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I came across this link via
The Beat regarding
a theory why Marvel is doing so much better in the movie department than slowpoke DC. The theory goes like this:
Marvel takes a cohesive, "universal" approach in which they are not only totally involved with the movie-making process, but has no problem with characters crossing over with each other (as long as it's all in the same studio).
In contrast, Warner Bros keeps DC out of the loop to an extent in the process of developing and adapting their movies, and different filmmakers hold "fiefdoms" over certain characters, making crossovers difficult or unlikely.
This is then extended to the philosophies of the individual comic book companies in general.
Which brings me to the concept of separate "offices" for separate sets of characters.
One of the most striking aspects of the DC Comics editorial management was the concept of "offices" or "groups." There was a Superman Office. A Bat-Group. A Justice League group. And several editors who handled "etceteras."
This was akin to keeping all your food separate on a plate with one of those sectioned-off plates you'd get at school or camp. Corn does not touch mashed potatoes.
An editor would be in charge of all the comics related to Batman, for example. Now, say another editor from a different group wanted to use Batman in a Hawkman comic -- they had to clear it with the editor.
What happened when characters were not cleared with the individual group editors?
Anger, accusations, fights, screaming matches.
"How dare you include blahblah in that crowd scene! She's on the planet Nimrod this month, encased in a vat of yogurt! Didn't you read my goddamn e-mail?!"
As you can imagine, this made the editing of JLA really fun.
A side-effect of this was that it was just easier not to have characters cross over into other books.
And senior editors would be in charge of certain characters for long periods of time, to the point of it being this seemingly unchangeable, monolithic thing.
On one hand, such an approach I'm sure helped the interior continuity of the titles. On the other, it was a method that threatened to render certain characters "stale," their spinoffs and miniseries sort of inbred and uniform.
When Dan DiDio came in, he expressed a desire to "change up" the different groups and offices. He felt that if the heads of different offices were switched every once in a while, that would promote innovation.
As for whether the fragmentation into different isolated SuperGroups and Bat-Offices was changed for a more cohesive group effort, I have no idea. Maybe it has changed.
But when you are stuck in an office for 8+ hours a day, staring at those damn comics in various forms of production, I can see how you could become maniacally possessive of your "fiefdom." I think fiefdoms are bad for comics, though. And maybe bad for comic book movies as well.