Comics Creators

Comics - Everyone Else (NOT Marvel / DC)


I agree from a reader’s perspective but from a creator’s perspective variant covers pump up the book’s sales, allow creators to make a lot more money than they otherwise would, and keeps Marvel’s pay scale competitive.

I think it’s gotten out of hand but if 20 variant covers of Avengers #1 keeps Jason Aaron from jumping to strictly creator owned then it makes sense from their perspective.


With Costa I take huge exception. Costa at that point was critically acclaimed, if not widely read, for his Cobra comics over at IDW. he’d started out co-writing with Christos Gage, but more than ably took over complete control later. What DC did, I think, was identify him merely as a G.I. Joe writer and stuck him on a book (Blackhawks) that didn’t really speak to his strengths. And then quickly severed ties with him when Blackhawks tanked. It took years, but Costa finally found a mainstream project relevant to his talents (Venom). You can make anyone look bad if you’re not using their talents correctly. Or a writer can misjudge their own appeal. I think that’s happened to Mark Waid for years. Although a lot of fans disagree, particularly his Marvel fans, Waid isn’t merely that guy you bring in for nostalgic appeal. He bursts with big ideas when truly motivated. And Greg Rucka, meanwhile, I think tried to go too big with his Rebirth Wonder Woman, when what made his Infinite Crisis “embassy era” comics was directly rooting Diana in a context she doesn’t really have without Rucka. He finally found her a role in man’s world, finally figured out what being an ambassador ought to look like.

Antony Johnston is another one. Marvel had him for a hot minute during one of its periodic "fall from grace’ Daredevil arcs, but promptly discarded him and no mainstream comic has featured his byline since. Which is a huge shame. His Wasteland is a modern classic. Oni knows it, and has continually supported it even past original publication. Image gave Johnston a few shots in recent years, and the results have been variable. The Fuse is a great concept. I think the fact that it reads like a TV show sort of gets in its way. Umbral looked sensational with the emerging Image coloring distinction going for it. Codename Baboushka is the Black Widow book that Marvel has barely attempted to make over the years, and it’s also a kind of mainstream version of Johnston’s own Coldest City, which was adapted into Atomic Blonde.

The needs of the medium oftentimes require snap judgments, and sometimes those judgments are off and unfortunately never really revisited.

Also, Fialkov? You’re totally wrong about him, too. I, Vampire was great. Poor readership has nothing to do with quality.


He’s done a bit for Marvel since then, hasn’t he? Some Daredevil and Spider-Man stuff I think, pretty mainstream.


To be fair to Perez, his biggest issue was that he was subservient to Morrison’s Action Comics which from reports seemed to change direction fairly frequently.


But not for his abysmal transformers run which was terrible.


" He submitted some stories to DC in 1965, at the age of 13, and started working for them in 1966. He was soon the main writer of Legion of Super-Heroes ."

“In 1969 Jim Shooter graduated from high school. He was accepted into New York University, but he’d also been offered a job at Marvel Comics, so he decided to forgo college. He also had to stop writing for DC, as he was now a full-time writer and assistant editor for the competition.”


I thought I, Vampire was a chore to read - I kept buying it for the art then lost interest.

Anything I’ve read by Costa at marvel or dc has been rotten. I’ve not read his GI Joe stuff.

Johnston is a mixed bag, I thought Umbral was poor, I enjoy his Moore connected work and I think The Fuse is excellent for what it is. I intend to come back to Wasteland after it initially failed to grab me. It’s sitting in my comixology somewhere half read.


I stand by my point.

Leaning too heavily on multiple underdeveloped writers is a risky move and one that has never been successful, and it’s relevant now as Marvel continue to shed readers by the bucket load.


Not only is Berlin done this fall but it’s getting an omnibus this month. This is big news!


Nice, I’ve been wanting to read Berlin for a while now so that omnibus is very tempting.


