SuperginraiX wrote:I think, like most things, that decompression itself isn't the problem. There are decompressed stories that are masterfully written, where scenes are allowed to breath and the whole experience makes for a great read.
The problem is, when decompression itself is the mandate (and it DOES seem like it is), then you're going to get a LOT of bad decompressed stories. Because there are a LOT of writers that are very bad at writing decompressed stories. There are also a lot of writers that are bad at writing dense stories.
I usually notice bad decompression in event books. Stuff like Fear Itself and AvX just dragged on and on when they had no good reason for lasting eight to twelve issues except to pad things out. I also remember a nine part Iron Man story that could have been three. Maybe four. There's just a lot of wasted panels that do nothing to drive the story or build the characters in the book. Sometimes, it just feels like a lot of boring stuff happening.
This is the essential problem with what we're calling "decompression." If there is a mandate (and according to the guy in my comic shop, there actually is one at DC where writers are ordered to 'write for the trade'), then tons of stories that really only ought to take a few issues to tell, end up being dragged out for, as you say, no reason. H'el on Earth is another example of a story that dragged on forever -- 13 issues across 3 series and literally nothing happened
. H'el showed up, took over the Fortress of Solitude, and tried to use the sun's energy to go back in time and stop Krypton from being destroyed. That story could have been told in just the Superboy
annual, but instead dragged through not only that, but 12 more comics. In issue after issue it was, "Heroes show up, H'el and Supergirl fight them, heroes are beaten back." Each subsequent issue it was just "lather, rinse, repeat."
Often in modern story arcs I have the feeling, "When is this thing going to END already??" Years ago, that happened too, but not as much. I remember being bummed when the Great Darkness Saga ended because I wanted more. But Levitz and Giffen, back then, were savvy enough to realize when a story was finished, and they went out on a high note. Which is why that arc remains one of my all-time favorites. I can't think of many arcs that compare favorably to it today.
There are exceptions. Busiek is doing great work on Astro City
. His stories so far have been either 1- or 2-issuers, and each issue feels like it contains way more story content than most New 52 material.