Protection From Editors: Difference between revisions

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* [[Grant Morrison]] in general. Especially since Dan Didio publicly stated he didn't understand most of ''[[Final Crisis]]'', but trusted Morrison's word that it was fantastic.

** Speaking of a major DC writer, Geoff Johns is also protected in such a way.

** This is, again, not necessarily a bad thing. 52, regarded as one of the best comics in the last several years, was penned by both Morrison and Johns, plus two other well-known writers, Waid and Rucka. Between the four of them, they didn't need to bow to ''any'' editor. Although the end product was amazing, chief of DC, Dan Didio, was angry he got so little input on it, and made a new series that gave him total control. The result was [[So Bad It's Horrible|Countdown.]]

** This is, again, [[Tropes Are Not Bad|not necessarily a bad thing]]. 52, regarded as one of the best comics in the last several years, was penned by both Morrison and Johns, plus two other well-known writers, Waid and Rucka. Between the four of them, they didn't need to bow to ''any'' editor. Although the end product was amazing, chief of DC, Dan Didio, was angry he got so little input on it, and made a new series that gave him total control. The result was [[So Bad It's Horrible|Countdown.]]

* A notable exception would by Gary Larson, of ''The Far Side'' fame. He's said more than once that the reason the comic kept going as long as it did was because of his editor rejecting especially tasteless cartoons.

** Similarly, Bill Watterson of ''[[Calvin and Hobbes]]'' commented in the introduction he wrote to the complete collection he was grateful to his editors. In his view, even when he thought a strip was funny, he would always read their criticisms of rejected material and learn from it.