Category: Uncategorized

I hadn’t intended to be offline for over a week, but a lot of factors conspired to make it happen. Probably the biggest one was my indecision over whether to do a daily recap or post bits and pieces similar to what I did on Twitter as they happened as I did while attending previous conventions. In the end, poor internet connections at both the convention hall as well as the place where I was staying made both options difficult if not impossible. So here I am doing a day-by-day recap to give some idea what I went through.

PREVIEW NIGHT

My usual routine when attending the San Diego Comic-Con is to drive down on Tuesday and check in at the place where I call home base for the duration, have a good meal and get a good night’s rest. Once Preview Night begins the next day, it’s like jumping on a train and holding on for dear life while figuring out how you’re going to make it through the ordeal

Come Wednesday morning, I attended to a few last minute errands getting everything set before driving to the Convention Hall garage. Unless one plans in advance, there is no getting near the Convention Center with one’s car, as the parking spaces go fast when made available online. The same attention to detail applies when booking a place to stay, as I’m already signed up for lodging for next year’s convention.

This year is different in that it will be the first time in several years that I will be traveling to a comic convention outside the confines of California. I’m scheduled to appear at the FANEXPOBoston during August 4 thru the 6th as well as FANEXPOCanada from August 24th thru the 27, so I consider whatever I do for Comic-Con a dry run for what comes next.

That means figuring out what gets packed as well as what gets left behind. Did I bring enough books? Too much? Too little? Did I bring the right mix of original art and prints? This year I packed a variety of items to sell to get some idea what people are looking for.

I started setting up in Artists Alley about 2:00pm, spending around an hour just going back and forth from my table to my car to bring everything I needed for the set-up. My biggest concern was the banner I was setting up behind me, as I couldn’t tell whether I had 3-feet or 4-feet of space to play with. In the end, it didn’t matter as the artist next to me had a set-up that allowed for the base of my one stand to encroach on her territory. Everyone has decided to make the best of such tight spaces to work with.

The organizers of the convention kept announcing they were going to open the doors to the public around 5:00pm, and maybe they did, but the actual crowds didn’t start coming in until 6:00pm.

It probably took 30 to 45 minutes before I saw my first Sonic fan, as people coming in get oriented to the floor layout. There’s also so much to check out that what one intended to check out first may end up being the fifth or sixth thing as one moves from the hall entrance to deep inside the convention center. Artists Alley is in the G Hall, so there’s a LOT to pass by along the way.

Among the first visitors to stop by was a father who inquired if I do commissions, and if so, could I do one with his son posing with the character Knuckles. At the risk of sounding immodest, I could draw Knuckles in my sleep and have a knack for likenesses, which I demonstrated early on in my career when I illustrated several STAR TREK comics for various publishers.

On a drawing like this, I start with a rough outline and start developing shapes in proportion until I finally feel comfortable enough to work in the details. The drawing above was about as far as I got when the hall was closing at 9:00pm.

This was the first cosplayer I encountered on Preview Night. Once one asks permission to take a picture, it’s understood the picture is going to posted on social media somewhere.

The rest of the evening was spent talking with Sonic fans who showed up while I was working on the commission piece, most of which stopped by to say hello, get an autograph and/or trying to figure out what they wanted to purchase. It would be more of the same during the following four days, only with more people showing up each day.

By the time 9:00pm arrived, I was soon on the road heading back to the hotel. Unlike years ago when I stayed closer to the convention hall and enjoyed more of the night life with family and friends, I was on my own for the moment and just wanted something to eat and a good night’s rest. Thursday would be here soon enough.

DAY ONE: THURSDAY

I don’t normally post pictures of myself as I’m usually the one taking them. I especially hate taking selfies of myself as I feel they open me up to accusations of narcissism, but sometimes one has to do what one has to do. And if I want people to have an easy time finding me, one makes sacrifices for the greater good.

I arrived a bit late this morning at the convention hall due to not allowing enough time to catch the early bus that runs from where I’m staying in Mission Valley to downtown San Diego. Upon arriving at the Convention Hall, I go in through the G Hall door only to be told by Comic-Con staff to use any other hall but G next time I arrive in the morning. Why? Couldn’t tell you, but I finally made it to my table where I quickly prepared to start my day.

Once the crowd started to arrive, so did the cosplayers. Usually I’m able to take pictures and load them online quickly, but today I was determined to load everything onto this very website first, only that didn’t go as hoped for or planned. It seems the convention organizers would rather one pay for their overpriced web service than allow anyone to have a good signal. I’d pay the $79.95 being asked if it covered the entire convention, but paying that much on a daily basis is outrageous.

So I focused more on the commission drawing I was working on while acknowledging passers-by and speaking more at length with those who had questions or realized at the moment that I was in some vague manner associated with SONIC THE HEDGEHOG.

Every now and then when I’d take a quick break, I’d walk thru the aisles featuring dealers selling original art, mostly pages and covers that were created for books I’d pick up at the time. The FANTASY MASTERPIECES cover (above) is notable in that it’s the only piece I’m aware of that creator Jack Kirby both penciled & inked. The piece slightly lower to the left is a page from DAREDEVIL ANNUAL 1. Either of these I’d be happy to add to my collection but both are sadly beyond my means to acquire. This applies to the majority of works from that era.

