The importance of the artist to successful DC runs...

[iron chimp]

Doesn't matter to me. Competition amongst artists is red hot and it's been along time since I bought a book from any company that looked rough. It's all down to writer these days for me.

[caj]

I know it's been posted ad nauseum on here, but Keith Giffen's art MADE The Great Darkness Saga. Bruce Patterson was a good artist, but Giffen made the Legion of Super Heroes pop like a firecracker. Not only did his art improve Paul Levitz's story, but he also contributed ideas that helped Levitz's writing and dialogue.

And how much did Kevin Maguire's incredible facial expressions lift up the humorous writing of Justice League International. It was definitely a combination of great writing blended with the perfect artist that made that book explode.

Of course, I have to mention that Dick Dillin's amazing art was the main reason that I bought Justice League of America during the Satellite Years. He was a mainstay and only missed one issue over a 12 year period. Even when the writing wasn't all that great, I was able to still enjoy the book because of Dillin's perfect drawing of 'The World's Greatest Heroes'.

[dancj]

And how much did Kevin Maguire's incredible facial expressions lift up the humorous writing of Justice League International. It was definitely a combination of great writing blended with the perfect artist that made that book explode.

Yeah. It was really noticable how the book wasn't as good when Maquire left - and then suddenly got great again when Adam Hughes came on board.

That said, I do think books can survive a mediocre artist if the writing is good enough, but can never survive mediocre writing.

[Bored at 3:00AM]

That is very interesting! I never knew that. Do you know what caused the strife between the two?

I don't know the specifics, but I do know that Harris took issue with what he felt was Robinson's increasing control over the book. Initially, it was more of a partnership with both guys being storytellers together. Harris based Jack Knight's physical appearance upon himself for instance and they shared some of the same tattoos, so he felt a great deal of kinship with him, as Robinson did. When Harris left the book, the character began looking less and less like Harris, even to the point of removing his tattoos and replacing them with tattoos Robinson had.

This was around the time that Robinson was getting wooed by Hollywood into writing screenplays, so it's entirely possible that he was getting a big head, but it's also possible that Harris shares some of the blame. I don't know. Whatever happened between them, it's damned unfortunate that Robinson & Harris weren't able to finish the book together. I know I dropped the book shortly after Harris left, but I did read the final few storyarcs at some point. It just didn't feel like the same book to me without Harris.

[Bored at 3:00AM]

Yeah. It was really noticable how the book wasn't as good when Maquire left - and then suddenly got great again when Adam Hughes came on board.

That said, I do think books can survive a mediocre artist if the writing is good enough, but can never survive mediocre writing.

I think the Ty Templeton fill-in issues read better these days now that my disappointment over Maguire's absence has faded, but there was a definite lull until Adam Hughes took over, and then another slide into mediocrity once he left again. At least Maguire came back for the final issue.

[JackDaw]

I don't know the specifics, but I do know that Harris took issue with what he felt was Robinson's increasing control over the book. Initially, it was more of a partnership with both guys being storytellers together. Harris based Jack Knight's physical appearance upon himself for instance and they shared some of the same tattoos, so he felt a great deal of kinship with him, as Robinson did. When Harris left the book, the character began looking less and less like Harris, even to the point of removing his tattoos and replacing them with tattoos Robinson had.

This was around the time that Robinson was getting wooed by Hollywood into writing screenplays, so it's entirely possible that he was getting a big head, but it's also possible that Harris shares some of the blame. I don't know. Whatever happened between them, it's damned unfortunate that Robinson & Harris weren't able to finish the book together. I know I dropped the book shortly after Harris left, but I did read the final few storyarcs at some point. It just didn't feel like the same book to me without Harris.

Wasn’t around time Archie Goodwin died? I always guessed that change of editor was at least partly responsible for series temporarily losing “steam”...though I think it got back on track fairly quickly.

The other factor that I always guessed played a part in Tony Harris leaving midway through series was incredible amount of detail he poured into each issue, producing comic each month must have been a titanic struggle even for an artist of his ability.

[Lightning Rider]

I think the important thing is to consider why this is true. I used to be much more biased towards the writer (perhaps because I can write but can’t draw), but there are certain moments of emotion and payoff that are completely sold by the artist. One line on a script can look flat unless the image that accompanies it is inspiring or somehow moving.

That said I don’t think I’d eschew serviceable art if the writing is good. I think it’s more important for its emotional communication. I can’t think of bad art ruining a well-written story, but I guess that goes back to the fact that it could have felt much better with the right visual.

I don’t know. I think mediocre writing is more common so I notice that more often.

[Bored at 3:00AM]

Wasn’t around time Archie Goodwin died? I always guessed that change of editor was at least partly responsible for series temporarily losing “steam”...though I think it got back on track fairly quickly.

The other factor that I always guessed played a part in Tony Harris leaving midway through series was incredible amount of detail he poured into each issue, producing comic each month must have been a titanic struggle even for an artist of his ability.

Yes, I remember both Robinson and Harris saying how much the loss of Goodwin hit them both personally and creatively.

[RBerman]

Morrison + Quitely on New X-Men, We3, Flex Mentallo, JLA: Earth-2, etc.
Claremont + Byrne on X-Men
King + Gerads on The Sheriff of Babylon
Whedon + Cassaday on Astonishing X-Men
Moore + Cannon + Ha on Top 10
Busiek + Immomen on Superman: Secret Identity
North + Henderson on The Unbeatable Squirrel Girl
Anybody + Alex Ross on anything

[boltmonster]

Wolfman and Perez on New Teen Titans.

Perez on post-Crisis Wonder Woman. He set the tone for her rebooted look long beyond the point where he handed the pencil on to other people.

George's Wonder Woman is the version I grow up with. She is peace first and war last.

The current version of Wonder Woman is war first and no peace at all.

[Gero4568]

Wolfman and Perez on NTT was always good. Perez did a great job on Wonder Woman as well.

The Geoff Johns/Gary Frank combo is excellent on Doomsday Clock, and was pretty decent on Secret Origins as well.

Snyder + Capoullo on Batman was one of the best combos on that book, potentially ever.

[Eto]

JSA:
Johns and Champagne/Sadowski/Morales

Batman:
Snyder and Capullo

Johns and Gary Frank:
Almost anything

Sciver/Reis on GL


Soy on RHATO.


Wally:
LaRocquwe/Wieringo



JL:
Fabok

[dancj]

I think the Ty Templeton fill-in issues read better these days now that my disappointment over Maguire's absence has faded, but there was a definite lull until Adam Hughes took over, and then another slide into mediocrity once he left again. At least Maguire came back for the final issue.

Ty Templeton was merely okay for me. Probably third place behind Maguire and Hughes, but a very distant third.

It was noticeable how the writing suddenly seemed good again when Maguire came back for that final issue.

[Buried Alien]

I found that for huge swaths of the 1970s, 1980s, and 1990s, I didn't care who was writing BATMAN as long as Jim Aparo was providing the artwork.

Buried Alien (The Fastest Post Alive!)

[The Darknight Detective]

I found that for huge swaths of the 1970s, 1980s, and 1990s, I didn't care who was writing BATMAN as long as Jim Aparo was providing the artwork.

Buried Alien (The Fastest Post Alive!)

For me, it was Neal Adams, though Aparo was also way up there