They've certainly gotten less wordy.
They've certainly gotten less wordy.
Continuity, even in a "shared" comics universe is often insignificant if not largely detrimental to the quality of a comic.
Immortal X-Men - Once & Future- X-Cellent - X-Men: Red
Nobody cares about what you don't like, they barely care about what you do like.
I blame millennials, society, and the Illuminati. And the fact the modern desire to keep the classic untouchable leading to a prevention of development for any non classic characters who are forced to have just "cool action shots" over and over again insted of growing because if they became popular people might like them more then classic and that's bad for resions no one can explain to me. Creating a system that hampers creativity( I doubt you would do your best work if to had to hamper your creation because creating a character that could be better then the classics is ground upon cause no nostalgia) forcing a large quanity of action to supplement development while being overtly safe as possible isnt a problem just millennials, society, and the Illuminati and only millennials, society, and the Illuminati(and maybe aliens)
In general I'd say it's more that modern scribes have significantly more direct communication with their collaborators, and therefore trust them more to convey ideas with their art. Much dialogue/narration/captioning in older comics is on the superfluous side, they couldn't be sure the art would read so there'd be a panel of Stupendous Dan walking out of a room angrily shouting "I'm furious!" and a caption explaining why he was furious. If the artist is in any way competent you only need the wordless panel.
Of course if you want a character to be reciting a speech or poem, you can do that. But comics are a visual medium, you're going to want to be conservative with your word count.
Continuity, even in a "shared" comics universe is often insignificant if not largely detrimental to the quality of a comic.
Immortal X-Men - Once & Future- X-Cellent - X-Men: Red
Nobody cares about what you don't like, they barely care about what you do like.
Be glad about that I'm sure you wouldnt want this level of dialog in xmen,Togashi and his dialog fetish at is worst
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Last edited by Dthirds3; 12-13-2018 at 08:01 AM.
He's made some work I don't like so much(his Exiles, for example, or some of his X-Men Forever stuff), but I loved his X-Treme. It was an excellent complement to Morrison's New X-men. That period(into his XSE Uncanny) was the last time I really enjoyed the franchise.
Let the flames destroy all but that which is pure and true!
It was weird seeing her have her team attack the animals like that.
Jean has always been a lover of animals, and very empathic towards them.
In classic Xmen, she communicates with the dolphin.
In Uncanny, when the O5 were attacked by a murder of crows, she first tries to use telepathy to make them stop, before attacking
In Xmen unlimited, she felt a dead dogs memories of being tortured, and went to stop the boys from doing it to a squirrel. When juggernaut said they were just animals, she mentally f***ed him up.
It was weird that she didn't attempt to use telepathy to communicate with the animals and tel them to stop attacking, or use telepathy to put them to sleep. Or maybe they had mental defenses, cause it seems every random civilian she comes across has power mind defenses that an omega level mutant can't get past
That is bad, not the worst I've seen of a comics scribe forgetting they were writing a comic but still pretty bad. I suppose this guy at least stuck to a comic layout, Dave Sim couldn't even do that when he really needed to tell people he was crazy.
Yeah, I'm trying not to ruffle any feathers.
Last edited by Personamanx; 12-13-2018 at 08:18 AM.
Continuity, even in a "shared" comics universe is often insignificant if not largely detrimental to the quality of a comic.
Immortal X-Men - Once & Future- X-Cellent - X-Men: Red
Nobody cares about what you don't like, they barely care about what you do like.
Quite simply...a different class of writers for a different class of readers in a very different time of comics.
It is what it is.