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Old February 9th, 2010   Flash_Fact is offline   #81
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It's okay if they're not blood relatives, right? RIGHT??
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quoting Archer from FX: "and that makes it better? Well it should!"

Still creepy, Infantino-inspired imagery is swirling about my head.
 
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Old February 9th, 2010   Jeff Shabazz is offline   #82
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EVS always has the most open Word Balloon interviews. I haven't listened to this one yet (so many podcasts, so little time), but the last one was great.
 
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Old February 9th, 2010   Eric Q is offline   #83
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I finally got a chance to listen.

Congrats on getting yourself healthier and glad to hear you're doing well, Ethan.
 
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Old February 10th, 2010   Kyer is offline   #84
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Can we please move way the heck away from the Wally as Lancelot characterization and all the aunt shagging imagery it creates! Of course, I do see potential for a series of stories growing out of this line of thought....all occuring on Earth XXX with Wally as the real speedster. =))
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The Fastest Man A-live on Earth XXX...sure recipe for a population explosion.

Aw...I kind of liked #151. Kid Flash/Wally attempting to con a super-intelligent gorilla. What was wrong with that?
 
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Old February 10th, 2010   Stephen Henel is offline   #85
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Humm does this make Bart = Galahad?

Hummm

Jim
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It absolutely does, since both died shortly into their tenure.
 
As promised, tapping out.
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Old February 10th, 2010   Scott Mateo is offline   #86
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Aw...I kind of liked #151. Kid Flash/Wally attempting to con a super-intelligent gorilla. What was wrong with that?
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Me too, I thought it was much better than the JLApe event it was supposed to tie into.
 
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Old February 10th, 2010   HPT is offline   #87
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Morgan la Fey: Professor Zoom (no, not in drag.)
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If he WAS in drag... would that make him a "DRAG Racer"?



I'm sorry. Someone had to say it.
 
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Old February 11th, 2010   Ethan Van Sciver is offline   #88
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I think I'm with EVS on the writer/ artist thing. It's supposed to be a collaboration, and that implies that the artist is a creator just like the writer. Otherwise you might as well just hire an illustrator and tell the story as prose. The 90's aren't an example of the artist having "too much power"; they're an example of pin-up pages being tossed together without regard to whether they told a coherent sequential story.

Most of the best comics are either the product of a sole writer/ artist, or of a team that truly collaborated. Every now and again a guy like Alan Moore comes along who can lay out every detail in a massive script, but he is the exception, not the rule.
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It's not just the idea of writing for yourself as an artist. That's entirely possible for many of us, DC makes that clear. But for example, Marvel and DC have Creative Summit meetings, where editors and writers gather together to plot the course of the near future, and artists are almost entirely excluded from these. I'll never understand why this very visual medium doesn't exploit the vision of the very visually oriented creative people in situations like these.

Images excite fans and sell books as quickly, if not more so, than promised storylines do. Artists get visual cues and ideas in ways that writers usually don't, and can serve to inspire and motivate more interesting and colorful stories from them. Until this is recognized and something is done about it, things are hopelessly imbalanced, making editors and writers the masters and artists the slaves.
 
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Old February 11th, 2010   therealssjlink is offline   #89
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^
I can definitely see where you are coming from as that seems the ideal way to do things but what are Marvel and DC to do when the artists on the title keep switching every few issues? There are only a few cases where it even seems planned because fill-ins are becoming more common-place on ongoing series.
 
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Old February 11th, 2010   Ethan Van Sciver is offline   #90
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^
I can definitely see where you are coming from as that seems the ideal way to do things but what are Marvel and DC to do when the artists on the title keep switching every few issues? There are only a few cases where it even seems planned because fill-ins are becoming more common-place on ongoing series.
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The same number of exclusive artists should be invited to the table as exclusive writers, to help offer suggestions for the larger company events, to represent DC or Marvel Comics "Creative." The best of the best.
 
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Old February 11th, 2010   Stephen Henel is offline   #91
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It's not just the idea of writing for yourself as an artist. That's entirely possible for many of us, DC makes that clear. But for example, Marvel and DC have Creative Summit meetings, where editors and writers gather together to plot the course of the near future, and artists are almost entirely excluded from these. I'll never understand why this very visual medium doesn't exploit the vision of the very visually oriented creative people in situations like these.

