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We’re not going to keep doing weekly updates on comics Humble Bundles, but since this is a new way of promoting comics—digital bundles on a pay-what-you-want model to a mostly gaming audience—is seems worth checking in on the first couple. The first comics Related HUmble Bundle was with Image comics, and raised about $400,000. The second, featuring Doctor Who comics and Docor Who game, has raised even more with more than 42,000 bundles sold and $500K spent, with a portion going to Doctors without Borders and the CBLDF.

When fully unlocked, the Bundle includes over 80 comics and the Android-based puzzle game Doctor Who: Legacy, which includes a bunch of Doctors and costumes.

I’m told Humble Bundle is getting more involved in selling ebooks, so expect to see more of these bargains in the coming months.

Here’s an absolutely cool comics event that may help save lives.

Wednesday, May 28th the Hang Dai Studios gang of Dean Haspiel (The Fox, American Splendor), Christa Cassano (The Giant Effect) and Josh Neufeld (The Vagabonds) will be signing at JHU to celebrate Haspiel’s art in FF #5. But it’s also World Blood Cancer Day and in support of photographer/writer/Hang Dai member Seth Kushner, who is being treated for leukemia, they will also host a bone marrow drive. Getting a DNA sample involves a cheek swab, so if you’re up for it and eligible, come on down, see some cool cartoonists and do something for a good cause.

Delete Blood Cancer is going to be here, swabbing and informing folks on how being a donor works. (More on that below!) Even if we don’t find a match for Seth at our event, there are millions of others that could use your help and you as their match!

Come out, get some comics, meet some great people and help out in the name of one of our great, talented friends!

***********************
ELIGIBILITY CRITERIA
We want to make sure that helping a patient get healthy won’t impact your health. Please review the following list of conditions. If you’re not sure about a condition, feel free to call us: 212-209-6700.

You are eligible to register if you are:
between the ages of 18 and 55
in general good health
at least 4’10” and 110 lbs
below the max weight listed for your height on the chart below

https://www.deletebloodcancer.org/fileadmin/user_upload/public/Registrierter_Spender/US_WEIGHTchartweb.jpg

ELIGIBILITY CRITERIA
You are not eligible if you have:
HIV
Hepatitis B or C
Kidney or liver disease
Chronic or severe neck or back problems
Epileptic or other seizure within past year
Diabetes that requires medication
Sleep apnea, breathing problems or severe asthma (daily inhalers are acceptable)
Autoimmune disorders such as lupus, rheumatoid arthritis, multiple sclerosis or fibromyalgia

Or a history of:
heart disease/surgery
strokes, including TIA
blood clotting or bleeding disorders
cancer, with the exclusion of melanoma, breast, bladder, cervical (stage O, in situ) and cured localized skin cancers such as basal cell or squamous cell
   
JHU Comic Books
32 East 32nd St, New York, New York 10016

Humble Bundle is at it again, this time with a collection of Doctor Who comics, including seven books of collected comics, and a game. You can pay what you wish and a portion of the price will go to Doctors without Borders. Once again, all good. The first comics Humble Bundle, featuring Image Comics, did very well, as we reported yesterday. Details below:

Humble Bundle, the pay-what-you-want plus charity digital platform, and award-winning publisher IDW Publishing have teamed up to launch the Humble Doctor Who Comics Bundle today. Customers can pay what they want for up to 14 digital collections of Doctor Who comic books along with puzzle-RPG adventure Doctor Who: Legacy with unlocked bonus content for Android.

https://www.humblebundle.com/books

Customers can name their price for Doctor Who: Series 1, a three-volume series following the 10th Doctor (David Tennant), and Doctor Who: Series 2, a four-volume series featuring the 11th Doctor (Matt Smith). Each series contains 16 issues of Doctor Who comics. Also included is the critically praised mobile game, Doctor Who: Legacy for Android, which comes with 10 pre-unlocked Doctor characters. 

If customers pay more than the average price, they will also receive four more volumes from Doctor Who: Series 3 featuring the 11th Doctor (Matt Smith). Paying $15 or more will unlock the three-volume seriesDoctor Who: Prisoners of Time, which features all 11 of the Doctors’  incarnations, as well as the 50th anniversary celebration issue and 2014 Hugo Award-nominee, The Girl Who Loved Doctor Who.

Customers’ purchase dollars can be divided between IDW Publishing and two vital charities: Doctors Without Borders, which delivers independent emergency medical care and relief to more than 70 countries around the world, and the Comic Book Legal Defense Fund, a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community. Since Humble Bundle’s launch in 2010, $37 million has been raised for more than 20 different charities and non-profit organizations.

The Humble Doctor Who Comics Bundle ends on Tuesday, May 28, 2014 at 11:00 a.m. PDT.

The first ever comics sale on pay-what-you-want portal Humble Bundle is wrapping up tomorrow, and it seems to have been a success, with 38,847 bundles of digital comics sold, making a little over $397,000. As we reported earlier, Humble Bundle operates on a pay what you want model, with the buyer choosing to give all the money to the creator or to a charity – in this case the CBLDF.

