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Writer's Block and Brad Meltzer...the upcoming BTVS S8 writer..
What (if any) books would you ban from a high school library? Are there certain subjects that you feel are inappropriate for teenagers regardless of literary merit?
I wouldn't ban any books from a high school library. At the age of 16 - I read Rosemary Rodgers and Harold Robbins, I also thumbed through Erica Jong's Fear of Flying (the most boring thing I'd attempted). I read anything and everything I could - as did my parents when they were young, which may be why they didn't constrict my reading. My father used to read Ian Fleming novels. Reading shows you different worlds and different perspectives. When you read, you think. You choose how to respond to the text. It is an interactive enterprise. To ban a book, any book, is sending the wrong message. Also, the most violent, and graphic novel of all time is probably the Bible. Ages ago - only monks were permitted to read it, because it was considered too difficult for the common folk.
After reading this interview with Brad Meltzer, who I have read previously - his writing not the interview, I realized why I am struggling with the Buffy comics. I am not a Brad Meltzer fan. I have read him before, more than once.
I read his breakout novel - the best-selling Dead Even - one of the millions of legal thrillers that now feel rather interchangable. To put it mildly, Meltzer makes John Grisham feel like Cormac McCarthy or Shakespeare in comparison. Grisham has more depth, not to mention more believablity and better characterization. Meltzer's characters are somewhat one-dimensional pretty people, with a cliche flaw, while Grisham's I can actually visualize. I compare the two, because they write the same genre, as does David Baldacci - who is also much much better. There's a reason Baldacci has done better. And I'm not necessarily a Baldacci fan. The best of the bunch is Scott Turow, who wrote the famous Paper Chase. Turow's sentences stick with you longer. The only thing I remember about Dead Even, besides the fact that I found it disappointing and a waste of money, much the same way I felt when I read a Danielle Steele novel - is the hero escapes a kiler by hiding under a subway platform. I remember it, because I've stood on many a platform contemplating how that is possible. At the time I was reading it - I was taking the subway and thinking, no this is not possible, you can't do it. Now that I work for a commuter rail service, I know it is impossible. The book is rather beyond belief, particularly if you know anything about law. But hey, it was a first effort. So I thought, after reading all the hype on Identity Crisis - the comic that changed the DC Universe and rocketed into a new era - or so they said, comic book publishers tend towards the hyperbole, to check it out. Read the entire thing in the space of a half hour maybe less in the comic book store, along with Whedon's endorsement - it too was forgettable - the only thing I remember is the built up about Batman and why he decided to collect dossiers on all the Justice Leaguers because he realized through the events in Identity Crisis that they could be dangerous to humanity, since they were all powerful. Batman's the duped detective in the story who manages to unravel the thing. That was interesting. The mystery? It was basically a domestic dispute..or something. I didn't find it interesting and didn't care, so don't remember what it was or what it entailed. All I remember is the split between Batman, Superman and Wonderwoman or the tension, there wasn't really a split as a result of it. Outside of that? It drug. I scanned. But unlike Buffy, they had less characters, and developed the minor ones a bit more.
The same thing is happening in the Buffy comic - I am finding that the story is dragging.
The suspense lacking and my suspension of disbelief...cracking. But hey what can we expect from someone who thinks Georges Jeanty can deliver emotional moments? I guess he does, I guess this is subjective. But I'm not seeing it. Where? I admit I may be too busy trying to figure out who is who to notice. Also the My Little Pony (TM BFG) artwork sort of lacks emotional weight in my opinion. It's too magna lite.
At any rate if Meltzer is behind the big Twilight reveal...this probably means we'll get it late in his run - ie, around March, and that it will probably be someone I really don't think is believable but all the clues lead to. I'm admittedly worried it will be Spike - even if it makes no logical sense, but I've read Metzler - he's plots don't make logical sense to me - they tend to hackneyed. Eh. I hope I'm wrong. Maybe it will be better than I think. Maybe Twilight will be Hank Summers - that's who I really want it to be - I can fanwank that one. The others, I really can't. And everyone else is sort of yawnworthy. But with Metzler? Can't say I have a lot of faith in the outcome. But I could be wrong. At any rate, going into this with extreemly low expectations. I may even thumb through it or read others reviews before buying this round, we shall see. I have not bought any Metzler novels since Dead Even - which I handed off to my Granny at the time, who also thought it was one of the crappier mysteries she'd read. We ripped it apart on the phone one night. Had quite a blast doing it. So if I buy the comics - that will be the first thing I've purchased by Metzler since Dead Even.
