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Robbie Parry
Byrne Robotics Member
Joined: 17 June 2007
Location: United Kingdom
Posts: 12186
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| Posted: 25 March 2013 at 5:55am | IP Logged | 1
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There are many years, and many damaging philosophical changes between
"Hey, look! The guy who draws WONDER WOMAN is drawing METAL MEN!" and
"I only follow Morrison/Bendis/Whoever."
***
I agree with this.
I find that the debut of a particular modern writer/artist on a book becomes as big an "event" as the storyline, if not more.
Years ago, I got to recognize certain styles, Ross Andru's for example. However, for me the hook was the characters. The presence of The Riddler, Catman, Darkseid, Galactus, Silver Surfer, Odin and so many others was enough to get me to pick up a book, whoever was working on them.
I just find nowadays there are some artists who may be ready to debut on a book and news articles will spend a disproportionate amount of time focusing on the artist himself/herself than the actual characters they'll be working on.
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Robert LaGuardia
Byrne Robotics Member
Joined: 15 November 2007
Location: United States
Posts: 1296
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| Posted: 25 March 2013 at 7:49am | IP Logged | 2
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I follow creators rather than characters and I don't see a problem with it.
I learned the hard way that every comic that features Wolverine or
Batman isn't going to be good.
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Greg Woronchak
Byrne Robotics Member
Joined: 04 September 2007
Location: Canada
Posts: 1631
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| Posted: 25 March 2013 at 7:58am | IP Logged | 3
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One of the aspects of older comic books that appeals to me is the wonderful and subtle use of pacing. Pages are structured so that the end of the page creates a mini-cliffhanger that makes the reader eager to turn to the next page; stuff actually happens within a single issue, creating a sense of 'movement' from quiet moments to bombastic action.
This approach fits comic books well; I find the problem today is writers trying to treat them as movie 'storyboards', although I can see how they'd then be easier to pitch to Hollywood suits (sigh).
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James Howell
Byrne Robotics Member
Joined: 23 September 2012
Location: United States
Posts: 363
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| Posted: 25 March 2013 at 8:03am | IP Logged | 4
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When I first started buying comics, (well, my mother bought them for me after I begged and begged..ha) I just got comics cause of the heroes I liked. I bought The Incredible Hulk cause of the TV show, I liked Fantastic Four, before I knew who John Byrne was, Avengers looked cool, etc. Marvel has a very diverse line of comics back then. If I liked the artwork, I followed that title. Creators back then had long runs on books, so you could always get the artists you liked. Only later, when I started seriously considering becoming an illustrator myself, (around 7th grade), coupled with friends who were also artists, then I learned that Sal Buscema drew TIH, and John Byrne drew FF.
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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
Posts: 133279
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| Posted: 25 March 2013 at 8:50am | IP Logged | 5
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… Creators back then had long runs on books…•• An important factor, often overlooked. For YEARS, even DECADES, to follow Jack Kirby was to follow the Fantastic Four and vice versa. To follow Curt Swan was to follow Superman. The Flavor of the Month artists were still a long way in the distance. Even by the time I became a full time pro, long runs were considered the norm. There were complaints when I left FF after "only" 60-odd issues!
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Greg Woronchak
Byrne Robotics Member
Joined: 04 September 2007
Location: Canada
Posts: 1631
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| Posted: 25 March 2013 at 10:50am | IP Logged | 6
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There were complaints when I left FF after "only" 60-odd issues!
Always leave 'em wanting more, as they say <g>. I was spoiled by the quality of your FF run, just couldn't get into the title after you left.
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Chris Basken
Byrne Robotics Member
Joined: 21 January 2012
Location: United States
Posts: 120
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| Posted: 25 March 2013 at 10:57am | IP Logged | 7
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Revolving writers and artists really damaged my ability to enjoy comics. My height of reading X-Men, for example, was during the Claremont and JRJR years. JRJR had a way of drawing the characters so that you knew who was who just from silhouettes and body language. When he left the book, it felt like I had been watching a TV series and the entire cast got replaced -- all by guys who look the same!
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Ronald Joseph
Byrne Robotics Member
Joined: 18 April 2011
Location: United States
Posts: 1784
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| Posted: 25 March 2013 at 12:17pm | IP Logged | 8
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This would be the set-up in panel one. Panel two is a stat of panel one. Panel three (if you're lucky) would be the reaction to whatever was said in panel one, still a stat of panel one, but maybe with a slight change made to one of the faces...if you got panels four, five, and six as stats of panel one as well, as the characters all waited on hold for the appropriate "beat" the author or artist felt the joke required.
And, as if on cue, this hits the Interwebs yesterday...
While I certainly "get it," I feel this kind of "comedy" is best left to movies and TV shows.
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James Johnson
Byrne Robotics Member
Joined: 16 March 2009
Location: United States
Posts: 2155
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| Posted: 25 March 2013 at 12:22pm | IP Logged | 9
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.^^^^^^^ ...move along. nothing to see here.......
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Ronald Joseph
Byrne Robotics Member
Joined: 18 April 2011
Location: United States
Posts: 1784
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| Posted: 25 March 2013 at 12:27pm | IP Logged | 10
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...move along. nothing to see here.......
Nothing that we haven't already seen in Fight Club, anyway.
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Andrew W. Farago
Byrne Robotics Member
Joined: 19 July 2005
Location: United States
Posts: 4079
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| Posted: 25 March 2013 at 12:28pm | IP Logged | 11
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Isn't a system that allows the artists and writers some degree of fame better for the creative talent in the long run? It's building up two brands at once--when DC pushes Jim Lee's Superman, they're directing Jim's fans to pick up that book, and they're getting people to pick up a Superman comic. When Jim goes on to some other project, Superman's still there, maybe with some new readers, and DC can put Jim on some other book and pick up new readers for that.
You can argue that this backfired when the popular artists that Marvel had built up departed the company en masse to form Image Comics, but ridiculous numbers of X-Force #1, Spider-Man #1, and X-Men #1 aside, those titles still sold in the hundreds of thousands per month after the Image guys left. People still bought Spider-Man comics, but they also sought out the new comic by that guy who'd been drawing Spider-Man. Win-win, isn't it?
Given the number of books that I've bought over the years specifically because John Byrne was working on them, there must be something here that I'm missing. I wouldn't have paid a dime for "Jim Shooter's Next Men" back in '92, but I sure as heck wasn't going to pass up "John Byrne's Next Men" on the racks.
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Bill Collins
Byrne Robotics Member
Joined: 26 May 2005
Location: England
Posts: 11294
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| Posted: 25 March 2013 at 1:05pm | IP Logged | 12
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The thing is,J.B. can draw AND write,Jim Lee is only as good as the writer they pair him up.
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Topic Closed)