There’s still time to get in on this offer, which makes copies of Saga, REvival, Chew, East of West and more top Image books available for what has averaged out to $10.

We’re told more comics bundles are on their way from Humble Bundle, so stay tuned.

Anatomy of a good deal: get digital versions of nine acclaimed Image graphic novels—including Saga, Chew, East of West, Walking Dead and more—pay what you want, AND send money to the Comic book Legal Defense Fund.

Win win win!

That’s the deal offered by Humble Bundle, a website that offers a pay-what-you-want model for top digital content, while helping charities. Consumers pay what they want and can to send money to charities or to publishers. They’ve already sold hundreds of thousands of video game bundles, as they are called, with more than 15 million bundles sold overall for more than $80 million, with more than $30 million going to various charities. While they made their name with video games, Humble Bundle has been getting more into e-books —this is their first comics bundle.

Humble Image Comics Bundle offers nine top Image books with a tiered pricing structure. Pay whatever yuo want (even a penny) for East of West Vol. 1, Lazarus Vol. 1, Morning Glories Vol. 1, and Fatale Vol. 1. By paying more than the average price (currently $9.35) you unlock  Saga Vol. 1, Revival Vol. 1 and Chew Vol. 1. If you pay more than $15, you also get The Walking Dead Vol. 1 and 20. Nine graphic novels for $15? Good deal.

BUT THERE’S MORE! You can even choose how your payment is split up: between the comics creators and/or the Comic Book Legal Defense Fund.

PLUS the digital comics are DRM free and available in a variety of formats Android, Kindle HD, iPad or even the Nook HD.

As we mentioned, this is Humble Bundle’s first foray into comics, but it’s a great way to help charity AND for readers to sample books they may not have picked up otherwise, so hopefully it won’t be the last.

The deal ends Tuesday, May 6, 2014 at 11:00 a.m. PDT. Thus far, more than 11,000 bundles have been sold for more than $100,000 — we’ll check back next week to see the grand total.

When Marvel’s Lauren Sankovitch left Marvel to pursue West Coast job ops, we were all sad to be losing a fine comics editor. Happily she is still keeping a toe in the game, as this release from the CBLDF reveals that she’ll be editing this year’s Liberty Annual, a fund-raising anthology published by the fund each year. So yay for Lauren! We may hear her karaoke yet again!

Included in the CBLDF release is news of their expanded efforts with retailer members and a very successful fundraising drive at the recent ComicsPRO meeting. All good news, as the CBLDF does a fantastic job of keeping free speech issues at the forefront of comics.

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Autobiographical comics used to be a feature of zines and small private presses, but readers are increasingly able to follow their favorite genre of the comics medium in graphic novel editions from mainstream book publishers. There’s no doubt that the artistic appreciation for autobiography and semi-autobiographical works is on the rise, but amid commentary on layouts, designs, and narrative choices, it’s easy to lose touch with the personalities behind the works and the often difficult waters they navigate to create their comics. At Housing Works Bookstore and Café in Soho, part of the Housing Works charitable organization benefitting those affected by HIV/AIDS and homelessness, four cartoonists weighed in on their life in comics on March 5^th in a panel hosted by comics scholar and author Christopher Irving (LEAPING TALL BUILDINGS, GraphicNYC). The event formed part of “Geek Week” at Housing Works, with copies of speakers’ books donated by publishers for sale to support the charitable organization.

Panelists included Dean Haspiel (BILLY DOGMA, CUBA: MY REVOLUTION), Bob Fingerman (MAXIMUM MINIMUM WAGE, FROM THE ASHES), Laura Lee Gulledge (PAGE BY PAIGE, WILL AND WHIT), and Ethan Young (TAILS) and featured projected slides of their artwork along with readings, commentary, and discussion. Haspiel read “Dumbo” from his STREETCODE series, a tale of extensive personal injury after being “busted” as a thief by an overzealous and perplexed local driver during a film-shoot in Brooklyn and Fingerman read from an unpublished script of issue #11 of his acclaimed MAXIMUM MINIMUM WAGE series (which will appear in the new deluxe edition coming from Image March 20^th) about the trials and tribulations of negative reviews and the dubious creative credits of working for “porno mags”. Gulledge, too, presented previously unseen material from her upcoming (in March) new book WILL and WHIT dealing with the stresses and awkwardness of teen life pursuing artistic expression, while Young read from his series TAILS, featuring cultural and familial clashes over relationships, but also noted that a second printed volume of the previously online series TAILS will be coming soon from Hermes Press.

Each of the cartoonists presenting their work engaged the audience on an emotional level in different ways, showcasing the versatility that makes autobiographical comics so popular. Haspiel’s comic narrated the already inherently absurd scenario of playing a thug in a friend’s film being chased by a costumed superhero an the equally absurd but downright serious impact of being mistaken for a real thief and being mown down by a would-be vigilante on set. Haspiel’s “DUMBO” focused on the psychological shock and mental processes handling the bizarre, and all too physically real situation.

