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SAG-AFTRA Reaches Tentative Agreement to End Video Game Strike (no sales royalties)

Just got the press release from SAG-AFTRA. Glancing through, it seems they came to agreement on bonus payments for additional sessions & better disclosure on jobs prior to booking. However, no offer of residuals on the back end (which was a major sticking point).

SAG-AFTRA Reaches Tentative Agreement to End Video Game Strike

LOS ANGELES (September 25, 2017) – SAG-AFTRA has reached an agreement to end the strike against 11 video game companies that has been waged since October 21, 2016.

The terms of the tentative agreement, which was reached early Saturday morning, include a new bonus structure that provides an additional payment to performers. The bonus payment, which is due no later than the release date of the game, is based on the number of sessions worked on each game, beginning with a $75 payment on the first session and totaling $2,100 after 10 sessions worked.

“This is an important advance in this critical industry space. We secured a number of gains including for the first time, a secondary payment structure which was one of the members' key concerns,” said SAG-AFTRA President Gabrielle Carteris. "The courage of our members and their fortitude these many months has been admirable and I salute them. We are always stronger together."

Keythe Farley, chair of the SAG-AFTRA Interactive Negotiating Committee, said the strike delivered key victories for member performers in the video game community.

“The bonus payments we have now are significantly larger now than what we had 11 months ago. And the existence of additional payments beyond your session fee is in the video game world for good, both in our high-budget and independent promulgated agreements,” said Farley. “Those are the victories that this strike has brought us.”

Chief Contracts Officer Ray Rodriguez, who was the lead negotiator on the new contract, said that the deal includes significant improvements in the area of transparency.

“The new transparency provisions will enhance the bargaining power of our members’ representatives by requiring the companies to disclose the code name of project, its genre, whether the game is based on previously published intellectual property and whether the performer is reprising a prior role,” said Rodriguez. “Members are also protected by the disclosure of whether they will be required to use unusual terminology, profanity or racial slurs, whether there will be content of a sexual or violent nature and whether stunts will be required.”

The deal also contains an employer commitment to continue working with SAG-AFTRA on the issue of vocal stress during the term of the agreement. Moreover, the agreement does not include several proposals sought by management, including a provision that would have fined performers for being late or distracted at session, another that would have required agents to submit performers for low-paying “atmospheric voice” sessions or face fines, and a possible revocation of their union franchise, and another that would have allowed employers to use their permanent staff to do covered work outside of the collective bargaining agreement.

The contract will next be reviewed by the SAG-AFTRA National Board at its October meeting.
 

Alienous

Member
better disclosure on jobs prior to booking

IMG_7878.jpg


We made it, Hollick. We made it.
 

Marcel

Member
Compromises are ALWAYS made in these types of negotiations whether it be on the side of the labor or on the side of the companies. Royalties weren't going to happen, that's like asking for the big publishers to build you a personal rocket to the moon. It was always unrealistic and was probably one of the main sticking point of negotiations if not the main sticking point.
 

Marcel

Member
Well looks like the game industry won with little damage in the process.

They were always going to win. It's been business as usual for the games industry. The VA strike was all but forgotten about months if not weeks after it started.
 

JayEH

Junior Member
They were always going to win. It's been business as usual for the games industry. The VA strike was all but forgotten about months if not weeks after it started.

Yeah and the large pool of willing non union actors certainly didn't help.
 
I see they folded on sales based royalties.

It was never going to happen. There are hundreds of other non-unionized voice actors 100% ready to take anyone's place.

Are royalties even a thing in other v/o gigs (cartoons/anime/movies, audio books, etc)?
 
Given the games that were.l being struck largely came out, I'd guess we have like 100.

Being made during a strike doesn't make them scab games; in Life Is Strange's case, they hired new actors to do work written for previously employed union actors.

Although there are probably lots of similar replacements that happened behind the scenes, so you're probably right! LiS was just very high profile.
 

Marcel

Member
Yeah and the large pool of willing non union actors certainly didn't help.

