This is not your Dad's Multiverse!

[nightwing]

Thanks for that last link.  Very interesting reading, especially this paragraph:

What’s interesting to me is that the most successful “OYL” launches from DC, at Comix Experience, have been post-OYL (as a branding exercise), and have been (seemingly) creatively-driven, rather than editorially-driven. We’re doing great with JLA & JSA, with Superman & Action, with Batman & Detective, and with (to a lesser extent because of lateness) Wonder Woman. These are all pretty much cases where the idea was to put a strong “dream team” of creators on a property, rather than having an external event driving things. That’s the only model that works to any significant degree over a long haul.

Wow, so it turns out what readers want is not major events or continuity-shaping, "everything changes" pyrotechnics.  What they want is quality stories written by good writers and drawn by good artists.  Who knew? 

And as also pointed out, 3 solid years of major crossover events (with more on the way) actually drives readers away rather than attracting new ones.  Another amazing find.

Who wants to bet a year from now DC will be further in the hole and we'll be pointing out the same sorry mistakes again? 

[Michel Weisnor]

Thanks for that last link.  Very interesting reading, especially this paragraph:

What’s interesting to me is that the most successful “OYL” launches from DC, at Comix Experience, have been post-OYL (as a branding exercise), and have been (seemingly) creatively-driven, rather than editorially-driven. We’re doing great with JLA & JSA, with Superman & Action, with Batman & Detective, and with (to a lesser extent because of lateness) Wonder Woman. These are all pretty much cases where the idea was to put a strong “dream team” of creators on a property, rather than having an external event driving things. That’s the only model that works to any significant degree over a long haul.

Wow, so it turns out what readers want is not major events or continuity-shaping, "everything changes" pyrotechnics.  What they want is quality stories written by good writers and drawn by good artists.  Who knew? 

And as also pointed out, 3 solid years of major crossover events (with more on the way) actually drives readers away rather than attracting new ones.  Another amazing find.

Who wants to bet a year from now DC will be further in the hole and we'll be pointing out the same sorry mistakes again? 

Well, isn't that a funny quote from newsarama.  I agree a creator driven series works wonders for DC. However, DC's looking at Marvel's sale numbers with envious eyes....     

Hints of DC's Infinite Crossover

This contains spoilers of Ion # 10 with more questions than answers.

http://forum.newsarama.com/showthread.php?t=100325

[crispy snax]

so i guess dc is just grabbing at straws, trying to make up for the lack of cash, do be fair the whole infinte crisis dragged me in a couple of times.... to the extent of "buying books i dont actually want" like Zero hour..

so this tactic kind of works in a frustrating way

[ShinDangaioh]

so i guess dc is just grabbing at straws, trying to make up for the lack of cash, do be fair the whole infinte crisis dragged me in a couple of times.... to the extent of "buying books i dont actually want" like Zero hour..

so this tactic kind of works in a frustrating way

After Infinite Crisis, I left.

I left Marvel long ago.

Showcase I'll buy, since I can get complete stories

I'm stuck with the Indy comics.  Udon's Street Fighter series is fun.  I did like the Street Fighter Legends with Sakura Kasugano.  Monday sees the end of the webcomic Miracle of Science which was a fun romp with Benjam Prester of the Vorstellan Police and Caprice from the gestalt intellect of Mars.

But, all in all, DC and Marvel comics are way to expensive anymore.