooks is a good thing and should be applauded, supported and copied. More power to the librarians!

Digging Deeper

This is an occasional column where I dig a little deeper into a story from the last month or so.

NIGHTJAR

Have you seen this?

"Did you ever hear of NIGHTJAR - the "lost WARRIOR story? This was a strip written by Alan Moore before he became a comics megastar. It would have been his first horror strip - way before SWAMP THING. It was to have been drawn by Bryan, who partially pencilled and inked a few pages before Alan and Dez Skinn, Editor/publisher of WARRIOR fell out big time and Alan stopped contributing to the book, leaving NIGHTJAR shelved"

I decided to dig a little deeper...

I had a chat with Bryan Talbot to get the background on this. It would seem that Nightjar would have been a true classic and had within it many elements that Alan Moore would later revisit in other work. Examples of this were a proto-John Constantine and horror and magic in a modern urban setting (without any of the usually corny trappings to be found in horror comics of that time).

Bryan commented on how bizarre it was to return to something he was forced to abandon so long ago but at the same time it did give him a buzz; so much so he could even remember what he had been listening to at the time. Strangely he found he was able to slip right back into his old style of inking and that even the fashions of the time had come back into style.

Bryan was approached by Avatar who asked if he still had the artwork and Alan's script, it turned up at the very bottom of a draw along with a long letter from Alan Moore. When Bryan remembers this period he recalls how many things have found their way into work by himself, Alan Moore and Neil Gaiman such as his old home and some of the research and places they visited. Some of the visual ideas from Nightjar even found their way into later work (Persephone in the Sandman being inspired by the pre-Raphaelite model Jane Morris who was also the influence for Nightjar's Mirrigen Demdyke for example).

An earlier revival of Nightjar, after Alan had split with Warrior was impossible as Bryan was caught up with 2000AD and Alan was the daddy at DC.

For more details check out all the accompanying information in YUGGOTH CULTURES AND OTHER GROWTHS #1 (of 3) scheduled for a Sept 2003 release from AVATAR. 40 pp book, $3.95

Check out: http://www.bryan-talbot.com http://www.modernvikings.com/luther-arkwright/

Cool Sites

This is an infrequent feature where I look at the cool websites you've sent into me. Email me on AlanWJDonald@aol.com with your suggestions.

http://webpages.charter.net/hkirtley/stress/

Let this site test your stress level...I need to relax more.

http://www.anzwers.org/free/livedragons/dragon.htm

Dragons are real...honest?!

http://www.livejournal.com/~theteague/8200.html

Sick, twisted and lots of fun. What do slugs fear the most in the world? SALT! So what have they done? They've put a slug on a desk and then built a maze out of salt for it to escape from!

http://www.bumpernuts.com/

I can't believe this is for real. You have to see it to believe it.

Online comics

This one's up to you. Send me your favourite webcomic and I'll give you some publicity, we love free comics here at SBC.

Another great suggestion from SBC's own Glenn Carter (check out the very cool "The Real Mainstream" from Glenn every week where he looks at the best Small Press comics around)
"More suggestions for you, Alan:

www.kidradd.com

- Kid Radd: The adventures of an 8-bit computer game character. Very clever, but not quite as funny as its thinks it is."

I agree, a good fun strip, well executed. I have the feeling this could be hilarious with just a bit of tweaking but sadly as Glenn says it falls short. Well worth checking out.

Noticeboard

From the biggest common to a signing in a shop the size of a postage stamp by the guy who edits a self published magazine on waning printed on toilet paper, we'll promote them all. All you have to do is email me to let me know. The noticeboard will be here every week to promote your events.

A few things are pinned to the noticeboard this week so I'll get right on down to it:

"Hi Everyone Borders in Stockport will be having local Comic artist talent Barry Renshaw doing a Hulk mania comic workshop on Saturday 19th from 2pm We will have Bryan Talbot signing his books on Tues 22nd from 5pm to about 6.30. After that he will appearing at the Longsight library for a slide show and talk on how he plans and draws his books. Hopefully the comic art cards will be for sale at the signing too! For more details you can e-mail me spamhole@borders.com Borders Address is Unit 1b Peel Retail Park Great Portwood st Stockport Sk1 2HH Ph 0161 476-3392 Hope to see all you locals there!!!

Remember I need you to be sending in your announcements, signings, events and such like to pin up on the Board. Meanwhile you should check out previous week's Notice Board as many of the announcements on there will still be current.

Thank you for reading hope you come back again next time.

TTFN - Alan Donald signing off from a hot and sticky little island that seems to have gotten ideas above its station again...

The Final Draft, its contents, its style, if you can call it that, and the concept in general are the intellectual property of Alan Donald with a huge thanks to all the contributors and those whose work has inspired the column. If you want to nick anything then be sensible about it and make damned sure you link back to here! Or else I’ll cry.