The adjustment in my headspace feels very similar to the adjustment in headspace I need to make as a film viewer when I’m watching something from the silent-era as opposed to something contemporary. I know that it definitely takes a lot more effort for me as a reader to find an ‘in’ to a book by George Perez than it takes me for almost any other contemporary books, and it it’s more work for me to stay involved.
I also think that people who may not innately respond to that style of storytelling make adjustments when they are reading older work, because they expect that storytelling style going in, but will not make that adjustment for new books. The storytelling is very much a part of a different era of comics and, I suspect, doesn’t ‘click’ with a lot of people explicitly because of that. The fact that it reads like older, pre-decompression comics is, I’m pretty sure, one of the reasons it’s a tough sell to contemporary readers. “Don’t like George Perez”? Wha–? That’s heresy! Ed Ward has a even more stark assessment: For instance, Ryan Dunlavey, artist on Action Philosophers writes: The overall picture is a reminder that just because it was hot for the Tweeners who now run comics, doesn’t mean the current audience likes it. We’re always suspicious of comment threads as a barometer of any kind of valid demographic or marketing information, but the one at is worth looking at for the widely varying reasons readers have rejected the title.
Surely Waid and Perez were fan favorites? (Perez has left the book, but Waid continues on.) Shouldn’t such a book be right in the wheelhouse of the presumed 40-year-old fanbase of DC Comics? But is that really who reads DC comics any more? When Marc Oliver Frisch asked why Brave and the Bold by Mark Waid and George Perez had been sliding in sales, it seemed to touch a nerve, and Graeme at Blogorama kept the ball in play.
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