The case of Jerry Ordway—a talented veteran artist who is not getting as much work as he should—continues to resonate. It isn’t really about Jerry Ordway. it’s about comics, and about the many, many aspirants and passers by and the few who are called. Mark Evanier addresses the odds:
And the other thought that’s important to keep in mind is the sheer numerical reality of applicants versus openings. If at a given time, DC Comics is publishing enough material to keep 50 writers and artists comfortably engaged, and they get 600 submissions…well, a lot of folks aren’t going to get work. Some of them would get hired if DC was publishing more books but that ain’t the reality right now. You may think it’s unfair and/or foolish of them to turn you down because you’re so talented but the sheer arithmetic tells us that a lot of talented people are going to be turned down. There’s no way to avoid it. In some ways, saying “That guy got to draw Superman…why can’t I draw Superman?” is like saying “That guy won the lottery…why can’t I win the lottery?”
Former DC editor and current Comics Alliance editor Joe Hughes has a must read that takes the editorial view into account:
When I edited comics, I was able to hire or work with several artists who are long-time veterans of the industry: Michael Kaluta, Jordi Bernet, Bryan Talbot, and Rick Geary, just to name a few. However, these artists aren’t associated exclusively, or in some cases even at all, with superhero books, nor were they hired to work on tales of capes and tights. Superhero stories, the realm in which Ordway has honed his craft for over 30 years, are a completely different animal and always have been. For good or ill, DC Comics have changed the style of their superhero books for the foreseeable future, as they have at various points in the past — including when Ordway himself was coming up, although the aesthetic divide wasn’t as great then as it is now. Personally, I find the very thought of Ordway drawing Superman with a high collar and excessive lines all over his costume to be borderline depressing (and that is in no way a commentary on Ordway). He’d certainly be a wonderful addition to DC as a teacher of sorts, demonstrating storytelling to younger editors and artists who could learn from his years of experience and expertise. But that is not what Ordway wants. He wants to be in on the action. He wants to tell stories. Even the quickest glance at some of the selections we’ve included in this post and that he displays on his blog demonstrate that he’s still as sharp as ever.
And here’s one that IS about Jerry Ordway, a post by a pseudononymous pro at Bleeding Cool named
Jess Lemon Truman Sterling:
Picture, if you will, a deadline so hot it’s caught fire. A script, written on the fly in three days: a last ditch Hail Mary to get a book out the door. The words, “CAN’T MISS SHIPPING,” a repeated motif like Hurley’s numbers on Lost.
Panic rules the land. Hair is falling out or turning gray. Stock in Diet Coke and Antacid begins trading at an all-time high. Dogs and Cats begin sleeping together.
And then, in a moment of editorial lucidity, the call goes out to Jerry Ordway. He can make time to do the book!
Suddenly, everybody begins to breathe again.
Mr. Ordway simply waits for his kids to go to bed (if memory serves, he was experimenting with working overnight at this point), picks up his pencil, and begins to produce.
A few days pass and a steady stream of pages begins to arrive. Frankly, they’re spectacular. Suddenly, an iffy script is beginning to take form through Mr. Ordway’s storytelling choices. Equally importantly, the rest of the art team can finally get to work.
You know, I almost cried when I read that. Because when you hand the deadline to a veteran like that it is a feeling of relief like no other. Sadly what THEN happens (and I’ve seen it happen several times) is that the speedy vet is then put on standby status and instead of being rewarded with a regular gig for his or her hard work and meeting deadlines…remains the fireman. Few cartoonists like being Mariano Rivera, and fatigue and burnout usually ensue.
The topic of sustaining a career in comics will continue to be addressed, we’d imagine. In fact, we have a few upcoming features devoted to it. SO KEEP IT LOCKED TO THE BEAT YO.
Heidi MacDonald is the founder and editor in chief of The Beat. In the past, she worked for Disney, DC Comics, Fox and Publishers Weekly. She can be heard regularly on the More To Come Podcast. She likes coffee, cats and noble struggle.