"angry" gamers/critics

[ZepFloyd94]

Saw this in my Twitter feed after Disney announced a Mary Poppins sequel/remake/reboot thing.

 

[NG 070]

Didn't he make an appearance at one of the Power Rangers cons (not sure if it was a one time deal or he appears annually).

Yeah, he was a guest at one of the Power Morphicons a while back. They must've been really be scraping the bottom of the barrel for guests that year.

If we're really lucky, Boom won't let Linkara anywhere near the MMPR comic (which is surprisingly better than it has any right to be, especially for a licensed comic) any time soon.

 

[Gordon Cole]

Yeah, he was a guest at one of the Power Morphicons a while back. They must've been really be scraping the bottom of the barrel for guests that year.

If we're really lucky, Boom won't let Linkara anywhere near the MMPR comic (which is surprisingly better than it has any right to be, especially for a licensed comic) any time soon.

When your biggest claim to fame for writing comics is Lightbringer, you can only get so far in the industry.

 

[NG 070]

When your biggest claim to fame for writing comics is Lightbringer, you can only get so far in the industry.

I've seen some comics bloggers get writing jobs after a while. Hell, one of the editors for DC (Andi Khouri) used to be a writer for Comics Alliance and Comic Book Resources (and EIC of the former). And I think the current writer for the Jem comics used to be a blogger, too. Chris Sims used to write for Comics Alliance and he got a job writing an X-Men comic (but not without a little, uh, controversy catching up with him). And iirc, Gail Simone got into the industry as a writer after she began the whole 'Women in Refrigerators' concept. So it's not entirely uncommon.

The key difference between them and Linkara, however, is that they know how to write and edit like professionals.

But seeing the other types of books Boom puts out and especially the people it hires (i.e. Kate Leth, who's a lolcow in of herself for another time/place), I wouldn't put it past them to hire Linkara to write at least a back-up story in the future, especially if word continues to pick up steam about how awful Boom is to work for, and all the writers/artists with talent start to avoid them like the plague.

 

[Gordon Cole]

But seeing the other types of books Boom puts out and especially the people it hires (i.e. Kate Leth, who's a lolcow in of herself for another time/place), I wouldn't put it past them to hire Linkara to write at least a back-up story in the future, especially if word continues to pick up steam about how awful Boom is to work for, and all the writers/artists with talent start to avoid them like the plague.

Off-topic, but 1.) How is Kate Leth a lolcow and 2.) How bad is it to work for Boom?

 

[NG 070]

Off-topic, but 1.) How is Kate Leth a lolcow and 2.) How bad is it to work for Boom?

1) Kate Leth's antics are pretty much on par with material for the Social Justice Warrior/SWJ Art Extremes threads. She was also involved in the Yale Stewart/JL8 'dickpicks' scandal (as one of the people trying to drive him out of the industry) and -allegedly- had an affair with a married man who was dying of cancer. Also a bitch on Twitter, but that's nothing new. /co/ will occasionally have a Kate Leth thread every few months that complains about her and has extensive screencaps of her tantrums.

2) If you want some real indepth reading, this is where the dirt on Boom is. If you don't feel like reading...

