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The transition from self-contained gag-oriented issues to ongoing occasionally humorous soap opera seems to have been generally a successful one as far as sales go, at least at my shop. However, the comic now sells almost exclusively to adults, whereas the classic version…well, also sold almost exclusively to adults, just in lesser numbers. One thing I’ve noticed over the decades is, despite having dedicated sections of children’s comics with plenty of younger clientele in two different stores, the regular monthly (or so) Archie comics have gradually become harder sells to actual kids. That’s not to say I never had any younger customers for Archie, but they were few and far between. I think I first realized there was a problem during one of my regular bulk comic sales to a local library, when my contact person at said library requested I send them no Archie comics. “They just don’t circulate,” she lamented. Quite the change from my long-ago librarian days, when we had subscriptions to multiple Archie titles.
None of this applies to the Archie digests, which I can still sell to kids just fine. And I certainly don’t mean to criticize these New Look Archie comics, which I think are pretty good. Just…well, like Marvel and DC, Archie had to age with its audience in order to keep up their sales. It’s a tough market, and with decades-old characters as your primary product, you’ve got to do what you can to keep them viable.
I know the writer on this comic takes a lot grief and inspires some significant eye-rolling, usually for good reason, and I can’t say there wasn’t any of that going on in just this series alone. But, there were some interesting takes on Young Clark Kent here and there that you certainly wouldn’t find in the classic Silver Age Superboy stories, and I think this functions just fine as an alternate version of Superman’s younger years. No idea if this is intended as “canon” or not, which hardly matters nowadays since superhero canon lifespans are generally measured in the months between reboots/relaunches.
This particular issue has Journalism Student Clark meeting several future friends and enemies in the context of “exclusive interviews,” showing Clark different takes on growing into a hero, as well as what he will face when he finally does become one himself…leading into a final confrontation that, while in hindsight certainly should have seen coming, genuinely caught me off guard with its intensity. That’s hard to do to a guy who’s read about a million Superman comics. And it’s all beautifully illustrated with Jae Lee’s strong but delicate linework…boy, Lee’s work just continues to impress me. This issue was probably the best of the run so far.
The Star Wars line continues to do well, even as the new movie nears the end of its theatrical run. It’s nice that there hasn’t been an oversaturation just yet…three ongoing series and a rotating fourth spot for minis seems to be working out just fine. Given their sales, I’m honestly surprised Marvel hasn’t canned its lower-selling superhero titles and filled their slots with Ugnaught Adventures and Lobot, P.I. and another dozen-or-so titles any of which I would happily write, but I am glad that Marvel…Marvel…for once let the goose live to continue laying golden eggs. …Okay, none of this specifically addresses the book pictured above, which kicks off a new storyline based around a Rebel prison, which at least gives us a new location in the Star Warsian universe, unlike some sequels I could name. Leinil Yu joins up as penciller, continuing the current tradition of swell artists on this series. It all looks and feels like good old fashioned Star Wars adventure, which may not be cutting edge groundbreaking comics, but it’s entertaining all the same.
C’mon, it’s a new Love and Rockets. You don’t need me to sell you on this. Just get it already. (And yeah, it’s not technically “this week’s comics,” since it came out last week. It’s my site, I’ll do what I want.)
This was fun while it lasted…Jeff Parker, Paul Pelletier and pals using the “Justice League” concept to pull together whatever characters they felt like for a couple of issues of wild adventure, before moving on to the next grouping of heroes. This last storyline, mixing up DC’s WWI and WWII characters with modern superheroes, was a hoot, and totally summed up by a line of dialogue on the two-page spread featuring all the characters charging into action: “This is pretty freaking cool.” Unfortunately the series is a victim of Too Many Justice Leagues, and something had to go. Too bad, this book had really turned around and was beginning to pick up readers again.