The costumed webslinger (above) stopped by my table because they were drawn to the Sonic items I had on my table. So he brought his dad and both checked out the items I was displaying. He naturally assumed the pose when I asked if I could take their picture.

The art above is a page Jack Kirby penciled that was published in TALES OF SUSPENSE issue 85. It was displayed at the booth directly across the aisle from me, so I had ample opportunity to check it out. And no, you’re not misreading the price tag.

An individual dressed as the mutant Sunfire stood and posed when I looked up from my drawing. There were a number of people who walked by wearing incredible costumes, but I was either busy drawing or interacting with others, thus missing out from having a bigger selection to show.

Barbies of all ages and sizes were all over the place. There were also quite a few Kens walking by. There were guys even dressed up as Barbie as well as a Wonder Woman or two. I think I might have seen an Oppenheimer or two in the crowd, but I can’t say for sure.

The Super Mario Bros along with their friends and foes made an appearance as well.

While still working on the drawing, a man in his mid to late 30s approached me looking for my friend, Elliot S! Maggin. He pulled out the artwork you see displayed in the picture above which resulted in my jaw dropping. This page is not only the first page to one of the most classic Superman stories of all time – we’re talking 85 years worth of stories, folks – but also the first page of the very first Superman story that Elliot pitched and sold to DC Comics. This wasn’t work-for-hire as some would like to claim. This was spec work. Elliot would pitch an idea and if it caught DC Editor Julius Schwartz’s fancy, he’d tell Elliot to develop it further. Only when the script was finished would Julie commit to buy the story.

Since I know a thing or two about original art, I had in inquire how much the owner of the page paid for it. He in turn recalled paying in the ballpark of $7000 to $8000 several years ago for it. After seeing what similar pages were going for at the show, I’m pretty sure were that page to sell now, the price would be considerably higher. $30,000 to $50,000 would not be out of line these days.

One has to admire fans who go the distance and cosplay as one of the more obscure Dr Strange villains, such as Tiboro who originally appeared in STRANGE TALES issue 129. This person captured the essence of creator Steve Ditko’s design, so he gets bonus points in my book. I haven’t followed the adventures of DR STRANGE in the comics since the mid-70’s, so I don’t know if Tiboro ever reappeared in any adventures since, but Marvel may wish to reconsider where the TV series and films are concerned.

STAR WARS, and especially THE MANDALORIAN, were well represented at the convention. This was the only time I spotted Grogu with IG-11 instead of Din Djarin. I may not know STAR WARS lore all that well, but I have enjoyed THE MANDALORIAN a lot since it began. While these characters were getting an assist from their fellow human, a real robot in the form of WALL-E would eventually be seen manuevering through the aisles. I just wasn’t quick enough to take video of it.

Even the GHOSTBUSTERS made the scene, and there was more than a few wandering the aisles. Unfortunately, I didn’t see any of the female members of that elite group show up at Convention this year. Here’s hoping that gets corrected next time.

By this point, I had sold a number of SONIC ARCHIVES, some back issues as well as a selection of prints.

This was one of the more heartwarming depictions of Sonic & Tails as a mom with her young son posed upon request. I really had to act fast if I hoped to get this pic, as people were constantly on the move.

By this point, Day One was coming to a close and I had just managed to finish up the piece I was commissioned to do. I can’t do justice to the number of people who stopped to watch me work on this as well as take pictures or shoot video of me doing so. I felt relief more than anything else once it was finished. The father wouldn’t pick it up until the weekend.

I was more than ready to call it a day once it was announced over the loudspeakers that the hall was now closed. It was time to head for the bus back to the hotel.

DAY TWO: FRIDAY

When I arrived Friday morning after being delivered to the bus stop across from Petco Park, I began walking on the sidewalk next to the trolley tracks. It’s here that one generally makes first contact with some of the outdoor displays. The first display I would come to featured the TEENAGE MUTANT NINJA TURTLES van from the new film. I was glad I took these pics because unlike previous years, the van would disappear and I wouldn’t see it again during the show, with no explanation provided. The WGA & SAG-AFTRA strikers had made Hollywood’s participation this year a non-factor, so no one was sure what promos were going to be seen.

As I continued my walk, it was apparent the crowds were not hanging around the outdoor exhibits as in previous years. Case in point, THAT 70’s SHOW was at the convention to promote it’s 25th Anniversary, but with the SAG-AFTRA strike going on, none of the actors showed, only their cut-outs.

The Forman car was on display, but even that wasn’t handled consistently. Sometimes it would be there. Other times, not. (Was the gang driving it around the streets of San Diego when no one was looking?) Back when the show was on, my family and I managed to get tickets for a taping on an episode, so we actually got to see a performance live on stage. Seeing the car made me wonder if they still have live performances. In the age of COVID, probably not. Nor could we have imagined back then that one of the main cast members would be facing prison for rape. Those were innocent times back then, indeed.

The ironic part was that while the Hollywood trade papers and major media outlets were downplaying Comic-Con because of the lack of Hollywood participation, everyone at the convention seemed to have a great time. So much so that the Hollywood contingent wasn’t missed at all. It should make for some interesting discussions when talk turns to plans for next year’s convention.