Spoiler

1. “I’ve been warned about Boom. The people (editorial) seem good there, but they treat their artists as disposable and funnel all the money toward guest covers and writers from other media.”
2. “Ironically, I’ve been extensively warned about BOOM. They pay low and will burn through creators if they start pushing for more money. Despite their “Push Comics Forward” campaign and outward facing good PR, they can’t seem to hold a good standing in the comics undercurrent due to their often considered callous business practices.”
3. “Have heard that Boom and Dynamite both pay poorly.”
4. “BOOM because they don’t pay on time and pay very little”
5. “IDW and Kaboom. Both companies offer very very low rates for licensed work, as well as very tough work-for-hire contracts. Both companies have also reproduced artists’ work on other products (advertising, merchandise, etc.) without due compensation to said artist.”
6. “BOOM is a nightmare as far as knowing when you’ll get paid, but they do eventually get around to it.”
7. “Boom Studios — I have been told by friends that generally Boom Studios pays less than $25 / page for writers, which is far below my standard page rate,”
8. “BOOM! Studios creates a harsh environment to first time talent.”
9. “Hoping to end my relationship with Boom! in 2016, not out of malice but I can’t keep working for 30/pp when flatters cost 15/pp. The only way to make that profitable is to flat myself & double my hours or to triple my books. Either one leaves me no time to be a human being.”
10. “Boom. Low page rates, terrible editorial (good people, bad communication). I’ve heard lots of bad stories about the way they treat creators too.”
11. “I’m trying to distance myself from Boom! studios though after x years working on “___” … Beyond that I will probably not be associated with them due to poor page rates, being paid late if paid at all, and a myriad of other questionable practices that make working for them difficult at best and toxic at worst.” *
12. “Boom!, because the artists don’t share rights; NBM/Papercutz, because I had to hound them for royalties; Image, because a lot of reasons; Abrams, unprofessional and abusive editorial staff, “
13. “BOOM! Studios, because the rate doesn’t justify the stress,”
14. “Not so much that I won’t work for them, but Boom and Dynamite have reputations for crappy pay.”
15. “I am consistently warned about Boom Studios by people who both currently work for them and have worked for them in the past. Low pay, ridiculously late payment, lack of credit and terrible pay for colorists, forcing a lot of work on their artists in short periods of time.”
16. “Boom – Did work for them twice. Had to hunt them down to get paid. First time around took almost 3 months.”
17. “I have been warned and warned others about Boom, but continue to work with them. The editor’s hearts are in the right place but they either have too much going on or are just not good at their jobs – communication is very spotty. Have to follow up about payment often to get it, etc.”
18. “I’ve been warned about boom since the beginning. I tend to take lower rates with them when I have no other jobs at the moment. However, I’m looking to work with other publishers and have recently gotten an agent.”
19. “I won’t work for Boom again because getting paid was a complete hassle. Never once in the 6 months my contract lasted did I get paid on time (the ‘earliest’ was 3 days after I was supposed to have the money, the latest was 11 days after, and there were always excuses)”
20. “Boom, not worth the hassle. Chews up young artists. I also would not reccomend joining Hiveworks for your webcomics. Inexperienced staff with too much on their plates.”
21. “BOOM! – low pay, bad communication, won’t pay in a timely manner”
22. “Boom! are consistently late with payments, have poor communication and generally shady practices. At some points they have actively lied to me to try and cover up their poor behaviour.”
23. “Boom because of bad pay on work for hire, changing art without permission, and predatory contracts on creator owned.”
24. “Boom Pays poorly, doesn’t give artists paper to work on, pays no royalties on their (very succesful) books,”
25. “I haven’t worked for many publishers, but I’m distancing myself from BOOM! Studios because the deadlines are hell, the pay is terrible and often late/requires hounding. It’s really too bad because the editorial staff is very easy to work with.”
26. “I don’t plan on working with Boom again. The page rates are less than minimum wage, and there are no royalties,”
27. “I will not work for Boom again, aside from insulting low pay, they also were awful communicators and very unprofessional. I feel they’re exploiting younger artists.”
28. “I will probably never work for Boom due to low rates, weird contracts and bad pay.”
29. “I worked for BOOM! Studios back when they started doing all-ages licensed comics and they were the most toxic publisher I have ever worked with. I will never work for them again & will warn other creators not to. Any publisher who has a high-profile licensed property with strict approval standards needs to pay their talent proportionally to meet those standards.”
30. “Everyone warns each other about Boom with their incredibly low pay. It’s not a living wage by a long stretch, which is a shame as their books are generally of a really good quality.”
31. “I’ve heard terrible things about Boom. Though they have a lot of IPs I would love to work with, I hear they pay horrible wages and treat their creators like they’re expendable. Not sure how true that last part is, but I’d rather not be horribly underpaid.”
32. “Boom – rates. And they just churn through new colorists that will work for peanuts,”
33. “Boom- Low page rates coupled with writers not sharing rights- sometimes- and sometimes not understanding why they should share rights- you wouldn’t want to work with *those* ppl as they don’t appreciate or understand your contribution and they are transparent exploiters..”
34. “Boom- Low page rates coupled with writers not sharing rights- sometimes- and sometimes not understanding why they should share rights- you wouldn’t want to work with *those* ppl as they don’t appreciate or understand your contribution and they are transparent exploiters..”
35. “Boom Studios. Horrible talent relations. Late payment. No negotiation room in rates.”
36. “Archaia (now absorbed by BOOM) has a bad track-record when it comes to payment and property. People have waited a full year for minor payments. Their contracts used to (I am unaware of current situation) include final vetoes that can dissolve the author’s right to veto the publisher’s decisions regarding spin-offs, etc. This renders the list of author’s rights for the publisher to honor as utterly hypothetical.”
37. “Boom Studios for low page rates and poor communication (so disappointing, they hired a lot of queer/young/female talent with boom box and the corellation feels almost predatory)”
38. Boom! they’re absolutely terrible at communicating with (or even acknowledging) their artists and they pay dreadful rates for freelance artwork that yields no royalties.

