You don’t see them much anymore: Long plots that stretch for fifteen or twenty issues, starting out with just a page or two devoted to them in the course of a normal adventure, and slowly building to a story that climaxes a year and a half down the road. There’s too much creative turnover for most writers (Johns, Bendis and Morrison excepted) to even try that these days.
And even if the creative team is stable, trade paperbacks leave creators with less room to meander. In practice, “writing for the trade” means more than stretching a story out to six issues; it also means a rethinking of the slow-burn storylines. If a trade paperback collection includes a bunch of pages that go nowhere (because they’re meant to pay off two collections down the line), causal readers will feel frustrated, and worse—ripped off.
For example, a few years ago, Kurt Busiek was planting seeds for some long-range plans for the new Aquaman. But circumstances changed, and Busiek left that title to take over the writing chores on Superman (and for a little while, Action Comics). And there, as he told his “Camelot Falls” storyline, he was also laying the groundwork for a long future run. But after building that foundation (and telling some fine stories in the meantime) he left the Superman title for Trinity… which is picking up some plot threads from his run on JLA a while back. And with a 52-issue run planned from the outset, with Trinity, at least, Busiek (and co-writer Fabian Nicieza) are pretty much guaranteed to be able to finish what they start.
But for all its length and scope, Trinity is one story. Part of what’s interesting about the long runs of the seventies, eighties and nineties are the meanderings and the course corrections, as the creators sometimes worked out on the page just what stories they were telling… or backed away from something that they’d changed their minds about.
In this series, I’ll be taking a look through my collection and examining some long runs from the past: The post Zero-Hour Legion, stretches of the Wally West Flash, John Byrne’s Fantastic Four, Garth Ennis’s run on Hellblazer, to name a few. If you have any other suggestions, let me know. I’ll be looking at the direction these books move in, and the weird little side-trips they take on the way.
They’re long runs, but each one begins with a single step.
December 7th, 2008 at 12:56 am
I’d definitely go through pre-Zero Hour Legion, especially Levitz/Giffen run and Giffen/Tom & Mary Biernbaum’s long workouts on dense plot and long-running series. I simply can’t see that on post-ZH Legion at all.
I’d also point out to Gerard Jones very underrated Green Lantern and GL:Mosaic runs as good examples of long tapestries (ruined for that nonsense that came with Ron Marz).
December 7th, 2008 at 2:57 am
Post ZH Legion is a good enough place to start… a full year of good plotting for the first year, and most loose threads tightened by the end of the second year. Honestly one of the better reads in recent memory… and one I just went back through myself a couple months ago before I moved cross-country.
Everyone’s done Sandman and Y: The Last Man recently… and Watchmen’s 12-issue extravaganza is going to be done to death over the next few months. Kudos to bringing up some of the other good titles out there that need a nod.
Other suggestions:
–Kevin Smith’s ‘Quiver’ 10-issue storyline in Green Arrow
–Fred Perry’s amazing 50-issue run of Gold Digger v2 through the 100-issue run of Gold Digger v3 (including tying up loose ends from B&W #0)
–The well-plotted if jumpily-written Unity Saga from Valiant
–Cerebus (Well, okay… maybe just an explanation of the whole thing someday…)
December 7th, 2008 at 4:20 am
Ed Brubaker on Captain America and Daredevil? Jason Aaron on Ghost Rider? (He’s planting seeds, at least.) Despite all its sins, Wolverine: Origins? Gail Simone on Birds of Prey? JMS on Amazing Spidey and now Thor? The new Nova series shows no signs of stopping soon.
Basically, huh?
December 7th, 2008 at 6:07 am
There are still plenty of “long run” stories. You just don’t see them much in corporate owned properties. But take a look at Image. Savage Dragon, Spawn, Invincible, Noble Causes and more. Or Vertigo: Fables, 100 Bullets, DMZ, etc…
December 7th, 2008 at 10:23 am
Outside of the Claremont, Wolfman, and David were there really that many long runs in the past? Why are people looking at the past with rose colored glasses? One of my favorite Batman runs is 7 issues Milligan did spread out over two years. The past was also filled up with tons of fill ins that broke up longer runs.