Beginning to think Fury, Bell, Greenwalt and Noxon were necessary components to the Whedon mix. That and the actors themselves.
I wouldn't ban any books from a high school library. At the age of 16 - I read Rosemary Rodgers and Harold Robbins, I also thumbed through Erica Jong's Fear of Flying (the most boring thing I'd attempted). I read anything and everything I could - as did my parents when they were young, which may be why they didn't constrict my reading. My father used to read Ian Fleming novels. Reading shows you different worlds and different perspectives. When you read, you think. You choose how to respond to the text. It is an interactive enterprise. To ban a book, any book, is sending the wrong message. Also, the most violent, and graphic novel of all time is probably the Bible. Ages ago - only monks were permitted to read it, because it was considered too difficult for the common folk.
After reading this interview with Brad Meltzer, who I have read previously - his writing not the interview, I realized why I am struggling with the Buffy comics. I am not a Brad Meltzer fan. I have read him before, more than once.
I read his breakout novel - the best-selling Dead Even - one of the millions of legal thrillers that now feel rather interchangable. To put it mildly, Meltzer makes John Grisham feel like Cormac McCarthy or Shakespeare in comparison. Grisham has more depth, not to mention more believablity and better characterization. Meltzer's characters are somewhat one-dimensional pretty people, with a cliche flaw, while Grisham's I can actually visualize. I compare the two, because they write the same genre, as does David Baldacci - who is also much much better. There's a reason Baldacci has done better. And I'm not necessarily a Baldacci fan. The best of the bunch is Scott Turow, who wrote the famous Paper Chase. Turow's sentences stick with you longer. The only thing I remember about Dead Even, besides the fact that I found it disappointing and a waste of money, much the same way I felt when I read a Danielle Steele novel - is the hero escapes a kiler by hiding under a subway platform. I remember it, because I've stood on many a platform contemplating how that is possible. At the time I was reading it - I was taking the subway and thinking, no this is not possible, you can't do it. Now that I work for a commuter rail service, I know it is impossible. The book is rather beyond belief, particularly if you know anything about law. But hey, it was a first effort. So I thought, after reading all the hype on Identity Crisis - the comic that changed the DC Universe and rocketed into a new era - or so they said, comic book publishers tend towards the hyperbole, to check it out. Read the entire thing in the space of a half hour maybe less in the comic book store, along with Whedon's endorsement - it too was forgettable - the only thing I remember is the built up about Batman and why he decided to collect dossiers on all the Justice Leaguers because he realized through the events in Identity Crisis that they could be dangerous to humanity, since they were all powerful. Batman's the duped detective in the story who manages to unravel the thing. That was interesting. The mystery? It was basically a domestic dispute..or something. I didn't find it interesting and didn't care, so don't remember what it was or what it entailed. All I remember is the split between Batman, Superman and Wonderwoman or the tension, there wasn't really a split as a result of it. Outside of that? It drug. I scanned. But unlike Buffy, they had less characters, and developed the minor ones a bit more.
The same thing is happening in the Buffy comic - I am finding that the story is dragging.
The suspense lacking and my suspension of disbelief...cracking. But hey what can we expect from someone who thinks Georges Jeanty can deliver emotional moments? I guess he does, I guess this is subjective. But I'm not seeing it. Where? I admit I may be too busy trying to figure out who is who to notice. Also the My Little Pony (TM BFG) artwork sort of lacks emotional weight in my opinion. It's too magna lite.
At any rate if Meltzer is behind the big Twilight reveal...this probably means we'll get it late in his run - ie, around March, and that it will probably be someone I really don't think is believable but all the clues lead to. I'm admittedly worried it will be Spike - even if it makes no logical sense, but I've read Metzler - he's plots don't make logical sense to me - they tend to hackneyed. Eh. I hope I'm wrong. Maybe it will be better than I think. Maybe Twilight will be Hank Summers - that's who I really want it to be - I can fanwank that one. The others, I really can't. And everyone else is sort of yawnworthy. But with Metzler? Can't say I have a lot of faith in the outcome. But I could be wrong. At any rate, going into this with extreemly low expectations. I may even thumb through it or read others reviews before buying this round, we shall see. I have not bought any Metzler novels since Dead Even - which I handed off to my Granny at the time, who also thought it was one of the crappier mysteries she'd read. We ripped it apart on the phone one night. Had quite a blast doing it. So if I buy the comics - that will be the first thing I've purchased by Metzler since Dead Even.
Beginning to think Fury, Bell, Greenwalt and Noxon were necessary components to the Whedon mix. That and the actors themselves.
no subject
I rather wish this was the case, must admit, but since sales are holding up, have to suppose that the majority of readers are happy with what they're getting.
