I suspect DC's commitment to keeping 52(ish) titles at one time is allowing some of the weaker books to skate by while they try to find replacements.
Solicits just dropped, and there are only 42 "New 52" ongoings in May. And still only 49 "New 52" issues when you add in the weekly shippers and the Superman one-shot.
I think they're literally just completely tapped out of talent.
It's pretty amazing to see such a huge, old company that is part of one of the biggest media conglomerations in the world just fumble its resources so badly.
And yeah the beginning of the New 52 probably made guys like Didio and Harras look great, but approaching the three year mark you'd hope that it'd be as apparent to the company as it is to us that the current people in charge have just made a continuous chain of terrible decisions and are killing the line.
The worst part is that not only do I think Johns would do well with some editorial power, but there are a ton of journeymen creators working at DC right now who have strong editorial backgrounds. Dudes like Tomasi and Bedard. Fuck, Levitz is still around even. They may not have a strong pool of writing talent, but they have a bunch of guys that could be re-purposed to fix all these management issues if only WB had better understanding and oversight.
Instead it seems like the current regime will run the line into the ground, and WB will end up exploding the DC we know and say that the market was against them or some half-thought nonsense.
If only there were like, a shitload of creative people doing webcomics, indie books, or fanart that they could look to.
If only these people could be found, worldwide, through some kind of massive network allowing for the free exchange of goods and services.
Oh, to live in such a world.
DC's too committed to its house style for that to work. They pretty much have to work with pros, because any new talent will be too distinctive to fit into the New 52.
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TexiKenDammit!That fish really got me!Registered Userregular
When DC digital's stuff starts to fold up or basically be nothing more than their regular DC output, that's when it's over.
I mean, it kind of feels over now, but that will be super duper official.
You guys read the two newest Adventures of Superman?
One in which Superman babysits Sugar and Spike, as drawn by Phil Hester, and the next where Superman acts like fucking Superman, as drawn by Doc Shaner?
Easily two of the best takes on Superman I've seen in months, and they're written by Fabian Nicieza and Ron Marz. Why such a disparity in quality, between this and their New 52 work? Better editors? Paired with more suitable artists? Not rushed to push the issues out of the gate as quickly as possible?
Honestly, I'd be pretty okay with the print side of things folding, and the digital guys being the main arm of DC comics, going forward.
Easily two of the best takes on Superman I've seen in months, and they're written by Fabian Nicieza and Ron Marz. Why such a disparity in quality, between this and their New 52 work? Better editors? Paired with more suitable artists? Not rushed to push the issues out of the gate as quickly as possible?
Honestly, I'd be pretty okay with the print side of things folding, and the digital guys being the main arm of DC comics, going forward.
Munch, these comics don't meet Dan Didio's editorial mandate of "Keep it shitty."
Edit: In all honesty, like @Phillishere just observed, I think it's been clear for some time now that almost every problem has been due both to editorial incompetence coming from the higher levels, as well as mandated house art and writing/plotting styles that feel lifted from the 90s. The only dudes that get to breath a little bit outside of it are Johns, Lemire and Snyder. It doesn't help because DC is trying to make lesser-knowns into a new crop of AAA writers, but the restrictions they seem to be placing on them are resulting instead in a bunch of writers who all have a similar voice and are putting out mediocre titles.
It may actually be harmful for new writers to work at DC like this. It will be very difficult for guys like Kyle Higgins, who didn't really launch off a high profile indie book, to rebuild his credibility elsewhere.
HadjiQuest on
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AntimatterDevo Was RightGates of SteelRegistered Userregular
You guys read the two newest Adventures of Superman?
One in which Superman babysits Sugar and Spike, as drawn by Phil Hester, and the next where Superman acts like fucking Superman, as drawn by Doc Shaner?
Easily two of the best takes on Superman I've seen in months, and they're written by Fabian Nicieza and Ron Marz. Why such a disparity in quality, between this and their New 52 work? Better editors? Paired with more suitable artists? Not rushed to push the issues out of the gate as quickly as possible?
Honestly, I'd be pretty okay with the print side of things folding, and the digital guys being the main arm of DC comics, going forward.
Question, if DC completely loses Gail Simon does it really matter?
