Jerry Ordway writes about ageism in the comic industry:
I am thrilled to be well remembered, and respected in the comic book community, and to have fans willing to pay me to draw commissions, but I got into comics in order to tell stories, not to draw custom art. I still feel vital, and still want to be at that table. Do I think DC comics owes me anything? Yes and no. I understand that no company owes anything that isn’t contractually stipulated, but in my heart, I think I deserve better than being marginalized over the last 10 years. I’m not retired, I’m not financially independent. I’m a working guy with a family, working for a flat page rate that hasn’t changed substantially since 1995. I may have opportunities at smaller companies, companies that pay less per page than I made in 1988, with no royalties or ownership of any kind. I’m not at all looking down at that, but it is hard to reconcile, as I can’t work faster, and refuse to hack my work out to match the rate. I have pride in what I do, and always have. As to my part in the history of dc for the past 33 years, I was a highly visible and successful part of it, not a minor footnote.
Getting back to the beginning of this essay, and to the artists I loved as a kid, all I ask is for some of the same consideration my generation of creators and editors gave to the older guard in the 1980′s. My work is still sharp, my mind is still full of stories to tell, and I’m still willing to work all hours of my day to meet my deadlines. Why am I out of work from the publishers? Why are my friends, people who turned in great work, worthy of hardcover and trade paperback reprints, not able to get work?
The immediate reaction to this – Or my immediate reaction, at least – is to become frustrated with DC for what seems like essentially sidelining Ordway, who really does feel like an integral part of the publisher’s 1980s and 1990s output, and whose work hasn’t lost a step since those days. But then I remember the fan outcry at creators like Tom DeFalco, Howard Mackie or even Scott Lobdell receiving regular work at DC these days, and realize that the publisher’s previous attempts at hiring outside of a specific age group have led to derision and accusations of cronyism. So, what’s the solution here, in that case? Is some creator favoritism okay, and if so, where’s the line?
(Personally, I’d like to see Ordway get more work at DC or elsewhere; he’s got a great line as an artist, and I really enjoyed his writing on the Superman books and Power of Shazam. I do wonder whether there’s interest in him at somewhere like IDW or Dynamite, for some reason.)
March 4th, 2013 at 9:27 am
That’s the dumbest analogy I’ve ever heard. DeFalco, Mackie and Lobdell WERE hired because of cronyism. It’s hardly coincidence that Lobedll couldn’t get arrested in the industry for years, and is now writing three monthlies for his pal, Bob Harras. Ordway has contributed to the DC Comics mythos for twenty five years, and is worth TEN Scott Lobdells any day.
Jerry is better off moving away from DC. IDW treats their creators with respect. I’d love to see Jerry team up with John Byrne again.
March 4th, 2013 at 9:44 am
Hmmm…I wonder if this is also due to the current climate in books, as they are now returning to a bit of a darker tone, while Ordway’s style is more bright and open. This makes it less likely that he will find an appropriate match. I mean, for goodness sakes, if a upbeat-sounding title like “Batman/Superman” is being drawn by “shadows-are-everywhere” Jae Lee (Who I love and am excited about this book), where would you put Ordway?
March 4th, 2013 at 10:01 am
“Hmmm…I wonder if this is also due to the current climate in books, as they are now returning to a bit of a darker tone,”
Returning? When did they leave?
March 4th, 2013 at 10:14 am
I would start with making exclusive contracts come with guaranteed work. It’s frankly legally dubious not to. Of course, that would probably result in fewer veterans being offered exclusives in the first place, which could be a double-edged sword.
March 4th, 2013 at 10:17 am
jerry should be able to get some work at dc or marvel but you know maybe he should look at dark horse maybe could do some star wars or conan.
March 4th, 2013 at 10:27 am
Have to agree with Paul on this: I had no idea nor care about the ages of people DC is hiring. My concern was that people were being hired into DC, being given multiple titles, that hadn’t seemingly earned a spot there, and given treatment over people who had.
I agree it may be that Ordway isn’t getting work at DC because of their darker tones in storytelling. Which is a big, BIG problem I have with DC right now.
We (as an industry) need to get past the point where DC and Marvel are the top spot that you need to achieve to “make it.” I’m not saying Jerry is wrong about the pay, or that he should have to work as hard for less money or recognition. But we need an exodus of these great creators that are being ignored at the Big Two to a place that will showcase them, where the fans can find them and support them. Image works solely on that it’s up to the creators to invest themselves first, and reap the potential rewards later.
It’s time for a new CrossGen, but one with better business sense. I think Valiant may be the closest we have to that right now.
March 4th, 2013 at 11:25 am
The MAJOR diff between Mackie, Lobdell and Ordway is that Ordway is talented.
March 4th, 2013 at 11:54 am
Ordway started off as an inker, didn’t he? If his page rates really haven’t changed in 17 years, it seems insane that he’s not getting work.
March 4th, 2013 at 1:29 pm
I agree with Corey Scott. Ordway would be a good fit at Valiant, especially given his inking style (in my opinion) compliments Stefano Gaudiano.
March 4th, 2013 at 2:15 pm
Why not create a digital-first JSA anthology (like the Batman and Superman books) that Ordway can draw? Rotate writers and let him draw as much as he wants; he’d be perfect.
March 4th, 2013 at 4:56 pm
I’d LOVE to see Ordway over at Valiant.
These days, over at DC, exclusive contracts come with guarantees of work, or else a small financial penalty is paid out. I suspect it was cheaper to just pay Ordway the penalty than to actually give him work. The real pisser here is that he’s a genuine work horse, he meets his deadlines, has a fan following and does incredible work. Why they’re screwing him over while coddling the Ethan Van Scivers of the world is a mystery.
I guess the old saying is true: It’s not who you know, it’s who you blow.
March 5th, 2013 at 9:31 am
Another vote for Mr. Ordway at Valiant. Get him on Archer and Armstrong, that would be the tits.
March 5th, 2013 at 11:01 pm
I have always been a fan of Ordway’s work, and hope to see more of it. Yet honestly isn’t this the way the industry has worked for a while now? I don’t see much from Chris Claremont, or Ron Lim or Marv Wolfman or Phil Jiminez either. The creators with long careers these days are the ones who have diversified and they still are more the exceptions than the rule.
People have always been drawn to the new or fresh, and thus one of the drawbacks of knowing who the creators are behind the comics like we do now and have since the 80s. Is that the new and fresh also applies to creators now as well. Meaning creators who do good work, on time, aren’t as valued as the new guys and gals coming in.
March 6th, 2013 at 4:48 pm
I concur with James. It seems that art style is a dying breed at the big 2. It’s shame, but I see both sides of it. On one hand those artists are what made comics what they are now (along with Kirby, Ditko, etc). They shouldn’t just be put out to pasture as they still have a lot of good work in them. On the other hand, a lot of that style is a bit dated. I have to admit, if I have a choice between the work of Ivan Reis and Dexter Soy or those odd gummy smiles that pepper Ordway’s work I have to go with Reis or Soy. But I’m not saying that Ordway and co. need to go and don’t deserve work. But I wouldn’t advise they put any stock in friends at the big 2. I think Ordway and others would do better at IDW, Image, and Valiant (to name a few). There’s a lot of quality work coming out of those companies and they could use artists like Ordway, Jiminez and Lim. Definitely some stories that would fit their styles too.
March 12th, 2013 at 11:27 pm
People have always been drawn to the new or fresh, and thus one of the drawbacks of knowing who the creators are behind the comics like we do now and have since the 80s. Is that the new and fresh also applies to creators now as well. Meaning creators who do good work, on time, aren’t as valued as the new guys and gals coming in.