Name: Marc Comeau
And Action Comics #500.
I suppose that's where it starts to fall apart for me. Messing with the continuity I know just to do your thing as a writer makes it all less fun for me. If you want to make Gwen have sex with the Green Goblin, do it in a What If..? All the history I know says that wouldn't and couldn't happen. Telling me it did and that, essentially, all I know about Gwen/Spidey/Goblin is wrong isn't fun for me. If you want to weave your story into the continuity, do that. Don't rip out all the stitches you don't like. If you don't want to work with continuity, don't. Write Elseworlds, or What If..? Or create your own book where the hero's girlfriend sleeps with their friend's father in a plausible way. Don't try to backport that situation into a place it doesn't fit.And despite all that screed, I love Power Girl, who has one of the most jacked up, messed over backstories in comics. On the other hand, her book pretty much exists outside continuity.
It helps sell and draws attention. Permanence made Valiant stand out a bit. But death sells in books where you know it won't be permanent as well. Look at the attention Superman and Cap got.
Killing off characters can be lazy writing. The thing is, bringing characters back already has the problems of killing the character off, it may have been lazy and shocky, but the return is almost always lazier. Not all comic deaths are cheap manipulation, but pretty much every revival is. Jean Grey is a prime example. Her death was a big deal. It was touching and well done. Bringing her back cheapens everything, especially in retrospect -- even if Byrne and Claremont had always wanted to do it. How do you read the Dark Phoenix Saga now and get invested in Jean's death, knowing that she'll come back, and die, and come back, and die, and come back, and die, ad nauseaum?
Ultimately my point was just that I fell retconning is a symptom of lazy writing, and death is the retcon that so many writers seem to lean on so often.