So yeah, I could see then suckering Linkara in to write a back-up story for the MMPR comic and he wouldn't be any wiser as far as getting hosed on payments.

 

[Jewelsmakerguy]

1) Kate Leth's antics are pretty much on par with material for the Social Justice Warrior/SWJ Art Extremes threads. She was also involved in the Yale Stewart/JL8 'dickpicks' scandal (as one of the people trying to drive him out of the industry) and -allegedly- had an affair with a married man who was dying of cancer. Also a bitch on Twitter, but that's nothing new. /co/ will occasionally have a Kate Leth thread every few months that complains about her and has extensive screencaps of her tantrums.

2) If you want some real indepth reading, this is where the dirt on Boom is. If you don't feel like reading...

Spoiler

1. “I’ve been warned about Boom. The people (editorial) seem good there, but they treat their artists as disposable and funnel all the money toward guest covers and writers from other media.”
2. “Ironically, I’ve been extensively warned about BOOM. They pay low and will burn through creators if they start pushing for more money. Despite their “Push Comics Forward” campaign and outward facing good PR, they can’t seem to hold a good standing in the comics undercurrent due to their often considered callous business practices.”
3. “Have heard that Boom and Dynamite both pay poorly.”
4. “BOOM because they don’t pay on time and pay very little”
5. “IDW and Kaboom. Both companies offer very very low rates for licensed work, as well as very tough work-for-hire contracts. Both companies have also reproduced artists’ work on other products (advertising, merchandise, etc.) without due compensation to said artist.”
6. “BOOM is a nightmare as far as knowing when you’ll get paid, but they do eventually get around to it.”
7. “Boom Studios — I have been told by friends that generally Boom Studios pays less than $25 / page for writers, which is far below my standard page rate,”
8. “BOOM! Studios creates a harsh environment to first time talent.”
9. “Hoping to end my relationship with Boom! in 2016, not out of malice but I can’t keep working for 30/pp when flatters cost 15/pp. The only way to make that profitable is to flat myself & double my hours or to triple my books. Either one leaves me no time to be a human being.”
10. “Boom. Low page rates, terrible editorial (good people, bad communication). I’ve heard lots of bad stories about the way they treat creators too.”
11. “I’m trying to distance myself from Boom! studios though after x years working on “___” … Beyond that I will probably not be associated with them due to poor page rates, being paid late if paid at all, and a myriad of other questionable practices that make working for them difficult at best and toxic at worst.” *
12. “Boom!, because the artists don’t share rights; NBM/Papercutz, because I had to hound them for royalties; Image, because a lot of reasons; Abrams, unprofessional and abusive editorial staff, “
13. “BOOM! Studios, because the rate doesn’t justify the stress,”
14. “Not so much that I won’t work for them, but Boom and Dynamite have reputations for crappy pay.”
15. “I am consistently warned about Boom Studios by people who both currently work for them and have worked for them in the past. Low pay, ridiculously late payment, lack of credit and terrible pay for colorists, forcing a lot of work on their artists in short periods of time.”
16. “Boom – Did work for them twice. Had to hunt them down to get paid. First time around took almost 3 months.”
17. “I have been warned and warned others about Boom, but continue to work with them. The editor’s hearts are in the right place but they either have too much going on or are just not good at their jobs – communication is very spotty. Have to follow up about payment often to get it, etc.”
18. “I’ve been warned about boom since the beginning. I tend to take lower rates with them when I have no other jobs at the moment. However, I’m looking to work with other publishers and have recently gotten an agent.”
19. “I won’t work for Boom again because getting paid was a complete hassle. Never once in the 6 months my contract lasted did I get paid on time (the ‘earliest’ was 3 days after I was supposed to have the money, the latest was 11 days after, and there were always excuses)”
20. “Boom, not worth the hassle. Chews up young artists. I also would not reccomend joining Hiveworks for your webcomics. Inexperienced staff with too much on their plates.”
21. “BOOM! – low pay, bad communication, won’t pay in a timely manner”