Or possibly, like me, continue buying because they keep hoping it'll get better.
no subject
From what I've seen online, my guess is the vast majority are happy. It's not a big group. Comics don't tend to appeal to a broad audience to begin with - about 65% of the Buffy fandom, I'm guessing, probably either hasn't ever bought them or did briefly out of curiousity, got bored and went elsewhere.
Saleswise - they are doing quite well in comparison to other Dark Horse titles - but you have to keep in mind, Dark Horse isn't normally a big seller, and comics are a nitch market, with a very narrow sales margin. From their perspective - they are kicking ass.
From our perspective - they aren't, but then we are using different yardsticks of measurment.
Same deal with IDW - from their perspective Spike and Angel are selling rather well, but from ours they aren't.
I have no idea what numbers comics have to bring in to stay viable or to make up for production costs and provide a profit. My guess is at least a million. But it may be alot less than that. Depends on the production cost - but based on sale price alone? I'm
guessing they are pretty cheap to put together, nothing like a novel or gasp, a tv show (which can cost over 4 million an episode).
no subject
I don't know either, though I think it may be less than that. In any case, I know DH are very pleased with the Buffy comic and it's unlikely Allie and co see any reason to change what they're doing.
no subject
Agreed.
If you compare the current Buffy comics with the ones they were doing during the show (which were abysmal and sold reasonably well but never showed up on any bestseller lists at least not like this one has) - I'd say they are jumping with glee over how well the Buffy comics are doing. The majority of the letters to the editor are positive and the majority of the posts to SlayAlive are postive. Those of us who are dissatisfied appear to be in the minority of the people still buying the comics.
If I were Allie and DH? I wouldn't change a thing. Don't fix what isn't broken. And ignore the naysayers unless of course sales drop off dramatically. Which I don't see happening. Even if they make Xander or Spike Twilight. Actually they'd probably go up due to curiousity factor.
no subject
Yes, probably, though given how some of the diehard Buffy comics fans around also seem to be diehard Spike haters, I do wonder if Spike's appearance in the comic would affect sales negatively. That is, if he stuck around.
no subject
The sales aren't holding up, though; they've lost more than one third of their readers (http://forum.slayalive.com/index.cgi?action=display&board=buffyseason8&thread=3176&page=1) since it started, and more keep dropping off with every arc. But I have no idea if those numbers are anything out of the ordinary or if it's just to be expected.
no subject
no subject
Oh I could have told you that. ;-)
85% of my flist has either never tried it or gave up.
I know of several people who stopped sometime after Wolves at the Gate, or during that arc.
Mostly out of boredom. Several because they felt the characters did not make sense. Others because it felt very fanboy - or that the comics were being directed towards a Warrenesque faction of the fandom (and they may not be wrong about that...)
Tempted to do another poll just to see where everyone falls on the question.
no subject
Um, do you mean Whedonesque faction? If so, I would agree, though I have seen people on Whedonesque saying they don't like it/have gone off it.
I know of several people who stopped sometime after Wolves at the Gate, or during that arc.
Heh! That was the arc that made me decide to persist for a little longer, because I liked it. Xacula made me laugh. I so wish Dracula had stuck around. This comic desperately needs a character like that.
Mind you, that arc also contained MechaDawn, which I thought was silly fanboy pandering (more so than usual) and the torture!Yay! scene, both of which were rather offputting.
Do another poll.
no subject
I'm guessing to be expected. Buffy unlike X-men, had a tv following, the fanbase would try the adaptation, but odds are about a 1/3rd of the base that tried would be disappointed and wander off. So they are probably happy that it was only a 1/3rd. Comics are not money makers. Whedon wasn't kidding when he said he couldn't make a living off of them.
Even with the loss, I'm guessing that Buffy is still DH's best selling comic ever. (Actually Allie has stated that a few times.) Same is true about the Angel and Spike comics on IDW (they have also sold the best for that organization.)
Keep in mind they aren't measuring success the same way we are. Very nitch cult audience - with a young and predominantly male demographic. Buffy is picking up the young female demo - which they rarely get, apparently. So I think from their perspective they are still doing rather well - heck, they've even won awards and been nominated for awards. They won the Eisner. Jeanty has won the Eisner. And they have gotten rave reviews in comics journals and online professional comic review blogs, plus Entertainment Weekly and mainstream mags have noticed them. That's major for a publisher like Dark Horse. The only negative reviews I've seen have been on my own flist.
;-)