Speaking of Justice Leagues, the premiere New 52 title is in the midst of its Darkseid storyline, and here are a whole bunch of one-shots featuring our heroes in the midst of having become “New Gods” themselves. Actually more fun than it sounds, and these one-shots are probably better at presenting the changes in these characters than the main JL comic itself. This one in particular, featuring Shazam, is completely bonkers, as Shazam has been cut off from the gods that originally provided his powers and is introduced to the new pantheon of beings supplying his current abilities. It’s a bunch of craziness, and while the abrasive personality of this New 52 version of Billy Batson certainly grates, the story just powers along from god to god, each of whom are just kind of jerky to Billy, and it’s pretty amazing. Also, I still hate that he’s called “Shazam” now…I understand why, but I don’t have to like it.
Yeah, I know who wrote it. It was still…not too bad. The story of young Clark Kent adjusting to his powers is a good idea, though the true horror of a super-powered child has been explored in alarming fashion already. If you liked that bit in Man of Steel with Clark’s burgeoning powers overwhelming him at school, here comes seven issues of it. The frequent “anime faces” take some getting used to, and some of the plot contrivances are a tad eye-rolling (Clark’s flight in front of witnesses explained away as a “gas pocket” exploding), but overall it’s a pleasant enough read. I do like the introduction of the concept that some other citizens of Smallville just by necessity know about Clark’s abilities, and hopefully we’ll see how that plays out over future issues.
I meant to say something about the first volume of The Bus from some time back, reprinting that most enigmatic and surreal of strips about an older gentleman, a bus, and the occasional confluence of the two, that I primarily remember from old Heavy Metal mags. Well, here’s volume two, with new strips about those very same things, still done with the most exacting linework, and the most bizarre circumstances therein. I haven’t done more than flip through it yet, but it looks like The Bus hasn’t lost any bit of what made it so special since it originally ceased running in the ’80s.
This cover is perfection. I would read the comic this cover is presenting, but of course it’s just a variant. Too bad.
So I put out my bafflement
on the Twitters yesterday afternoon, wondering why this comic was still being polybagged enough though the content was hardly warranting it. Yes, previously there was the childbirth issue
, and the all-violence issue
, but to the best of my recollection there’s nothing in issues yet to be reprinted that require that plastic protection from prying eyes.
As I discussed this with pals, it occurred to me that Miracleman is still branded under the Marvel imprint, and still has a “MATURE READERS” slug on the cover. That’s probably “why the polybag,” as opposed to Marvel’s other much more adult-y type titles like Powers, which are published under separate imprints like “Icon.” Like I said, I don’t think there’s anything particularly parent-shocking coming up, unless Gaiman and Buckingham have an “ALL-NUDE SPECIAL!” planned once they start doing new stories again.
And speaking of which, I’m sure somebody’s glad they can start crediting the actual writer now, since Alan Moore didn’t want his name attached to the previous reprints. Should make it easier to market once those new stories do start showing up. …Man, new Miracleman stories. Hard to believe they’re so close now. Big news for those of us who’ve been waiting decades for this to continue.
The thing I keep hearing is “the new creative team of Daredevil
is going to have a hard time following that
,” and yes, the Waid/Samnee/etc. run was a good’un. It got me to read Daredevil
for the first time in a long
time, probably since…the Kevin Smith run, I think? I know, I know, everyone’s all “ACK! KEVIN SMITH!” now but those were pretty good, too. But back to my original point…yes, the new creative team is going to have a rough go winning folks over, but this is Charles Soule writing the new series. Soule, who seems to impress with nearly everything he writes. Who is also a lawyer. Who excels at writing lawyerin’-type stories, as seen in She-Hulk
. And seeing as how Daredevil’s day job is “lawyer,” I think everything’s going to be just fine.
I could have sworn this was a four-issue series, but nope, there’s a number 5 on that cover, so I guess I read all five issues and, um, it was fine, I guess. It’s the only Secret Wars
tie-in I followed, what with it following up on Peter David’s plotlines from his initial run on Incredible Hulk
(and the previous Future Imperfect
mini with George Perez). Even if the book felt stretched a little thin (hence my surprise that it was a five-issue series), it was still fun to revisit the characters. There were a couple of clever twists along the way, but even if the ending was of a type we’ve seen often enough
before, it did manage to strongly underscore the inherent tragedy and, well, patheticness (shut up, it’s a word) of the Hulk character, especially in this series’s role as the Maestro.
