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Mike Norris
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Posted: 17 November 2017 at 5:32pm | IP Logged | 1 post reply

Another pin point of light. Axel Alonzo is out as Marvel EIC to replaced by CB Cebulski. 
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Eric Jansen
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Posted: 18 November 2017 at 3:42am | IP Logged | 2 post reply

I am eternally optimistic about the future of comics in general and of DC and Marvel specifically, but I just looked this new guy up and I see nothing in his writing or editing history that leads me to understand how he gets put in charge of Marvel's legendary and iconic line up.
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Brian Skelley
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Posted: 18 November 2017 at 12:19pm | IP Logged | 3 post reply

I used to enjoy Bendis for a while there, back towards him just starting to write in the main Marvel universe. I never did care for the Ultimate universe both as a concept or as story (I was laid up in the hospital and a buddy had made a 'omnibus' of the universe in it's reading order so I was able to read all of it, except all of the Spider-Man. That I just gave up on as it just wasn't my version of Spider-Man (note: this was before they switched up Parker so it's nothing to do with Miles) and I moved on.Two things I did learn from reading those books are.

1. I really think Marvel made a massive mistake with making the MUU. This was where a lot of writers would get starts or be allowed to try things that just don't make sense after decades of stories. Worse off those books created massive confusion on who was doing what in what universe. The Xavier is a evil bastard started in the MUU and was then brought over to the normal universe without much explanation. In the latest Mavel cross over, the "Captain America is Hydra" they give mutants the same land they gave them in the MUU and called it "New Tian", yet the only Tian was in the MUU during Hickman's run on his 'epic universe changing story' (that honestly starts to all look the same when you read his stuff close together.) that had Reed Richards as the big bad. My point being, even with the universes all being merged up there are tons of places where writers forget that something only happened in the MUU not the regular universe.
2. More importantly, Bendis really seems to write for TV. His scenes are all drawn out in the same areas like there's a concern about location costs. It's a big peeve of mine when we've these other writers that care little for the medium of comics they're working with. I've always felt these had a style of their own and trying to force TV drama into them doesn't always work out well.. in most cases it falls flat. I also have issue with his everyone makes snarky comments regardless of who it is, or who else is around. The uni-character that he gets a lot of grief for writing is true.
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John Byrne
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Posted: 18 November 2017 at 1:43pm | IP Logged | 4 post reply

Xavier is bad, Reed is bad -- and ennui-engorged writers can't deal with noble authority figures.
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Casey Sager
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Posted: 18 November 2017 at 3:46pm | IP Logged | 5 post reply

What's worse IMHO, are the so called fans who eat that stuff up with a spoon.
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Bill Collins
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Posted: 18 November 2017 at 4:08pm | IP Logged | 6 post reply

Bendis...the guy who wrote Luke Cage having anal sex with
Jessica Jones...in a comic.No thank's.
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Rick Whiting
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Posted: 18 November 2017 at 8:46pm | IP Logged | 7 post reply

I am eternally optimistic about the future of comics in general and of DC and Marvel specifically, but I just looked this new guy up and I see nothing in his writing or editing history that leads me to understand how he gets put in charge of Marvel's legendary and iconic line up.

__________________________________


He might have been given the job for the same reason Quesada was allegedly given the job, because nobody else wanted it. Of course, this is all pure speculation on my part.
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Joe Zhang
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Posted: 18 November 2017 at 9:00pm | IP Logged | 8 post reply

New E-I-C <copy-paste name here> has inherited a huge challenge. He pretty much has to fire all of Marvel Comics and replace them with good editors and storytellers who respect the characters. No small task as these days many creators find attention and success through wallowing in controversy, irrespective of their level of talent. 



Edited by Joe Zhang on 18 November 2017 at 9:09pm
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Brian Hague
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Posted: 19 November 2017 at 3:01am | IP Logged | 9 post reply

Did anyone else find it oddly puritanical that following the anal sex episode between Luke Cage and Jessica Jones, events took place that led to marriage and a child between the two? As if permissive "friend-sex" could take place, but only so long as it eventually led to a committed relationship and the establishment of a proper, moral family unit?

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Matt Reed
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Posted: 19 November 2017 at 3:41am | IP Logged | 10 post reply

If you're hoping for comics circa 1985 (moreso if you want them before), then you'll be holding your breath for a very long time.  That ship has sailed.  It's not only sailed but made land somewhere and dug in stakes.  

I was drinking with a friend of mine a week or so ago.  He was an avid comic book fan decades ago and had picked up some comics to see where they were at.  He found them impenetrable, but couldn't define why.  I said it was because comics now are made to be read in five minutes or under for the absurd price of $3.99 a pop (I can buy a movie on iTunes for $4.99).  When he was a fan, comics took a half hour to read and actually made you think.  They got your juices flowing.  Now?  Not so much because you (not me) are trained to "read for the trade".  What you used to get in a single issue is now spread across five or six issues and, as a result, feels watered down and "less than" what we fans got even two decades earlier during the shitty times!

That doesn't even take into consideration the poor characterizations of classic characters and the bastardization of classic titles.  

There's no "bang for your buck" when you're spending $4 for what is essentially a vapid "happy ending" after five minutes.

The comic book business model has to change as well as the decompressed storytelling in order for the medium to feel worth it to the average consumer.  It just has to otherwise it's going to quickly go down the same drain as content that is free.  If I can read a current comic for $4 in the same span of time as an SNL clip I get for free, with no more depth or insight than a random Reader's Digest issue, then the product has to change. 