Fingerman’s script handled his experiences working for a “rag” magazine in semi-autobiographical fashion through his avatar “Rob”, with an ear for frank and surprising dialogue between Rob and former co-workers on the subject of a bad review of his comics issued by a replacement writer in Rob’s own former column on the magazine. Through Rob’s dialogue, the audience could hear the character’s increasing fixation and personal struggle with the affront, while other characters commented irreverently on his overblown reactions. The emotions of the situation were powerful, even while comedic in tone.

Gulledge’s selection from WILL and WHIT used limited but realistic dialogue between friends to tease out the tensions in young adult conversations, anxiety in public performances (in this case a puppet show) and the supportive, but complicated role of group friendships. While Haspiel and Fingerman handled subject matter that may have been unfamiliar to many readers, but connected on the level of universal reactions to antagonizing situations, Gulledge presented a universal situation and explored it through the lens of different personality types.

Young’s performance dealt with two major universal themes, family pressures and romantic relationships, but introduced the complicating factor of cultural divides as his character (also named Ethan) engaged in “blunt” conversations with his mother, translated from Cantonese into English, about whether dating a Chinese-American girlfriend was really the right thing for him. Each comics artist preserved a kernel of universal human experience in their works while bringing intricate detail of personal experience into the narrative to render it unique, compelling, and even more visceral. Experiencing the comics as performance, read by their creators, brought an added dimension of reality to the stories. Autobio comics readers often become fans of the “voice” of the cartoonist and feel that they almost know the author/artist personally, but this was a rare chance to hear the comic audibly and experience the comic visually with creator participation.

Christopher Irving took the opportunity to play readers advocate and encourage the panelists to explain how autobiography maps out the gray areas between art and life, asking what the relationship is, exactly, between these creators and their comic avatars. Gulledge explained that her characters are often “different variations” of sides of her personality, and in one of the most memorable phrases from the evening explained that portraying versions of herself in comics encourages her to take risks in expression, making her willing to “drop the baby” being thrown at her if necessary. The allusion was to a situation wherein street urchins might attempt to pick your pocket by throwing a doll at you, pretending it’s a real baby, in the hopes that you’ll be distracted enough to attempt to catch it. “Drop the baby” made for an excellent metaphor for autobiographical cartooning when the creator has to realize the difference between art and real life and take greater risks based on that truth.

Fingerman commented, to the audience’s amusement, that he would “gladly drop a baby”. His reasons for using an avatar named “Rob” rather than his own name, Bob, in MAXIMUM MINUMUM WAGE involved shying away from direct “narcissism” while keeping a certain “weight” of truth alongside the “latitude” for some fictionalization. Like Stephen Colbert’s concept of “truthiness”, he said, his comics get closer to the truth by allowing more freedom of expression than strict autobiography. He also added that after ten years of reflection on MAXIMUM MINIMUM WAGE and working on the new hardcover edition from Image , however, he’s “seriously thinking of coming back to the series and starting it up again”, which provoked a round of enthusiastic applause from the audience.

Haspiel’s own feelings about the difference between autobiographical and semi-autobiographical comics, two genres he has worked with extensively, pivot on his concern that autobiographical comics only allow the reader to act as “voyeur” in someone else’s life. Like Fingerman, Haspiel reflected on the fact that semi-autobiographical narratives enable the creator to zero-in on “emotional truths” that they might not be able to emphasize as fully when sticking purely to facts. His advice to autobiographical or semi-autobiographical cartoonists, generally, is to “get outside” and experience life, making sure you “show up to the party” that is life and take part in order to create compelling stories. Gulledge chimed in that she agreed with Haspiel and Fingerman, that even autobiographical comics are not about the cartoonists life in terms of their purpose, but are about “helping” the reader understand themselves by engaging with real-life situations.

[Image from STREETCODE's "Dumbo" by Haspiel]

Young explained that he feels that his life can, in some ways, seem stereotypical, including his Asian-American heritage, emphasis on city narratives, his real-life situation of quitting college, and even being “self-indulgent” in writing stories designed to “get even” with an ex-girlfriend. But having a relatable life is certainly not a hindrance in autobiographical comics, especially when you capture the “romance” you see in the ordinary. Young hopes to “capture” some truths from his life in a memorable way, such as “living really broke” and “being single in New York”, experiences many readers might share. The most problematic thing Young has faced, he said, about working in autobiographical comics, is that readers equate the Ethan of his comics with Ethan in real life and feel free to tell him that he’s an “asshole” on a regular basis. He’s also been questioned for bringing “fantastic elements” into his works despite their overtly “realistic” tone, and like Haspiel and Fingerman, Young thinks a “metaphorical” element helps him “comment on how interconnected we are with our creations”. It seemed part and parcel of artistic freedom to branch from autobiography into metaphor for several of the panelists.