Looks like she's getting a bit of Marvel work. She has a dedicated fanbase but does it really add to anything she does.
Yes, because she can be a fantastic writer when left to her own devices. Secret Six was amazing because it was mostly "nobody" characters that she got to write how she wanted. Whereas, if I'm remembering correctly, she didn't want Barbara to be Batgirl again but said "they're gonna do it anyway so I might as well write it"
Late to the party on commenting on this, but Green Lantern Corps #28 felt like a return to the pre-Brightest Day Tomasi quality days of GLC. Easily the best issue of the new team's run and the reason for this was they embraced all of the pre-New 52 continuity from the last GLC run instead of just not using the characters or not mentioning the history. It had Soranik thinking about Korugar, her father Sinestro, and Kyle, Von Daggle and discussion about the Corpse, Iolande actually acting like Iolande for the first time in years, Morro and the crypt, and quick check in on our new recruits. I am pleased.
Mego Thor"I say thee...NAY!"Registered Userregular
For years, I've wanted to see a sequel to Grant Morrison's Kid Eternity mini-series, where the Kid and Mr. Keeper activate the Chaos Engines they were secretly setting up all along, and undo all the editorial fuckassery that's been going on at DC.
If it helps Munch, I've stored most of the new52 I got before I dropped, down in the bottom layer box with things like Chuck Austen's X-men, Maximum Carnage , some of the Crisis's, etc. So that it will know it's being punished.
( There still are a couple titles I pull tho, it is a sad ratio though)
Question, if DC completely loses Gail Simon does it really matter?
Looks like she's getting a bit of Marvel work. She has a dedicated fanbase but does it really add to anything she does.
Yes, because she can be a fantastic writer when left to her own devices. Secret Six was amazing because it was mostly "nobody" characters that she got to write how she wanted. Whereas, if I'm remembering correctly, she didn't want Barbara to be Batgirl again but said "they're gonna do it anyway so I might as well write it"
Yeah, she would probably do good at Marvel as they seem to be doing a good job of handing out characters who one wouldn't expect to get a monthyl and giving them to a quality team.
Important question though, is who would you want to see her write?
Naah, she's probably just going to straight up leave DC. I think she's still on Batgirl, but other than that, all her other books are Indies or Marvel.
Question, if DC completely loses Gail Simon does it really matter?
Looks like she's getting a bit of Marvel work. She has a dedicated fanbase but does it really add to anything she does.
Yes, because she can be a fantastic writer when left to her own devices. Secret Six was amazing because it was mostly "nobody" characters that she got to write how she wanted. Whereas, if I'm remembering correctly, she didn't want Barbara to be Batgirl again but said "they're gonna do it anyway so I might as well write it"
Was there much editorial mandate on The Movement? Cause otherwise it would prove this theory wrong.
AtomicTofuShe's a straight-up supervillain, yoRegistered Userregular
I'm not suggesting anything about the quality, but she seems like someone DC would approach to take over the book. Or maybe that'd be too much overlap with Red Sonja for her.
Garlic Breadi'm a bitch i'm a bitch i'm a bitch i'm aRegistered User, Disagreeableregular
I think Azzarello and Chiang's take on Wonder Woman as a character is pretty much perfect.
Chiang draws her strong, confident, and beautiful. He makes her revealing costume work and not be sexual. Shit, he drew her naked and it came off as strong instead of sexy.
Azzarello makes the "warrior for peace" work completely. She's strong, confident, and compassionate, but she's not perfect and she knows it.
When Hades said Wonder Woman lied to him and she says "No I didn't. I. Love. Everyone." is honestly one of my favorite character moments.
Posts
I agree. It's pretty much Deadpool but with Harley Quinn instead. They're not similar characters at all.
Solicits just dropped, and there are only 42 "New 52" ongoings in May. And still only 49 "New 52" issues when you add in the weekly shippers and the Superman one-shot.
I think they're literally just completely tapped out of talent.
If only these people could be found, worldwide, through some kind of massive network allowing for the free exchange of goods and services.
Oh, to live in such a world.
Tumblr Twitter
And yeah the beginning of the New 52 probably made guys like Didio and Harras look great, but approaching the three year mark you'd hope that it'd be as apparent to the company as it is to us that the current people in charge have just made a continuous chain of terrible decisions and are killing the line.
