“I mean, honestly, what kind of writer would write one fictional book, and then contradict the point of that fictional book in other fictional books that feature different fictional characters in different fictional contexts? Not very consistent, is it? Smarten up, Grant!”
A waste of an interesting premise. I hoped that Rogers would explore the weird experience of enjoying the commentary about a cultural product more than the product itself (a feeling that I had with Moore and O’Neill’s League of Extraordinary Gentlemen, and that many people I know have w/ Matthew Weiner’s Mad Men). Maybe next time.
I’m sorry that people were discouraged, but anyone who expects me to take any stronger “stand” on this issue are going to be disappointed. I’m not the leader of a political party. I’m a freelance commercial writer who sells stories to pay the bills. I’m not an employee of any company except for the one run by me and my wife. I’m not a role model or the figurehead for any movement. I don’t doubt that corporations can be underhanded, and I feel sorry for anyone who genuinely gets caught out. We live in a world where every day involves multiple negotiations with corporate power in one way or another, and all I can say is, enlist a lawyer to go through any contract before you sign it. Or self-publish.
Otherwise, my own relationship with DC Comics is a pretty good one. I have a lot of friends at the company. I’ve always been treated fairly and with respect. I get to do what I want without heavy-handed editorial interference. The accounting department pays regularly, it pays on time, royalties are good, my back catalogue is kept in print in multiple editions and honestly, I couldn’t say the same for some of the small press or alternative publishers I’ve worked for in the past. Most of them still owe me for work done in good faith. Under DC’s umbrella, with access to their printing facilities and distribution, I’ve been able to put out pretty idiosyncratic personal stuff like “Kill Your Boyfriend,” “The Invisibles,” “The Filth,” “We3,” “Joe the Barbarian” and others to a wide audience. Me and my collaborators own those books. No one can do “Before We3” but me and Frank Quitely! No one can do “After Seaguy” except me and Cameron Stewart. I never signed a contract I regretted, and I never felt cheated by DC. My own experience proves they can be reasonable and honorable, if you deal with them in an adult fashion and I have to take that into account before I condemn anyone working there today over decisions made in the past. I’ve found that “issues” rarely seem to come in convenient black and white, and that’s pretty much my last word on this.
“they can be reasonable and honorable, if you deal with them in an adult fashion” is definitely a shot
edit: in fact, it’s a pretty stupid thing to say and counterfactual. I don’t even have to think hard to come up with people DC dicked over in various ways who were presumably dealing with them in “an adult fashion.”
I wish I stopped reading this guy’s interviews years ago, because he’s pretty well shattered my interest in his work with this mealy-mouth business. He doesn’t have to take a stand and he’s not a figurehead, but he’s definitely more than willing to go to bat in favor of DC Comics while throwing sneak disses at other creators. Which makes him something.(via iamdavidbrothers)
I love the subliminal Alan Moore diss. Classy move for a middle aged freelance commercial writer. I also love that he fails to acknowledge that his contract negotiations with DC were informed by the contracts (and subsequent success of) Moore and Gibbons’ Watchmen. He had options that Moore didn’t have in the late 1980’s (and which Siegel and Shuster didn’t have in the ‘40’s or ‘50’s). If you’re standing on the shoulders of others, don’t pretend that you’re standing on the floor. The other important thing to remember is that many creators with claims against Marvel and/or DC aren’t alleging that they signed bad contracts, but that the publishers have violated the terms of the contract.
-Grant Morrison, breaking my heart. Well, not really. I would’ve just reblogged Abhay or David Brothers, but I wanted to add those first two sentences, in which Morrison exhibits a particularly ugly form of tunnel vision. Read Abhay’s quick post, I (almost) agree with all of it.
I’m usually pretty good at judging a creator on his/her work alone, but this dampens my enthusiasm for Morrison’s upcoming run on Action Comics. Yeah, I know, he’s still the best writer in superhero comics, but that doesn’t hold much weight with me anymore.