Yeah but art is subjective and you can't expect everyone to like the same stuff. I don't like Pulido's faces but it's not bad art. I can see how some people
I know art is subjective. My point with all the review quotes is the collective majority liked Faboks art. Someone who dislikes it would be in the......minority.
I know art is subjective. My point with all the review quotes is the collective majority liked Faboks art. Someone who dislikes it would be in the......minority.
If my years on gaf have taught me anything, it's that professional critique is only meaningful if it can stand the test of time. Popular opinion tends to be more meaningful in the short term.
Not that I disagree with you guys on Fabok at all, but I think you're beginning to lean a bit too much on authority here to make your point. If twenty critics were raving about a book but four or five gaffers hated it (and their opinion was uncontested here), I'd skip it.
the oringal Wonder woman pitch sounds better than what we got
Chiang had no idea until March during a dinner with Dan Didio at WonderCon that Wonder Woman would be part of the massive DC Comics New 52 reboot. That reboot changed the teams plans for Wonder Woman.
Originally we wanted to embrace all of Wonder Womans publishing history, so she was a lot older than she looked. We were going to have her around in the 40s as a crazy European folk tale fighting Nazis. Steve Trevor would now be an old man, and she would be there for him in the hospital as he died. But with the New 52 reboot all the WW II stuff went away which I missed. It would have been great to do a 1940s or 1960s Wonder Woman.
If my years on gaf have taught me anything, it's that professional critique is only meaningful if it can stand the test of time. Popular opinion tends to be more meaningful in the short term.
Not that I disagree with you guys on Fabok at all, but I think you're beginning to lean a bit too much on authority here to make your point. If twenty critics were raving about a book but four or five gaffers hated it (and their opinion was uncontested here), I'd skip it.
If my years on gaf have taught me anything, it's that professional critique is only meaningful if it can stand the test of time. Popular opinion tends to be more meaningful in the short term.
Not that I disagree with you guys on Fabok at all, but I think you're beginning to lean a bit too much on authority here to make your point. If twenty critics were raving about a book but four or five gaffers hated it (and their opinion was uncontested here), I'd skip it.
What about two gaffers and plenty of disagreement?
I don't think popular opinion (particularly in something like a forum, where you often can have a few more vocal members that may seem to represent general preferences of that community) is any more or less meaningful that a large collection of reviewers/critics.
Oh my god, I thought I was the only one. I have been getting more and more tired of Bendis's awful writing, but this was the one that finally broke me. That Daredevil #1.5 backup was bad fan-fiction. And I don't want to hear, "but it's the character's voice!" Because if it, this woman never graduated middle school.
Also, what a supremely disappointing use of Alex Maleev, whom I was excited to see return to the character he is probably known best for. Five two-panel pages, obscured by Bendis's rambling prose. I read novels as often as comic books, but this is a visual medium! Why not tell your story using, I don't know, pictures? Give that short story to Maleev and let him draw a comic book out of it, instead of the establishing shots we received in the end.
And while we're on the subject of Bendis, let's talk about his infuriating penchant for cramming massive amounts of dialogue onto every page, completely neglecting any sort of action or forward-motion. His latest example is All-New X-Men #25, although this has been going on since he first put his fingers on a keyboard. Check out the preview for All-New X-Men #25 on Comixology. The cover proclaims this comic includes "the greatest artist roster ever assembled!" How does Bendis first utilize this star-studded cast of illustrators? By having David Marquez copy the same panel fourteen times across three pages at various levels of zoom so there's plenty of room for riveting dialogue!
Now, I will definitely give Bendis credit where it's due. His Daredevil run revitalized the character, and I actually supremely enjoy that run, although now I find it hard to re-read because of all the page-length, rambling dialogue. His Ultimate Spider-Man is by all accounts (I've read only the first 26 issues) a character-defining run. Although, I feel that it is somewhat of an anomaly, since when you write every single character with Spider-Man's voice, you're bound to get Spider-Man himself right.
Couldn't even praise him without being negative, sorry guys!
I fully believe that Bendis doesn't plan stories in any way (hello, Battle of the Atom and Age of Ultron!). I think he sits down at his desk every morning and says something like, "Oh, I have to write an issue of Guardians of the Galaxy today," and just starts typing funny dialogue until he thinks he has enough for twenty pages. And you know, he does write some funny dialogue, if every character in the MCU were a clone of Peter Parker. Now, his character interactions are frequently great, but the stories themselves are just one year-long holding pattern at a time. Let them do something, Bendis! And I don't mean superpower fights for unknown reasons like everyone's favorite motivation-less epic Battle of the Atom.
All I can assume is that Bendis has a George Lucas-style working relationship at Marvel. No one questions him, no one edits him, everyone eats his shit.
So, that was a lot of hate, but I meant it more as a critique of a writer I know can do better. Also, I'm off work and have nothing better to do, and I know ComicsGAF never shies away from being critical!
What about two gaffers and plenty of disagreement?
I don't think popular opinion (particularly in something like a forum, where you often can have a few more vocal members that may seem to represent general preferences of that community) is any more or less meaningful that a large collection of reviewers/critics.
Strictly addressing personal habits here, when there's a lot of disagreement I tend to conclude the book is at least worth checking out and coming to my own conclusion. And I do try to be aware of vocal minorities...not such an issue here in comic gaf but certainly something to watch out for in game/movie/show threads. They do pollute the water but are easily filtered if you keep an eye on user names.
I'm just super leery of any attempt to present a collective critical opinion about anything (especially anything recent), positive or negative, and I think there are plenty of good reasons to feel that way. Especially when it's done to try and prove/bolster a point.
Probably the best way we can put it. Believe me I like to dance most of the time, but I like my Batman in a heavy metal setting. It's my workout music.
On another note, I finally got around to reading Captain Marvel #2, it's waaaaaaaay better than #1. Which is good because I was considering dropping it entirely.
Technically yes I have. I found the Daredevil Born Again Artist Edition for super cheap so I bought it unsure if I wanted to keep it or resell it. I ended up reselling it because I couldn't justify to myself owning a $90 ($150 MSRP) book, but I thought long and hard about it. They look like absolutely stunning things. They're massive, too.
They're great too, I just tend to not think of Quitely as a "Batman artist", he only did like 4 issues, compared to the hundred Breyfogle did and the million and one Aparo did. I'm pretty sure Aparo was drawing Batman every month for the entire 1980s.
They're great too, I just tend to not think of Quitely as a "Batman artist", he only did like 4 issues, compared to the hundred Breyfogle did and the million and one Aparo did. I'm pretty sure Aparo was drawing Batman every month for the entire 1980s.
Yeah yeah yeah, I know Quitely is a stretch because he only did the first four issues of B & R and then some cover work, but dammit those issues were good.
I'd actually like to see more of Breyfogle, what of hid stuff is collected other than Anarky?
Right now Capullo is killing it but don't sleep on Gleason. Ever. Dude has been putting in damn fine work month after month, and frequently plays with thematic coloring in his layouts. Well, him and his art team do.