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James Woodcock
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Posted: 19 November 2017 at 6:58am | IP Logged | 11 post reply

Comics used to read like a book with pictures. Now they read like movie scripts.

There is little depth to the prose in comic. I can read an entire weeks worth of new comics in the same span it used to take me to read one in the 80s. I know this because I do it each Monday on Marvel Unlimited - read the new stuff that I want to read, and then read a couple of back issues. It really brings home the difference in story structure and prose
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Michael Penn
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Posted: 19 November 2017 at 7:40am | IP Logged | 12 post reply


 QUOTE:
Is there light at the end of the tunnel?

Unless that light shines primarily on a new generation of young readers, it doesn't matter. My younger son is 9 years old. He loves comicbooks. But he has nothing contemporary to read from Marvel and DC. Make something for kids or don't bother. 
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John Byrne
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Posted: 19 November 2017 at 8:21am | IP Logged | 13 post reply

How long has this been going on? When I joined Marvel, circa 1975, we (and I include myself) were already leaning strongly away from stories for our original 6 to 12 year old market. Stories were getting "darker". When I pitched an "entry level" Batman book during my time at DC I was told Batman was considered "one of our adult characters." I asked if they were really imagining tired businessmen picking up the latest issue to read on the train to Scarsdale? No answer.

Then we got rid of the Comics Code, after decades of prima donnas (not me, this time) whining that we "didn't need it " -- and then going on to prove we did.

Is there a parallel in the real world? No, but we can imagine one: 25 year old male who drives only the hottest cars slowly morphs into a 40 year old with a wife and three kids and a dog, all living in suburbia -- but still insisting he wants hot cars to drive, so Detroit give him a ridiculously impractical station wagon version. And then, to complete the analogy, the manufacturers realize they make more from each individual station wagon sale, and so shift their targeting to the older market and phase out the original.

Hardly a good business model, yet pretty much exactly what happened in comics.

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Brian Skelley
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Posted: 19 November 2017 at 12:45pm | IP Logged | 14 post reply

 John Byrne wrote:
No, but we can imagine one: 25 year old male who drives only the hottest cars slowly morphs into a 40 year old with a wife and three kids and a dog, all living in suburbia -- but still insisting he wants hot cars to drive, so Detroit give him a ridiculously impractical station wagon version. And then, to complete the analogy, the manufacturers realize they make more from each individual station wagon sale, and so shift their targeting to the older market and phase out the original.


Isn't that what gave us the "SUV" market? Most of those are just Station Wagon's just cloaked in 'coolness'. They're a far far cry away from the off roading beasts they were originally made for.

I always find myself torn with the medium of comics changing. Kids today aren't the same as they were when I was young so what worked for me probably wouldn't work for them. Having said that, I think that would more mean that you'd have new characters that did other things vs having Spider-Man grow up and get more 'adult' with me.
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John Byrne
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Posted: 19 November 2017 at 1:46pm | IP Logged | 15 post reply

Isn't that what gave us the "SUV" market? Most of those are just Station Wagon's just cloaked in 'coolness'. They're a far far cry away from the off roading beasts they were originally made for.

Nor were the muscle cars adapted for the family market. Please, TRY to get the point.

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Leigh DJ Hunt
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Posted: 19 November 2017 at 2:11pm | IP Logged | 16 post reply

I'm very happy that Bendis (and to a slightly lesser extent) Alonso have gone from Marvel but I don't think the Luke cage/Jessica Jones liason is quite as described above. For a start it's a comic labelled Mature Content but there's no explicit anal sex. All sorts of things can be read into the panels but nothing that says that is definitely what happens.


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Eric Sofer
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Posted: 19 November 2017 at 3:49pm | IP Logged | 17 post reply

I'm not pleased mostly because I'm convinced that the end of the tunnel is a 500 foot drop off into the ocean.
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Mike Norris
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Posted: 19 November 2017 at 5:39pm | IP Logged | 18 post reply

I'm not pleased mostly because I'm convinced that the end of the tunnel is a 500 foot drop off into the ocean.
************************************************************ **********************
full of hungry sharks. 
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Rick Whiting
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Posted: 20 November 2017 at 12:12am | IP Logged | 19 post reply

Comics used to read like a book with pictures. Now they read like movie scripts.

____________________________

Not only that James, the characters are also being changed to reflect and resemble the live action movie and TV versions of the characters (sometimes even before the movies and TV series even premier). The stories are also being written so that they can resemble the current story lines of the movies and TV series and are timed to come out right around the time those movies and TV series are out. It's "tail wagging the dog" synergy taken to the extreme.
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Yvan Jullien
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Posted: 20 November 2017 at 12:34am | IP Logged | 20 post reply

Bendis writing for DC = Crisis on infinite words ?
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James Woodcock
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Posted: 20 November 2017 at 5:55am | IP Logged | 21 post reply

Yvan - not crisis of infinite words

Crisis of infinite speech balloons. Infinite words implies that there will be a large number of different words used, instead of the same words repeated many, many times.
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Adam Schulman
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Posted: 21 November 2017 at 3:19pm | IP Logged | 22 post reply

To echo JB's point -- animated series like Justice League Unlimited proved, again, that you can write intelligent super-hero stories that don't contain anything inappropriate for a ten-year-old. (A smart ten-year-old anyway). 

Sure I want super-hero comics to be "sophisticated." But that means smarter, more clever, not more graphic violence and sex. 

(Series like Stormwatch and The Authority, during the Warren Ellis years, are a completely different thing with different rules.) 
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