>>109464273>When a writer doesn't have creative control and rights over the characters, different writers will inevitably mangle your favorite character. This is what ultimately drove me away from big2 comics. It's just so frustrating to see a book you like turn into a shell of itself without any of the things that made you like it in the first place.
And this is so ingrained in how people perceive the medium that if you complay people will just just tell you that an author's run is a complete story, which can be true when the book is getting canned and the writer knows it and cares enough to tie things up, but for long-running mainstay heroes it often isn't, the author is dropped after some random 2-issue arc with no sense of finality or closure to its plot threads that would allow me to start the new run fresh without any expectations of continuing from what I was reading before, instead you have a world and characters in the middle of something that promplty gets mangled by the new writer (who understandably wants to do their own thing, not follow up someone else's story), and years upon years of it just became way too frustrating. Getting invested in superhero comic characters and stories ultimately just leads to frustration.
On a related note, I find it puzzling why American comics have such a hard time holding an author for longer than one or two years (besides some outliers like Claremont's run of X-Men). This isn't really that long of a time compared to how long writers in other comic markets around the world stay on the same comic. I think that, given the run is successful, DC and Marvel should keep the author around or at least make them finish what they started before allowing him to just walk out (or before kicking them out). Every big entertainment industry is corporate as fuck, including other comic industries, but with American capeshit stuff it looks like the people making decisions are completely alien to what the appeal of serialization is.
