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back to: SeinfeldIsUnfunny / ComicBooks

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19th May '13 9:27:43 PM MKing49002

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12th May '13 2:38:06 AM DocLoki

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28th Apr '13 8:45:17 AM CorahsUncle

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* Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s these comics were seen as edgy, subversive and dealing with topics most other comics didn't deal with, including sex 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? 
* FrankMiller's ''TheDarkKnightReturns'' and AlanMoore's ''ComicBook/{{Watchmen}}''. Between the two of them began a whole sub-genre of "grim and gritty" US superhero comics and changed everything. Nowadays they don't seem half as revolutionary. Alan Moore has more than once apologized for [[DarkAge the negative influence]] that ''Watchmen'' had when bad writers who didn't understand it [[DarkerAndEdgier tried to imitate its most superficial aspects]].
** 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 ''TheIncredibles'' by means of comparison.

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* Most UndergroundComics fall in this category as well. Back in the 1960s and 1970s these comics were seen as edgy, subversive and dealing with topics most other comics didn't deal with, including sex 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? 
* FrankMiller's ''TheDarkKnightReturns'' and AlanMoore's ''ComicBook/{{Watchmen}}''. Between the two of them began a whole sub-genre of "grim and gritty" U.S. superhero comics and changed everything. Nowadays they don't seem half as revolutionary. Alan Moore has more than once apologized for [[DarkAge the negative influence]] that ''Watchmen'' had when bad writers who didn't understand it [[DarkerAndEdgier tried to imitate its most superficial aspects]].
** 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.

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* ''{{Superman}}''. Many people complain that he is too generic or boring compared to recent superheroes, forgetting or not caring that he was the TropeCodifier for many SuperHero tropes. The complaints usually revolve around the ridiculous amount of powers he has had over the years (SilverAge Superman was practically a GodModeSue), his perceived lack of relatibility due to his supposed lack of personal flaws or personality despite that being a clear case of DependingOnTheWriter. Not to mention [[KryptoniteIsEverywhere the predictability of someone ALWAYS using kryptonite on him]]. This still creates problems for marketing the character today -- despite the fact that everyone knows who Superman is, many still don't like him as much as {{Batman}} and {{Spider-Man}}, or some flavor-of-the-month. As a result, some people forget that it's still possible to read a Superman comic because it's fun to see him fly around and beat up bad guys, and ignore attempts (successful and unsuccessful) to depower him or make him more relatable.
* The ComicBook/DisneyDucksComicUniverse comics of CarlBarks. He invented most of the characters and concepts, most notably Scrooge himself, and is regarded as a classic by people old enough to have the right kind of perspective, but these days his comics don't really look that different from those not very high quality same-old-same-old stories the average Duck artist produces easily and constantly (except maybe slightly dated compared even to them), and the few modern innovators, particularly Creator/DonRosa who himself adores Barks, have moved on to somewhere quite different. Don Rosa builds a lot on Barks's ideas, but his comics look much more impressive on a technical level, and the themes are treated in a way that allows them to be taken more seriously.
* Back in the 1980s, ''CrisisOnInfiniteEarths'' and ''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/or villains!) within a given publisher's universe had to combine forces to defeat them was novel and exciting, completely unheard of. 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.
* The early comics of Creator/JackKirby and Joe Simon have a layout that was revolutionary at the time but is par for the course nowadays. Back then, comic books were very unimaginative in their layout. They looked as if they were reprint collections of newspaper comic strips even when they weren't, with one strip above another. The idea that you could do splash pages, or have one panel take up half a page, or use diagonal gutters... All these things were completely new at the time.

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* ''Comicbook/{{Superman}}''. Many people complain that he is too generic or boring compared to recent superheroes, forgetting or not caring that he was the TropeCodifier for many SuperHero tropes. The complaints usually revolve around the ridiculous amount of powers he has had over the years (SilverAge Superman was practically a GodModeSue), his perceived lack of relatibility due to his supposed lack of personal flaws or personality despite that being a clear case of DependingOnTheWriter. Not to mention [[KryptoniteIsEverywhere the predictability of someone ''always'' using kryptonite on him]]. This still creates problems for marketing the character today -- despite the fact that everyone knows who Superman is, many still don't like him as much as Comicbook/{{Batman}} and Spider-Man, or some flavor-of-the-month. As a result, some people forget that it's still possible to read a Superman comic because it's fun to see him fly around and beat up bad guys, and ignore attempts (successful and unsuccessful) to depower him or make him more relatable.
* The ComicBook/DisneyDucksComicUniverse comics of CarlBarks. He invented most of the characters and concepts, most notably Scrooge himself, and is regarded as a classic by people old enough to have the right kind of perspective, but these days his comics don't really look that different from those not-very-high quality same-old-same-old stories the average Duck artist produces easily and constantly (except maybe slightly dated compared even to them), and the few modern innovators, particularly Creator/DonRosa, who himself adores Barks, have moved on to somewhere quite different. Rosa builds a lot on Barks's ideas, but Rosa's comics look much more impressive on a technical level, and the themes are treated in a way that allows them to be taken more seriously.
* Back in the 1980s, ''CrisisOnInfiniteEarths'' and ''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.
* The early comics of Creator/JackKirby and Joe Simon have a layout that was revolutionary at the time but is par for the course nowadays. Back then, comic books were very unimaginative in their layout. They looked as if they were reprint collections of newspaper comic strips even when they weren't, with one strip above another. The idea that you could do splash pages, or have one panel take up half a page, or use diagonal gutters and {{odd shaped panel}}s... All these things were completely new at the time.
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28th Apr '13 8:31:03 AM TVRulezAgain

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26th Apr '13 12:55:25 PM RubberLotus

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15th Mar '13 12:25:19 PM MarkLungo

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10th Mar '13 4:03:25 PM MichaelKatsuro

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* Back in the 1980s, ''CrisisOnInfiniteEarths'' and ''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/or villains!) within a given publisher's universe had to combine forces to defeat them was novel and exciting, completely unheard of. 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.
* The early comics of Creator/JackKirby and Creator/JoeSimon have a layout that was revolutionary at the time but is par for the course nowadays. Back then, comic books were very unimaginative in their layout. They looked as if they were reprint collections of newspaper comic strips even when they weren't, with one strip above another. The idea that you could do splash pages, or have one panel take up half a page, or use diagonal gutters... All these things were completely new at the time.

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* Back in the 1980s, ''CrisisOnInfiniteEarths'' and ''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/or villains!) within a given publisher's universe had to combine forces to defeat them was novel and exciting, completely unheard of. 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.
* The early comics of Creator/JackKirby and Joe Simon have a layout that was revolutionary at the time but is par for the course nowadays. Back then, comic books were very unimaginative in their layout. They looked as if they were reprint collections of newspaper comic strips even when they weren't, with one strip above another. The idea that you could do splash pages, or have one panel take up half a page, or use diagonal gutters... All these things were completely new at the time.

10th Mar '13 4:03:06 PM MichaelKatsuro

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10th Mar '13 4:02:29 PM MichaelKatsuro

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7th Feb '13 12:23:52 AM Bluefever

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