History SeinfeldIsUnfunny / ComicBooks

6th Jun '16 5:05:33 AM WhatArtThee
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* ''[[Franchise/{{Tintin}} The Adventures of Tintin]]'' shaped the old comic book scene as we knew it. Creator/{{Herge}} was far from the first European comic strip artist, but he did combine elements from American comics (SpeechBalloon, dynamic drawing styles) with lots of documentation, impeccable art work, page turning suspense, {{satire}} and compelling atmosphere. There is still an entire school of comic book artists (''Ligne Claire'') dedicated to imitating Herge. As a result it can come across as cliché to young modern readers who've read other adventure comics. Much of the comedy is also {{Slapstick}}, which was popular in the 1920s and 1930s, when Hergé debuted, but can come across as corny today.
* Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s, these comics were seen as edgy and subversive, dealing with topics most other comics didn't deal with, including sex, politics, swearing and drugs. Nowadays, in a time where even animated sitcoms like ''WesternAnimation/TheSimpsons'', ''WesternAnimation/SouthPark'' and ''WesternAnimation/FamilyGuy'' feature extreme violence, sex jokes and political topics, one might wonder what made these comics so special in the first place?
** Then again, some of these comics (namely Justin Green's Binky Brown and some of Robert Crumb's stuff) are still way ahead of Simpsons and what network TV can do.
* ''{{Franchise/Superman}}'' may very well be the flagship example of this trope on comic books; many may find the character lame or even generic until finding out that this is due to Supes being ''the'' most groundbreaking and pioneering character within the costumed hero genre of comicbooks, inspiring and/or influencing almost all that came after (and even before).

to:

* ''[[Franchise/{{Tintin}} The Adventures of Tintin]]'' shaped the old comic book scene as we knew it. Creator/{{Herge}} was far from the first European comic strip artist, but he did combine elements from American comics (SpeechBalloon, dynamic drawing styles) with lots of documentation, impeccable art work, page turning suspense, {{satire}} and compelling atmosphere. There is still an entire school of comic book artists (''Ligne Claire'') dedicated to imitating Herge. As a result it can come across as cliché to young modern readers who've read other adventure comics. Much of the comedy is also {{Slapstick}}, which was popular in the 1920s and 1930s, when Hergé debuted, but can come across as corny today.
* Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s, these comics were seen as edgy and subversive, dealing with topics most other comics didn't deal with, including sex, politics, swearing and drugs. Nowadays, in a time where even animated sitcoms like ''WesternAnimation/TheSimpsons'', ''WesternAnimation/SouthPark'' and ''WesternAnimation/FamilyGuy'' feature extreme violence, sex jokes and political topics, one might wonder what made these comics so special in the first place?
** Then again, some of these comics (namely Justin Green's Binky Brown and some of Robert Crumb's stuff) are still way ahead of Simpsons and what network TV can do.
place.
* ''{{Franchise/Superman}}'' may very well be the flagship example of this trope on comic books; many may find the character lame or even generic wonder what made him so unique, until finding out that this is due to Supes being ''the'' most groundbreaking and pioneering character within the costumed hero genre of comicbooks, inspiring and/or influencing almost all that came after (and even before).



** Donald Clarke, a film critic for the ''Irish Times'', and other critics cited this as a flaw with the ''Film/{{Watchmen}}'' film adaptation: Twenty years after the original graphic novel started the trend, deconstructing superheroes and showing them acting like real people with real personalities no longer seems like anything new. He used the example of the Parr family in ''WesternAnimation/TheIncredibles'' by means of comparison.