The worst part is that not only do I think Johns would do well with some editorial power, but there are a ton of journeymen creators working at DC right now who have strong editorial backgrounds. Dudes like Tomasi and Bedard. Fuck, Levitz is still around even. They may not have a strong pool of writing talent, but they have a bunch of guys that could be re-purposed to fix all these management issues if only WB had better understanding and oversight.
Instead it seems like the current regime will run the line into the ground, and WB will end up exploding the DC we know and say that the market was against them or some half-thought nonsense.
DC's too committed to its house style for that to work. They pretty much have to work with pros, because any new talent will be too distinctive to fit into the New 52.
I mean, it kind of feels over now, but that will be super duper official.
You guys read the two newest Adventures of Superman?
One in which Superman babysits Sugar and Spike, as drawn by Phil Hester, and the next where Superman acts like fucking Superman, as drawn by Doc Shaner?
Easily two of the best takes on Superman I've seen in months, and they're written by Fabian Nicieza and Ron Marz. Why such a disparity in quality, between this and their New 52 work? Better editors? Paired with more suitable artists? Not rushed to push the issues out of the gate as quickly as possible?
Honestly, I'd be pretty okay with the print side of things folding, and the digital guys being the main arm of DC comics, going forward.
Tumblr Twitter
Munch, these comics don't meet Dan Didio's editorial mandate of "Keep it shitty."
Edit: In all honesty, like @Phillishere just observed, I think it's been clear for some time now that almost every problem has been due both to editorial incompetence coming from the higher levels, as well as mandated house art and writing/plotting styles that feel lifted from the 90s. The only dudes that get to breath a little bit outside of it are Johns, Lemire and Snyder. It doesn't help because DC is trying to make lesser-knowns into a new crop of AAA writers, but the restrictions they seem to be placing on them are resulting instead in a bunch of writers who all have a similar voice and are putting out mediocre titles.
It may actually be harmful for new writers to work at DC like this. It will be very difficult for guys like Kyle Higgins, who didn't really launch off a high profile indie book, to rebuild his credibility elsewhere.
What's wrong with Pak's work in Action Comics?
http://www.gamesindustry.biz/
I write about video games and stuff. It is fun. Sometimes.
Looks like she's getting a bit of Marvel work. She has a dedicated fanbase but does it really add to anything she does.
Yes, because she can be a fantastic writer when left to her own devices. Secret Six was amazing because it was mostly "nobody" characters that she got to write how she wanted. Whereas, if I'm remembering correctly, she didn't want Barbara to be Batgirl again but said "they're gonna do it anyway so I might as well write it"
In other news; pigs fly! Film at 11.
I keep forgetting about the good books DC still publishes, which isn't fair.
But, I just read all of the New 52 TPBs available through my local library system, and all I can feel is hate.
Tumblr Twitter
( There still are a couple titles I pull tho, it is a sad ratio though)
Yeah, she would probably do good at Marvel as they seem to be doing a good job of handing out characters who one wouldn't expect to get a monthyl and giving them to a quality team.
Important question though, is who would you want to see her write?
Though I can't imagine things are going swimmingly at DC, she has been one of the ones towing the company line the hardest for some reason.
probably hoping that if she was a good and loyal employee they'd recognize that and treat her less shittily than they have nearly everyone else
Was there much editorial mandate on The Movement? Cause otherwise it would prove this theory wrong.
Steam
That just says Azzarello and Chiang are finishing their run. The book isn't ending.
https://gofund.me/fa5990a5
Steam
Considering her recent output...
https://gofund.me/fa5990a5
Steam
WW+Orion OTP
It was a bit weird how she seemed like a completely different character in her book.
Maybe its just the editorial crap forcing her to write stuff shes not that into.... I dunno....
// Switch: SW-5306-0651-6424 //
Chiang draws her strong, confident, and beautiful. He makes her revealing costume work and not be sexual. Shit, he drew her naked and it came off as strong instead of sexy.
Azzarello makes the "warrior for peace" work completely. She's strong, confident, and compassionate, but she's not perfect and she knows it.
When Hades said Wonder Woman lied to him and she says "No I didn't. I. Love. Everyone." is honestly one of my favorite character moments.