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Subj: Re: Society 1
Posted: Sun Jul 05, 2015 at 09:29:53 am EDT (Viewed 843 times)
Reply Subj: Re: Society 1
Posted: Sun Jul 05, 2015 at 08:57:45 am EDT (Viewed 815 times)
I have the working suspicion that corporate comics publishers today have an institutional aversion to successful writers with a popular vision for whatever they happen to be working on. An aversion to popular talent.
Ever since the days of Alan Moore, Frank Miller, John Byrne, Chris Claremont, and even Rob Liefeld and his peers, the big two publishers (but in particular DC) have endeavoured to make sure no creator rises to have that sort of independence and collossal success over their corporate properties. The property comes first, not the work-for-hire.
DC, particularly since 2011, are a working example of this practice. James Robinson performed a minor miracle by reinventing the Earth-2 concept in a very modern and convincingly nuanced way which instantly connected with a strong and loyal readership - sales of 40'000 were still the norm well afer much of the rest of the publishing line had fallen to 20-30'000. So rather than maintain this success and momentum DC put James Robinson into such a position that he feels he has to walk away from the book after just over a year in and the series is thereafter an exercise in editorial plotting and a script-robot giving the plot words... parallelling this look to Green Arrow for a very similar effect in Jeff Lemire and Andrea Sorrentino' phenomenal overhaul, only for it to be brought to a close a year or so later and in comes the crew from the television series delivering generic comicstrip action.
It's a pattern repeated elsewhere, Grant Morrison on Action Comics for example, freelance creators who come to a title, overhaul it to great acclaim, only to exit after only a year or so. A year being not long enough to stamp anything of lasting value onto either book or audience.
Earth-2 reeks of editorial decree. This book longsince stopped being written by a writer with any personal vision and is instead a corporate peg-holder for the brand, stuff happens in these pages but not a lot of it actually makes sense or feels believable - i.e. Organic. And that is a sign of the management dictating the plot, not any writer.
At this point the property is damaged goods.
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