What is it about Marvel that seems to SAP the quality of most

A lack of creative freedoms and an adherence to editorial constrictions.

>>77422007
That's from Bendis's headshot shoot back when he was living in LA. That was over 20 years ago.

He didn't have talent then, either.
That's why he left and wrote a vanity series about how Hollywood is full of phonies and he's a genius.

They're working within a formula, just like how directors of MCU films are known to have little control.

As a side note, Bunn is the worst.

Perhaps the editors are partially at fault?

Disney

>>77422007
Tom King, though

So far, he's basically doing whatever he wants with Vision

>>77422007
When you make it to the top you don't have to try anymore.

>>77422328
Which is as far away from events comics as possible.

Remender had the same thing. X-force and Venom where good, and then, Uncanny event comics happened.

>>77422007
Maybe it have to do with working conditions?
What are the delay they have to work with in each case?

>>77422007
>Cullen Bunn
>good indie stuff, mostly decent DC books

I can't really speak for his Marvel work but Bunn's DC work is shit.

it's run by fanboys who like to play God with their waifus and hasubandurus
the writers don't get to be creative if their bosses don't like it

>>77422007
>Cullen Bunn
His Magneto was pretty good before AXIS rolled around, I stopped reading Marvel after that shitty hype driven event.

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>>77422205
>Bunn is the worst

He's hit or miss. I don't think he has an in-between. He either hits it out of the park or it's complete shit.

>>77422007
because they're restricted to a ridiculously small set of potential characters and stories?

Peter Principle. People do good work and are "promoted" to stuff that they're not as good at.

It even happened with Brubaker. Captain America - great. He obviously got and loved the character. So he gets to take over Uncanny X-Men, only that doesn't play to his skills as much and there's a lot more editorial scrutiny, so he doesn't do as good a job. No one writes everything equally well.

Also some writers are simply better at Hip Indie stuff than capes, and vice versa. There are a lot of old-pro writers who have no talent for creating their own comics, but are good at writing within the conventions and editorial limitations of Marvel and DC.

I think especially the writers who started as editors, like Mark Waid or Fabian Nicieza, are sometimes better suited to editorially-driven cape comics than the writers who have more of a personal style. Sometimes I think they should go back to encouraging editors to write.

>>77422007
Does a Marvel contract come with free donuts in the lounge or something? Fuck. Dude's well on his way to Brevroot/Slott roundness. I guess when you halfass your writing because people will buy it anyway, you start halfassing everything including your health. I weep for Lemire and Soule.

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>>77423282
>Fuck. Dude's well on his way to Brevroot/Slott roundness

That picture is from 20 years ago. This is current day Bendis.

>>77423282
I don't think Lemire is Marvel exclusive, is he? I'm pretty sure there has not been an announcement from Marvel saying so at least.

>>77423498
He'd make the perfect Kingpin now that I think about it. Right down to the spaghetti.

I like Lemire's All New Hawkeye

>>77423578
>A Kingpin more talky than DD or Spidey.

>>77423570
http://www.bleedingcool.com/2015/04/11/yes-folks-jeff-lemire-has-signed-with-marvel-but/

He goes to the retreats but seems to have the Valiant stuff in his contract.

>>77423773
I'm pretty sure that these days, exclusivity contracts just prevent authors from working with the other company in the Big Two, since there are usually stipulations that allow for independent work.

It's basically to steal the writer away from the other company. Just look at Soule. I still believe that Marvel took "He can write eight books a month" and thought that he'd be able to handle a weekly by himself.

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As a creator, why would you want to waste your best effort on a coprorate owned title? There is massive pile of convoluted, often self-conflicting, continuity to deal with. If you forgo the established characters with tons of baggage you run the risk of cancellation as new properties get very little interest. Even if by chance your new idea thrives and generates some success that only means your title will be sucked into event hell. Ultimately the suits in charge can manipulate the story you're trying to tell to better fit into the current status quo. When you're off the title you have no control over what happens to your characters and your ideas might get retconned.

Marvel is especially bad about this. Why do you think so many of their big names are leaving/have already left? Hickman is done at Marvel after Secret Wars. Remender has left to only do creator owned work. Gillen isn't touching the Marvel universe, only writing Darth Vader. I don't think Fraction is on any ANAD titles, only doing Image work. Marvel is lucky to have Al Ewing writing a few books and King on Vision. Otherwise they'd be stuck with Bendis, Slott, Hopeless, Humphries, and uninspired work from Lemire.
>pic related, writers fleeing Marvel

Current DC is more creator friendly, focusing more on story than continuity and status quo (who the hell knows where Johns' Justice League fits in the New 52 continuity).

DC is where you go to have some fun with corporate owned characters.
Marvel is where you go for that fat Disney paycheck.
Image/Dark Horse/Boom/Black Mask/etc. are where the passion projects are.

>>77424238
This is true. It's funny how there are some people who think Marvel currently has better A list writers than DC, though.

>>77424238
Personally, if I had the chance of writing at one of the Big Two companies, it wouldn't be something I'd do for my sole livelihood. I'd probably be more like, say, Dan Abnett or Neil Gaiman and write my own novels as my primary job, and then write a title or two on the side for DC/Marvel as sort of a fun side project.

I'd see it as more just an opportunity to have some fun with characters/titles I like than something that I'd pour all my effort into, because I know it won't matter much in the context of the universe, and that I'll likely be curbed.

>DC is where you go to have some fun with corporate owned characters.
I'm happy that this has changed. DC was so bad about that, but it's good to both hear and see that their claim to modify their ways was sincere.

>>77422007
Disney isn't an artistic venture. It's an incredibly large commercial enterprise that reaps from the fruits of artists who are paid to make generic crap for a broad audience base.

When you walk into the Marvel writing den, you're not walking into a place run by artists with their ear to the ground. You're walking into a place where people take orders from a giant world wide corporation, and their stories are reflective of that.