Some of the biggest names like Nolan North and Troy Baker basically ignoring the strike after they gave their thoughts and going on as usual didn't help either. The union won better working conditions so it wasn't all for nothing.
 

Nirolak

Mrgrgr
Some of the biggest names like Nolan North and Troy Baker basically ignoring the strike and going on as usual didn't help either. The union won better working conditions so it wasn't all for nothing.
IIRC this is largely the deal publishers proposed before the strike happened.
 

pa22word

Member
They were always going to get taken to the woodshed. For every life is strange or Last of Us there's thousands of games where the VA quality is mostly background noise no one really cares that much about, if it's even there at all. This is also complicated by the fact those big name "artistic" movie like games take a long fucking time to make, so by the time the game actually finishes and people start feeling the potential effects of the VA it's been like 5 years since the strike began. Pubs had all the leverage here. They always did, tbqh.
 
That's good to hear! Also, I'm 99 percent positive that the residuals thing was never seriously on the table and was only used as a bartering equalizer(? idfk what it's called), and as a means to reach an agreement to the things that they actually want.
 

Marcel

Member
IIRC this is largely the deal publishers proposed before the strike happened.

So I guess this is the union spinning the agreement to make themselves look good, rather than look stupid for taking an old deal that had already been on the table once before and didn't take because they wanted to foolishly hold out for royalties?
 

Squishy3

Member
It's pretty obvious sales-based royalties were always a pipe dream but they made it out with most of the other stuff they wanted out of the initial strike demands, and they still get additional payment. The initial mission statement pinned them at wanting a payment of $3300 per 2 million copies sold.

So, ultimately, they still achieved their goal of secondary compensation, it's just dependent on recording sessions versus copies sold. Everything else was related to transperency regarding projects, vocal stress the mentioned sex scenes/slurs and stunt safety.
 

Marcel

Member
It's pretty obvious sales-based royalties were always a pipe dream but they made it out with most of the other stuff they wanted out of the initial strike demands, and they still get additional payment. The initial mission statement pinned them at wanting a payment of $3300 per 2 million copies sold.

So, ultimately, they still achieved their goal of secondary compensation, it's just dependent on recording sessions versus copies sold. Everything else was related to transperency regarding projects, vocal stress the mentioned sex scenes/slurs and stunt safety.

If Nirolak is correct and all this was already in the cards before the union walked away from negotiations then they held out for no benefit at all. It's actually a negative since all they did was waste everyone's time on a pipe dream when reasonable things like working conditions were already agreed to by the publishers.
 

snap

Banned
So does this technically make the new Life is Strange the one and only scab game the modern games industry has seen?

over/under they find a way to work the original VA into the game for episode 3 and the bonus episode (ep 1 was released and they're currently recording ep 2)

she worked as a writer on the game so really the only thing stopping them is whatever contract they have with the current VA
 

_Ryo_

Member
I had hoped that this would work out much better for VAs. I mean, it's good that it's at least a little bit better but it's still not nearly enough.
 

Marcel

Member
Are they getting anything more out of this deal than they would have pre strike?

If I'm understanding it correctly the union balked at the deal offer, got successfully starved out by the publishers then came crawling back to the negotiation table and ultimately took the original deal. If this is what actually happened they look kind of incompetent and are spinning it as a victory when it actually shows how unnecessary union voice actors are to the success of a video game.
 
Yeah Im not exactly seeing any "wins" here for the VA industry. More job details beforehand? What exactly were they being told before? "You're voicing a character" and that's it?

Anyone with experience who can elaborate?
 

snap

Banned
If I'm understanding it correctly the union balked at the deal offer, got successfully starved out by the publishers then came crawling back to the negotiation table and ultimately took the original deal. If this is what actually happened they look kind of incompetent and are spinning it as a victory when it was actually shows how unnecessary union voice actors are to the success of a video game.

everybody is unnecessary to the success of a video game for the most part. anything you can do someone can do nearly as well for cheaper. why you have sequels put out by new teams with none of the original creative talent that still do just as well sales-wise.