This was the first show where I really made a major push to promote THE LARA-SU CHRONICLES. I was wearing T-shirts with my own designs. I had lanyards featuring the new design, plus prints and an iPad to show off THE LARA-SU CHRONICLES prototype app, which never failed to impress anyone and everyone who saw it. People made it clear they wanted to know when it was coming out, which only made me more anxious to get back to work to finish up the material for the initial release.

I’m usually not so self-promoting in this manner, but I felt images of myself as well as my table would make it easier for people to find me. So I tossed all inhibitions out the window and got with the program. I even asked the woman manning the booth across from me to take my picture, which she so graciously did.

As Bernie had just arrived late Thursday evening on a flight from Sacramento, I let her sleep in and manned the booth myself. As I had no commissions to complete, I ended up taking pictures of cosplayers, such as this couple wandering the floor as Captain America and the Scarlet Witch, when I wasn’t talking with fans who had questions or just wanted an autograph signed.

As I said previously, I saw lots of Barbies throughout the convention floor, but I believe this was the only one I saw that came packaged.

At some point, Bernie made it into the hall, so I was able to get away from the table and check out a couple of things. At the Paramount+ booth, they had a model of the U.S.S. Enterprise NCC-1701 on display, which I would have loved to take home. They also had a mock-up of the Enterprise Bridge with Captain’s chair that people lined up to have their picture taken in. As I told Bernie I wouldn’t be gone long, I had to resist the urge to wait in line.

My son Steve had called earlier in the day and suggested I might want to check out the Lego booth, hinting there was something my grandson Julian was excited about. Since it was located a couple of booths past the Paramount+ booth, I went to check it out.

This was a light crowd in comparison to other times I attempted to check out what was inside.

Once I reached a certain area of the booth, it was clear what my son and grandson were focused on. The Lego booth is a fixture at Comic-Con with a different display every year. Last year they had STAR WARS, SUPER MARIO BROS and MASTERS OF THE UNIVERSE characters constructed with Lego blocks. Before COVID, they had a huge IRON MAN figure built out of Lego blocks on display.

When I look at the pictures of other figures, as much as I like this, I’m forced to admit it’s not one of the company’s better efforts. The flip side is I know I’m not capable of constructing this, so who am I to criticize?

It was the Sonic playsets that really caught my eye, but unfortunately, they weren’t being sold at the booth at the time I was there, so I had to get back to my booth so I could have Bernie check out how I could get my hands on these sets.

Back at the table, this young lady made an appearance at my table and she was rocking the Lt Uhura look like nobody I could remember except for Nichelle Nichols, whom I met in person at a Boston STAR TREK convention more than 30 years ago.

This young couple came as Bane and Poison Ivy, trying more to match the comic books than the films. In this year at this convention, it truly was the appropriate way to go.

I was busy with someone interested in buying some back issues when this unique creature made the scene. No, not the cosplayer, who looked like she’d fit in on a LEGEND OF ZELDA adventure, but what she was riding on. What I later learned is the conveyance was featured at a booth labelled MAGIC WHEELCHAIRS, and this was but one design to select from. Doing further research, I came across a website that describes Magic Wheelchairs as a nonprofit organization that builds epic costumes for kids in wheelchairs at no cost to families. What an epic way to allow afflicted kids the opportunity to take part at Comic-Con in a spectacular way.

While the sight of Captain America, Indiana Jones and Batman are expected at Comic-Con, I appreciate when someone puts together an intriguing looking costume that grabs my attention, especially when the helmet covers the entire head with no obvious means of allowing its wearer a clear line of sight.

This couple would be the last to parade past my table. I would see plenty of single Mandalorians and single Ahsokas but this was the first couple walking around cosplaying as the characters and really looking the part.

It wasn’t long after I was once again heading for the bus back to the hotel.

DAY THREE: SATURDAY

I had to take care of a couple of errands immediately after arriving at the convention hall. Bernie manned the table and I thought I’d feature her promoting my work to people who showed up inquiring about the many items I had for sale. Everything was selling at this convention.

Yet another STAR WARS cosplayer, this one as Queen Amidala. I saw plenty of Obi-Wans, a few Princess Leias, a couple of Darth Vaders, multiple Mandalorians, but this was the only Queen. I didn’t see any Lukes or Hans either.

I’m not sure who the cosplayer is supposed to be, but Bernie loved the costume, so I asked to take her picture.

This cosplayer may not be Hayley Atwell, but she makes for a great Captain Britain.

I was talking with some people at my table when this cosplayer made for great imitation Chris Hemsworth… er, I mean, Mighty Thor. The only complaint I have is that he wasn’t wearing the helmet.

At some point during the early afternoon, I took a break and went in search of my friends Scott Shaw! and Larry Houston. I was able to find Scott’s table and snapped this price list Scott had on display as I was hooking a friend up with Scott who was seeking Scott’s autograph as well as wanting to buy original art and prints from the man. As for you Sonic fans reading this, here’s a chance to connect with the very first artist of the Archie SONIC series. You’re welcome.

