![]() There is also different kind of hindering obstacles a great number of promising comic books and writers come across such as the editorial interference, creative differences, working environment, personnel assignment, and the financial priorities of a profit driven market. It’s even worse when a promising series like Kyle Higgins’s Nightwing is canceled because the character had to ‘die’ in a multiverse scenario. This requires a lot of flexibility from them in comparison to Grant Morrison’s older run, where he had the freedom to weave the Bat world and DC had to accommodate these large-scale events around it. This creates problems for people like Scott Snyder and Greg Capullo who, despite their excellent run in Batman’s main series, end up short with the availability of certain ‘tied up’ characters in a greater event. Notice that I’ve left out the crossover and multi worlds series like the Justice League, Batman & Superman, Earth 2, etc It's their property, and they will milk it. The companies’ main goal is to profit from the popularity of these characters, that’s why they won’t retrain themselves with a single book.įor example, aside from the main series DC has 4 ongoing titles for Batman alone (Detective Comics, Batman & Robin, Legends of the Dark Knight, and Batman Eternal) with various creative teams who need to sync their work with the other character and story developments. ![]() The problems, I presume, begin when they try to replicate that success on multiple titles of the same character (DC’s Batman & Marvel’s Wolverine) or the crossover events (Avengers vs X-Men & Justice League) to help elevate and promote the ongoing successful and struggling titles with endless tie-ins. ![]() The brass up stairs would welcome this drive especially if the outcome is positive on sales. ![]() Some of the current Comic writers who have followed the path of their comic icons would want to make their mark on their childhood heroes. Of course, the presence of a serial plot is on the minds of many creative teams (writers and artists) whenever they join a new project, regardless of the success or failure magnitude of their predecessors. Mainstream comics can’t be categorized between one of these two possibilities, I’d even say a definite dramatic structure is impossible to impose. ![]()
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