TF Views

In reading discussion of this last issue on various message boards, I've been seeing the word "decompressed" thrown about a lot. This term is also applied to the monthly series as a whole. I believe the term is being misused, though I understand what the various posters are trying to say. They’re complaining about the pace of the story being slow, but there is a difference between that and decompressed storytelling.

As I understand it, “decompression” is a storytelling method that emphasizes the visual over dialogue in an attempt to mimic a cinematic style rather than one perhaps more suited to the printed page. Wikipedia defines it as “a stylistic storytelling choice characterized by a strong emphasis on visuals or character interaction, which, in turn, usually leads to slower-moving plots.” TV Tropes defines it as “rely(ing) heavily on Splash Panels and minimal dialogue to maximise the visual effect of a story.
Is it fair to say that Mike Costa or other authors have taken this approach? Is that a valid criticism? I’m not so sure it is, at least not entirely. I’ve read a lot of complaints that “All Hail Megatron” was 90% decompressed so a six-issue storyline could be stretched out to 12 issues, but a fair reading of that story will show that it’s full of dialogue and full of ideas. There are very few sections of the book where visuals alone are used to prop up the story. So there’s certainly a history of the term “decompressed” being used inaccurately.

Let’s consider the ongoing series, currently up to the 9th issue. Can Mike Costa’s storytelling be legitimately considered “decompressed”? Does it rely more on visuals than on dialogue, and does it emphasize character over plot? I don’t think so. Certain issues might trend more towards decompressed storytelling than others, but certain issues are undeniably heavy on dialogue and plot. The first and fourth issues are quite busy, and filled with plenty of events as well as a lot of characterization. They might be contrasted with issues eight and nine. Issue eight used the majority of its pages delving into the character of Spike, something many felt could have been done with half the page count. Issue nine had an eight-page section that was almost without dialogue depicting the Constructicons attack on South Korea. I found it refreshingly free of pointless filler dialogue, but I’ve read a lot of comments complaining about that section.

I've come to the conclusion that the series isn't relying on decompressed storytelling, with a few exceptions here and there (such as the page of weight-lifting). A lot is happening, it's just not weighty or satisfying. The series is taking too many rabbit-trails and side trips. It seems directionless now that the first six-issue story arc is over and done with. If the side-trips had been more worthwhile, that might not be a problem. I think at the moment we're just not seeing stories that people want to read. They don't care about Spike and don't like the character, and they don't like seeing Decepticons look like they're incapable of even a basic level of competence by being unable to repair their ship. They want to read more stories like "Last Stand of the Wreckers" that detail distant corners of the Transformers universe and put previously unknown Transformers in the spotlight and develop them rather than human characters we don't really care about.

Any thoughts on this?

As I understand it, “decompression” is a storytelling method that emphasizes the visual over dialogue in an attempt to mimic a cinematic style rather than one perhaps more suited to the printed page. Wikipedia defines it as “a stylistic storytelling choice characterized by a strong emphasis on visuals or character interaction, which, in turn, usually leads to slower-moving plots.” TV Tropes defines it as “rely(ing) heavily on Splash Panels and minimal dialogue to maximise the visual effect of a story.

It is less about maximizing the visuals that economizing the effort. The more decompressed a story is, (often with splash pages), the less work the writers and artists have to do. And, the more comics readers have to buy to get a completed story.

Do not discount the wholly practical incentive for decompression.


That said, (having only read the first 6 issues), too many people seem to be complaining about pages that have something other than Transformers acting like they did on the old show. Pacing that requires something other than action and explosions every other page is "boring". So, in that sense, we are getting stories people do not want to read.

But, even with the slower pacing, Costa is loading up the comics with content. (I re-flipped through the first 6 issues, and was amazed at how much Costa fit into the first arc.) Costa is writing to the industry standard of "compilation" rather than single issues. People need to keep that in mind as well.


Dom
-because the comics industry is moving past single issues kids....

Dominic wrote:That said, (having only read the first 6 issues), too many people seem to be complaining about pages that have something other than Transformers acting like they did on the old show. Pacing that requires something other than action and explosions every other page is "boring". So, in that sense, we are getting stories people do not want to read.