I finally found my BFF Larry Houston at his table in aisle 800 way in the back. His wife Alexandra was there to support him while son Adrian was roaming the hall at this time. We really didn’t have much time to chat as he was surrounded by X-MEN fans during the entire convention. When we did finally meet up, it was for a quiet dinner after the convention was over on Sunday. Bernie & I were able able to enjoy drinks, good food and pleasant conversation with Larry, Alex & Adrian relating what we we saw and did during the convention. (SPOILER ALERT!) Overall, we agreed we had a great time.

Every now and then when trying to get from one end of the convention hall to the other, it was easier to do so using the lobby. It was here I encountered the X-MEN villain Apokalypse.

My first Skrull encounter happened at my table, and I was surprised I hadn’t seen that many Skrulls wandering the hallway, as my buds Larry, Elliot and I enjoyed the SECRET INVASION mini-series on Disney+ immensely. There was so much good stuff I don’t know where to begin. The bad part was Marvel not recognizing Stan Lee and Jack Kirby as the primary creators. There wouldn’t be any series or a Kree-Skrull war if not for their landmark work laying out the Marvel Universe in the pages of the FANTASTIC FOUR comic. The Skrulls, in fact, appeared in the FF’s second issue while the Super Skrull first appeared in FF issue 18. The Kree would finally show up in FF issue 64, with RONAN THE ACCUSER fighting the FF in issue 65. That’s how important the FF series is to the Marvel Universe.

I had to get this pic of Hobie Brown AKA Spider-Punk for my son Colin, if only for the guitar as Colin’s passion is playing guitar in a band, which he does whenever he gets the chance. Besides, I enjoyed the latest Spider-verse film, even if I still feel it could’ve been edited down into a complete film instead of breaking it into 2 parts.

Bernie & I liked the costume, but neither of us could make out who the cosplayer said she was portraying. It didn’t matter. She was having fun and that’s all that counts.

Doctor Strange and the Scarlet Witch made an appearance again at our table. Both characters were highly popular with cosplayers attending the convention, and it was both fun and interesting to see the various incarnations people came up with.

An Agent of SHIELD made an appearance, but I never found out if she was Quake, Maria Hill or some other intrepid agent that was taking a break from duty at the moment. NICK FURY, AGENT OF SHIELD was always a favorite of mine, especially when written and illustrated by the legendary Jim Steranko. It also helps the character was yet another creation of Jack Kirby and Stan Lee.

Women cosplayers always tend to come up with the most interesting interpretations of SONIC THE HEDGEHOG, and this one most certainly qualified. The ring, especially, was a nice touch. I can’t remember if she bought something, but she did enjoy looking thru the portfolio on the table before her.

Saturday was now coming to a close.

DAY FOUR: SUNDAY

I drove in this morning as I had purchased a parking pass so as to make tearing down and getting my stuff out of the hall as quick and painless as possible. Bernie had informed me that the Lego Sonic sets were going on sale at the Lego booth at 9:00am, so I made sure I was in the hall by 8:00am. I stopped at the Starbucks that was located in the Hall F lobby so I could relax with a Chocolate cream cold brew while I waited to head over to the Lego booth.

Incidentally, the main reason I had this photo taken – besides alerting people to the fact I was in the hall – was so the fans who sent me the SONIC & KNUCKLES T-shirt could see how much I appreciated their thoughtful gift they sent me last Christmas, as I don’t wear just any ol’ T-shirt while attending comic conventions.

So I arrived at the Lego booth just before 9:00am only to find the booth staff already waiting on some customers. I stood and patiently waited, wondering why the booth staff was posing for pictures with one individual in particular. When the group left, I walked up to purchase the Sonic Lego sets, only to be told that regular attendees had to wait until 9:30am to make their purchases. They explained that was some comedian named Puffy and his entourage they just waited on. Preferential treatment is usually a no-no at Comic-Con, but it appears that policy was chucked out the window in this instance. Lego management should have known better.

In any event, I was first in line, waited until the booth opened at 9:30am. I made my purchases, then headed back to my table where Bernie was setting up. After dropping off my items, I strolled down to the Holbein booth where I purchased my annual supply of oil paints. Between the paints and Lego sets, that was all I had time to shop for, and I was fine with that.

Upon returning to my booth, another father stepped up with a request for a commissioned piece of art. He wanted me to depict him and his daughter as some variation of Sonic and Tails. One of the more unusual requests I’ve received, but I was game, so I began sketching out the piece.

While working on the drawing, Supergirl showed up and so I snapped this pic, primarily for my friend Elliot, who had to leave the convention early to take care of his dog.

Who knew Bane was such a Knuckles fan? He looked through my portfolio, then decided he wanted to purchase a Knuckles print and have me sign it.

This was the first Kick-Ass and Hit Girl I met at the convention, so naturally I had to get a pic.

Finally, I completed the drawing, which the daughter came to pick up. She was thrilled with it, as was her father, who texted me his approval. Which makes me wonder all the more how did we ever survive without cell phones back in the day?

I am a sucker for dogs, and this Dark Sith Jedi dog was no exception. I didn’t want just a picture. I wanted video because I knew this dog would not disappoint, and he (she?) didn’t. Unfortunately, this Dark Sith Jedi already had a human to command or I wouldn’t have hesitated to bring this Jedi Warrior home.

