I wonder if spreading out among different companies is the key. He can draw different energies from different companies.
I wonder if he is in fact one man at all! Think about it, like four different people all living in this one house, all making comics and then showing it to the other Jeffs for critique and they’re all like “I’d change that bit there, Jeff” and “Oh I do like that idea Jeff” and “when the toilet paper is running low can you write in on the board so we know to pick it up next time we’re down the shops, Jeff? It’s not a hard concept but this has got to be the sixth time I’ve told you now”.
His daring reimagining of Roger Mellie, Man Off The Telly is due any time now.
I’m looking forward to his re-imagining of The Fat Slags as a pair of ice hockey groupies in smalltown rural Canada.
Bah, you beat me to the joke
Maybe this is too simplistic, but I wonder if the allure of an exclusive contract is lessened for a Canadian creator due to their healthcare system. American creators often cite access to an employer-sponsored plan as a reason to go exclusive.
Raise your hand if you remember CrossGen.
I think it is very likely an element to be honest. Listening to Lemire speak in interviews he was exclusive to DC for a while and found it very restrictive but did plenty of work for them afterwards so it wasn’t a personal issue. It naturally is less of a draw if you already have health coverage.
Even CrossGen doesn’t remember CrossGen.
Pepperidge Farm remembers.
I was going to post that but held off because I wasn’t sure how to spell Pepperidge.
My favourite second-hand/discount book shop got dozens of remaindered copies of Forge and Edge years ago, and I think they’re still there.
I had to google it.
That was a long 8 minutes to say their comics aren’t very good.
It was decompressed.
I didn’t watch the video but I’m going to guess it says what we’ve been saying here for years?
I still think Ruse was a good book (CrossGen).