Comments on: The DFC at six months: what the writers and artists think…. http://forbiddenplanet.co.uk/blog/2008/the-dfc-at-six-months-what-the-writers-and-artists-think/ The Best In Sci-Fi & Fantasy, News, Reviews, Graphic Novels, comics and more! Mon, 13 Feb 2012 01:06:43 +0000 hourly 1 http://wordpress.org/?v=1239 By: Lew Stringer http://forbiddenplanet.co.uk/blog/2008/the-dfc-at-six-months-what-the-writers-and-artists-think/comment-page-1/#comment-224934 Lew Stringer Fri, 05 Dec 2008 12:50:49 +0000 http://forbiddenplanet.co.uk/blog/?p=10463#comment-224934 Much as I admire and respect the high quality of The DFC and its marvelous contributors I can't help feeling a sense of deja vu. I remember the same excitement and buzz surrounding Oink! back in 1986. We all thought it was the best comic we'd ever worked on and we thought it'd change the industry. We all know how that fizzled out two years later. Same applies to other comics. It's great that The DFC has such variety, and I'm not faulting the content or its contributors, but I do feel there's a bit of "reinventing the wheel" going on when I read/hear some interviews. The main strength of The DFC is that it uses artists with modern styles. The other things it's being applauded for: serial stories, variety of content, weekly frequency, are nothing new, although it is great to see such things revived. I truly hope The DFC can reach a wider audience because relying on the subscription method and plugs in The Guardian isn't going to keep it afloat. As I've experienced myself with missing issues, the sub method is not flawless, so I think a more reliable distribution system is essential for the comics' survival. Much as I admire and respect the high quality of The DFC and its marvelous contributors I can’t help feeling a sense of deja vu. I remember the same excitement and buzz surrounding Oink! back in 1986. We all thought it was the best comic we’d ever worked on and we thought it’d change the industry. We all know how that fizzled out two years later. Same applies to other comics. It’s great that The DFC has such variety, and I’m not faulting the content or its contributors, but I do feel there’s a bit of “reinventing the wheel” going on when I read/hear some interviews. The main strength of The DFC is that it uses artists with modern styles. The other things it’s being applauded for: serial stories, variety of content, weekly frequency, are nothing new, although it is great to see such things revived.

I truly hope The DFC can reach a wider audience because relying on the subscription method and plugs in The Guardian isn’t going to keep it afloat. As I’ve experienced myself with missing issues, the sub method is not flawless, so I think a more reliable distribution system is essential for the comics’ survival.

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