We were also heading into the final hour of the convention at this point.

On the last day of the convention, wandering in the lobby brings all sorts of surprises especially as kids under a certain age get in free on Sunday. Today was no exception. As I was making my way to the Exhibitor Help Desk to get a Tear-Down Badge for Bernie so she could help me pack up everything I brought with me, I came across this great kid stroller. This would be great to stroll my granddaughters in, although I’m quite sure my grandson would want to ride in it as well.

While I’m not sure who two of the characters are, it was the Hawkwoman and Bizarro Superman cosplayers that caught me attention as I was heading back to my table.

There were plenty of Spider-Men at the convention, but this was the only Spider-Dino I spotted. I didn’t even notice the Nightwing in the background when I took this.

Now back at the table, Chewbacca would be the last costume I would preserve for the Photo Album before Bernie and I started to pack everything up.

After taking the boxes of books down to the car, I was heading back to meet up with Bernie in order to finish bringing everything else back to the car. I kept everything to a minimum in order to see what exactly I needed to pack when I traveled to conventions in Boston and Toronto during the month of August.

On the way back, I noticed this piece of original art on display at the Heritage booth. This cover piece was illustrated by the late great Dan Adkins and is being auctioned off with a listed price of $80K. I remember buying this issue off the racks as I would hunt down issues of STRANGE TALES ever since I bought issue 161. With Jim Steranko handling writing and illustrating NICK FURY while Dan illustrated DR STRANGE, this was one of the best books on the market during the late 60s as far as I was concerned.

I finally made my way back to the table where Bernie and I said our farewells to our Artist Alley neighbors. We then walked through the convention hall as all the booths were in the process of being dismantled. Dinner awaited with our friends, and then a good night’s sleep after. I was more than ready for a day of rest.

The crowd makes their way into the large halls. This scene is repeated at every entrance to each section of the convention center. It’s like the running of the bulls in Pamplona.

I caught the action at the beginning. It’s now a deluge of people of all ages, sizes and colors. They kept coming and coming. Eventually, some of them even stopped by. Some came looking for me and didn’t even know they found me until I told them. The reactions were priceless.

A father commissioned me to do a drawing of his young son posing next to Knuckles. I may get other commissions as a result of other parents watching the progress of the drawing who come away impressed.

What fascinated me are yet more fans who didn’t discover my work on SONIC until long after I had left the book, and still became fans. I continue to be gobsmacked by this development.

I had wanted to report this in real time but my iPhone kept freezing up and my iPad had no internet connection. Hopefully, Thursday will go better. I’m now calling a wrap on the day.

It’s that time again. I’ve just finished setting up my table space in Artists Alley and preparing to greet whoever shows up.

I’ll be here until the show closes at 5:00pm, doing my usual bit of conveying the happenings here on the floor.

The big difference this year is I’ll be posting on my website first, then providing links for those following on Twitter, Instagram & Threads.

I’m doing a lot of thing’s different at the show this year, looking at it more as a dry run for taking my act on the road to Boston and Toronto next month.

As usual, I welcome question and comments. If you’re attending Comic-Con, I’m at Table II-24 in Artists Alley, so stop by and say hello.

As I am ensconced in San Diego during the next several days for Comic-Con, please accept my apologies in advance for any and all delays shipping product purchased through this website. The earliest I can and will ship all packages out is Wednesday, July 26.

I appreciate everyone’s patience and understanding in the meantime.

Also, email me anytime with a question or concern. I will respond.

Thanks.

I’m currently going through everything I’m bringing to San Diego for Comic-Con. It’s like planning a military operation, only I lack the support staff the Air Force has, let alone the Army & Marines. While I figure everything I need to bring, I though I’d share a pic of my updated iPhone protective case as I really don’t have the time to write anything in detail as I recently have been doing.

The next time I post could be anytime between tomorrow night and sometime Thursday once I’m settled in at the convention. Expect to see my usual convention updates from that point forward. Take care in the meantime.

I’m now down to my last 15 prints of the SONIC BRAVE NEW WORLD Signed & Numbered Limited Edition Print. Because of my upcoming convention schedule, I’m only making 5 prints available for sale in San Diego, 5 in Boston and 5 in Toronto. I will release 1 from each batch for those who can’t attend.

The catch is one must order now before the start of each convention. You can order online here.

For almost the past two years, when I wasn’t working at my drawing board, I’d been spending time on film sets. From that experience, the main thing I come away with is that however important the writers and the actors are to the process – and they most certainly are as the film or TV series wouldn’t exist without them in the first place – there’s a whole support system that’s necessary to the production of one’s favorite films & television series without which the entire project would not be possible either. It does take a village, or in the case of films and TV, an army.

The vast majority of media writers are not presenting the full picture of the strike, focusing solely on the writers & the actors and whether or not they’ll cave to the AMPTP so everybody can get back to work as if filmmaking were just another 9-to-5 job.

The comments made by Disney CEO Bob Iger labeling the demands of the WGA and SAG-AFTRA as unrealistic sounded pretty tone-deaf, defining a man making $27 million a year plus bonuses even more out of touch than the workers he complains about, especially when he can’t say WHY they’re unrealistic. As if to add insult to injury, he then has the gall to blame writers and actors for costing a lot of people their jobs after firing 7000 Disney employees and/or contractors within the timespan of three months.