The discussion between comics artists on the panel was often freeform and interactive during the event, and they chatted about the increasing role of images online, the freedom the internet offers in terms of self-publication, and the impact that it has had on autobiographical comic production. Haspiel commented on the ways that social media has become a form of autobiographical expression, leading him further down the road of embracing metaphor rather than strict biography in his work. Even Gulledge expressed her movement toward “boiling down” life experiences to get to what life is “really about” due to the comparison between unedited and immediate self-expression on social platforms. Haspiel also noted, however, that social media opens up publicity options for web-based work, as in the case of ACTIVATEcomix, which he founded in 2006, and his currently curated multimedia arts site TRIP CITY. The very same technology that raises questions about autobiography by presenting human experience in an unfiltered way can serve as the platform for promoting the more focused works of art that reflect on life’s truths. One of the final topics of the evening focused on advice for cartoonists about funding and publishing their autobiographical and semi-autobiographical works. Now, more than ever, Haspiel argued for the need to be “be part of a community”, whether seeking crowd-funding or readership.

It was clear from hearing the panelists in discussion that they do form their own community of creators supporting many of the same goals in comics, and that each of them has a specific commitment to their readership in creating their work. The fact that the event spotlighting “the cartoonist in comics” not only benefited the comics community by exploring the role of biography and providing insights into creative process, but also raised funds for a worthy local charity emphasized the reciprocal role of community in supporting artwork about the significant truths hidden in everyday life and improving “real life” for those in need. The event was live-streamed by Housing Works and may be available in video format soon.

Hannah Means-Shannon writes and blogs about comics for TRIP CITY and Sequart.org and is currently working on books about Neil Gaiman and Alan Moore for Sequart. She is @hannahmenzies on Twitter and hannahmenziesblog on WordPress.

Authors and musicians are coming together for a benefit that will raise money to rebuild Red Hook, a water-front community in Brooklyn that was badly damaged by Hurricane Sandy.

Novelist/journalist Kurt Andersen will host the event, which is called “Defiance: A Literary Benefit to Rebuild Red Hook,” and will take place on November 14th at Littlefield at 7pm. Musicians Steve Earle and Stew will perform and novelists Joseph O’Neill, Sam Lipsyte, and Rivka Galchen will do readings, as will non-fiction writers Phillip Lopate, Chuck Klosterman, Philip Gourevitch, Meghan O’Rourke, Deborah Baker, and Robert Sullivan will also participate.

Tickets for the event cost $50, and can be purchased at this link. All proceeds from the event will be split between two charities who are helping to rebuild Red Hook post-Sandy — Red Hook Initiative and Restore Red Hook.

New Career Opportunities Daily: The best jobs in media.

As you may know, the metro Manila area has been hit by severe flooding of late, due to monsoon season, and hundreds of thousands of people have been displaced as a result. Local bookstore Fullybooked is organizing a fundraiser for the flood victims.

We’re soliciting donations from international comic book writers and artists to give what they can (signed books, original artwork, etc.). We’re planning on holding either a local auction or on ebay for these items, and the proceeds will all go to those in need. A great deal of people have already pledged their support.

As all of you know, I never sell original artwork, so this a rare exception that any piece is available. 14′x17″ India ink on Bristol board. If I have a chance, I’ll personalize a note on the back to the donor. Please, look into bidding to help raise funds for this crucial cause. Thanks!

The Philippines, as we have often noted here, have a unique comics background, and have produced some amazing cartooning talent over the years, so this comics-based grassroots support is very appropriate. Anyone interested in contributing should contact Fullybooked at [email protected] with the subject “AUCTION”.

This super sweet story about artist Karl Kesel and his wife adopting a baby and then selling his Silver Age comics collection to pay for medical bills

Isaac was born, sadly addicted to methadone, and had to go through withdrawal, which is a long and I’m sure not fun process. It took about six weeks for him to be weaned all the way off the methadone, and some of those weeks were very tough. He was very inconsolable; we couldn’t soothe him, clearly he was agitated. He was on a morphine treatment during that time period, but each day, they cut that back just a little bit more and so his body had to pick up the slack and clean himself out a little more. It took about six weeks, but now he’s just a kid. He’s a very happy kid and seems to have no major effects from the drugs. There might be some learning disabilities later on. The doctors have told us we might not really know until he enters school. We might find he has a little trouble with math, with reading or something like that. Right now, he seems to be very, very normal. We’re extremely happy. He brings a lot of joy into our life.

Sad news. Writer Roger Slifer is still in a coma following a hit and run accident two weeks ago. Jim Salicrup has been updating his condition on Facebook, and on Sunday posted this from a friend of Slifer’s:

Will Alovis

Hi All,

Just now got back from visiting with Roger at the hospital. Wish there was something more to report, but 2 weeks in he’s still in critical but stable condition, and still completely non-communicative. He requires an anti-seizure medicine which as a side-effect can make him sleepy, so that may contribute to his lack of lucidity. On the bright side, the swelling has decreased dramatically and he once again looks like the Roger we know and love, though I’m sure he’d have something to say about the haircut they gave him.

