Monday, November 14, 2011
I have the Terror of Trigon sitting on my desk. If you have never read it, it is a Teen Titans tale by Wolfman/Perez, and marked the start of a new era, The NEW Teen Titans. Perez was taking a more solid hand in the plotting (I believe the story goes) and he was experimenting a little with washes and (painting?) I am not sure of the technique that Perez used in this run, but it is some of the more interesting art I have seen that has come from his pencil. Pick up the GN and take a look, it is very pretty.
When I was a young boy (tra la la la la la la la la la la), I picked up one of the chapters of the Judas Contract by this team. It was incredible and is still one of the few comics from my childhood that holds up in the art and story department. A couple of months ago, this team released a new/old OGN that has been sitting on tables half-finished for the past twenty odd years. Perez has had quite a few of these 'lost' projects crop up, whether they have just failed because he was sick, or busy with life, he eventually comes back to the idea and revisits it, inevitably making a whole hell of a lot of people happy because of it.
I haven't read Games, although I am sure that one day I will pick it up, but I have to wonder whether people should jump back into the ring with the same properties that they were once blazing hot on. Take Frank Miller and DK2. Everyone wanted that fucking book. It was the grand failure for the company, I think largely due to the fact that it was colored in a way that felt unfamiliar, because I like the story for it, despite what people say. DK2 is the butt of so many jokes (especially in light of Frank Miller's recent statement), that you have to wonder if DC regrets putting it out (they don't. It probably made MAD cash).
But projects like this beg the question, why would an artist want to go back? Are they trying to recapture that feeling? Do they just want to put that mumbling insanity that is fandom to sleep? I take a look a James Robinson, whose Starman run I picked up in single issues. He just put out a Shade miniseries, and I think that is largely due to demand from his fans, and people that have discovered the property through the wonderful omnibus collections that DC put out. I am not sure if James felt compelled to revisit the characters that he had made, but the fanbase was clamoring, and DC is never one to miss on the opportunity for some money.
I guess I can live with knowing that DC usually gets the creators back to fuck up (and I use that term lightly) their own runs with new stories. Which brings us to the rumors of Watchmen 2, and Watchmen prequels, and Watchmen stories told with characters that aren't quite Watchmen. Some days I like to think that comics companies are in pursuit of art and telling wonderful stories. And sometimes they are. But they are huge companies owned by huge corporate entities that want to make money. MONEY is what drives comics. A recent listen to Matt Fraction on Word Balloon will help you understand this a little better. Let me paraphrase and sum it up. Matt, in the interview, talks about the numbers and the retailers, when regarding Fear Itself, that it makes it seem as though, to me, that the story is something that is just secondary, and that business is where it is at. He repeats, over and over, that Fear Itself had the numbers and sold like hotcakes. And I understand where he is coming from. With such a vocal fanbase online that hated the event, Matt has to cling to the numbers so that he can continue writing w/o going crazy. But that is something for another blog, I am just trying to remember that these are business' that have one thing in mind - sales. Watchmen prequels with Darwyn Cooke. And others. And Watchmen sequels with Grant Morrison and Frank Quitely. These comics will sell until hell is considered an nice vacation spot.
Should DC do them?
Fuck, I don't know. IS nothing sacred anymore? Was it ever sacred?
It just comics isn't it?