I think it also boils down to little more than a lack of patience on the part of some readers. Comics are a serialized medium, and it's only to be expected that a good story is often going to take a few issues to tell. In a world where everyone expects instant gratification, having to wait a month or two for the rest of the story isn't going to sit well with some.

I wonder how many TF fans actually read comics, or have an opinion on the industry, beyond TF.

A fair amount. The problem is that they conflate knowing why the publishers do one stupid thing or another with that thing being a good idea. TF fans tend to take a slightly more egocentric view of their hobbies though, or they consider reading/watching other things in the same genre as having broad tastes.


Dom
-but, they have no pretense about reality...usually.

Issue #10 – August 2010

So Swindle’s the brains of the Combaticons? Interesting, and it fits with the character’s role in the first six issues. Less interesting is seeing the formerly skilled and obsessed-with-planning Onslaught reduced to being mocked by Brawl and Vortex as he promises to make a plan up as they go along. This isn’t the first time that IDW writers have made changes to a long-established character, and such changes have often been for the better. I’m not so sure that’s the case here. Neither is seeing the three Combaticons humbled by a mere human because he holds the supply or Energon over their head. I’d expect Onslaught to march right into the production facility, take control, and force the humans to make as much energon as he wanted. I guess the bottom line is that I’m not too happy with the portrayal of Onslaught or Brawl here. Vortex comes across better as he owns the air and takes Jetfire down fairly easily.

If anyone comes across as more incompetent in this issue than the Combaticons, it’s Skywatch. They can’t even agree on a good cover story while smuggling the Autobots into South Korea. I’m not sure if this scene was meant to be comic relief, or what, but it does very little except make me grit my teeth and wonder just what has happened to the characterization in this series?

The Autobots attack the Combaticons while remaining in auto mode so they can’t be identified. And despite my unhappiness with how the Combaticons are characterized, at least when it comes to combat the characters once again acquit themselves well. And we get some new Autobots thrown into the mix as well. Smokescreen and Broadside play a part in the fight. Jazz makes an appearance, even if he doesn’t get any lines. However since the Autobots insist on remaining in disguise, they lose the fight pretty badly.

The end of the issue promises interesting developments for the future, assuming we see an increase in intelligence among the characters. Bumblebee attempts to sway Thundercracker into helping the Autobots out, and the cover for next issue shows the Predacons getting involved. The ongoing series is a mixed bag these days, but I still hope things will turn around in future.

Skywatchis shown to be a flawed, if not outright corrupt, institution. Ineptitude would make sense in this case.


Dom
-gonna have to get caught up on this series....soonish.

Ugh, what? They 'mock' Onslaught? He says he'll 'make up a plan as they go along?'

I mean...changing characterization is one thing, but that's literally the opposite of what Onslaught is like. He's not a bumbler nor a fool; he's a calculated tactician. Too calculated. Maybe the dialogue makes it better than it sounds but the way you're describing it, it sounds bad. Onslaught's schtick is he makes a plan and 'sticks to it.' Even if it starts to fail. Even if it's going to cause them to lose. He doesn't think well on his feet.

Onslaught Six wrote:Ugh, what? They 'mock' Onslaught? He says he'll 'make up a plan as they go along?'

I mean...changing characterization is one thing, but that's literally the opposite of what Onslaught is like. He's not a bumbler nor a fool; he's a calculated tactician. Too calculated. Maybe the dialogue makes it better than it sounds but the way you're describing it, it sounds bad. Onslaught's schtick is he makes a plan and 'sticks to it.' Even if it starts to fail. Even if it's going to cause them to lose. He doesn't think well on his feet.

Yeah, I agree. Read it for yourself, but Onslaught seems like the opposite of how he should be characterized here. I may have another take on it when I get a chance to re-read the issue later, but first impressions were not favorable.

I mean, if it's played like Onslaught's broken now and he's Different because the Decepticons are scattered, that's different, that's development. But otherwise...eugh.