Yeah Im not exactly seeing any "wins" here for the VA industry. More job details beforehand? What exactly were they being told before? "You're voicing a character" and that's it?

Anyone with experience who can elaborate?

the stuff that came out before is that they would know some of the specifics of the role but not what it was for. so it could be for a call of duty and all they'd get is some codename. if you're offered a project called "blue whale" and one called "star gazer" at the same time, and one is destiny and the other is some indie game, you'd want to know. it sounds like they got a compromise (because pubs don't want to give actual names thanks to VAs putting them on their resumes and fans finding them online).
 

nynt9

Member
Yeah Im not exactly seeing any "wins" here for the VA industry. More job details beforehand? What exactly were they being told before? "You're voicing a character" and that's it?

Anyone with experience who can elaborate?

Oftentimes VAs had no idea if they were working on a big IP so they were unable to negotiate contracts from a position of power. Knowing what game they're going to be working on gives them more leverage. They wouldn't be able to ask for a lot if the project is Homefront 3, but if they're getting a key role in MGS6 they can ask for more. Previously pubs kept them in the dark and got them at cheaper rates.
 

Grexeno

Member
I imagine the final straw was a bunch of games with replaced VA's coming out and the response being rather tepid.
 
Oftentimes VAs had no idea if they were working on a big IP so they were unable to negotiate contracts from a position of power. Knowing what game they're going to be working on gives them more leverage. They wouldn't be able to ask for a lot if the project is Homefront 3, but if they're getting a key role 3 MGS6 they can ask for more. Previously pubs kept them in the dark and got them at cheaper rates.

This makes more sense. I can certainly see the scale of the project having an effect. Plus if its a high profile role where they are speaking in 95% of the game rather than 5% makes a big difference.
 
If I'm understanding it correctly the union balked at the deal offer, got successfully starved out by the publishers then came crawling back to the negotiation table and ultimately took the original deal. If this is what actually happened they look kind of incompetent and are spinning it as a victory when it actually shows how unnecessary union voice actors are to the success of a video game.

Thats how I see it. When they originally striked, it was about residuals post release. Hell Nolan Norths whole speech at the VGA was talking about the devs and programmers who DIDNT get residuals as a comparison.

The Union has gotten egg on their face after this. No other way to look at it.
 
It was always going to end like this. Happy for what worked out, but there was no way those AAA companies would have caved on residuals.

I'm pretty sure dead rising 4 is too.

It was done in Vancouver but still seems to have been done without Canadian Union involvement. Regardless it had nothing to do with SAGAFTRA.
 

Marcel

Member
I imagine the final straw was a bunch of games with replaced VA's coming out and the response being rather tepid.

You're going to have to be specific with your examples because nobody cared about Robin Atkin Downes' presence in the new NMH outside of some hardliners on NeoGAF and maybe Twitter. Most people were just happy to get a NMH game at all and were willing to settle with a new guy.
 

Zenner

Member
The deal also contains an employer commitment to continue working with SAG-AFTRA on the issue of vocal stress during the term of the agreement

I'm very unhappy with this part; vocal stress is potentially a career-ending issue, and it's being relegated back to "let's talk about it" for the next three years?
 

pa22word

Member
Wait is this why Frank West wasn't really Frank West?

lolno

They thought bringing in a dude who played a main character in GTA V might bring some of that GTA money home. Spoiler alert: it didn't >.> They almost certainly paid more for that guy than they would have with tj rotolo anyways.
 
This makes more sense. I can certainly see the scale of the project having an effect. Plus if its a high profile role where they are speaking in 95% of the game rather than 5% makes a big difference.

Another thing is that with a larger project, it may occasionally be that a specific voice talent is being sought out, rather than them or their agents applying for whatever job they can get. Consequently knowing what the project is can lend considerable power in negotiating a contract, because the actor knows to what degree the other side may be under pressure to get them to sign a contract.

It's far from the best outcome, that's true, but there's at least some gains here.
 
SAGAFTRA definitely had to compromise more but it sounds like they got some concessions at least. Would have liked to see vocal stress taken more seriously though.
 
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