Add to that comments made by other members of the AMPTP about breaking the WGA by not negotiating until writers starting losing their homes should give everyone pause about what’s really at stake here.

Ever since that bastard Ronald Reagan – I won’t be a hypocrite here as the man was evil, betraying his working class roots in favor of the oligarchy he would come to champion – broke the Air Traffic Controllers Union and paved the way for replacing pensions with 401K plans, corporations have taken their cues since then that anything was preferable than dealing with a union. Name a company these days facing employees trying to join a union – Amazon, Apple, Starbucks, etc. – and you’ll see management doing everything they can to break those efforts.

The AMPTP is no different. If they achieve nothing else, eliminating having to deal with the various Hollywood Unions is their Holy Grail. It won’t be long after resolving matters with the WGA & SAG-AFTRA that IATSE will want its fair share of the pie, with membership demanding their leaders do better.

But resolving the differences that the WGA along with SAG-AFTRA has with the AMPTP will take some serious negotiating as well as acknowledgement that what Disney, Paramount, Warners, Comcast and other traditional Hollywood Studios want is completely different from what Amazon, Apple and especially Netflix will agree to.

Netflix was the first to start down the path of zero residuals by buying out everyone’s interests in a project. They may have been willing to shell out the big bucks back then but they’re certainly not willing to do that now. Beyond that, they have no interest in paying residuals. That’s money the executives in the upper levels believes is solely theirs, which is laughable as all of them are the most replaceable cogs in the whole machine.

During my time on various film sets, I have dealt with a number of film crews – location managers, grips, electricians, 1st & 2nd ADs, costumers, hair & makeup professionals. caterers, medics and so on – all of whom work long hours while showing up to start their day at the most ridiculous hours. They work in extreme heat and bitter cold, sometimes in the same day. That’s California for you.

Despite the difficult conditions and extreme hours, I have witnessed nothing less than professional behavior, even when they know they’re underpaid on a particular job, which applies to a lot of industry professionals, especially those who work on the so-called “reality” shows.

The actors I have witnessed or dealt with deal with the same conditions as the crew, with the only difference is when they’re in front of the camera and the focus is on them. During that time, most of the crew is “down” until needed. But before and after the filming, the crew is all hands on deck.

Before filming, actors are getting made up and into costume while studying their lines while a beehive of activity is happening all around them. What looks like absolute chaos is simply everyone pulling together doing the job they were hired for to make it happen.

I haven’t seen any writers on any of the sets I’ve been on. Nor have I ever seen a director or writer call for an on-set rewrite during filming. According the comments and articles I’ve seen, this has been a big bone of contention between the writers and the Studios and I agree, the WGA has a legitimate grievance regarding the lack of writers on-set.

The biggest thorn to resolving the strike is the issue of AI. Actors absolutely can’t sign an agreement unless studios agree to some form of compensation for the use of an actor’s image even after the actor has passed. Neither can the writers agree to having their work studied by AI until it can create something in a given writer’s style. Maybe it’s a long way off from when AI can come up with a concept similar to Aaron Sorkin, but there’s enough available material for the AI to learn his style, and that’s a road leading to a darker path.

I’ve been watching Hollywood productions shut down over the past several months. The last few times I was on a set in recent weeks was for commercials, photo shoots and non-union film productions, the last one of which was a student film. I don’t know when the next time I’ll find myself working on-set, but my best guess is not for a long while.

I’ll have more to say when future developments happen.

Above is the very first contract I ever received for a comic book penciling assignment. It’s my first DC Comics contract. It’s my first professional contract. My first, period. It also explains why I prevailed against Archie Comics during my legal battle with them. I really kept the receipts all these many years.

The reason I’m showing this is to make clear there is a paragraph (7) in the contract stipulating a minimum payment per page for any reprinting of the the work. This contract was standard issue for all work DC commissioned during the 1980’s, and it’s also the reason a lot of the work from that era has yet to be reprinted.

I’m not sure what arrangement DC worked out with Scott Shaw! regarding the reprinting of his CAPTAIN CARROT issues in a collected format, but I know they weren’t reprinting it until they resolved the issue of the page rate. At a minimum, Scott would’ve received a check for at least $10,240K when his work was collected in a SHOWCASE black & white format trade paperback. And that’s just Scott. There were other creators involved as well. We’re also talking about reprinting one series. DC published many more at the time. And sales today aren’t what they were back then.

By 1990, the contracts were adjusted. Any title that sold above 40K copies on the direct market generated royalties. A book had to sell over 70K copies on the newsstand before creators saw any royalties. I only saw 1 royalty check as a result of sales on STAR TREK: THE NEXT GENERATION issue 17 reaching those benchmarks.

But I’m not here to complain about that. The contract I’m showing doesn’t talk about royalties generated from sales figures, only what I’ll receive if the work is reprinted.

What interests me here is the part about DC authorizing the reprinting of the work as defined in Paragraph 7.

