Why does Action Comics not get anywhere near as much love as

>>91241589
"not muh" fags

>>91241677
But comparatively, from that time other stuff like Batman, Wonder Woman, Animal Man, and Swamp Thing were getting love though despite being nu52.

>rushed art
>concepts that popped in and out of existence
>that much dependency on the Superman book due to 5 years meme
>kind of a weak ending

This is coming from someone who enjoyed it. It doesn't feel like a proper run. It doesn't even feel like a cohesive sequence of events.

>>91241854
Superman is a special case.

I thought a lot of if was jumbled but by the end I had come around to liking it.

>>91241677
This.

>>91241854
Batman was pretty standard, exactly what everyone wanted from Batman.

Wonder Woman was viewed as complete trash and a joke prior to New52.

The other two were niche titles, they weren't THAT popular and people turned on them with Rotworld as if they heard the creators were pedophiles or something, despite the fact that they both improved after the crossover exponentially, they actually never achieved that critical acclaim they had the first several months ever again.

>>91241854
I dunno what you're talking about, it still is often brought up as one of the best of the New 52, certainly more so than Lemire's Animal Man.

Also there are certain people still to this day butthurt about "edgy" Superman, and most casuals and wannabes have only read All-Star and refuse to accept anything else.

>>91241887
>It doesn't even feel like a cohesive sequence of events.

Well, that much was intentional at least, given the fact that the whole thing turned out to be a time travel story.

It did feel a little too disjointed at times, though.

>>91241589
You know what always bothered me?
That Morrison never had a longer, consistent run by 1 (or at max 2) high profile artists. The longest I can think of is All-Star Superman.
New X-Men? Disjointed as fuck. Animal Man? Bland art. JLA? I'm one of those people who likes Porter, but wouldn't call him great. Batman? Constant fucking art changes.
Let's look at Moore: Promethea by Willoams III. Swamp Thing by (mostly) Bissette and Totleben. Tom Strong by (mostly) Sprouse. Top Ten by Gene Ha.
How do you explain this?

>>91242702
Well for one you're comparing superhero runs where the team is decided by the editor to creator owned ones where the creative team is the main draw.

Morrison likes writing superheroes, Moore doesn't, so naturally a lot more of Moore's work is on creator owned.

Morrison has things like Invisibles and the Filth that are (IIRC) one artist. In fact like with Moore most of Morrison's non-big two work is with one or two artists.

Also stuff like Moore's Swamp Thing were what actually helped popularize the idea of a creative team being the main draw of a series rather than just the name of the character on the cover, and was part of what got Moore the opportunity to do Watchmen in the first place.

The success of Moore as a recognized name is what led to the British invasion in the 80's where writers were king and artists were expected to just copy house style, and where Morrison made his own name.

By the 90's the situation had flipped and artists were the rock stars but people like Morrison were big enough names that they still held precedence, which may have been why an artist like Porter (who was kind of subpar at the time) were assigned to JLA: the writer was already a draw so no need to assign a big artist when they could be selling another book. Or maybe Morrison just liked Porter, we don't know for sure.

Anyway tl;dr Moore got out early and into creator owned so he can do whatever he wants, Morrison kept working in capes where editors and deadlines will change your circumstances frequently.

>>91241589
Because Morrison wrote a better Superman story only a few years before.

>>91241589

They all can't be winners, OP.

Because it isn't that great

>>91241589
Because it goes downhill following the first arc.