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You must try to generate happiness within yourself. If you aren't happy in one place, chances are you won't be happy anyplace. -Ernie Banks -
^ Yeah apparently he has left "Batwing" as well...I never cared for Winnick myself but I think again it says something that a writer that DC was so high on for many years now is scaling back his work for the company. The atmosphere can't be good over at DC editorial if there are constant changes being made based on fluctuating sales...Think OUTSIDE the Box! For the BEST in Repro & Custom Packaging!Comment
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Whatever happened to guys like Chris Claremont who was on the "X-Men" for years? Now granted he may have been on the title for too long but this constant revolving door over at DC is ridiculous. How can a writer gain momentum if they can't even complete their arcs as envisioned and are replaced by someone else? On some books I think we're talking 4 issues in and a new creative team was already in place....Think OUTSIDE the Box! For the BEST in Repro & Custom Packaging!Comment
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>How can a writer gain momentum if they can't even complete their arcs as envisioned
THAT is an excellent point, and probably at the crux of a lot of problems. I think the problem here is that Claremont's run on the X-Men was something of an anomally to begin with: it was the order of the day for people to rotate around a number of books without feeling too attached to any single one. (For the most part; exceptions happened, such as the earliest Marvel stuff.... but I think by the 70's that was phasing out.) Claremont sort of ended up ont he X-Men, and stayed there 'cos nobody else seemed to wan tthe job. Ironically, that let him take his time developing plots, allowed a lot more character development, and let him genuinely pace his stories as required. (As opposed to the standard 2-part and it's gone style of plot.) By the mid-80's it was normal to associate a book with the artist or writer.
BY the early 90's designer comics were the thing; and it seemed like the name attached was more important than what they were actually producing. To THAT end, it became the standard to juggle "talent" around as many books as possible so's to up their popularity. A lot of those guys developed the attitude that they'd be around for a bit, spiff everything up and move on to something new. Hell; even after the Image guys made such a big deal aboput caring for their characters and the need for more freedom THEY all flaked in what; five, six, ten issues?
>On some books I think we're talking 4 issues in and a new creative team was already in place....
I can sympathise with the frustration this causes for the readers.... but from the other way around. I've always been a fan of the undergrounds and independents, and a BIG part of the appeal for me was that those books were the product of one or two minds who could take the book wherever they saw fit. It creates a much more solid reading experience. The rotating staff was something that put me off from the superheroes even way back in the 70's.... so I can only imagine what a pain it is nowadays.
So.... I suspect the problems are bigger than just the current staff. You're looking at the end result of 20-30 years of policy.... the downside of the stuff everybody loved back in the day. But that means eventually things will shift the other way. Might be a while though; the 70's implosion went on for what....almost a decade? 'Course when the fans of today grow up and become the cartoonists of tomorrow they'll be entering the field with notions of creator control, lasting consequence and complex, evolving stories.... so there's THAT to look forward to.
Don C.Comment
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DC Killed Simone's Secret Six ...., which was So very good, and 1 of the last Great Titles before the New 52.
I didn't care for any of Winnick's Writes, But Genertion Lost had to have been the best thing He has done to date. It was really good.
Sales for the New 52 Have got to be in the Toliet by now ...
I'd bet half Of us , 30to50 Year Olds that were actually buying DC's books Don't buy now ..., or if we do It's less than Half of what We did Buy .... I haven't wished for something to go back the way it was this hard, since I couldn't find Mego's in the Store anymore when I was 5.... The Original Knight ..., Often Imitated, However Never Duplicated. The 1st Knight in Customs.
always trading for Hot Toys Figures .
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At this point, I don't think things can go BACK to what they were immediately before the new 52. I think the new 52 thinking was creeping into DC as early as Identity Crisis, and definitely by Infinite Criss/52/Countdown, etc.
I think a total reboot to a classic status quo is in order. With top flight talent (not left over Marvel guys Bob Harras bowls with) and the mantra to tell good stories. Get the creators excited about the concepts. Let them play in the sandbox with the classic toys, not the Jim Lee-upped new fangled versions no one cares about.
ChrisComment
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Liefield is the Jay Leno of the comics biz. An untalented hack.Comment
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Which is why I think Marvel is currently winning on the long game with their stable of top writers currently putting in the time on their titles (and creating substantial libraries of collected content on their mainline titles). This is why their #1 relaunches are actually feeling like a big deal despite not being a reboot... guys like Brian Bendis, Matt Fraction, Jonathan Hickman, Jason Aaron, et al have been consistent presences on Avengers, Thor, Iron Man, Wolverine, Fantastic Four etc. They are just playing musical chairs on the titles in the next few months, but given their track records, you know they are on board for the long haul. They are losing Ed Brubaker, but they have gained Mark Waid, who's putting in his time on Daredevil and now set to take over Hulk.
DC keeps trying to spike sales, and it's much more of a roller coaster ride.
Their basic philosophies really seem to have swapped between now and the 90's. With DC being a much more steady as she goes and Marvel tossing everything at the walls to see what sticks.Last edited by samurainoir; Sep 1, '12, 9:53 AM.Comment
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Good point. DC used to be the company that produced comics very consistently, waiting for things to cycle back to them. Marvel seemed much more for jumping after trends. I think that's why the new DC disturbs me so. It's like a totally different company, and it really is. When Levitz left, the last vestiges of the old DC went with him.Their basic philosophies really seem to have swapped between now and the 90's. With DC being a much more steady as she goes and Marvel tossing everything at the walls to see what sticks.
ChrisComment
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