22. “Boom! are consistently late with payments, have poor communication and generally shady practices. At some points they have actively lied to me to try and cover up their poor behaviour.”
23. “Boom because of bad pay on work for hire, changing art without permission, and predatory contracts on creator owned.”
24. “Boom Pays poorly, doesn’t give artists paper to work on, pays no royalties on their (very succesful) books,”
25. “I haven’t worked for many publishers, but I’m distancing myself from BOOM! Studios because the deadlines are hell, the pay is terrible and often late/requires hounding. It’s really too bad because the editorial staff is very easy to work with.”
26. “I don’t plan on working with Boom again. The page rates are less than minimum wage, and there are no royalties,”
27. “I will not work for Boom again, aside from insulting low pay, they also were awful communicators and very unprofessional. I feel they’re exploiting younger artists.”
28. “I will probably never work for Boom due to low rates, weird contracts and bad pay.”
29. “I worked for BOOM! Studios back when they started doing all-ages licensed comics and they were the most toxic publisher I have ever worked with. I will never work for them again & will warn other creators not to. Any publisher who has a high-profile licensed property with strict approval standards needs to pay their talent proportionally to meet those standards.”
30. “Everyone warns each other about Boom with their incredibly low pay. It’s not a living wage by a long stretch, which is a shame as their books are generally of a really good quality.”
31. “I’ve heard terrible things about Boom. Though they have a lot of IPs I would love to work with, I hear they pay horrible wages and treat their creators like they’re expendable. Not sure how true that last part is, but I’d rather not be horribly underpaid.”
32. “Boom – rates. And they just churn through new colorists that will work for peanuts,”
33. “Boom- Low page rates coupled with writers not sharing rights- sometimes- and sometimes not understanding why they should share rights- you wouldn’t want to work with *those* ppl as they don’t appreciate or understand your contribution and they are transparent exploiters..”
34. “Boom- Low page rates coupled with writers not sharing rights- sometimes- and sometimes not understanding why they should share rights- you wouldn’t want to work with *those* ppl as they don’t appreciate or understand your contribution and they are transparent exploiters..”
35. “Boom Studios. Horrible talent relations. Late payment. No negotiation room in rates.”
36. “Archaia (now absorbed by BOOM) has a bad track-record when it comes to payment and property. People have waited a full year for minor payments. Their contracts used to (I am unaware of current situation) include final vetoes that can dissolve the author’s right to veto the publisher’s decisions regarding spin-offs, etc. This renders the list of author’s rights for the publisher to honor as utterly hypothetical.”
37. “Boom Studios for low page rates and poor communication (so disappointing, they hired a lot of queer/young/female talent with boom box and the corellation feels almost predatory)”
38. Boom! they’re absolutely terrible at communicating with (or even acknowledging) their artists and they pay dreadful rates for freelance artwork that yields no royalties.

So yeah, I could see then suckering Linkara in to write a back-up story for the MMPR comic and he wouldn't be any wiser as far as getting hosed on payments.

Read the link, and honestly, I can see BOOM tricking Linkara. Them or another lesser company.

 

[JP 307]

Just wanted to drop in and give Rolfe kudos for not bending backwards to please the Ghostbusters SJWs that are still screaming about him. They do perfectly good jobs of making asses of themselves. Also happy 140th episode of AVGN.

 

[AnOminous]

Just wanted to drop in and give Rolfe kudos for not bending backwards to please the Ghostbusters SJWs that are still screaming about him. They do perfectly good jobs of making asses of themselves. Also happy 140th episode of AVGN.

When they spend their time hysterically shrieking about some guy who just said he wasn't going to watch it, they really undermine their bogus narrative that only virulent misogynistic monsters don't worship their shitty meme movie.

 

[Kataomoi00]

I never understood the whole outrage over the AVGN not seeing the new ghostbusters movie. I mean, do you really need to be this upset over some random guy on the Internet not paying his own money to see some movie that he knows he won't like?

If you think you'd like the movie, then use your own money and go see it yourself. It's not that hard a concept.

