In my continuing work with new fans, as though it's some kind of outreach program, I've been talking a lot with newer fans and widening their exposure. My own collection is deep enough that I've been loaning out issues (I'm a single issue fan, not trade paperbacks) and seeing reactions which are varied. However, the consensus is the quote that titles this articles "old comics are just better".
Now I don't quite agree with that statement across the board . . . In fact when I think about it the comics I read last week are now "old comics" and Wonder Woman's costume is now the big new thing, but will be old by next week. However, there are some great gems from the 70's and 80's (and many more further back, but I've only had requests to borrow things from the 70's, 80's, and 90's) and they definitely have some qualities that really differentiate them from newer comics of this current and past decade.
- The amount there is to read in old comics:
Pro: This is something that when you pick up a book from the 70's and 80's, something by Steve Englehart, Jim Starlin, or Chris Claremont (especially Claremont) there is just so much more there to read. In loaning "Days Of Future Past" to someone they commented it took them 30 minutes at least to read each issue, when most comics take less then 8 minutes to read (and that's taking time to appreciate the art). If you take as a per dollar value, older comics really give you more for your buck (and most didn't cost a buck).
Con: Sometimes it really seems when reading older comics that a lot of the stuff to read is really just filler. There is stuff in the issue that is written that you don't need to read. As much as I hate to say it, Claremont can be the proponent of this, though so many other writers did this too. The trend was to describe what was drawn on the page . . . but was that really necessary? A beautiful page of Jack Kirby, John Bryne, John Buscema, and so many other artists, does not need a caption that tells you that Spider-Man is sticking to the wall, or that Wolverine is popping his claws. If we look at the picture we can see that for ourselves.
- Captions and thought bubbles:
Pro: I combine these two because depending on the writer they used them the same way, with the character's thoughts being expressed in both. However, most often the captions were used by the narrator (now mostly completely gone from new comics) to give us additional information. Stan Lee used these to befriend the audience, in a way that is fondly remembered and can still be enjoyed. Thought bubbles are to express the character's thoughts, often in ways that add to the story. These too have disappeared and so we lose a tool for insight that just doesn't seem to be used much anymore.
Con: Like I said earlier these tools were used wrongly at times to tell the audience things they already knew. However, Brian Michael Bendis has tried bringing these back in Mighty Avengers (briefly) and shown they can be used well.
- Plots were not decompressed.
Pro: Comics moved at a faster pace often and very unexpected things could happen. The lack of the internet and advance solicits prevented things from being spoiled and creators paced their books the way they wanted, with few things being collected for "the trades" and "arcs" were not common then. When asked to borrow good "arcs" I've to explain to one newer fan in particular that most older comics were not done in "arcs". Read the Dark Phoenix saga and it is not an "arc". It does not have a clean beginning, it begins after a huge fight which most of the characters are still thinking about. In essence it reads like "and now on X-Men . . . " This approach made it seem a more immediate item to read and that missing issues meant you could miss important things!
Con: Trades and arcs do make comics more accessible for new readers, and help the creators and companies avoid the often annoying retcon issues or fill-ins that followed books not being able to stay monthly or leaving their book with an unresolved plotline to be completed by another artist. (Though this still happens . . . just not as often.) Arcs allow books to be more self-contained and insular, so if you don't like one arc or creative team you can rejoin the book after that part is done.
- Subplots
Pro: This is done in some books, sometimes, but most often not and subplots are just such a wonderful tool that why more writers don't or can't use them is sad. Again look at Uncanny X-Men under Claremont and Bryne. We saw the subplot of Proteus before the story began, Mastermind began manipulating Phoenix before the Dark Phoenix story began. These little teasers really helped build anticipation and made stories seem more life like.
Con: I really can't think of one. While subplots make arcs harder to read in trades because you feel you aren't getting the whole story, it also can make you want to read more because you get a subplot that interests you to read the next book or the last book. So subplots . . . let's get those back.
- Thought bubbles and blurbs on the covers.
Pro: It can really help sell a book or make it memorable. Also some books have their titles thanks to those blurbs . . . since they never gave the issue's story a name. Blurbs like the Flash telling you to buy this book or he dies, create some very iconic images.
Con: This tool can also be used badly and is occasionally used still. The blurbs can tell us things we can already know, be stupid, or ruin cover art. Some of the most iconic covers have no blurbs, such as Crisis on Infinite Earths #7.
Now these aren't the only reasons some people think older books better. There is the huge nostalgia issue as well. Your first exposure to a character or book can really shade how you feel about something, and usually the first exposure is the best exposure. (Ask Generation 1 Transformers fans . . . ) For newer fans that first exposure to characters in current books will still stand out even if they enjoy older stories, and that should be encouraged. But comics have definitely changed and maybe not for the better, up to you to decide.
Ian Melton
And if you have any comments of questions e-mail me at vdf1@hotmail.com
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