History Main / DecompressedComic

26th May '16 8:43:32 PM drbreakfastmachine
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* The ''Franchise/StarWars'' comics published by Creator/MarvelComics since 2015 can run into this, by virtue of trying to evoke the grand, cinematic feeling of the films. Entire pages are often dedicated to ships floating through space, people running down halls, and Darth Vader standing around looking cool.
23rd May '16 7:08:35 PM AndyLA
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-->--ComicBook/ScottPilgrim & Ramona Flowers on ''Manga/{{Akira}}''.

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-->--ComicBook/ScottPilgrim & Ramona Flowers on ''Manga/{{Akira}}''.
''Manga/{{Akira}}''. Or that time when Todd Ingram punched a hole on the Moon to prove his love for her. Your call.
10th May '16 2:31:03 PM drbreakfast
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* Some of the Franchise/{{Godzilla}} comics published by IDW are hit by this problem badly, particularly ''ComicBook/GodzillaKingdomOfMonsters'' and ''Godzilla: Oblivion'', both of which make use of very frequent (and rarely necessary) splash and double-splash pages, enormous panels containing nothing but character closeups and one-word speech bubbles, and pages dominated by huge patches of literal white space.
24th Apr '16 1:10:50 PM DrPopo
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When used well, decompression is a useful tool that can not only give artists a chance to stretch their wings but also alter the pace of the issue in order to tell the story more successfully. Of course, like any tool it can be used poorly. Some writers (including, arguably, Ellis himself in later years) used it to pad out thin plots or to blindly mimic then-fashionable trends. Such writers were often accused of WritingForTheTrade.

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When used well, decompression is a useful tool that can not only give artists a chance to stretch their wings but also alter the pace of the issue in order to tell the story more successfully. Of course, like any tool it can be used poorly. Some writers (including, arguably, Ellis himself in later years) used it to pad out thin plots or to blindly mimic then-fashionable trends. Such writers were often accused of WritingForTheTrade.
WritingForTheTrade. Ellis would respond to that by writing several comics that are decompressed, but still manage to wrap up every story in one issue, thus proving that you can write in this style without writing for the trade.
2nd Apr '16 12:43:17 PM comicwriter
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** The most annoying example would be Creator/{{Marvel|Comics}}'s ''ComicBook/SecretInvasion'', wherein a few hours of comic-book time were stretched out over almost a ''year''.

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** The One of the most annoying example prominent examples would be Creator/{{Marvel|Comics}}'s ''ComicBook/SecretInvasion'', wherein a few hours of comic-book time were stretched out over almost a ''year''.
2nd Apr '16 12:40:22 PM comicwriter
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-->'''Stan Lee''': I saved a ton of time by taking one plot and stretching it out over many issues. Instead of spending so much time making up different plots, I could be spending that time completing the stories…Of course, what started out as a time-saving device turned out to be a good idea, quality-wise. We found that the continued stories being longer gave us more room for character development, and the addition of subplots helped to round out the stories so they read more like mini motion pictures.

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-->'''Stan Lee''': I saved a ton of time by taking one plot and stretching it out over many issues. Instead of spending so much time making up different plots, I could be spending that time completing the stories…Of course, [[TropesAreTools what started out as a time-saving device turned out to be a good idea, quality-wise. quality-wise]]. We found that the continued stories being longer gave us more room for character development, CharacterDevelopment, and the addition of subplots helped to round out the stories so they read more like mini motion pictures.
2nd Apr '16 12:39:36 PM comicwriter
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* Creator/StanLee may actually be responsible for introducing this concept into American comics. Since he was working on a truly insane number of books during the 1960's, he found that extending one story over multiple issues was much easier than having to write new plots for multiple titles every month.
-->'''Stan Lee''': I saved a ton of time by taking one plot and stretching it out over many issues. Instead of spending so much time making up different plots, I could be spending that time completing the stories…Of course, what started out as a time-saving device turned out to be a good idea, quality-wise. We found that the continued stories being longer gave us more room for character development, and the addition of subplots helped to round out the stories so they read more like mini motion pictures.



** The most annoying example would be Creator/{{Marvel|Comics}}'s ''ComicBook/SecretInvasion'', wherein a few hours of comic-book time were stretched out over almost a ''year''... and the ending wasn't worth the wait.
** {{Lampshade|Hanging}}d in the intro for the second issue of the ComicBook/UltimateSpiderMan story where [[FreakyFridayFlip Spider-Man and Wolverine switch bodies]]. Bendis appears on the first page and says "This is the last part of the story, I promise. I mean, even '''I''' couldn't milk three issues out of '''this'''."
* Much of ComicBook/UltimateMarvel. Again, this can largely be blamed on Bendis, though Warren Ellis himself contributes (see ''Ultimate Nightmare'').

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** The most annoying example would be Creator/{{Marvel|Comics}}'s ''ComicBook/SecretInvasion'', wherein a few hours of comic-book time were stretched out over almost a ''year''... and the ending wasn't worth the wait.
''year''.
** {{Lampshade|Hanging}}d in the intro for the second issue of the ComicBook/UltimateSpiderMan ''ComicBook/UltimateSpiderMan'' story where [[FreakyFridayFlip Spider-Man and Wolverine switch bodies]]. Bendis appears on the first page and says "This is the last part of the story, I promise. I mean, even '''I''' couldn't milk three issues out of '''this'''."
* Much of ComicBook/UltimateMarvel. Again, this can largely be blamed on Bendis, though Warren Ellis himself contributes (see ''Ultimate Nightmare'').
4th Feb '16 5:19:00 AM Berrenta
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A trend that flourished in the late 90s and early 00s in the wake of TropeCodifier ''ComicBook/TheAuthority'' written by Creator/WarrenEllis and drawn by Bryan Hitch. Heavily inspired by long-form {{manga}} series, {{Decompressed Comic}}s rely heavily on {{Splash Panel}}s, {{Aspect Montage}}s and minimal dialogue to maximize the visual effect of a story. ''ComicBook/TheAuthority'' aimed to mimic the widescreen action of a Hollywood movie by creating images that were as big and as striking as possible.

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A trend that flourished in the late 90s and early 00s in the wake of TropeCodifier ''ComicBook/TheAuthority'' written by Creator/WarrenEllis and drawn by Bryan Hitch. Heavily inspired by long-form {{manga}} series, {{Decompressed Comic}}s Decompressed Comics rely heavily on {{Splash Panel}}s, {{Aspect Montage}}s and minimal dialogue to maximize the visual effect of a story. ''ComicBook/TheAuthority'' aimed to mimic the widescreen action of a Hollywood movie by creating images that were as big and as striking as possible.
8th Jan '16 9:09:47 PM videogmer314
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* ''Manga/{{Bleach}}'' has shifted into a milder form of this midway through the Hueco Mundo arc, slowing down and adding more details to fights. Most fans disapprove.

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* ''Manga/{{Bleach}}'' has shifted into a milder form of this midway through the Hueco Mundo arc, slowing down and adding more details to fights. Most fans disapprove.fights.
27th Nov '15 7:31:17 PM nombretomado
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-->--ScottPilgrim & Ramona Flowers on ''Manga/{{Akira}}''.

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-->--ScottPilgrim -->--ComicBook/ScottPilgrim & Ramona Flowers on ''Manga/{{Akira}}''.
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