Creative Distance

[boltmonster]

Do you prefer creative teams with long runs (5 years or longer) or short runs (1 issue to one story arc)?

[CaptCleghorn]

I usually answer both on these type of questions. However, the longer run is preferable (to me, anyway) on series where there is no defined end point. There are 12 issue minis which are extraordinary and I love them greatly. But when on a run of an ongoing, 12 issues is usually not enough time to get something going unless that was the plan all along.

[Vampire Savior]

I hate to give out a sort of non-answer, but it really depends entirely on the creators and the direction. I do find it difficult to get invested in the stories and characters when the runs are so short, and the incoming creative team doesn't build upon anything that came before. It seems like the characters are spinning their wheels, not getting anywhere, and many cases, failing to develop crucial things they need, like supporting cast members that readers care about. On the other hand, if I don't like the direction then a long run can be a nightmare. For example, I wasn't into any of that emotional stuff Geoff Johns was doing in Green Lantern, but to my dismay, it connected with other people and that direction went on and on and on. There's also Tom King's Batman...

[Sutekh]

Totally depends on the writer. Some are great for a single story, and then kind of meander around aimlessly for whatever remains of their writing tenure, others have a constant stream of stuff past being name-dropped, stuff current happening, and interesting smells coming from the kitchen, foreshadowing stuff they are planning ahead. Paul Levitz, back in the 80s, seemed to have that sort of knack, on the Legion of Super-Heroes run, and it was mind-boggling how much his work interwove past, present and foreshadowed future story elements. He's certainly not the only writer to go there. Byrne, Wolfman, Busiek and others have managed multi-year arcs on a single book without fizzling out. Other writers seem to have one good (or even great!) story arc in them, and after that, ideally should be moved on to their next great idea, rather than hang around stinking up this particular book with zero inspiration.

[mathew101281]

With established franchises (Batman Spider-Man etc) I prefer short runs. With characters that need more development I prefer longer runs. Established franchises are what they are and most creative teams usually only have a couple interesting arcs in them before they start trying to reinvent the core conceit of the character, usually to bad effect. More obscure characters on the other hand, allow for more opportunities for radical transformation because the “paint” is still dry on them. Alan Moore’s Swamp Thing is a prime example of this.

[Lee Stone]

If it's something I like: at least five years.