I’m so there

An interesting phenominon I’ve found in my comics reading over the past decade is a change from title/character orientation to creator orientation.

Which is to say that, once upon a time, I read whatever I could of title A, or team B, or character C. Now I’m a lot more likely to follow along books by writer Y or (less likely) artist Z.

That wasn’t absolute, in either phase. But it’s pretty much the case. Certain writers — Warren Ellis, Greg Rucka, Joe Straczynski, Peter David, James Robinson, Judd Winnick, Neil Gaiman — are highly likely to get my business when the move to a new comic — and I’m likely to shortly drop comics that they left behind. I have no interest in any of the Spider-titles, but I’m loving Straczynski’s Amazing Spider-Man. Ditto for the Bat-books, aside from Rucka. Etc.

Part of the reason, I think, is that comic companies have backed away a bit from continuity uber alles. Creators are either bringing in their own works, or are being given a lot of leeway to tweak titles and characters as their muse dictates. As a result, a change of writers (in particular) more and more means a dramatic shift away from whatever the previous writer was doing. Which is great if you thought the previous writer sucked, not so much if you thought the previous writer was a Golden God.

This boutiquification of comics gives comics a greater appeal to adult readers (at a cost to younger ones), but runs risks for reader loyalty. Regular book publishers are dependent on their stable of creators; comic book publishers have been dependent — in the past — on their stable of characters. That latter is now changing.

But risks and drawbacks aside, I would stack up this era of comics — the good ones — against any other in history. I think some of the writers involved are top-notch, and much of the art has never been surpassed.

All of which is a long way around of saying that the announcement about the Marvel “X-Men” reboot — led by Astonishing X-Men written by Joss Whedon and pencilled by John Cassaday (of Planetary fame) is truly rocking my world.

I used to be an X-Fanatic, but eventually the convolutions — both before and after the Claremont era — drove me away from all but more peripheral and/or self-contained series (Exiles, New Mutants, Emma Frost, New X-Men).

But this’ll get me back. Oh, yeah.

There had been rumors, associated with Marvel’s saying it was going to reboot the X-series (again), of some major-league writer being involved. Joe Straczynski was mentioned a number of times.

The Claremont/Davis collaboration on Uncanny X-Men will probably me draw me in, too (Alan Davis is one of those artists whose work I’ll almost always buy), but Claremont isn’t enough to get me buying Excalibur. I’ll probably avoid X-Men (I generally dislike Chuck Austin’s writing). I’ve enjoyed DeFilippis’ New Mutants, so I’ll transfer to the next evolution Academy X. None of the other new titles looks all that interesting, and I’ll not be changing any of my subs to the older titles.

But Whedon? Oh, yeah. (And Cassaday’s a hell of a lot better than a poke in the eye with a sharp stick.) And he’s certainly got some time on his hands now … (Or, maybe not.)

The biggest question will be how both Whedon and Cassaday’s frequent delays in production will impact the title frequency and sales.

(via Doyce)