The reason I’m focusing on this is I know for a fact a LOT of comic book freelancers – some of whom I personally know – who worked on licensed titles during the 1980s and 90s are now seeing that work collected in deluxe hardcover and trade paperback editions, and they’re not receiving a dime, despite the promise of reprint money or royalties in the contracts they signed.

In recent years, IDW has reprinted work I did for DC Comics licensed TSR line – ADVANCED DUNGEONS & DRAGONS, FORGOTTEN REALMS – and DC Comics STAR TREK THE NEXT GENERATION series in trade paperback format. On top of that, the STAR TREK work I did has also been reprinted in hardcover editions by Eaglemoss & IDW and God only knows who else has published the work in what format over the past couple of decades.

STAR TREK inker Arne Starr and others attempted to get the royalties promised by DC paid, so they first approached IDW, who said for them to take the matter up with Paramount. Paramount, in turn, told the creators to take up the matter with DC Comics. When they contacted DC Comics, they told the creators they needed to talk to Paramount as they haven’t published the TREK title in decades. Had I been among them, I would’ve asked what was the mechanism for DC to transfer any negatives or digital files or any material used for reprinting the work to Paramount? Doesn’t that constitute authorization? Just asking.

But this is just STAR TREK. I’ve had work reprinted in the DC COMICS WHO’S WHO OMNIBUS as well as the KULL THE SAVAGE OMNIBUS by Marvel. I hadn’t received even a token check (nor do I suspect did other creators involved) or a comp copy of either book. My credit isn’t even listed for the KULL story I inked collected in the omnibus.

There has been so much reprinting of old material from the 60’s, 70’s & 80’s as well as other eras, but the only ones profiting are the publishers despite promises made in writing to the creators in exchange for their rights.

Dark Horse has published STAR WARS, CONAN and so many other series from back in the day that originated with other publishers. IDW has published reprint collections BEST OF DAN DeCARLO and BEST OF STAN GOLDBERG, yet neither the estate of Dan DeCarlo or Stan Goldberg (who was alive at the time of its release) saw a dime from these projects either.

Stan had just been unceremoniously released by Archie Comics after having worked 40-something years for them when he told me the circumstances surrounding Archie letting him go as well as IDW reprinting his work, which he had extreme feelings about. On the one hand, Stan was proud to see his work collected in such a manner, something he couldn’t have imagined previously. On the flip side, having a book of one’s collected work on the bookshelf may be prestigious, but it doesn’t support one in retirement if one isn’t getting paid for the work. Archie wasn’t issuing a pension check after all those years of service as they had gotten out of Stan what they wanted and had no problem cutting him loose.

(Stan and I discussed a great many many things, but that’s for another time.)

I could go on about the various titles collected by various publishers who didn’t originally commission the work in the first place, but the main point I’m trying to make here is whether one is dealing with Comic Book Publishers or Studio Executives, both are always going to be crying poverty to the creators – whether writers, artists, actors, whatever – while continuing to profit off the work of those creators as they ignore agreements entered into with them.

I myself get asked often by various parties why don’t I go after a SONIC THE HEDGEHOG assignment or work on one of the various STAR TREK titles published by IDW, and my response is always the same. Until they pay me for my work already reprinted as well as issue an agreement that guarantees royalties based on sales figures, I’d just as soon not deal with people who have no problem screwing creators over.

At least the WGA and SAG-AFTRA are unions with lawyers to protect their members. Comic book people aren’t so lucky and are thrown to the wolves immediately. But they all share this: none of the creators are looking for mega-millions. If they work on a project where they do hit the jackpot, great. But the most any of these people expect is the ability to put a roof over their heads, groceries on the table, new clothes now and then, decent transportation, the kids through school (those that have them) and maybe – just maybe – a night out every now and then. That’s a reasonable expectation of one’s paycheck over the long haul.

The increase in prices isn’t just the result of problems in the supply chain, but a reaction to supply and demand, with businesses no longer hesitant to squeeze whatever dollars they can from the general public.

One doesn’t see a Comic Book Publisher or a Studio Executive worry about their next meal or where they’re going to live. Their biggest concern is how long they get to enjoy the gravy train at the expense of those working for them. And when it’s over, there’s still the Golden Parachute, whether they truly earned it or not. It’s in the contract.

While their contracts get honored, how about honoring the agreements entered into, yet broken time after time? I don’t want to hear how the publishers and studio execs are the ones assuming the risks anymore.

The creators are tired of being the ones assuming the risk without being properly compensated.

It’s been interesting reading the commentary section of articles presenting the latest on the WGA & SAG-AFTRA strike, particularly the negative comments, giving me a strong sense of “I’ve seen this before” to say nothing of still experiencing it even now.

The negative comments amount to essentially either the writers & actors are overpaid, nothing’s going to change or if anything will be worse than before, or for the writers & actors to quit being selfish so the rest of the film production crews don’t lose their homes and have jobs to go back to.

That last argument particularly resonates with me as I’ve heard from a number of Sonic fans over the years how selfish I was to fight for my copyrights which allowed me to claim ownership of my characters and stories. Just like the negative commentators of the WGA/SAG-AFTRA strike fail to see the big picture, so too did Sonic fans.

