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It was about dialogue which could be associated with a specific character rather than being interchangeable. It was about long-lasting subplots that might actually get resolved in an unexpected way that would have a permanent impact on the way the heroes conducted their careers.


I agree with your comment about individual dialogue, but as for the rest, I thought superhero comics were mainly to be read as action-centered escapism, not for interminable soap opera type sub-plots. If I wanted the latter I would watch The Bold and the Beautiful, or read the appropriate literature.

Indeed, one of my biggest problems with Marvel comics of the 1960s and 1970s (apart from not particularly caring for Stan Lee's writing, and hating Steve Ditko's art - but that is another matter) is that one can pick up an issue from this time, and if one has not read any issues just prior, not have a clue what is going on. I prefer my comics self-contained, or a storyline not running longer than three or four issues, and certainly not running across more than one title - that is one thing I hate about DC's Crisis on Infinite Earths, aside from the whole premise.

I must admit, I heartily dislike post-Crisis DC comics, and would probably prefer to read old Marvel comics instead, despite my misgivings!