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We’re living in strange times. :stuck_out_tongue:

I thought I had all notifications disabled, but I received a phantom notify and was curious if the account still worked after the forum switch. Discussing comics with a more permanent run may be fun as opposed to the intangible nature of the anon culture of 4chan, which is helpful; but also contributes to a lack of attachment.

I attribute this to every Batman writer post The Dark Knight Returns leaning heavily into the Miller groove of writing Batman as pathologically antisocial. Mark Waid’s Tower of Babel was the nail in the coffin for me.

Fundamentally I find Batman and the fanbase a bit exasperating because they ostensibly “like him because he’s the regular guy.” Except for the part where he’s constantly going toe-to-toe with existential threat level villains and coming away with the upper hand - this the Batgod meme. So when someone tells me, “I like Batman because he’s the normal guy”, I reply with “You should look into Wildcat.”

Because Christopher Nolan turned Bane into K-Mart V in The Dark Knight Rises - I’ve been trying to find good Bane stories. No luck so far. Having read mixed things about the Tom King run, I tried giving that a shot; but King leans heavily into that lane of normal guy doing absolutely ridiculous stuff and the intolerable to outright insufferable artists on his run just made me tap out.

Anybody got any suggestions on Bane reading? I’ve tried at the beginning Vengeance of Bane, found it lacking. I tried the recent Bane mini-series by the same creators - and it was okay, but still not anything I’d drop currency on. Had to tap out on Tom King’s Bane because Batman on adderall wasn’t really doing it for me.

As a palate cleanser I’m revisiting some of the early Morrison Batman stuff, focusing on Damian Wayne stories since I find that little jerk quite entertaining.

The Court of Owls thing felt like Snyder expanding on Peter Milligan’s brief Dark Knight, Dark City story arc. That was a little nugget I always enjoyed because it was just so odd, and had a particularly vicious Riddler.

You may note at a certain point in the Snyder run that the he rehashes other stories as well. I tapped out when he got to rehashing Batman the Animated Series Mr. Freeze. It may not be bad, but the problem with these characters is at a certain point, stories get told, retold, and told again; and you may out grow the need to revisit these stories and instead just enjoy the first time you read or saw it rather than consume a watered down rehash.

Capullo really is a soldier in comic book making.

In an era when artists pulling long runs on Marvel and DC books is increasingly rare Capullo, Mahnke, and Gleason all did some fantastic work at DC - which is why I found myself reading more DC stuff in the past decade.

I like long runs from creative teams. Although I suspect DC and Marvel are still wary of allowing artists to get attached to, or build a reputation nearly 30 years after the founding of Image. They don’t want to risk sales bottoming out should the talent jump ship, despite all signs pointing to artists / creators no longer being willing to take the risk at a creator owned comic.

See also, the whole Pencils Down nonsense at the beginning of the pandemic. If that weren’t a good time to jump into that goofy idea they’ve always had on the back burner; there’s no hope for them as a creator.

It doesn’t need to be one, or the other, as we see these days with guys like Capullo or Eric Canete - who work in mainstream comics, or in other industries; but take the risk (well, is it really taking a risk if you’re teaming with Hollywood cash cow IP farm Mark Millar?) at producing something original.

Nobody tends to get rich making and selling comics any more these days, but I do like to see creators I enjoy popping out an original idea that they own and could potentially profit from long run. e.g. Warrior Nun of all things being adapted by Netflix?! Good on you Ben Dunn (I do wish it retained some of the lewdness)! Maybe Netflix can get on a Gold Digger animated series, and the hardest working man in comics - Fred Perry, can retire on a pile of cash? :slight_smile:


They didn’t stick the landing.

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It’s a bit unsurprising at this point.

Mainstream comic arcs are either full blown fan service, or low effort bullshit jobs for folks who aren’t willing to sacrifice their best ideas upon the altar of Marvel and DC. I’ve noticed this trend for the past decade. Maybe it’s just me, but hasn’t it become increasingly rare for for an actual new character to appear in mainstream comics?

The biggest “hit” I can think of is Spider Gwen, and well; that’s just the perfect company own IP rehashed into “something new” - the same way Taco Bell adds a “new” menu item by wrapping a cruncy taco inside of a soft taco with a bean layer.

Same ingredients at the end of the day.

Doesn’t make it bad, I do love a Quesarito; but for every Quesarito you get a Nacho Fries…

I think with the information age, media is super saturated. And it’s harder than ever to tell an compelling story without some jank or gimmick to draw attention. Forget originally, you look back far enough the originality well dryed up decades ago. You don’t need to be original to be good, the golden ratio shows that, everything that’s is appealing follows a mathematical formula, regardless of the medium. We just wish for enough change up so material is not stale while the stories remain compelling enough to enjoy.

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The key for these long running characters is to remain true to the heart of the character. This is why I so enjoyed the Gleason / Mahnke / Tomasi run on Superman. It unapologetically embraced all of the cheese I grew up with, e.g. Superpets and harkened back to old World’s Finest issues with Jonathan and Damian and their Superdads.

Corny. Fun. Wholesome. I still need to pick up the last few trades of that run.

At a certain point, I was just sticking with Invisibles because I had been collecting it for so long. I don’t encourage hate reading a book, but back then I was doing it - the best part was it all came together in the ending. If you need to justify tolerating the unbridled screwball writing of Morrisson - the pay off was pretty good.

Or you’ll find it to be absolutely dumb. If you ever read Final Crisis, there are aspect of Invisibles in that arc, but Final Crisis was just a bit disappointing overall to me. In publishing order, and in the Morrisson reading order. Tried it twice in the hopes I’d like it better. . .

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