Also David, you totally forgot Rogers on Blue Beetle, David on X-factor, Whedon on Astonishing, Ennis again on Punisher, Slott on She Hulk, and Mckeever on Titans. The trend lately at marvel at least is to stick people on several titles for as long as possible. I don’t know where you get this “corporate owned” properties bull dukie LurkerWithout. Also, ha ha Spawn. That title seen a crap load of art team changes.
December 7th, 2008 at 11:47 am
It wasn’t the product of a single writer, but the “triangle number” Superman era of the 90s was heavy on long-term subplots and had tight enough continuity to feel like the product of a single creative voice most of the time.
December 7th, 2008 at 1:03 pm
Thanks for the feedback, everyone.
The dissenters, of course, are right: There are still some long-form comics published today: Much of Vertigo’s output fits that pattern, as do books like Walking Dead, Invincible, Godland, Savage Dragon, and heck, even such singular visions as Age of Bronze, Berlin and Castle Waiting. And in mainstream Marvel & DC, there have been some terrific recent long runs: Captain America, several long runs of Daredevil, Ultimate Spider-Man (of course!), Justice Society of America, Catwoman, Blue Beetle (to a certain extent; I’d set 24 issues as the minimum I’d want to include here, except Ricardo has inspired me to dig out my run of Green Lantern: Mosaic, which didn’t even make the two-year mark), Birds of Prey (both Simone’s run and Dixon’s underrated one), and plenty of others.
But a long run isn’t exactly the same as what I mean by long-form storytelling. Story pacing has changed in the last 10 years, and—well, it’s always changing, really. Whether to accommodate trade paperbacks, or whether to allow for online presentation, or simply to reflect the changing tastes of the public, comic storytelling is constantly evolving. Ultimate Spider-Man, for example, is paced far differently than William Messner-Loebs’s Flash run. And this older pacing fascinates me, because against the backdrop of modern comics, it really stands out.
Anyhow, I don’t want to speak in absolutes; this “mission statement” column is mostly my way of saying hello, and the springboard for digging through the wall of longboxes in my basement. There’s plenty of great new stuff out there, to be sure, but under this banner I’ll mostly be looking at some past favorites, and seeing what they have to offer in big, impressive chunks.
December 7th, 2008 at 2:33 pm
Creators just don’t want to stay on projects they don’t own for as long these days. It’s frustrating when runs like the Bru/Fraction Iron Fist get ended far, far too quickly.
December 7th, 2008 at 7:31 pm
I’d like to suggest Ron Marz’s current run on WITCHBLADE.
He’s coming up on writing 45 straight issues of the Top Cow book, having jumped on with issue #80. Plus, he’s publicly stated that he’s committed to the book until at lease #150.
There’s a storyline in WITCHBLADE that started in issue #101 that will not culminate until #130 – that’s over two years.
Let’s not forget Ron wrote GREEN LANTERN for almost seven years and over 50 issues of SILVER SURFER.
December 8th, 2008 at 9:58 pm
One of the problems with long-form storytelling today, and Busiek’s otherwise fine “Camelot Falls” in Superman is a prime example, is the Big 2′s inability to get many of their books out on time anymore. We’d get an issue or two of Camelot Falls, then one or more completely unrelated stories, then an issue of Camelot Falls again, followed by more unrelated stories.
I remember liking CF (as I did pretty much all of his run on Superman proper), but I’d hard pressed to give you many details of the story at this point since the momentum of that story was constantly getting derailed. I should go back and read them all in one shot, or just sell those books off and buy it in trade (which I wish I’d done in the first place).
Plus, Matt D is correct about many creators not staying on any one book for too long. I don’t mean to pick on Kurt, because I don’t the circumstances behind it all, but as the article points out he’s jumped around to several books at DC.
December 8th, 2008 at 10:51 pm
Picking on Kurt was the last thing on my mind; I used him as an example precisely because a) he makes long-term plans, whether or not he gets the chance to follow through on them, and b) he’s a writer whose work I like quite a bit. Better to go with a writer I’m familiar with than to go digging for an example.
With Busiek’s work, I never feel the long-term planning gets in the way of the story at hand. That’s not the case for all writers, to be sure.