Regarding the current strike, members of the WGA & SAG-AFTRA can’t afford to give one inch to the AMPTP or they may as well call it a career, because what they had will no longer exist.

Even now, actors are presented contracts in which their likeness can be used on licensed products without further compensation to the actors, with all proceeds going to the producers and studios. The AMPTP has made it clear they want to hire actors who fill in the backgrounds of a film shoot to come in and be scanned, paid a day’s rate with their image usable in any permutation imaginable without further compensation thanks to AI.

Before I even learned of this aspect of the contract negotiation, I was already speculating studios would hire talent off the street, scan their image and pay $100K or thereabouts for a Forever License. I now discover I was being far too generous and studios really are that despicable.

Then there’s the “writers & actors are being too greedy” argument. Anyone who’s ever been involved in a TV or film production knows not only do these people work hard for the money, there wouldn’t be a production at all without them. The other major sticking point the general public – and even some media writers – fails to take into account is that the vast majority of writers and actors are not on the receiving end of the great contracts and dollar amounts discussed in the trade papers. Far from it.

Instead, Disney should be asked why they agreed to pay Bob Iger $27 million a year plus bonuses for the next 2 years. On top of that, there’s a number of Disney executives receiving 7 & 8-figure compensation for doing God only knows what. Instead of pointing fingers at the writers & actors who are the most responsible for getting the project off the ground, one should be pointing fingers at the mediocre execs with the great paychecks and ask what they contributed to a project’s success or if they’re shouldering their fair share of the responsibility for a project’s failure.

I still get hammered for fighting my battle against Archie Comics even though the facts are completely on my side. What else was I supposed to do once Archie filed a lawsuit demanding I pay them $250K on the grounds of tortuous business interference? Just give up and end up even worse off than I was before? That wasn’t even an option. I had to fight at that point. Even more, I had to go the distance if I wanted to come out the other end having survived the ordeal.

Working in comics and the film industry is akin to working in the Circus. There is no stability. There’s only the next show. Unlike comics, at least many professionals working in the film industry belong to a Union, which offers benefits such as health care and a pension. Only the ignorant proclaim that all Unions do is take your money and allow the deadbeats to keep their jobs. There is no deadwood on a film set. People have to bust their tails and prove themselves for the next job, especially if they want to move up the ladder. People in comics can only envy people working in films for what they have.

When I started working in the animation industry, I thought I’d be looked down upon because of my comics experience. If anything, I was surprised at the respect I was treated with. As one storyboard artist said to me, “Unless you’re the director or writer on a film or animated TV series, everyone else is just a passing glance tacked in the end credits. In comics, your credit starts on Page 1. People know who you are and what you did.”

Comics publishers are like studio executives. Neither truly respects the talent for their success. They’re well aware of many others would love to work on the projects they produce and take advantage of that reality with as much ruthlessness as one can imagine. It’s reflected right there in the contracts they issue. And it explains why they would rather shut productions down rather than even provide so much as an extra crumb to the talent.

Even today, I still receive email demanding I turn over my stories and characters to SEGA to do with as they please without any form of compensation to me. The individuals expressing those thoughts are not shy in stating whatever I created is SEGA’s by devine right trumping any legal rights I have.

Overall, I feel this moment in Hollywood is actually a microcosm of everyone’s life in general. We’re all just hanging on trying to make it through to the next day, not knowing what tomorrow will bring, with most hoping things will go back to the familiar we all used to know. The funny thing is, deep down, there is no going back to what was. There’s only a race to an uncertain, unwritten future, where life will never be what we once knew.

I don’t mean that to sound dark and apocalyptic. If anything, I think change can be good. And it’s high time the wealth started to be shared more equitably instead of preserved for the fortunate few. The working class deserve at least that much.

It took me from September 2008 to well past mid-2013 to complete my legal journey in some respects, while other respects are still out there just waiting to be detonated. The same applies to the WGA & SAG-AFTRA. They’re on a journey for their own survival, one which will come with an armistice, but not a final solution, as the business evolves leading to another battle at a fork in the road yet to be arrived at some later date.

There is a reckoning coming to the gaming industry as it has exploited its workers far too long for the benefit of the suits in the executive suites. Kids grow up playing video games and for some it becomes a passion that they want to be part of it. The problem is that most people entering the gaming industry aren’t business savvy, so they’ll take the lousy conditions in exchange for their dream job.

The problems grow the longer one remains a part of the industry. One gets older and priorities change. Health care becomes an issue. Long term financial stability becomes an issue. When one is in their 20s, life after retirement seems so far in the distance that one can’t imagine not having enough time to prepare.

The comic book industry has similar problems, only worse, as it takes less time to work on a single issue than it does building a gaming platform for release. How many writers and artists have steady work month in month out? Definitely not the majority.

Change is not going to happen that benefits the creators unless and until the majority will band together and fight for those benefits.

I got off the rat race because I didn’t see the benefit of working on the latest issue of FANTASTIC FOUR or BATMAN beyond the immediate paycheck. The page rates being offered weren’t commensurate with pay working in animation or other fields. The promise of royalties was never lived up as stated in written agreements.

The kids today have the tech and opportunity to build their own paths instead of taking the corporate path. They just have to decide what’s to their benefit.