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LLBG, it's been awhile since I've posted, and I've obviously become sloppy. I meant to suggest that what I said was only an alternative. I should have mentioned that "The writer has really gone downhill" is also an option, but since it had already been covered thouroughly, I didn't. Mainly I was countering the idea put forth near the beginning of this thread that comics in general aren't the way they used to be. I can concede that they may not be the same, but if that's the case I'm glad that the industry is constantly changing.
There are two diametrically opposed arguements here that aren't quite clashing like they should. The comics I used to enjoy no longer exist because the writers no longer writes the way they used to, and the comics I used to enjoy no longer exist because the writers keep running over the same old ground. Considering that I no longer read the current of works of Morrison, Moore, Milligan and co, I'm afraid I can't offer an informed opinion on that specific subject.
LLBG, you are also partially correct about my use of the phrase "stuck in." I say partially only because I was talking mainly about the four cartoonists I named, and not Morrison and co, though I did say it could apply to others. I do realize that Morrison chooses to do business the way he feels best. I should have worded it differently.
So far as "buzz" goes, I didn't mean to suggest that it's not possible to get that feeling again. In fact, I think I do allude to that possiblity. What I was getting at was the idea that maybe that connection one felt for a writer or artist in the past may or may not be duplicated in the future. I was thinking of The Filth in particular. I haven't read it myself, but it seems that among people who enjoyed the Invisibles there is a point of disagreement on its worth. Based on one of Morrison's comments in Yawn's interview (quick aside, I may not read his comics anymore, but I do enjoy his interviews, go figure) The Filth is targeted at a different group of people. Some people may not like the series because it seems to be an almost anti-Invisibles, and that brings them down. Other's may enjoy taking a critical look back on that series and that time. Or maybe it's just crap. Or great. U-Decide.
I like what Dlotemp has to say. The thing about his statements is that I see this happening right now, and it has been for years. Artists are pushing the boundaries of what comics can do. Many of these comics, because of the way the industry currently works, may never reach it's potential audience. The other trick involving comics that push the limits is that it creates more diversity, and therefore might not interest the people who call for their creation. That's why I feel that the last few years of Vertigo has been superior to its beginnings. Instead of a number of books that everyone can agree on, there are a number of books of which a person might only be interested in a few at most. So instead of a small group of people picking up a large number of books, you have a large group of people picking up a small number of books.
From Hell is great, but there will be people who won't enjoy it or for whom it won't interest them. There are books being created right now that are better than From Hell in their own way. They might not interest you or me, but so what? |
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