I promise to continue keeping you all posted as his recovery continues and when there’s more to share.

Thanks again for all your love, care, concern, good wishes and prayers! Roger still needs them, and we believe they’re going to help him tremendously.

In all the hubbub of the last few weeks I haven’t been able to write about the passing of Robert L. Washington III, a comics writer who was a key part of Milestone comics. He co-created Static and helped write Blood Syndicate and other comics for DC and Valiant. And then, things got slow. And Washington had troubles, years of them. And on June 7th at the age of 47, he died of multiple heart attacks.

Just before his death, he’d been helped out by the Hero Initiative, as shown in the above comic which he wrote for a Hero Initiative anthology. Washington had ben living marginally on part time jobs…and when he died, as you may have read, there wasn’t enough money left to bury him. Some folks have been collecting fund to give him a proper funeral; I’ve given and I would hope some of you reading this will follow that link and make a donation.

I remember Robert Washington. To be honest, he was pretty unforgettable, with a booming voice and an easy laugh. He also wore hats quite a bit, which always stood out. When Milestone was riding high, we were convention pals, of the casual sort you make, making jokes at BarCon, saying hello in artist alley. It was apparent to me that Washington was a “character”, like many of the people in creative businesses, but all the same, I didn’t expect him to die in a pauper’s grave.

Just a few weeks before his death, Ashley Soley-Cerro
interviewed Washington for CBR. It’s painful reading, for what was and what could have been.

What was a day in your life like when you had steady comic book work?

Phenomenal — I woke up when I wanted, did what I wanted, stopped by the office one week to drop off a script and a week later for the check. It was really great lifestyle. As long as you turn in the work, your lifestyle is completely your own. I will beat you up to get back to it. That was the early 90s until about 1998.

What was a typical day like before reaching out to the Hero Initiative?

Going on the Internet, which I could barely afford to — I don’t have a computer, so I use one at an Internet café. I’d collect cans for money for bus or train fare.

Looking back at your career and life, what would you stress to young writers and artists?

Have a backup plan. That goes for everyone that wants to go into media. Being really talented isn’t enough. Do something that’ll bring you a regular income in any other industry, you can work your way back into media. The people I know in my situation have no fall-back

18 Comments on Robert Washington’s words from the grave: “Have a back-up plan.”, last added: 6/19/2012

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Jimmie Robinson said, on 6/19/2012 7:56:00 AM

Sobering.

And passing away at 47 is criminal. My heart goes out to Washington and the loss of his talent. I’m 49 and I regularly kick myself nowadays for my lack of a retirement plan.

I give to the Hero Initiative. I’m a card-carrying member, but often I worry if that will be enough for this and the next generation of creators.

Thad said, on 6/19/2012 8:05:00 AM

And just weeks ago Scott Kurtz was explaining how the lack of fair compensation to creators was solved decades ago.

Static had a cartoon series. He was an action figure. Stuff like this shouldn’t happen.

Grady Hendrix said, on 6/19/2012 8:10:00 AM

I do think that the Hero Initiative should get more support from corporations, and I was surprised there wasn’t more push for this when the Avengers was released.

The individual urge to give is fantastic, but a big dog like Time Warner could drop a donation that would make little difference to their bottom line, earn them a large amount of community goodwill, and make a real difference to the Hero Initiative.

Allen Berrebbi said, on 6/19/2012 8:38:00 AM

Seriously, billion dollar companies like Marvel and DC can’t do more? Think of the PR benefits from the move.

It’s aslo a way to give without acknowledging what they’ve done, a win-win.

Joey said, on 6/19/2012 9:11:00 AM

Creators need to learn hard lessons from these patron saints of the industry. Just like everyone else in the world with 9-5 jobs, the goal is to build a career…not just a few years where you had a few good runs.

Its troubling how many contemporary creators don’t even think about long term career building, and just assume a charity will be around to pay their bills once their shelf life at the big 2 is over and they are no longer relevant in the industry. (which comes a lot quicker than they might think)

I’d love to see a time when we no longer need the hero initiative.

James Smith said, on 6/19/2012 9:56:00 AM

No one is walking around expecting a charity to pay their bills.

Richard Caldwell said, on 6/19/2012 10:49:00 AM

@James are you really sure about that?

This is Steve Perry all over again, a talented creator needed help, and the Hero Initiative gave too little too late.

And shame to DC for not opting to share a few grand of their Static Shock money to pitch in.

I keep coming back to Michael Netzer’s ideas concerning a comic book union, so at least this sort of thing cannot happen again.

James O. Smith said, on 6/19/2012 11:24:00 AM

Yes, I am.

David Bird said, on 6/19/2012 1:11:00 PM

I am also sure that no one is expecting others to pay their bills. The problems have already been addressed: no retirement plan and no back up plan.

Rather than expecting others to pick up the bills, people just expect to work to a place where they have their dream job and then everything will take care of itself (and that’s not just creative people) but it doesn’t take care of itself.

