Pen, Paper & You
+Harvey Pekar, Krypto, and Don West
I know.
I know.
I know.
Successfully adapting comic books into movies, TV, games, toys and merchandise comes with its just rewards. As it should because more people on planet earth consume movies, TV, games, toys and merchandise MUCH MORE than comic books. I mean, when was the last time YOU were in a comic book shop? When was the last time YOU read a comic book?
Some producers claim comic books are basically source material. Intellectual property to be beta tested in the dungeons of comic fans abodes and if something hits and sticks, lands on an executives desk, well, Hollywood will happily take a look-see. See if said property can be developed into something lucrative.
So when I see this Variety headline, "‘Deadpool’ Director Tim Miller Says He Got Paid $225,000 For ‘Two Years of Work’ on the Film; His Agent Told Him: ‘Dude, You Make More’ on a ‘Walking Dead’ Episode!" —I can't help but cringe. Not because I don't understand it but because it always FEELS unfair.
Unfair to who?
The amount of work that goes into making comic books. The amount of stories needed to make a dent on the book shelf. The amount of "profit and loss" determination can be staggering. In most cases, a comic book series can fail and the creators and investors probably won't lose their shirts. However, a movie tanks and it could destroy executives, hobble veterans, and crush the promise of young talent. There's a lot more at stake when producing movies and merchandise. Whereas comic book creators and publishers can produce a concept, see how well it's received, and decide whether or not to move forward with less financial risk.
Every time I read a headline that talks about the business of creators, especially the crossover between comics and movies and the financial woes of very well paid directors, agents and executives, I think to myself, "Why am I spending my life creating concepts in a medium that barely pays the bills?" I mean, I could TOTALLY direct actors on location or in a set. It may prove challenging but I have the confidence and open mindedness to craft collaborative stories for cinema.
So, why don't I?
It's because I love comix to the sacrifice of my mental and physical health. It's because there's nothing comix can't do. I mean, look at what comix do for other, more lucrative mediums. And no one can stand in your way. It's between pen, paper, and you.
And you.
And you.
And you.
You can buy “Rainbow Fish,” and other amazing paintings and prints, including a “Dog” appreciation book, exclusively at Jen Ferguson’s website. Look out for more of her glorious art coming soon!
Michael Farah talks to my extraordinary studio mate, Whitney Matheson, on the Dollar Bin Bandits podcast.
Here's a video link to the "American (Jewish) Splendor: Celebrating Harvey Pekar and Joyce Brabner" panel from JewCE 2024. The panelists are Dean Haspiel, Jeff Newelt, Josh Neufeld, Peter Kuper, Arie Kaplan, and Danny Fingeroth. Enjoy!
In Richard Donner's Superman movie, Lois Lane is falling from a skyscraper and Superman catches her in mid-fall. He says something like, "Don't worry, I've got you." And she says something like, "You've got me? Who's got you?" James Gunn answers that question in his new Superman movie trailer...
Meanwhile, I can't stop listening to Don West’s debut. Six perfect songs. A singer/songwriter from Sydney, Australia flexing 1960s soul with heartfelt muscle. Check out “Rather be lonely.” I really needed this.
HEADS UP: The majority of my newsletter will still be for free but, come January, I'm going to start testing the waters and post stuff for Paid Subscribers only. I wanted to do something project based but I don't have that set up just yet. I have a bunch of things I'd like to share; pitches that never sold, plays, scripts, drawings, and process stuff, etc. And I'm considering co-producing not one but two guerilla-style podcasts. Possibly a YouTube channel.
2025 is going to prove to be extraordinarily challenging for everyone I know, including freelancers, and my gut says I need to appeal to people who prefer, or more accurately, respect authenticity over artificial. Not that I don't enjoy the candy. I like the candy. I like special effects. I like some of the nifty things that makes my life a little easier. That makes production possible. But as much as they want us to combine and mirror the spirit of humanity with the cybernetics of technology, MORE than we already do, a specific line is going to be drawn between human and robot, between individual and corporation, between creator and creation, and I need to protect my neck with intelligence and pride.
There are things I really want to do that requires employing some of the very tools I sometimes criticize while building a bigger readership. While growing a larger audience for me to communicate my art and ideas. Because I count on your belief in me, I need to become positively industrious.
The engines of progress are fighting creator rights and jockeying for a pole position yet to be fully understood. Yet to be determined. There are serious conversations to be had. Serious steps to take. A tribe to assemble. I hope you'll join me for the journey.
See you in the gutters.
love, Dean
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Dean, as someone who does participate in your Kickstarters and always down for your work, let us know the price and I’ll do a paid Substack for your thoughts as well.