An interesting phenominon I’ve found in my comics reading over the past decade is a change from title\/character orientation to creator orientation. <\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
All of which is a long way around of saying that the announcement about the Marvel “X-Men” reboot <\/a>— led by Astonishing X-Men <\/i>written by Joss Whedon and pencilled by John Cassaday (of Planetary <\/i>fame) is truly rocking my world.<\/p>\n 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<\/i>). <\/p>\n But this’ll get me back. Oh, yeah.<\/p>\n 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.<\/p>\n The Claremont\/Davis collaboration on Uncanny X-Men <\/i>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>. I’ll probably avoid X-Men <\/i>(I generally dislike Chuck Austin’s writing). I’ve enjoyed DeFilippis’ New Mutants<\/i>, so I’ll transfer to the next evolution Academy X<\/i>. None of the other new titles looks all that interesting, and I’ll not be changing any of my subs to the older titles.<\/p>\n But Whedon? Oh, yeah. (And Cassaday’s a hell <\/i>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 <\/a>… (Or, maybe not<\/a>.)<\/p>\n The biggest question will be how both Whedon and Cassaday’s frequent delays in production will impact the title frequency and sales.<\/p>\n