Images excite fans and sell books as quickly, if not more so, than promised storylines do. Artists get visual cues and ideas in ways that writers usually don't, and can serve to inspire and motivate more interesting and colorful stories from them. Until this is recognized and something is done about it, things are hopelessly imbalanced, making editors and writers the masters and artists the slaves.
ddf
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For an extreme example of this, just look at the animation industry in places like Korea or Japan. At the wages the animators make, they literally are slaves compared to the writers and producers who drive around in Mercedes, burning one pile of money to keep the other pile of money warm.
 
As promised, tapping out.
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Old February 11th, 2010   Matches is offline   #92
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^
I can definitely see where you are coming from as that seems the ideal way to do things but what are Marvel and DC to do when the artists on the title keep switching every few issues? There are only a few cases where it even seems planned because fill-ins are becoming more common-place on ongoing series.
ddf
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What if one of the reasons artists won't stay on books is because they don't feel invested in them? A sense of ownership is a pretty powerful motivator. Instead the message is sent pretty frequently that late books won't be tolerated, and late artists will be summarily replaced. Without impugning the business motivations behind that line of thinking (i.e. getting books out on time), it's not hard to read into that policy the notion that artists are viewed as easily replaceable and largely interchangeable.
 
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Old February 11th, 2010   JRM is offline   #93
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What if one of the reasons artists won't stay on books is because they don't feel invested in them? A sense of ownership is a pretty powerful motivator. Instead the message is sent pretty frequently that late books won't be tolerated, and late artists will be summarily replaced. Without impugning the business motivations behind that line of thinking (i.e. getting books out on time), it's not hard to read into that policy the notion that artists are viewed as easily replaceable and largely interchangeable.
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Really valid point - never really thought of it that way before, thanks.

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Old February 11th, 2010   Jeff Shabazz is offline   #94
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It's not just the idea of writing for yourself as an artist. That's entirely possible for many of us, DC makes that clear. But for example, Marvel and DC have Creative Summit meetings, where editors and writers gather together to plot the course of the near future, and artists are almost entirely excluded from these. I'll never understand why this very visual medium doesn't exploit the vision of the very visually oriented creative people in situations like these.

Images excite fans and sell books as quickly, if not more so, than promised storylines do. Artists get visual cues and ideas in ways that writers usually don't, and can serve to inspire and motivate more interesting and colorful stories from them. Until this is recognized and something is done about it, things are hopelessly imbalanced, making editors and writers the masters and artists the slaves.
ddf
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Right there with you. The charm of this medium is partially, for me, the fact that it's such a collaborative effort. I enjoy any given writer or artist on their own merits, but things really exceed what the written word can do alone when two or more talented creators come together. For example, I wouldn't love Hellblazer half as much as I do if it wasn't for the cavalcade of artists that have helped tell the tale of Jon Mother F'n Constantine.

EDIT: to parallel this to my trade (information technology and engineering), it's like how meetings regarding infrastructure direction is dominated by management and integrators, while the engineers that must implement and maintain the solutions and the app owners/DB admins/programmers that actually bring the management's vision to fruition get their marching orders and information secondhand. And they wonder why projects always run over budget and are delayed while the worker bees spend half their time reading SOPs and scheduling our own meetings weeks after the topics we're discussing are relevant.

This scenario can even be extended to previous environments I worked in, such as the service and food industries. Once a business becomes top heavy, in a manner of speaking, it always runs awry.
Last edited by Jeff Shabazz; February 11th, 2010 at 09:19 PM.
 
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Old February 12th, 2010   Kyer is offline   #95
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Really valid point - never really thought of it that way before, thanks.
Jim
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Extremely valid point!

For years I was given control over my own little sector of where I work. Then three years ago they decided to 'consolidate' and 'restructure' so that the managers had absolute control over your every move. In turn, I quickly went from super motivated where I practically lived and breathed the company... to....eh...another boring job, another paycheck... Do I have to get up today?

Having a stock in what you do (over a paycheck) makes the difference between a worker loyalty/energy and high turnover/mediocrity.
 
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Old February 12th, 2010   slevin is offline   #96
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Don't know if anyones said this yet but doesn't Ethan sound like Daniel Johnston?
 
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