Richard Caldwell said, on 6/19/2012 1:21:00 PM

I believe there are many persons receiving aid who do not need it, so that when legitimate cases, like Washington III, need help none can be found fast enough. Obviously.

James Smith said, on 6/19/2012 2:24:00 PM

Possibly. Probably. But that’s a different discussion. And “belief” is irrelevant.

Bryan Uhlenbrock said, on 6/19/2012 2:27:00 PM

@Richard: Are you really sure about that?

Sorry, it was a cheap & easy comeback. But really: do you have any facts behind your belief, or are you just believing whatever is most convenient for you to believe? I doubt that the Hero Initiative is just handing over money to every Lazy Lardass that happens to walk in the door…

spiderrob said, on 6/19/2012 2:27:00 PM

Save your money people. That way if you are a flash in the pan, you have some left over through the lean times.

Mark Mazz said, on 6/19/2012 3:07:00 PM

I don’t know what the solution here is, but it would be a huge help if some of either Marvel of DC’s income could be used as a tax write-off to an industry charity.

Even to the level that they replace their computers on an extended schedule. It’s Criminal that Robert Washington didn’t have a computer to write on. I’ve always tried to find a good home for my aging computers. You never know what a talented creator is working on. Marvel has helped several creators without broadcasting what they’ve done (ie: Gene Colan thanks to Clifford Meth).

This was a HUGE failure of us as a community…any number of us could have given him our old machines! It’s not always a corporate problem, but seriously embedded in how the industry looks at bright shiny new talent while throwing the old pros to the dogs. We are living through incredibly rough times, and those that don’t know that are clueless.

Robert Washington, I wish I’d known you better. Rest in peace, sir.

Matthew Murray said, on 6/19/2012 3:52:00 PM

@Thad
Did Static ever actually get an action figure? I remember Dwayne McDuffie complaining that one had never been made.

Jimmie Robinson said, on 6/19/2012 5:01:00 PM

It’s not just that Washington didn’t just have a computer, but he also didn’t have the money for the Internet service. Granted, if he had a laptop he could pick up free wi-fi at a coffee house, or something.

But that’s a quibble. The pith of what Mark Mazz said is correct.

Many creators replace their computers / equipment regularly. It would be wonderful if there was a way to get those devices to other creators in need (sadly, the shipping would cost an arm and a leg and create a logistical mess), but if the Hero Initiative or CBLDF set up something at San Diego or New York I would donate money and materials to such a cause. Not just for the aging and ill, but also the upcoming creators.

Offering folks the tools to make their lives (and others) better is what a community is all about.

Al™ said, on 6/19/2012 5:30:00 PM

Life in the Arts is never easy. For the few who make it big, there are many many who either scrape by, or might do relatively well until they fall out of favour.

Like one former manager told me “a career does not consist of just one job”. Always be planning your next step.

Brad said, on 6/19/2012 5:46:00 PM

This is, as you say, advice for everyone. But the cost for this advice is too high.

So what can we do? Start a petition for Disney/TW to donate to match donations to the Hero Initiative? Is there one already? The Initiative does good work — I think a corporate donation there would be more helpful to the ongoing problem than something for people who are already gone.

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Legendary Filipino creator Tony DeZuniga recently had a severe stroke, and he is currently in critical condition. And his family does not have health insurance—yeah, this stuff happens in the Philippines, too. HIs wife Tina wrote of the details in the link below.

A benefit has been set up by Terry Allen who writes:

I’ve been in touch with Neal Adams and he’s going to try to pull something together to help Tina and Tony. If anyone would like to contribute to Tony’s health care, they can send the money directly to the DeZunigas via Paypal at [email protected].

If you make the payment as a personal gift, 100% of the amount gets transferred.

I have some books signed by Tony on my website www.fantompress.net.  I’ve been doing Doc Savage related collectibles to help Bob Larkin whose wife is suffering from brain cancer.

Tony signed book plates for the Showcase Doc Savage reprint from DC and I’ll donate 100% of the profits from the sale of the Showcase books to Tony as well as 50% of the profits for anything else on site that you purchase.

Tina also is hoping to be able to send scans of some of Tony’s art that she will sell to help with their bills, so please drop me a line to get on the list to be notified when I get them.

Hero Initiative is the non-profit organization that aids comic creators in medical and financial need—and if you’ve been reading the Beat lately you know that they are more needed than ever. Tonight, as part of the Emerald City Comicon, they are having a bowling fundraiser which sounds like a great time for a great cause, as they say. Although spots have already been auctioned off, you can still go watch the fun:

That’s right! We’re bowling to raise money for our cause on Friday March 30 at 8pm! There are 24 spots to bowl with a special guest including Jim Valentino, Francis Manpul, Barry Kitson, Tony Parker and more at Garage Billiards at 1130 Broadway in downtown Seattle! (http://www.garagebilliards.com) For $40 you get 2 games with a special guest, shoe rental, a drink ticket and five raffle tickets to win a bowling pin designed by artists such as Joe Linsner or Matt Wagner!

