"decompressed storytelling"?

Is that maybe a term for bringing back the DC Multiple Earths, after the CRISIS series compressed them down to a single universe?
Maybe it's the same concept as "hypertime".


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the G-man said:
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Dave the Wonder Boy said:
I just read this story for the first time over the weekend, in WORLD'S FINEST 263 (July 1980, story by Dennis O'Neil, pencilled by Rich Buckler, inked by Dick Giordano ).
I was surprised to see a story of this substandard quality from the pen of Dennis O'Neil.
It didn't add any originality to the story that multiple panels throughout were swiped from several Neal Adams BATMAN stories (particularly BATMAN issues 232, 243, 244 and 245, B & B 79, and possibly other Adams books I'm less familiar with)
A bit corny, but still fun reading.


Let me guess: the artist was Rich Buckler. Buckler made his career out of swiping from (ie, copying drawings by) Adams and a few other artists.


Yeah, Buckler was the big Kirby clone when he first went to Marvel around 1973, and started doing FANTASTIC FOUR, THOR, JUNGLE ACTION, and fill-in issues on other series like INHUMANS, AMAZING ADVENTURES, and others for Marvel (circa 1973-1976).

Buckler started as an Adams clone in 1970 with a story in HOUSE OF SECRETS 90, pencilled by Buckler and inked by Adams, which helped Buckler make his first DC sale. Buckler did Robin backups in BATMAN 239-242, and "Rose and the Thorn" in LOIS LANE (circa 1971-1972) before crossing over to Marvel for a few years, primarily to do FF and THOR.

In one issue of FF, Buckler accidentally drew an extra hand on an overstretched Mr Fantastic, where a foot should have been (this is shown in the MARVEL NO-PRIZE BOOK from 1982, which is a treasure-trove of WTF's up to that point in Marvel history).

Moench and Buckler also created Deathlok in ASTONISHING TALES 25-33, which is an intelligent and original series, where Buckler for a time broke out of Kirby mode to show his own unique style.

When Buckler went back to DC in late 1976, his first few SECRET SOCIETY OF SUPERVILLAINS stories (issues 5-9) were more in the Kirby style.
Then Buckler went into Neal Adams clone overdrive. This is actually some of Buckler's best and most detailed work, in SSOSV 5-9, BATMAN 265 and 297, TIMEWARP # 1, DC SPECIAL 27, JLA 188-191 and 210-212, JONAH HEX 11, a few Shazam issues of DC COMICS PRESENTS, and primarily WORLD'S FINEST, where he had a long run in scattered issues from 257-286. And ALL-STAR SQUADRON 1-5.

Buckler clearly loves comics, and I think he got a kick out of morphing frequently into the styles of the artists he enjoyed from that era. A fanboy turned pro, perhaps the Rob Liefeld of the 70's.

But Buckler has done a lot of work I've enjoyed, despite how much he's borrowed from other artists.



I think the only artist who has swiped as much from other artists as Rich Buckler is Keith Giffen. Giffen was a Kirby clone in the 1970's on DEFENDERS, CLAW, AMAZING ADVENTURES and other titles.
But even during Giffen's best work in LEGION 285-306 (1982-1984), and LEGION 1-5 (1984 series), he was still swiping other artists, primarily Druillet panels from LONE SLONE/DILIRIUS.