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Mike Sawin
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Joined: 11 December 2004
Location: United States
Posts: 765
Posted: 04 September 2007 at 2:10pm | IP Logged | 1  

[irony]Stupid, cowardly fans have ruined this hobby!

God, I hate fans.[/irony]


Edited by Mike Sawin on 04 September 2007 at 2:13pm
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John Byrne
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Joined: 11 May 2005
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Posted: 04 September 2007 at 2:12pm | IP Logged | 2  

The fans are cowards and couldn't and wouldn't step into the shoes of those characters.

••

Sarcasm, Sam. Sarcasm.

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John Byrne
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Grumpy Old Guy

Joined: 11 May 2005
Posts: 133715
Posted: 04 September 2007 at 2:13pm | IP Logged | 3  

God, I hate fans.

•••

True fans are the boon of the industry. Anal retentive
fanboys are the problem.
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Stan Lomisceau
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Joined: 12 October 2006
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Posted: 04 September 2007 at 3:50pm | IP Logged | 4  

i have bene thinking there are fans and "fans" and the aging faboy who are all left now are the "fans" and that is nto so great. can we hav eour comics back please? well mr.; byrne i have always said for you do not let the bastards smash you down. one day we will all look back onto these times and laugh.
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Greg Woronchak
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Joined: 04 September 2007
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Posted: 05 September 2007 at 2:34pm | IP Logged | 5  

Interesting thoughts on fan-turned-pros (I tend to agree based on recent underwhelming output from several).

It also appears that the transition from animation or screen writing to the comic book medium isn't very smooth as well, which leads me to wonder: what is the best staging ground for the development of quality comic book writers?

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Andrew W. Farago
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Posted: 05 September 2007 at 3:18pm | IP Logged | 6  

The best writers from outside sources seem to know the difference
between novels, movies and comics, and they approach the comics
work as professionally as any other writing assignment. Greg Rucka,
for example, made his name as a novelist before making the
transition to comic books, and he never misses a deadline and
knows how to write a good comic book story.

The problem with comic book writing, like children's book writing,
sitcom writing, romance novel writing, etc., is that if you read
enough of the source material (or think you've got the gist of it
based on your own experience), is that most writers look at the
material and think, "how hard could it be?" The writers from other
media who seem to fare the best in comics actually take some time
to study them before writing a comic, and take the time to figure out
"what do I have to do differently to write a great comic book, as
opposed to a screenplay, novel or play?"    

A great comic book is a great comic book script, not a great
screenplay with pictures added to it.

Edited by Andrew W. Farago on 05 September 2007 at 3:20pm
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Brian Mayer
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Joined: 14 June 2007
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Posted: 05 September 2007 at 10:57pm | IP Logged | 7  

Rachel was one of the things that was the beginning of the end for me on X-men when she came to the "past".

+++

For me, that was the beginning of the beginning, or about the time I got into them.  As a kid, I found the story interesting as hell.

•••

Which basically confirms what others in this thread have been saying. The retro-introduction of Rachel was yet another over-complication of X-MEN plotlines, that longtime readers found hard to swallow. To someone new to the book, there on their own "ground floor", this was not the case.
*****

Sure.  But we all know this stuff goes in cycles and fans grow up.  I stayed on board from a ten year old well into my college years.  Then I moved on.  But I never complained as I did.  Occasionally I look back and see what is going on now and I love to reminisce.

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Paul Kimball
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Joined: 21 September 2006
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Posted: 05 September 2007 at 11:33pm | IP Logged | 8  

For me, it wasn't that the changing origins became more hokey (spider bite/
spider totem) but the soap opera hyper-convolution. I can accept you are a
mutant. I can accept you're a mutant who was raised in an orphanage run by
a villian who met you 100yrs ago when you were time travelling. I can accept
you're married to a women who was thought dead but buried in a cocoon by
a cosmic force while that force took her place. but add a forgotten 3rd
brother, a psychic love affair, 2 kids from alternate futures, I just can't keep
up.
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Mike Norris
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Joined: 16 April 2004
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Posted: 05 September 2007 at 11:50pm | IP Logged | 9  

One the reason stopped reading monthly comics was "realism". When writers decide that the teenaged boy Bucky wasn't realistic and made him into a black ops expert not much older than Cap I figured it was time to toss in the towel. Sure he's fighting beside a Human-Atlantean amphibian, a flaming android and a Super-Soldier but its his age thats unbelievable!!!
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Paul Kimball
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Posted: 05 September 2007 at 11:55pm | IP Logged | 10  

Sure he's fighting beside a Human-Atlantean amphibian, a flaming android
and a Super-Soldier but its his age thats unbelievable!!!

+++++++++++++++++
I wouldn't say unbelievable but if you were going to send in a team to fight,
wouldn't you say the weak link among the above 3 and bucky would be
bucky? I don't think his age was the issue but some training makes sense to
me.
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Mike Norris
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Posted: 06 September 2007 at 12:32am | IP Logged | 11  

He was trained by Captain America and lived on an Army base. He's well trained. What they did was make him into a soldier trained in all sorts of blackops/wetwork type skills, who was assigned by the Government to be Cap's partner and do all the nasty stuff Cap cant do. Thats not Bucky to me. And a few writers (Alex Ross for one) have come out and said they found the idea of kid Bucky's age going to war unrealistic.
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Jacob Reyn
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Joined: 02 April 2006
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Posted: 06 September 2007 at 12:55am | IP Logged | 12  

 JB wrote:
I really did get a letter to FANTASTIC FOUR from a fan who described them as his "favorite mutants".

As many times as he has changed back and forth from Ben Grimm to the Thing and how many other transformations various M***** writers and artists have done to him over the years (spikey for instance), it would seem the foursome's clobberin time Thing is the quintessential mutant.

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