Comics Creators

Marvel Comics: The CB Cebulski Generation Begins!


I’m not so sure about that, Wiki for her just has these for creator owned comics at Image:

There’s a handful of others - DHC, Boom, but the bulk is Marvel / DC.

Bitch Planet was pretty clever but it went off the rails with no second trade and after a while I concluded that if she didn’t care about her own book, neither did I. Similarly Pretty Deadly, could be interesting but I think is in limbo too. That’s not good.


There is a second trade, and anthology trade for Bitch Planet, and two Pretty Deadly trades.


Oh, it finally came out? Let’s see - oh, June 2017, nearly two years later for what was to be a monthly or even ongoing. Pretty Deadly is supposed to have a third volume, when? Who knows? Lots of comic creators fail on communications, DeConnick is far from the only one.

If I’m to buy a series, I want to have confidence in the continued supply of product, Remender and Lemire do this - the result is I have more confidence in them. If I’m left in limbo as to when the story is going to be concluded, if at all, why should I care.about it?

Comics looks to be, as a medium, picking up one of the worst tendencies of fantasy / SF in this respect. And that is? Put Bk 1 of series out, maybe put Bk 2 out, take forever on Bk 3 or later volumes, but expect the fans to still be there.


She’s clearly not in the same league as any of those writers, in any measurable way - success, fame, quality or quantity.

This isn’t a slight on Kelly Sue DeConnick, it’s a just a fact, if you even spend 5 minutes comparing her body of work to the names you have mentioned.


I don’t disagree, but I don’t think that has anything to do with where a creator ranks.


Well, in that case, what criteria are you going by for ranking then? What’s the basis of comparison for you?


Let’s see…

Awards: Nominated for an Eisner and a Hugo
Creator-Owned Work: See above
Adaptation deals: See above
Major DC and Marvel Work - Written Avengers and Spider-Man titles, just took over Aquaman as his film is being released, and has a Wonder Woman graphic novel coming out under DC’s Black Label. And the Captain Marvel film that’s coming out looks to be drawing heavily from her work on the character.

I’d say that puts her on the same level as those creators. Feel free to present any counter-evidence.


OK, that answers my query then.


Basically the stuff I listed below. Add in a difficult to quantify fan following, and I’d say there’s no way she’s C-list. I’d reserve that for folks like Kelly Thompson, Ed Brisson, Jim Zub, James Tynion IV - talented writers, but not names, yet. I’m not really considering whether or not I like a creator’s work. I’m not a fan of Kirkman’s or Spencer’s work, but the first is definitely an A-list writer, and you could make a solid argument for the second. Hell, I’m not even a huge DeConnick fan. I love Bitch Planet and think Pretty Deadly is good, but I’ve never really been grabbed by her Big Two books, including Captain Marvel.


Can’t say I really use this A, B, C structure, my own buying choices tend to be on a more, well… nebulous… basis. :wink:

And as for Spencer? Spencer is on my shit list and is never getting off it for the Morning Glories fiasco.

Back to DeConnick, maybe she has decided to focus on the Big Two. If you’re looking to encourage social change via comics, you’re going to have more impact via the big superhero books on a pure numbers basis than via a creator owned book that has to fight for every sale it gets. As a strategy, makes sense.


This might take me while. The counter evidence is very comprehensive.


Right then, time to order in some burgers, some cokes and sit back and watch the show.


sigh I still bummed about how that’s played out…


From what I remember of Morning Glories, Remender and Craig’s Deadly Class feels like a substantially better take on a similar premise. Highly recommended if you aren’t already reading it.


Super trade waiting it - I have OHCs 1-2.


I wish I’d done that. I’ve been buying the trades digitally, but the OHCs look SO nice.


They are. They are Absolute-size hardbacks that are absolutely worth the money.

I get the feeling Remender really likes doing these editions, as he’s done them for Fear Agent, Tokyo Ghost and Low too.


I can’t belive I’m wasting my night on this pissing contest. This will be the last time I get involved in a stupid discussion like this.

Jason Aaron, the man who Marvel chose to launch their Star Wars book, the biggest creator at Marvel, currently writer of The Avengers, who could pick any character he wanted.

Nominated for 5 eisners
winner of 2 eisners
Harvey award winner

Writer of The Other Side, Scalped, Southern Bastards.

Marvel body of work, long runs only;

  • About 100 issues of what is probably going to be remembered as the run that overtakes Simonson as the definitive Thor run
  • Star Wars
  • Wolverine
  • Wolverine and the Xmen
  • Ghost Rider
  • Incredible Hulk
  • Orignal Sin, Avengers v Xmen and whatever other events he’s been involved in
  • Dr Strange

His time at Marvel will be over when he calls time on it. If he moves to DC it will be with a carte Blanche to do what he likes.

Kelly Sue

Nominated for 1 Eisner

Writer of pretty deadly (10 issues), Bitch planet (fuck knows, about 10 issues as well maybe)

Marvel work consists of decent sized run on Captain Marvel and a handful of issues on some other books.
New writer of Aquaman

jeff lemire

3 times Eisner award nominee, 1 time winner

Writer of, ach do you know what, I cannae be arsed. .

Go look at Wikipedia, or not, whatever. It’s not even a matter of opinion. This is just stupid.


If we’re teiring comic writers I think it’s pretty simple:

A - one of the best writers of their generation, immediate hall of fame with multiple classic stories to their name. Moore, Morrison, Millar & Miller, Bendis. Guys like Snyder, Kirkman, BKV, Ellis and Ennis are guys that are just in the A tier. It should be maybe the top 10% of comic writers all time if it’s to have meaning.

B - someone with a large distinct body of work but nothing that ever set the industry ablaze. Peter David or Mark Waid or Hickman & Aaron. Wrote large selling books, have a decent catalog of works in print, but never really reached superstar status. This would be the top 30%-10%.

C - more or less people who have decent careers in comics. Maybe never worked on an event comic, only have a couple of their own titles at best. Names you’d probably recognize but not someone who’s ever been the buzz of the industry. Fraction and DeConnick are here. John Layman is a good example. 60%-30% of comic writers.

D - the journeymen who write a whole bunch of comics but who aren’t really well known at all, and who’s name on the cover won’t make any difference to sales of that title. Good writers can still be in here, but if we’re fair they could be off a book and no-one would be up in arms, they could stop writing and no-one would be much the wiser.


That’s probably closer to how I’d break it down too, but I suppose everyone has their own scales with stuff like this. Not really anything worth getting up in arms about either way. At least not for me.