It’s interesting what a radical departure they’ve gone for, both graphically and tonally.
Visually, Jaimes’ NANCY seems to be a somewhat looser version of Bushmiller’s world, and in terms of the writing, we’re back to the short, minimalist dialogue that Gilchrist originally replicated before developing the comic into a surprisingly personal vehicle for his own observations and interests.
Whether you were a fan of Gilchrists’ take or not, to go from a sentimental, visually lush continuity to a series of dry, waspish gags drawn in a minimalist aesthetic is quite a jolt. Because Gilchrist had fleshed out the characters with backstories colored by an overarching sweetness, this is a much more aggressive reset than Mark Lasky to Jerry Scott, or even from Scott to early Gilchrist. It’ll be interesting to see how many readers who came to love Gilchrist’s NANCY will remain on board for this new incarnation.
It’s interesting what a radical departure they’ve gone for, both graphically and tonally.
Visually, Jaimes’ NANCY seems to be a somewhat looser version of Bushmiller’s world, and in terms of the writing, we’re back to the short, minimalist dialogue that Gilchrist originally replicated before developing the comic into a surprisingly personal vehicle for his own observations and interests.
Whether you were a fan of Gilchrists’ take or not, to go from a sentimental, visually lush continuity to a series of dry, waspish gags drawn in a minimalist aesthetic is quite a jolt. Because Gilchrist had fleshed out the characters with backstories colored by an overarching sweetness, this is a much more aggressive reset than Mark Lasky to Jerry Scott, or even from Scott to early Gilchrist. It’ll be interesting to see how many readers who came to love Gilchrist’s NANCY will remain on board for this new incarnation.