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[QUOTE=KurtW95;3694117]I’m not talking about those who choose not to work on big books anymore or have essentially left the industry, but those who are still very much in the game. Why should Fabian Nicieza be relegated to stuff like the Black Panther Lexus book and the Northop Grumman/Marvel book that was later cancelled? Why isn’t DC giving Marc Wolfman anything bigger than the Raven and Cyborg solos? Why hasn’t Marvel given Chris Claremont any work apart from that bit in the Wedding Special? What happened to Roger Stern, Don McGregor, J. M. DeMatteis, George Perez, Kevin Maguire, Louise and Walt Simonson, Karl Kesel, Alan Davis, David Michelinie, Bob Layton etc? Surely they couldn’t have all decided en masse to stop accepting big projects from the big two.[/QUOTE]
How about they're older, wiser, and some of them richer, and while they may do the odd mini here and there for characters they really like, they'd rather drop dead than get back into the monthly deadline grind of a major Big Two book, the warring with editors etcetera. There are people in their 60's and 70's.
And of course Chris Claremont lost whatever writing ability he had about 5 years before he ended his 15-year X-Men run.
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[QUOTE=KurtW95;3694117]I’m not talking about those who choose not to work on big books anymore or have essentially left the industry, but those who are still very much in the game. Why should Fabian Nicieza be relegated to stuff like the Black Panther Lexus book and the Northop Grumman/Marvel book that was later cancelled? Why isn’t DC giving Marc Wolfman anything bigger than the Raven and Cyborg solos? Why hasn’t Marvel given Chris Claremont any work apart from that bit in the Wedding Special? What happened to Roger Stern, Don McGregor, J. M. DeMatteis, George Perez, Kevin Maguire, Louise and Walt Simonson, Karl Kesel, Alan Davis, David Michelinie, Bob Layton etc? Surely they couldn’t have all decided en masse to stop accepting big projects from the big two.
Feel free to correct me if any of the people I listed have chosen to stop working in comics or the big two, retired, is in a bigger position, has been at work for the big two, choose to work on smaller titles, or anything else that is due to their own volition. I wouldn’t want to mischaracterize anybody’s circumstances. Just curious as to why so many of the most talented comic creators aren’t on big titles and many mediocre nontalents are.[/QUOTE]
Alternatively, aren't we also hearing, "hire new people, tired of this writer, get new blood."
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[QUOTE=Carabas;3701304]How about they're older, wiser, and some of them richer, and while they may do the odd mini here and there for characters they really like, they'd rather drop dead than get back into the monthly deadline grind of a major Big Two book, the warring with editors etcetera. There are people in their 60's and 70's.
And of course Chris Claremont lost whatever writing ability he had about 5 years before he ended his 15-year X-Men run.[/QUOTE]
Some writers may not be interested, but I’m sure plenty of them are. And I seriously can’t think of any writer today that Claremont (present version) couldn’t write under the table.
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[QUOTE=KurtW95;3701427]Some writers may not be interested, but I’m sure plenty of them are. And I seriously can’t think of any writer today that Claremont (present version) couldn’t write under the table.[/QUOTE]
He might be able to write Rob Liefeld under the table. Might.
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We can all name some writers who should have been let go a long time ago but somehow keep getting work. People who everyone except the bosses at the comics companies know won't write any good stories or sell any comics. That's a much bigger problem.
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[QUOTE=KurtW95;3700879]I think that has more to do with the writing than the ideas. And even though it’s by no means great or above average, it’s still miles better than the pile of horse excrement that is X-Men: Red. People are forcing me to defend X-Men: Gold twice today and it’s quite annoying. All I’m saying is that it’s better than other crappy runs of recent years and that’s an incredibly low bar.[/QUOTE]
The entire concept of Gold is retreating old ideas.
And why not just ignore Gold and Red and read the much superior Blue?
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Red,Gold,Blue the X-Men sound like Power Rangers now.
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[QUOTE=CliffHanger2;3702240]Red,Gold,Blue the X-Men sound like Power Rangers now.[/quote]Or maybe they're getting ready to tap into the emotional spectrum?
Coming soon:[indent]X-Men Green!
X-Men Orange!
X-Men Indigo![/indent]
And Professor X will suddenly appear as a Care Bear!
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[QUOTE=MajorHoy;3702252]Or maybe they're getting ready to tap into the emotional spectrum?
Coming soon:[indent]X-Men Green!
X-Men Orange!
X-Men Indigo![/indent]
And Professor X will suddenly appear as a Care Bear![/QUOTE]
Oh damn...that would be bad-better to kill them off LOL.
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[QUOTE=PaulBullion;3701886]And why not just ignore Gold and Red and read the much superior Blue?[/QUOTE]
Blue is decent when it doesn’t focus on the time displaced AU/not AU O5. They never should have been a thing and can’t go away soon enough.
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The X-Men comics being called Blue and Gold are a reference to the X-Men comics of the early 90s that had those names as well in the Uncanny X-Men comic book.
Those names did not seemed silly to me way back in the 90s neither look silly now with the current x-men comics.
I am a little bit behind Reading the x-men comics so i have not read x-men red yet,but x-men gold and x-men blue from what i read are sound x-men comics all though they are writen a bit diferent from each other.Something that add´s up to the variety of the x-men comics that i think it´s cool.
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[QUOTE]Interestingly enough, most of the people whom disliked him have probably left the industry, or the big 2, in recent years - possibly with ONE small exception... according to legend, Tom Brevoort and Ralph Macchio were two of the young, untested assistant editors whom received some of the worst brunts of Shooters legendary outbursts back in the 80's - and when Shooter was pushed out of the company, one of them put up a HUGE poster on their office-door - of Shooters face, with the text: "THIS IS THE FACE OF A MADMAN!"[/QUOTE]
Brevoort joined Marvel as an intern in 1989. Shooter was no longer Editor-in-Chief by that point in time. Macchio retired years ago. There's no Marvel editors left from Shooter's tenure there.
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When talking about any group, be assured that every member of that group has a different story. If a past writer doesn't have a current gig, there's a different reason for each of them.
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[QUOTE=KurtW95;3700635]I wouldn’t trust anybody on Legion but Levitz.[/QUOTE]
They brought Levitz back to the Legion in the 2000's and his 2nd run was not that good at all. It was medicore at best. In almost every case when you bring a writer back to a book they had a legendary run it never is of the same quality as the original.
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The biggest thing with older writers or artist is the tastes of the consumer change. I remember when Ditko came back to marvel in the 80's and his work stuck out like a sore thumb with everything else Marvel was putting out. His work on books like Speedball and then his art on Rom was just so out of step with what other artists were doing a tthe time. That happens to pretty much every artist and writer at some point. Guys like Claremont and Byrne were great to us back in the day, but new readers find them stiff and too wordy. It is the same way that in 10 or 20 years guys like Arron and Hickman will be seen by new readers the way Byrne and Claremont are today.
It is just the circle of life. Tastes change and what was loved now will be out of step in the future.
