How is it that Scott Snyder managed to create a great Swamp Thing run, one of the few worth reading during the New 52, and yet continues to generate mediocre to shit stories with Batman and now The Justice League? Is it simply a case of what inspires a writer? Characters playing to their strengths?
What are other examples of this? Who are some other writers you think would excel if given certain material/characters to work with?
Soule was also great on swamp thing but trash on SM/WW. Though I question if anyone would have not been
he was also trash on almost everything he wrote after that
Lemire Animal Man was good but his X-Men was terrible. Granted, editorial fucked his run.
Snyder shits the bed most on characterization, coherence and providing resolutions to his big ideas, and these things don't really matter that much for Swamp Thing as they do for other characters since Swampy is more about atmosphere and spectacle, so even if the writing is off it's not as big a deal.
It's kind of like how everyone worshipped Tom King for reinventing Mister Miracle as a suicidal sadsack but then when he does the same thing to Batman it became a problem.
He didn't. Carried by art again, the story was paint by numbers.
>Is it simply a case of what inspires a writer? Characters playing to their strengths?
Yes and yes, but also I think it has a lot to do with the freedom he was given to create. If you do Swamp Thing your own way, there's a very small number of rabid fanboys out for your head; with Batman and Justice League, quite the opposite.
I'm sure with Swamp Thing he was able to write with a lot less meddling ("protection of the brand") than with Batman and JL, and that's the environment that leads to good stories.
>everyone
not everyone
The same artist did Earth One Wonder Woman and he certainly didn't elevate that story.
In fact he did. Or at least he and Morrison are worthy collaborators.
Lemire himself said he was very limited and found X-Men a struggle but loved writing Moon Knight since he had free reign to do whatever.
>great Swamp Thing run
The first 7 or so issues were good (not great, good), then everything after that was mindnumbing padded
>The Rot
>>The Rot
>The Rot is coming!
>>The Rot
>The Rot is almost heeerre!
>>The Rot!
>The Rot soon!!
for fucking a dozen issues or so.
>one of the few worth reading during the New 52
Stop this shitty meme. There was plenty of good and worthwhile titles during the New 52 era. Was there a lot of shit? Yeah, there always is, but there was also a lot of good quality stuff if you looked for it.
Scott Snyder's a horror writers first and foremost.
The cost was too high.
Editorial seemed to have a lot to do with it, tho people just didn't like his endings in general
Of the writers involved with WW during the new 52, Soule at least seemed like he had most respect for her history. He had doom's doorway, the purple healing ray, namedropped the amazon Io, and wanted to have Donna Troy instead of Hesia, but editorial wouldn't let him.
Compared with Azzarello, with the Zeus origin, the sex piracy, replacing Artemis with "Aleka" and Philipus with "Dessa", and the fucking Finch's and their shit run.
It was so sad that both swampy and animal man died when rot world started
Who wouldn't be limited with how convoluted the X-Men history is?
And like how Johns is good at making fun if formulaic self contained series but not big event comics
They were both at their best after the rotworld arc
>Of the writers involved with WW during the new 52, Soule at least seemed like he had most respect for her history. He had doom's doorway, the purple healing ray, namedropped the amazon Io, and wanted to have Donna Troy instead of Hesia, but editorial wouldn't let him.
Nah, dog. Nah. Dropping some references doesn't excuse shit writing. Otherwise Tom King would be a good Batman writer.