If you know creative teams help determine what book sells then why dont you put well known writers on failing books to create interest? And if fans complain about not getting what they want, why don't you give them what they want? If there is no consistency with characters people know and love why would you not expect people to complain? Why do most of your answers seem to be "it's your fault fans" And never whats can be done better on the staff side of things?

Let’s take these one at a time:

—We don’t employ slave labor, so we don’t simply put writers anywhere—we work with writers to find assignments that will be beneficial to all and that they’ll be interested in. I may want Brian Bendis to write, I don’t know, a SQUIRREL GIRL series, but that doesn’t mean that he’s going to have any interest in doing so, or that I’m going to be able to convince him to do so—or even, if he has interest, that he’ll have the time without giving up some other assignment (so goodbye MILES MORALES…)

—Mark Gruenwald used to have a saying: “Give the fans what they want, not what they say they want.” Which is very true. In most cases, the fans—and I mean the fans in a group sense—do not know what they want. No matter what you do, there are going to be people who are upset about it. I think SUPERIOR SPIDER-MAN is a good example of that. When it started, the amount of outrage and fan anger was unreal. Dan Slott got death threats, actual police-investigated death threats, f’r crying out loud. If I followed your theory, we’d have ended that book at issue #2. But now, with that series wrapped up, we’re hearing the opposite—we’re hearing from many of those self-same fans that at some point they got past their anger and tried it out, and then ran out and bought all of the back issues and loved it. And could we not end it so quickly? So again, if I listened to you, I would keep it going. Now, I don’t know about you, but to me, the directive “End it at issue #2 but keep it going indefinitely” is pretty impossible to achieve.

—I expect people to complain regardless of what we do, especially given that everybody’s viewpoint on these characters is different. So what seems “horribly out of character” to one fan is “an exciting and shocking development” to another. Again, just look over the opinions expressed on this very Tumblr. This question inevitably translates into “Why aren’t you doing what I want instead of what that other guy wants?” And the answer, inevitably, is that I value you both equally.

—If you come to this page and post a question, I make a number of basic assumptions: that you’re an adult, that you’re a reasonable person, and that you want the straight poop, and not to be put to bed with a bottle and a blankie. So I try to answer every question that I tackle here as plainly and as directly as I can. The marketplace is the marketplace. You—meaning the audience as a whole—have a much greater say over what is and is not successful than I do, based on what you do and where you spend your money and time. I don’t think my answers are typically “It’s your fault, fans”, but if you’re asking about why we do certain things, why we feature certain characters or why certain books end and so forth—then the honest answer is that that’s all in your hands—again, you as a group. Marvel is not your parent, here to make things better in the way that you and only you among the fans feels they should be. We will not make your decisions for you, not in that way. Marvel, ultimately, is a business, and the reactions of the audience and the marketplace are going to lead us. We are going to follow the money—it’s how we stay afloat to do what we do and make the comics that you love.

—There’s plenty that can be done better on the staff side, and that stuff gets worked on every day.