And if you don’t want to bowl, come and have some fun! The custom bowling pins can be won by ANYONE who shows up! Raffle tickets are $5 each, and tickets will be sold all day Friday at booth number #807 and all evening at the event. Winners MUST BE present.
 
And of course our special guests at the booth will be signing and sketching for us. Check it out!
 
Friday, March 30 (hours 2-8)
200-300: Keu Cha
300-400: Scott Morse
400-500: Mike Oeming
500-700: Bill Willingham
 
Saturday, March 31 (hours 10-7)
1230-130: Jim Valentino
130-230: Adi Granov
430-630: Chrissie Zullo
 
 
Sunday, April 1 (hours 10-5)
1030-1130: Steve Lieber
1130-1230: Matt Fraction

The CBLDF is offering this swell poster for THE MASSIVE by Brian Wood and Kristian Donaldson as member thank you. BUT ONLY THIS WEEKEND! So hurry if u want to get this charmingly model kit-evoking poster.

This weekend only! Brian Wood and Dark Horse Comics are thanking new and renewing CBLDF members by giving away an exclusive print promoting the upcoming series THE MASSIVE by Brian Wood & Kristian Donaldson. The 17″ x 24″ print, which was given away exclusively at ComicsPRO was designed by Wood to evoke the classic Japanese model kits of his youth, and will come signed by the artist. This weekend only, we’re offering it as a thank you to everyone who joins the CBLDF at the $50 Supporter level or higher, while limited supplies last! Please join the CBLDF today!

We’ve been meaning to write up the disgusting legal maneuver that has left 69-year-old Gary Friedrich owing Marvel $17,000 after a failed attempt to get some ownership of Ghost Rider, a character he co-created back in the ’70s. In a story first reported here by Torsten, Marvel/Disney filed a countersuit for copyright infringement based on Friedrich’s convention appearances selling Ghost Rider-related merchandise. As Daniel Best wrote:

This stipulation has been agreed upon and so ordered by the court, with the final judgement reflecting all that contained within. This now means that Gary Friedrich has the right to appeal, and appeal he shall, but it also means that he now owes Marvel Comics, a multi-million dollar making machine, backed by the multi-billion dollar Disney company, $17,000 and cannot ever sell anything related to Ghost Rider, nor can he even say that he created Ghost Rider for any form of gain or advertising. Well done Marvel!! I do wonder though, how does the likes of Joe Quesada, who has also made millions from Marvel in recent times, take the court’s judgement? As Friedrich himself has stated, he is unemployed, has no real assets and is, for all intents and purposes, destitute. $17,000 might be chump change for some, but for someone in Friedrich’s situation it’s a lot of cash.

Second and even more chilling is the possible end to the gentleman’s agreement that has allowed freelance artists to sell sketches, drawings and even entire books of art based on copyrighted characters. Marvel and DC have long looked the other way for this staple of the freelancer’s income. But Disney doesn’t. If Friedrich owes $17,000 over the bits and pieces he has sold over the years, what about the countless, expensive convention sketches by Adam Hughes to name just one? Or Steve Rude. Or anyone.

These questions are now circulating everywhere. In the meantime, Friedrich is old, broke and in ill health. Although many doubt Marvel will try to collect the money—since he had none—the ruling has taken away one of the few ways he had to make money. As he has written to several supporters, he is in danger of losing his home. In a recent Facebook status update, he wrote:

Since the various news agencies and websites have reported the ruling against me on my claims against Marvel in the Ghost Rider lawsuit, and the assessment of a $17,000 judgment against me and my company instead, I have read an amazing amount of comments in my support on the internet, and have received many messages of support directly. Although the reports of my emplo

15 Comments on Help Gary Friedrich—new donation site set up, last added: 2/11/2012

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PRM said, on 2/10/2012 4:15:00 PM

“Giving Gary a screen credit & a check for $20,000 is not something to HAVE to do – but it should be something they WANT to do – for both Gary & themselves & the fans. Everybody wins.”

So anytime anyone claims they created something Marvel or any other large company should just pay up, no questions asked? I think that sets a dangerous example. I’ve never read one thing that says Gary 100% created Ghost Rider. This is definitely not a clear cut case. A judge decided, it’s unfortunate it wasn’t in Gary’s favor.

Why is everyone just assuming Marvel is wrong and Gary is right? Artist and writers are never wrong? And when they are wrong they deserve our unquestioning loyalty and financial support?

Maverickman874 said, on 2/10/2012 4:21:00 PM

I hope Mr Friedrich financial situation improves and Marvel never really collects the 17000 but the case doesn’t seem to be black and white.

Every blog post has stated that Gary sold Ghost Rider related merchandise. What exactly did he sell ? From what I understand sketches sold by artists at conventions of characters they don’t own is not considered illegal.Neither are commissions. Did he sell t-shirts or something that got him into trouble ?