* ''ComicBook/{{Deathlok}}''. The comic book character debuted in 1974. In 1974, the idea of a man who has been turned into a cyborg and struggles to keep his humanity while fighting against those who transformed him was relatively fresh and original. Nowadays it seems clichéd, and like a ripoff of ''Franchise/{{Robocop}}'' and many other sources.
* ''Comicbook/DoomPatrol''. Very shortly after ''ComicBook/FantasticFour'' debuted, Creator/DetectiveComics tried their hand at "superhero angst." It was also the first title to pull a KillThemAll ending for the ''entire team''. Now, it's more or less known for the youngest (surviving) member, who went into the ComicBook/TeenTitans, and for Grant Morrison's surreal early 1990s run.
* The ComicBook/FantasticFour are considered by some to be the lamest Marvel superheroes out there. But they were also the characters who introduced the concepts that revolutionized the genre in the early 1960s. It was unimaginable for readers back then to have a superhero with a monstrous appearance like the Thing, or dysfunctional team dynamics (that became so popular, the FF looks normal in comparison with most other groups). That's not to mention the villains, which included a dangerous leader of a foreign country and [[ComicBook/{{Galactus}} a planet eater entity bound to destroy the universe]]. And they ''didn't have secret identities'', which were a staple for all superheroes then (and are still common even today).

to:

* ''ComicBook/{{Deathlok}}''. The comic book character debuted in 1974. In 1974, the idea of a man who has been turned into a cyborg and struggles to keep his humanity while fighting against those who transformed him was relatively fresh and original. Nowadays it seems clichéd, and like a ripoff of it's become a clich&eacute, ripped off by ''Franchise/{{Robocop}}'' and many other sources.
* ''Comicbook/DoomPatrol''. Very shortly after ''ComicBook/FantasticFour'' debuted, Creator/DetectiveComics tried their hand at "superhero angst." It was also the first title to pull a KillThemAll ending for the ''entire team''. Now, it's more or less known for the youngest (surviving) member, who went into the ComicBook/TeenTitans, and for Grant Morrison's surreal early 1990s run.
it might not seem to revolutionary.
* The ComicBook/FantasticFour are considered by some to be the lamest Marvel superheroes out there. But they were also the characters who introduced the concepts that revolutionized the genre in the early 1960s. It was unimaginable for readers back then to have a superhero with a monstrous appearance like the Thing, or dysfunctional team dynamics (that became so popular, the FF looks normal in comparison with most other groups). That's not to mention the villains, which included a dangerous leader of a foreign country and [[ComicBook/{{Galactus}} a planet eater entity bound to destroy the universe]]. And they ''didn't have secret identities'', which were a staple for all superheroes then (and are still common even today).



* ''Comicbook/SpiderMan'' was a unique deconstruction of superheroes when he was first created. The idea of a superhero who was a normal teenager like the readers and [[WakeUpGoToSchoolSaveTheWorld who had a normal life]] hadn't been done before, along with the idea that superpowers not only couldn't solve your personal problems, but could make your life ''worse''. Nowadays, this is nothing special.

to:

* ''Comicbook/SpiderMan'' was a unique deconstruction of superheroes when he was first created. The idea of a superhero who was a normal teenager like the readers and [[WakeUpGoToSchoolSaveTheWorld who had a normal life]] hadn't been done before, along with the idea that superpowers not only couldn't solve your personal problems, but could make your life ''worse''. Nowadays, this is nothing special.new.



* Back in the 1980s, ''ComicBook/CrisisOnInfiniteEarths'' and ''ComicBook/SecretWars'' were big stuff. While characters had crossed over with each other before, earth- and universe-shattering perils so huge that not just one or two, but every single superhero (and villain!) within a given publisher's universe had to combine forces to defeat them was novel and exciting, completely unknown. Nowadays, the CrisisCrossover is a standard part of the superhero comic book publishing schedule, with at least one big event (sometimes more) happening every year, with the result that going back to the originals can be an underwhelming experience.

to:

* Back in the 1980s, ''ComicBook/CrisisOnInfiniteEarths'' and ''ComicBook/SecretWars'' were big stuff. While characters had crossed over with each other before, earth- and universe-shattering perils so huge that not just one or two, but every single superhero (and villain!) within a given publisher's universe had to combine forces to defeat them was novel and exciting, completely unknown. Nowadays, the CrisisCrossover is a standard part of the superhero comic book publishing schedule, with at least one big event (sometimes more) happening every year, with the result that going back to the originals can be an underwhelming experience.year.