Out today:


For those who bought Volumes 1 and 2, the third volume of Berlin:

The best price I can find right now - £14.29:


Yeah, that volume 3 is what I’m after. Just thought I’d share the news of the omni for those who haven’t read any of it yet.

I’m glad D&Q is using the same format for the third book, despite that the others came out so long ago. What a novel concept! Marvel and DC could learn from this.


This shouldn’t be a major point, but it is!

From what I can tell the Omnibus is the same dimensions as the paperback but hardback.


He hasn’t done anything in six years for Marvel. It was all around the time he did the “Shadowland” arc in Daredevil.

And you guys are making my point. If you haven’t read Costa’s Cobra material, you flat-out haven’t read Mike Costa. Some of my all-time favorite comics. And anyway, the whole point of bringing guys like him and Fialkov and everyone who wasn’t at Costa or Fialkov’s league in 2011 was that DC had 52 slots to fill, and it could afford to experiment even if it was experimenting. That was the whole point! I’ll never understand how fans didn’t get that. It was supposed to be an opportunity for the company to do a little experimenting. Instead fans complained (Gar! Gar! Gar! I’ll save you the time again, and just point out that I’m literally blaming the fans again) that DC wiped out the previous continuity and tried something new. I’m happy that DC’s popular these days for effectively erasing the New 52 from existence, but for me that was a lot of fertile ground that produced a lot of great comics. Of course there was also going to be stuff that just didn’t stick (I admit I don’t think Costa’s Blackhawks worked particularly well, at least compared to his Cobra material), because there was flat-out a ton of new material mostly completely unrelated to anything that had come before. DC stayed modular, though, and tried different things, and even had some major stuff waiting in the wings, like Earth 2, which when Robinson was writing it made for a lot of positive chatter. Then of course he left.


I won’t say anything about the fans. Just a reminder that it says (NOT Marvel/DC) in the thread title :smile:


I went ahead and bought Berlin Book 3 today. It’s been so long that I need to re-read Book 1 and 2 first, and my reading pile is getting unwieldy but…I’m very excited to have it and looking forward to getting to it this winter!


No it wasn’t.

The point was relaunching the line from scratch to be continuity free, to provide a jumping on point for everyone.

DC have still got plenty of slots to fill, the difference is they are now focussing on making the best possible comics with writers and artists who are up to that task, and never resting on their laurels.

It’s no coincidence that they have binned most of the people who were involved in new 52.

52 was a great idea, very bold, very brave, and the first month did extremely well. But over time it failed rather quickly because the comics were not good enough.

It was one of the most exciting periods in the history of comics for me. At the time I gave every book 3 issues each, but the standard was poor and ultimately it led to the demise.

The fans were not to blame for the failure of the new 52 it was the poor quality of the stories within the books. The fans turned up in their droves and DC failed to keep that audience interested because the product was substandard.


I’ve been vaguely aware of the book in the past but have never read it. All of the mentions in the last couple of days have made me think it must be worth checking out. I’ll put it on my to-read list!


But why would you try every single book? You seem to have suffered quick burnout, if anything. That’s a lot of comics! And the editorial mandate, at least as I experienced it, suggested every writer follow the same basic pattern early on, with a big twist at the end of the first issue…so you were reading essentially the same story fifty-two times. Of course you threw your hands up with disgust. That many comics, it was meant for you to find the stuff that interested you specifically. It was made for cherry picking. There were plenty of comics I didn’t want to read, and… I didn’t, and never will (some of this stuff I caught up with years later, like the complete Frankenstein or complete I, Vampire, so when I talk about it now, it’s not pie in the sky). You have stuff like Lemire’s Animal Man that was an early critical favorite that fans soured on and never thought about again because of crossover events. Which is nuts. But this was just about the time that crossover events were pretty much uniformly rejected by fans. DC began turning away from them, Marvel didn’t. And we can see where their fortunes are now. The fan mindset changed.