Stazzy said, on 2/10/2012 5:33:00 PM

Anybody who thinks that this is just about Gary Friedrich is kidding him or herself or is in strong denial. That is NEVER what such rulings are about.

And BTW, using corporate shill Bendis to support the merits of Marvel’s case is a bit silly.

Chris Hero said, on 2/10/2012 5:44:00 PM

Reading these comments, I feel like I’m seriously beginning to hate comic fans. So many don’t have a shred of empathy for anyone.

CitizenCliff said, on 2/10/2012 5:57:00 PM

Marvel / Disney will continue to squeeze every last nickel and give no credit to those who made them billions. They’ve been very successful so far, they have no reason to change, unless it begins to cost them money. Don’t buy their books, don’t go to their movies, don’t do work for them. I can hear it now: But I must do work for them — it’s what I do. Then don’t be surprised when you’re 69 years old and some lawyer slaps you with a cease and desist.

I just plunked down my money at Steve Niles’ site. I encourage everyone else to. Be a man or be a sheep.

Chris Hero said, on 2/10/2012 6:09:00 PM

I just went in for $100. I dare people to match me.

CitizenCliff said, on 2/10/2012 6:15:00 PM

Good man — I did the same Chris!

Chris Hero said, on 2/10/2012 6:25:00 PM

Awesome, Cliff! You’re good people, too! I think you’re restoring my faith in comic fans.

Patrick McEvoy said, on 2/10/2012 7:09:00 PM

I donated a little – what I could afford right now. Hopefully, more later.

How can people claim to love SUPERHERO comics, and then have the callous, cruel feelings towards the creators of those comics that I read here?

Steve Flack and those who agree with him: listen to yourselves. What you are saying is what Scrooge would say, or any other villain of fiction: “Are there no prisons? Are there no workhouses?” I’m sickened.

fake name said, on 2/10/2012 7:25:00 PM

Marvel is one of the only companies I can think of that looks the other way as former employees reproduce their trademarked images for money. He sold the character to Marvel but now he needs money so he sued 7 different companies over rights he has no new proof of ownership to. He cost these companies millions of dollars in legal fees. So they made an example out of him and sued him back. So unless people want an end to comic conventions as we know it, unless artists want to start paying royalties for every sketch and print they sell, how about dialing the outrage back and act like the artist is the primary reason (if any reason after 30 years) for a characters market value.

fake name said, on 2/10/2012 7:29:00 PM

And by Marvel I mean all the major comic book companies. NFL, ASCAP, The Sierra Club, etc. would be all over a former employees ass if they tried to sell reproductions or recreations of trademarks they own. NFL players cant even sell pictures of THEMSELVES in uniform unless it has a NFL royalty stamp on it.

Wow said, on 2/10/2012 8:33:00 PM

I honestly can’t believe some of you are trying to justify this. I don’t know or care to know the details of the case Friedrich brought to court, mostly because I have never given a shit about Marvel and don’t plan to start. But we all know this is a symbolic middle finger to all the old school creators who were duped into bad contracts because they needed the money and might be looking for some piece of the gigantic pie Marvel is making off their creations. Doesn’t matter that Marvel might technically be right to do this or that in a legal sense they should — until corporations can treat artists like real people instead of means to an end, I for one cannot support them.

Hey guys, whatever money you normally spend on Marvel products, donate that money Friedrich or discover an independent artist trying to make it work outside of the conventional corporate business model. There are plenty of smaller comic publishers putting out really great work and treating their creators very well in the process. Vote with your dollars, it’s as simple as that.

fake name said, on 2/10/2012 10:52:00 PM

Of course you can’t believe I am trying to justify it, you admit you dont care to know the details. Name one other company that lets former employees make money on the side using their trademarks? Every business in the world works like this. Do people think the chemist that invents bug spray or baby shampoo while working for Dow chemical gets residuals of sales for the next 35 years? Or that a screen writer that sells his script later gets toy residuals? This guy is FUCKING OVER every artist in the business. He sold “ALL RIGHTS” he had no case but needed money so filed half a dozen lawsuits figuring they would pay him to go away rather than run the $100,000s taking him to court. Figuring he had nothing to lose, well he was wrong. Ghost Rider makes money not because some penciler drew what the writer described to him. He has nothing to do with the money being made now. But he figured he’s create nuisance lawsuits until someone paid him to go away. Remember this when Marvel & DC start demanding royalties or prohibiting artists from selling merch or artwork at conventions.

Nate said, on 2/11/2012 12:12:00 AM

fake name = no brain

Hikaru said, on 2/11/2012 12:33:00 AM

The comics industry needs a union. I know it’s a long shot in hell but its way overdue.
It needs to be done for artistic integrity and to give a voice to those that can’t afford to raise their own.

Suing a man currently in financial ruin simply to “send a message” to other creators as some have said is a racket. Disney has proven time and time again that they don’t fuck around. They go for the jugular and they will do every thing they can to protect their interests.

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