* Pretty much all of Marvel's Silver Age comics are a little underwhelming. Yes they are competent, serious, fairly well-constructed and have decent stories, but there doesn't seem to really be anything groundbreaking here... However if you read the DC comics from the same time period (which displayed the worst excesses of Silver Age silliness) you can understand why Marvel made such an impact.



* Marvel's [[UltimateMarvel Ultimate Universe]] was a massive hit in the early 00's in large part thanks to its cinematic storytelling. Once Marvel applied that kind of storytelling to all its books, the line ended up with no distinct selling points of its own and its sales slowly eroded because of that, and in 2015 the line was ended and the popular points folded into the standard Marvel Universe.
14th Apr '16 9:48:17 PM Anicomicgeek
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* ''Batman: ComicBook/TheKillingJoke'', also from Alan Moore. Nowadays it probably seems like a typical Batman vs. Joker story (aside from the infamous [[StuffedInTheFridge fridging]] of Barbara Gordon) but that's largely because [[Film/{{Batman}} the]] [[Film/TheDarkKnight adaptations]] as well as numerous later comics reused some of the [[NotSoDifferent more]] famous [[NietzscheWannabe themes]] from it such as Joker's MultipleChoicePast or Batman being tempted to break the [[ThouShaltNotKill One]] [[JokerImmunity Rule]]. Creator/BruceTimm is even on-record as saying [[WEsternAnimation/BatmanTheKillingJoke the animated adaptation]] might get a PG-13 despite the comic being labeled for mature readers because of the changes in times since the comic was first published.

to:

* ''Batman: ComicBook/TheKillingJoke'', also from Alan Moore. Nowadays it probably seems like a typical Batman vs. Joker story (aside from the infamous [[StuffedInTheFridge fridging]] of Barbara Gordon) but that's largely because [[Film/{{Batman}} the]] [[Film/TheDarkKnight adaptations]] as well as numerous later comics reused some of the [[NotSoDifferent more]] famous [[NietzscheWannabe themes]] from it such as Joker's MultipleChoicePast or Batman being tempted to break the [[ThouShaltNotKill One]] [[JokerImmunity Rule]]. Before [[http://www.ew.com/article/2016/04/14/batman-killing-joke-animated-rated-r confirmation it would be rated "R"]], Creator/BruceTimm is was even on-record as saying [[WEsternAnimation/BatmanTheKillingJoke [[WesternAnimation/BatmanTheKillingJoke the animated adaptation]] might get a PG-13 despite the comic being labeled for mature readers because of the changes in times since the comic was first published.
7th Apr '16 12:05:09 AM Anicomicgeek
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* ''Batman: ComicBook/TheKillingJoke'', also from Alan Moore. Nowadays it probably seems like a typical Batman vs. Joker story (aside from the infamous [[StuffedInTheFridge fridging]] of Barbara Gordon) but that's largely because [[Film/{{Batman}} the]] [[Film/TheDarkKnight adaptations]] as well as numerous later comics reused some of the [[NotSoDifferent more]] famous [[NietzscheWannabe themes]] from it such as Joker's MultipleChoicePast or Batman being tempted to break the [[ThouShaltNotKill One]] [[JokerImmunity Rule]].

to:

* ''Batman: ComicBook/TheKillingJoke'', also from Alan Moore. Nowadays it probably seems like a typical Batman vs. Joker story (aside from the infamous [[StuffedInTheFridge fridging]] of Barbara Gordon) but that's largely because [[Film/{{Batman}} the]] [[Film/TheDarkKnight adaptations]] as well as numerous later comics reused some of the [[NotSoDifferent more]] famous [[NietzscheWannabe themes]] from it such as Joker's MultipleChoicePast or Batman being tempted to break the [[ThouShaltNotKill One]] [[JokerImmunity Rule]]. Creator/BruceTimm is even on-record as saying [[WEsternAnimation/BatmanTheKillingJoke the animated adaptation]] might get a PG-13 despite the comic being labeled for mature readers because of the changes in times since the comic was first published.
31st Mar '16 9:34:47 AM ritzoreo
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* ''Franchise/Superman'' may very well be the flagship example of this trope on comic books; many may find the character lame or even generic until finding out that this is due to Supes being ''the'' most groundbreaking and pioneering character within the costumed hero genre of comicbooks, inspiring and/or influencing almost all that came after (and even before).

to:

* ''Franchise/Superman'' ''{{Franchise/Superman}}'' may very well be the flagship example of this trope on comic books; many may find the character lame or even generic until finding out that this is due to Supes being ''the'' most groundbreaking and pioneering character within the costumed hero genre of comicbooks, inspiring and/or influencing almost all that came after (and even before).
31st Mar '16 9:33:26 AM ritzoreo
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Added DiffLines:

* ''Franchise/Superman'' may very well be the flagship example of this trope on comic books; many may find the character lame or even generic until finding out that this is due to Supes being ''the'' most groundbreaking and pioneering character within the costumed hero genre of comicbooks, inspiring and/or influencing almost all that came after (and even before).
22nd Jan '16 7:51:48 AM hullflyer
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* Marvel's [[UltimateMarvel Ultimate Universe]] was a massive hit in the early 00's in large part thanks to its cinematic storytelling. Once Marvel applied that kind of storytelling to all its books, the line ended un with no distinct selling points of its own and its sales slowly eroded because of that.

to:

* Marvel's [[UltimateMarvel Ultimate Universe]] was a massive hit in the early 00's in large part thanks to its cinematic storytelling. Once Marvel applied that kind of storytelling to all its books, the line ended un up with no distinct selling points of its own and its sales slowly eroded because of that.that, and in 2015 the line was ended and the popular points folded into the standard Marvel Universe.
22nd Jan '16 7:48:57 AM hullflyer
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* ''Comicbook/SpiderMan'' was a unique deconstruction of superheroes when he was first created. The idea of a superhero who was a normal teenager like the readers and [[WakeUpGoToSchoolSaveTheWorld who had a normal life]] hadn't been done before. Nowadays, this is nothing special.

to:

* ''Comicbook/SpiderMan'' was a unique deconstruction of superheroes when he was first created. The idea of a superhero who was a normal teenager like the readers and [[WakeUpGoToSchoolSaveTheWorld who had a normal life]] hadn't been done before.before, along with the idea that superpowers not only couldn't solve your personal problems, but could make your life ''worse''. Nowadays, this is nothing special.
28th Dec '15 7:17:04 PM creatordest
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* Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s, these comics were seen as edgy and subversive, dealing with topics most other comics didn't deal with, including sex, politics, swearing and drugs. Nowadays, in a time where even animated sitcoms like ''WesternAnimation/TheSimpsons'', ''WesternAnimation/SouthPark'' and ''WesternAnimation/FamilyGuy'' feature extreme violence, sex jokes and political topics, one might wonder what made these comics so special in the first place?

to:

\n\n * Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s, these comics were seen as edgy and subversive, dealing with topics most other comics didn't deal with, including sex, politics, swearing and drugs. Nowadays, in a time where even animated sitcoms like ''WesternAnimation/TheSimpsons'', ''WesternAnimation/SouthPark'' and ''WesternAnimation/FamilyGuy'' feature extreme violence, sex jokes and political topics, one might wonder what made these comics so special in the first place?
28th Dec '15 7:16:40 PM creatordest
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* ''[[Franchise/{{Tintin}} The Adventures of Tintin]]'' shaped the old comic book scene as we knew it. Creator/{{Herge}} was far from the first European comic strip artist, but he did combine elements from American comics (SpeechBalloon, dynamic drawing styles) with lots of documentation, impeccable art work, page turning suspense, {{satire}} and compelling atmosphere. There is still an entire school of comic book artists (''Ligne Claire'') dedicated to imitating Herge. In modern day France however many would find his comics to be this. No less because his writing is [[ThemeParkVersion very stereotypical]] in the eyes of many of them. Just compare it to stuff such as ComicBook/BlakeAndMortimer (which is still running in current-day France) and you get the point easily. His artwork also looks like if it was of ancient times nowadays if you compare it to your average modern French comic book due to the huge influence that Japanese {{anime}} and {{manga}} had on lots of current French comic book artists (some editors going as far as to make special versions of their comic books that read and are shaded like in manga). His slapstick also looks very unimpressive in a place where [[InsultBackfire slapstick commonly gets subverted]] for comedy gold in the huge library of French comic books. In other regions where ''Tintin'' has been a success he has not been as affected by this, mainly because [[NoExportForYou most French comic books are never exported]].

to:

* ''[[Franchise/{{Tintin}} The Adventures of Tintin]]'' shaped the old comic book scene as we knew it. Creator/{{Herge}} was far from the first European comic strip artist, but he did combine elements from American comics (SpeechBalloon, dynamic drawing styles) with lots of documentation, impeccable art work, page turning suspense, {{satire}} and compelling atmosphere. There is still an entire school of comic book artists (''Ligne Claire'') dedicated to imitating Herge. In As a result it can come across as cliché to young modern day France however many would find his comics to be this. No less because his writing readers who've read other adventure comics. Much of the comedy is [[ThemeParkVersion very stereotypical]] also {{Slapstick}}, which was popular in the eyes of many of them. Just compare it to stuff such as ComicBook/BlakeAndMortimer (which is still running in current-day France) 1920s and you get the point easily. His artwork also looks like if it was of ancient times nowadays if you compare it to your average modern French comic book due to the huge influence that Japanese {{anime}} and {{manga}} had on lots of current French comic book artists (some editors going 1930s, when Hergé debuted, but can come across as far as to make special versions of their comic books that read and are shaded like in manga). His slapstick also looks very unimpressive in a place where [[InsultBackfire slapstick commonly gets subverted]] for comedy gold in the huge library of French comic books. In other regions where ''Tintin'' has been a success he has not been as affected by this, mainly because [[NoExportForYou most French comic books are never exported]].corny today.

28th Dec '15 4:10:28 PM Anddrix
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* The ComicBook/FantasticFour are considered by some to be the lamest Marvel superheroes out there. But they were also the characters who introduced the concepts that revolutionized the genre in the early 1960s. It was unimaginable for readers back then to have a superhero with a monstrous appearance like the Thing, or dysfunctional team dynamics (that became so popular, the FF looks normal in comparison with most other groups). That's not to mention the villains, which included [[DoctorDoom a dangerous leader of a foreign country]] and [[ComicBook/{{Galactus}} a planet eater entity bound to destroy the universe]]. And they ''didn't have secret identities'', which were a staple for all superheroes then (and are still common even today).

to:

* The ComicBook/FantasticFour are considered by some to be the lamest Marvel superheroes out there. But they were also the characters who introduced the concepts that revolutionized the genre in the early 1960s. It was unimaginable for readers back then to have a superhero with a monstrous appearance like the Thing, or dysfunctional team dynamics (that became so popular, the FF looks normal in comparison with most other groups). That's not to mention the villains, which included [[DoctorDoom a dangerous leader of a foreign country]] country and [[ComicBook/{{Galactus}} a planet eater entity bound to destroy the universe]]. And they ''didn't have secret identities'', which were a staple for all superheroes then (and are still common even today).
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