 

[The Nothingness]

I never understood the whole outrage over the AVGN not seeing the new ghostbusters movie. I mean, do you really need to be this upset over some random guy on the Internet not paying his own money to see some movie that he knows he won't like?

If you think you'd like the movie, then use your own money and go see it yourself. It's not that hard a concept.

Because everything is now sexist/racist/homophobic/transphobic/Islamophobic/etc. in the Western world.

 

[Jewelsmakerguy]

I never understood the whole outrage over the AVGN not seeing the new ghostbusters movie. I mean, do you really need to be this upset over some random guy on the Internet not paying his own money to see some movie that he knows he won't like?

If you think you'd like the movie, then use your own money and go see it yourself. It's not that hard a concept.

It's the Tumblr logic: Anyone/thing that's remotely offending their viewpoint is evil and clearly is sexist/racist/whatever.

I mean it's not like we have free will or anything...

 

[NG 070]

I never understood the whole outrage over the AVGN not seeing the new ghostbusters movie. I mean, do you really need to be this upset over some random guy on the Internet not paying his own money to see some movie that he knows he won't like?

If you think you'd like the movie, then use your own money and go see it yourself. It's not that hard a concept.

I'm willing to bet that James was probably just going to ignore it, but up to that point, he'd probably gotten enough badgering from both sides to warrant him putting out a statement on the matter just to shut them up. (Yeah, right)

Though I do I disagree with what he constitutes as a "reboot" (James, I respect ya', but The Force Awakens is not a reboot, it's a sequel and blatant rehash of 'A New Hope', to placate the whiny OT spergs just so Disney can make money back on their investment in Lucasfilm), but whatever.

 

[Kamen Rider Black RX]

Not sure what potential appeal they saw in Demo Reel. Maybe they thought their random access humor would entertain their fanbase without cartoon clips holding it together.

I think Demo Reel was supposed to be Doug showing off that he could really write characters, development, arcs, plot... you know, all that jazz. But he also wanted to make something his NC audience would watch, resulting in him making it too cartoonish and about pop-culture. Having his cake and eating it too as it were, but failing to make it work.

 

[*Asterisk*]

I think Demo Reel was supposed to be Doug showing off that he could really write characters, development, arcs, plot... you know, all that jazz. But he also wanted to make something his NC audience would watch, resulting in him making it too cartoonish and about pop-culture. Having his cake and eating it too as it were, but failing to make it work.

Doug can't write, develop, nor plot under any circumstances.

 

[Adamska]

I think Demo Reel was supposed to be Doug showing off that he could really write characters, development, arcs, plot... you know, all that jazz. But he also wanted to make something his NC audience would watch, resulting in him making it too cartoonish and about pop-culture. Having his cake and eating it too as it were, but failing to make it work.

The idea of a hack-fraud writing movies, doing a Canon Films sort of thing where it's lazy and skeezy as hell would have potential.

Doug just lacked any ability to write or direct such a show. Give it to Brad or Mike and Jay and it'd probably have come out better.

 

[CWCissey]

The idea of a hack-fraud writing movies, doing a Canon Films sort of thing where it's lazy and skeezy as hell would have potential.

Doug just lacked any ability to write or direct such a show. Give it to Brad or Mike and Jay and it'd probably have come out better.

Or just watch Garth Mareghi's Darkplace.

Who's Jay by the way?

 

[Kamen Rider Black RX]

Who's Jay by the way?

A hack fraud who can't repair a VCR.

 

[Someone in a Tree]

The idea of a hack-fraud writing movies, doing a Canon Films sort of thing where it's lazy and skeezy as hell would have potential.

Doug just lacked any ability to write or direct such a show. Give it to Brad or Mike and Jay and it'd probably have come out better.

Likewise with Pop Quiz Hotshot, a pop culture game show could work. You could argue that it worked 15 years ago with Beat the Geeks. Once again, it was CA's shortcomings that got in the way.

 

[Gordon Cole]

The idea of a hack-fraud writing movies, doing a Canon Films sort of thing where it's lazy and skeezy as hell would have potential.

Doug just lacked any ability to write or direct such a show. Give it to Brad or Mike and Jay and it'd probably have come out better.

Any thoughts on Brad's one-off Demo Reel parody he did as an April Fool's Day joke on E.T The Porno?