Rereading comic books has effects I never expected. The past few years I’ve read so many Bronze Age comics with the P.A.C.K. toyline ad (Professional Agents/Crime Killers!) I think I have the text memorized.
Don’t get me wrong, I have a lot more stuff than just Bronze Age in my collection. But when I reread a series I start with the earliest issues I have (or with reprints or TPBs). That often means beginning in the Silver Age and running into the current century. By some random fluke I wound up going through the 1970s on several series (Flash, LSH, Brave and the Bold) around the same time, searing Big Jim and his deadly crew into my memory.
The most surprising thing about rereading (other than wondering why Michael Bay hasn’t made a P.A.C.K. movie yet) is that I rank most books pretty much where I’d have ranked them years ago. My reaction to individual issues is often different; if nothing else, the fact I’m not paying 12 cents or 25 cents or $2.99 makes me less disappointed if an issue sucks (and I’m not as over the moon if it’s really good). But the series and runs that I remember with affection usually work for me just as well on rereading, even if I’m more conscious of the flaws. The books I thought of as “meh” or the runs that sucked (“But if I stop buying until it gets good again, I’ll have a gap in my collection!”) haven’t improved any.
Exceptions include Gerry Conway’s run on the World War II retcon Wonder Woman; it’s much better than I remembered it. Rereading American Flagg disappointed me so much, I stopped. I’m hoping I was just out of sorts and I’ll like it better if I try again (I would really hate it if I no longer like American Flagg).
My appreciation for comics art, however, has changed a lot. As a kid, art was just a tool to deliver the story, the same way the lettering delivered dialog. I sometimes hated bad art, but art would never be a deciding factor in picking up a book.
I notice art more now. I’ve also come to realize my youthful concept of bad art was, at times, inaccurate. When Neal Adams took over the Silver Age Spectre, I was horrified. Adams’ art was weird and crude and ugly, why did DC replace a good artist (Murphy Anderson) with someone so bad? I reread Adams’ issues a few years ago and it turns out the problem was me.
Knowing how things are going to turn out makes a difference too. Not that I always remember (“They resolved that plotline? I thought it was still hanging when they canceled the book!”), but knowing roughly how a plot or a story arc is going to pay off makes a big difference to how I read the earlier issues.
I don’t remember thinking much of Azrael when he appeared in Teen Titans, for example, but I thought even less of him on rereading. Instead of being a mysterious alien whose story was presumably going somewhere, I knew after he got roped into the Church of Blood he just faded away (even Wolfman doesn’t remember his original concept). Every panel Azrael is in feels like wasted space.
Or consider Geoff Johns’ Green Lantern. I dropped it when I realized that despite all the mythology adds and the multiple big events, there’d never been a payoff. Sinestro sneers and kicks ass, the Guardians are jerks, Hal looks confused, rinse and repeat ad infinitum. When I got around to rereading Johns’ run, that became obvious much earlier. Starting with his retelling of Hal’s origin, none of Johns’ individual issues have a payoff because they’re part of a bigger arc. None of the arcs pay off because they’re part of the overall Epic Saga. I’m amazed I stuck it out so long.
Heck, watching Big Jim, Dr. Steel, Warpath and the Whip get their own book would have been more fun than rereading the Blackest Night/Brightest Day era. Because nothing can stop the smashing assault of Big Jim’s P.A.C.K.!
#SFWApro. Art by Rich Buckler, Neal Adams and Jose Luis Garcia-Lopez in descending order.