Quote:
Originally Posted by Andrew NDB
He's the poster child for everything that's wrong with "hot," fratboy writers today. Lots of splash pages, double-splash pages in issues you can read in 2 minutes, giant "everything you've known is WRONG!" events that cliffhang into even gianter giant events, all the while hiding behind A-list artists so their stuff always sells. You will never see Geoff "slum" it with a B or C-list artist. He's a hack of the worst kind.
He was always a decent ideas guy, at least, but then somewhere around GL Mega Event #2 or #3 he ran out of ideas, so he didn't even have that.
And 95% of his big events aren't even about telling a good story or getting into any of the characters' heads, but either A) Going down a list of things he wants to retcon from the character(s)'s history, or B) Retconning something of his own. He also has a big tendency to introduce supporting characters and subplots and then completely forgetting about them, ignoring them.
To be fair, "Rebirth" itself wasn't bad. And maybe the first... 15 or so issues of his initial Vol. 4 of Green Lantern, before the whole franchise became Sinestro Corps War #1-500.
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That's fair enough. Truthfully, I can't think of a single "big event" in comics I ever actually
liked (maybe Civil War and to a much lesser extent, Crisis on Infinite Earths) so I tend to bail out once they start revving up. Which is why I bailed out once I saw that Sinestro Corps War was only the beginning.
I'm not sure the reasoning behind pitchforking someone for only working with high grade artists, though. You're a filmmaker - wouldn't you want your stuff to look as best as it possible can be, especially if you already have good working relationships with the people who can make it happen? I'm not even sure DC would allow Johns teaming with a lesser, unproven artist for their big titles which he's always attached to. But my knowledge of how the comic industry works isn't that sharp, admittedly.