Marvel's Declining Quality

WOLVERINE25TH said:
Decompression IS a main factor. This 6-issues fer TPBs crap.


What always makes me laugh about this is they haven't seemed to figure out basic math yet: i.e., the following equations are all true,

6=6
2 x 3 = 6
3 x 2 = 6
4 + 2 = 6
6 x 1 = 6
iloveclones = awesome (okay, maybe that one is still under debate)

I understand that it's easier to market a trade paperback if it has a consistent theme, but that doesn't mean you are locked into that sort of a thing.
 
This thread is stupid.This dude started the same thread over at CBR under the name "MarvelMustImprove".Shut up already.
 
iloveclones said:
What always makes me laugh about this is they haven't seemed to figure out basic math yet: i.e., the following equations are all true,

6=6
2 x 3 = 6
3 x 2 = 6
4 + 2 = 6
6 x 1 = 6
iloveclones = awesome (okay, maybe that one is still under debate)

I understand that it's easier to market a trade paperback if it has a consistent theme, but that doesn't mean you are locked into that sort of a thing.
Yeah, they split the TPBs into several arcs with Exiles and some other comics. Much, much better, in my opinion. I'd still prefer it the way Wolverine25th described, though: no discrete arcs, just a series of comics about the character with interwoven plot threads that the focus shifts between. Some of the best runs in comics have featured that style--Johns' and Waids' Flash, Busiek's Avengers, Simonson's Thor, etc. The only problem with that these days is that most creative teams don't stick around on a book long enough to guarantee they'll be there to follow up on the plot threads and not leave them dangling for the next writer to have to deal with.
 
GNR4Life said:
This thread is stupid.This dude started the same thread over at CBR under the name "MarvelMustImprove".Shut up already.

Well, he IS right about the flagship books...they are sucking right now pretty hard.
 
I love sub-plots. Writing for TPBs just kill sub-plots.
 
TheCorpulent1 said:
Yeah, they split the TPBs into several arcs with Exiles and some other comics. Much, much better, in my opinion. I'd still prefer it the way Wolverine25th described, though: no discrete arcs, just a series of comics about the character with interwoven plot threads that the focus shifts between. Some of the best runs in comics have featured that style--Johns' and Waids' Flash, Busiek's Avengers, Simonson's Thor, etc. The only problem with that these days is that most creative teams don't stick around on a book long enough to guarantee they'll be there to follow up on the plot threads and not leave them dangling for the next writer to have to deal with.

Simonson's Thor is EXACTLY how I like my comics. Great arcs, and all the while the building ominous threat of Surtur. One page each book, building the tension.

Bendis' Illuminati would have been FAR more effective if the members had all secretly "met" for a year worth of books.
 
Doc Destruction said:
Simonson's Thor is EXACTLY how I like my comics. Great arcs, and all the while the building ominous threat of Surtur. One page each book, building the tension.
Yes! After I read through his run the first time, every time I go back I get goosebumps whenever one of those cryptic "DOOOOMM!" panels pops up early on. :D
 
Let's not forget Claremont's classic X-Men run. That was just one big story from his first issue till he left.
 
So is this the ***** about Marvel thread, I got some complaints.
 
WOLVERINE25TH said:
Let's not forget Claremont's classic X-Men run. That was just one big story from his first issue till he left.
Yeah, when Claremont could still write, he was badass. :up:
 
Totally. Was disappointed with his Uncanny, but his Exaclibur was gettin' good...until th' re-relaunch.
 
WOLVERINE25TH said:
Let's not forget Claremont's classic X-Men run. That was just one big story from his first issue till he left.

If someone wants to learn how to weave sub-plots in an on-going, that run should be the text book.
 
WOLVERINE25TH said:
Totally. Was disappointed with his Uncanny, but his Exaclibur was gettin' good...until th' re-relaunch.
I'm dreading his take on the Exiles. I have a feeling it'll be canceled within a year of his taking over. :(
 
If Claremont kills one of my favorite books, so help me... He better keep it fun an' light.

And I like photorealism...if done right.
 
I generally don't like photorealism because it ruins any chance of the comic coming out on time. Plus it's just not as fun. Give me Carlos Pacheco or Mike Wieringo or a slew of other artists with lots of exaggerations over Alex Ross any day.
 
But see, that'd fall into th' "done right" category, ya know, when a book comes out on time regardless. 'Sides, there's a difference between that an' painted, ain't there?
 
Still, I'd take Ringo or Romita Jr.'s vibrant, bouncing, exaggerated Spidey over Alex Ross' man-in-a-Halloween-costume Spidey.
 
iloveclones said:
Can I get me a Hallelujah on the Evils of Photo-realism, brothers?

Hallelujah! He speaks the Truth!


Personally I wish the Levitz Method of comic writing/plotting would become the industry norm again.
 
Oooohhhh, we almost have enough members to make a church.

Where's Gambit8370? I know he agree's with a lot of this stuff, and we need one of those crazy dudes who will pass out pamphlets and harangue people in the streets!
 
WOLVERINE25TH said:
The whosa?
The Levitz Method
What became known as the Levitz Method (because it was formalized by Paul Levitz, writer and subsequent administrator at DC Comics) became prominent in this time: an issue would have an A-plot (or the main plot), a few pages of B-plot (or the subplot), and perhaps even a C-plot (a sub-subplot, given perhaps a page or half-page). The same device would become prominent in television, with each episode having an A-plot and a B-plot, typically a more masculine, action-oriented plot and a more feminine, romantic-oriented plot: thus, the police both investigated a murder and experienced troubles in their relationships. The idea was to appeal to everybody, widening the show's audience. In comics, the Levitz Method worked thusly: a hero would battle his nemesis (the A-plot) while a few pages would be devoted to a mounting alien invasion (the B-plot) and a half-page or so would be devoted to setting up a future plot, say someone's strange behavior. Whenever the A-plot ended, whether after one issue or five, the last page would feature the B-plot raised to the fore; beginning next issue, the B-plot would become the A-plot, the C-plot would become the B-plot, and a new C-plot would (ideally) be introduced. Thus the nemesis is defeated, and the aliens actually attack; while dealing with the alien invasion, it becomes clear that the strange behavior seen for issues is actually the result of mind control run by a new villain -- at the same time, our hero's love interest begins investigating his secret identity. As the alien invasion is defeated, the mind-controlling villain takes center stage and the love interest becomes the B-plot, with a few more pages, while a new C-plot is introduced. Following the defeat of the mind-controlling villain, the love interest confronts our hero about his identity, leading into the next issue, in which the C-plot again becomes the B-plot and a new C-plot is added. Et cetera, et cetera, et cetera. The idea -- while certainly naïve -- was to replicate real life, with multiple concerns running at the same time.

If you read The DC Comics Guide To Writing Comics, it goes into very excellent detail, with examples, of how to use this.
 

Users who are viewing this thread

Back
Top
monitoring_string = "afb8e5d7348ab9e99f73cba908f10802"