Skip to content

Norm Breyfogle on possible agism in comics (CCC feature)

2010 March 30

Ex-Batman artist Norm Breyfogle thinks he was “cut down” in the prime of his career.

In 2002, the penciler had completed work on two limited series, the three-issue HELLCAT for Marvel Comics, and many months before that, 10 issues of ANARKY for DC Comics, about the time when DC abruptly cut ties with him. Breyfogle said THE SPECTRE was his last monthly DC gig he had when it was canceled that year.

“However, I was offered that job literally days before I was to move from California. I already had everything packed and was waiting for the movers to arrive within days,” he told me in a recent interview.

Breyfogle recalled he was selling his house in California at the time.

“And, incidentally, it was breaking up my family due to almost a year of no work from DC — nor from Marvel — after 10 years of being offered more assignments than I could take on. Because of my sudden unemployment, I had to sell my house and down-size my entire life,” he said.

Breyfogle, who turned 50 in late February, said he had the equivalent of a mild mid-life crisis over the situation. As time has progressed, he said he’s learned how to not take on too many assignments at one time.

“I can’t believe this is simple agism. By the way, since I was only 41 at the time and, like I wrote, I was better than ever at what I was doing,” Breyfogle said.

DC never notified him about his services not being wanted, said Breyfogle, who offered to lower his page rate so he could keep working there.

“And, in fact, I was never given any reason at all for why I was suddenly not getting any more work. DC only told me, when I asked in consternation why I wasn’t getting any more work, ‘We’ll call you when there’s something appropriate for you.’ (It was) as if, after being one of their golden boys for 10 to 12 years and one of the top comics artists in the business, I was suddenly old hat,” explained Breyfogle, who prides himself on being “easily able to meet all my deadlines.”

“Heck, I’m still doing so, 10 years later, for Archie Comics,” he said.

Breyfogle said he suspects agism is something DC and Marvel both follow — but would never admit to — in order to usher out veteran artists and writers in order to bring in younger talent.

Thinking back
In 2003 after the situation with DC, Breyfogle penciled and inked BLACK TIDE for Angel Gate Press. He called it the “first ongoing comics work I landed after DC.”

Breyfogle said he “conjectured about this (agism concept) for a few years afterwards until I gave up on DC and Marvel” and came up multiple possible reasons for his “dismissal,” including agism, page rates and even politics.

“This was around Sept. 11, 2001, after all, and I’d drawn the title ‘Anarky’ for DC and my politics were and are very liberal/progressive and I exercise my free speech rights at will,” the artist said.

Writer Alan Grant and Breyfogle collaborated for a three-year run on DETECTIVE COMICS starting in 1987. The pair created Anarky, a teenage adversary of Batman whose stories often dealt with issues surrounding political corruption, environmentalism and other hot topics. Anarky’s first appearance was in DETECTIVE No. 608 in 1989.

Page rates
After drawing the interior art and/or covers for DETECTIVE for 37 of 40 straight issues, Breyfogle moved to BATMAN to do a four- and then 28-issue run. In issue 465 (dated July 1991), Tim Drake debuted as the third Robin in a new costume, which Breyfogle helped design. He also drew the interior art of the first five issues of the now defunct ongoing series BATMAN: SHADOW OF THE BAT, which started in 1992.

“My page rate slowly increased during the years I was with DC, making it possible that I was priced out of the milieu of new, young talent,” Breyfogle said.

He recalled not getting a straight answer when he offered to lower his fee.

“Curiously, however, when I offered to lower my page rate in order to compete in a free market with my younger peers, I was told by DC: ‘Your page rate is your page rate,’” said Breyfogle, who was told that same phrase several times.

“Nepotism/cronyism, personal grudges/dislikes — any and/or all of these may have been at play and not necessarily agism. There may even be other reasons I haven’t considered,” he said.

Breyfogle never returned to DC. Although he said he attempted to do so for many years by various submissions and proposals, all of which were rejected.

“One of them was a Batman proposal written by Alan Grant, which, by the nature of the proposal, couldn’t possibly disrupt continuity established by the DC titles of that time,” Breyfogle said.

“So, I gave up which is, I must assume, what they wanted and/or expected,” he said.

But comic book fans can still see Breyfogle’s art. He’s currently drawing two ongoing series, “Archie Loves Betty” and “Archie Loves Veronica.”

“(I) finished with my taxes for 2009,” Breyfogle announced March 19 on his Facebook page. “Now, I’m on to penciling ‘Archie Loves Veronica’ No. 2 and ‘Archie Loves Betty’ No. 2.”

Go here for the perspective on this same topic from writer Gerry Conway, whom I interviewed via Facebook.

4 Responses Leave One →
  1. March 31, 2010

    Yeah, well, the subject is not only a touchy one but also a very complex one. There’s much we didn’t discuss in our interview. For instance, I don’t think my drawing style is old-fashioned or anything like that, but each person has their own judgments, including comics editors, and they may disagree with mine.

    I’ve thought about this stuff over and over again, and I can’t believe there’s just one simple reason why I was let go by DC Comics. I tend to think it was a combination of reasons, and the least reason of all would be my style being outdated (IMO).

  2. April 5, 2010

    Agism MUST be a touchy subject since I’ve never seen anyone write about it online or in any comics-related publication. “Wizard” wouldn’t touch it with a 500-foot pole!

  3. April 5, 2010

    And Norm, thanks to you and Gerry Conway for being brave enough to address this issue. It’s refreshing when people in the entertainment industry are willing to discuss something more than “the same ol’, same ol’.” :)

  4. July 13, 2010

    I recently painted a two-page continuity-type ad (basically two comics pages) for Nike, which will be printed about five feet tall and distributed to many shoe stores in Europe (alas, not in the USA), and they were very enthusiastic with the results. Also, it paid many times better then a similar amount of work done for Marvel or DC would pay. And, it’s only the first of many such assignments I’ll be working on.

    I’ve read Gerry Conway’s comments on this subject and see merit in them. However, in my particular case, it appears that illustration clients much more prestigious than DC or Marvel think my work is wonderful and pertinent to modern eyes.

Leave a Reply