Just wanted to mention again that I love these character-specific Simpsons one-shots. Bongo could almost literally do these forever, what with The Simpsons
having one of the most amazing supporting casts in television history. (Maybe they could
These one-shots usually have some kind of gimmick insert, like stickers and such. I hope the eventual Ned Flanders one-shot has a Jack Chick-esque tract stapled inside.
So it occurred to me a few days ago, in regards to all my griping about the order in which this “Truth” storyline in the Superman books is playing out, that what we’re getting in the forthcoming Superman #41 (the issue readers were referred to in Action #41, the actual first part of “Truth” to hit the stands) is backstory intentionally deferred until after the in media res chapters we’ve already seen. And now that I’ve seen the issue, that’s more or less what happened, though, well…here’s what the original solicitation says for Superman #41:
“The epic new storyline ‘TRUTH’ continues with the debut of the amazing new creative team of new writer Gene Luen Yang (American Born Chinese) and continuing artists John Romita Jr. and Klaus Janson! What will happen when the big secret is revealed?”
Okay, the storyline continues, so I was wrong about this issue being delayed and thus “the first chapter” of this storyline being skipped with following chapters being released. The egg is in my face, as the saying goes. “The big secret is revealed” in a way, though not how we expected, in that someone knows, but it’s not the big “here’s how the world found out!” reveal everyone was assuming would happen in this issue. And you know what they say about assuming…it makes an “ass” out of “you,” and, um, somebody else, I think…slips my mind at the moment.
The editorial aside to Superman’s reference in Action #41 to having a couple of “crazy weeks,” asking readers to see the then-forthcoming Superman #41 for details, certainly gave me the impression that this would be the issue where the secret I.D. hits the fan, but I was wrong again. Instead, it looks like this will be the book where it catches us up on what happened, while the other Super-books give us the “current” adventures. Don’t know if my previous assumptions were from misdirection or outright being misled, but I’ve been enjoying this particular direction of the franchise so far, so I guess I’ll just have to deal with it.
I am curious, plotwise, how they’re going to get this particular genie back in the bottle without “magic” or “Brainiac wipes everyone’s memory” or some other similarly cheaty fashion. I know the general meandering direction of the genre has been kinda/sorta away from the secret identity concept, but it still holds firm in some parts. I doubt Superman, the archetypal example of this particular trope, will be left without his Clark Kent for long, but it’s interesting in the meantime.
It’s a weird thing when you have a second title start up that essentially duplicates the first title, which probably seems like an outdated commentary in an industry that throws a half-dozen Avengers
titles on the new comics shelves at regular intervals. It just seems a little stranger here with a new Justice League title that’s featuring the same team that’s in the already-existing Justice League title, as part of a franchise that, historically, would at least present different casts across the various series. The promise of “massive widescreen action”
almost implies a mild criticism of the other title, which doesn’t
give you said “massive widescreen action.” The other novelty is that it’s tied to the vision of a particular creator, though as soon as that creator leaves that novelty is gone, leaving the title either to cancellation (i.e. Superman Unchained
) or focusing on the vision of Another Big Name Creator, or just becoming a second regular monthly Justice League book, indistinguishable from the other.
Again, probably a dumb complaint in this brave new-ish comics world of Every Character or Team Stars in Two Titles or More, but there it is. This first issue was pretty good, however. It certainly delivers on the “widescreen action,” as promised.
This is almost even more…perverse (but not in a bad way…lemme ‘splain) than its line-crossing cousin Afterlife with Archie
, in that it straight-up looks
like an Archie comic. Afterlife
at least is visually distinct from the rest of the Archie line, both covers and contents. Archie Versus Predator
, at first glance, looks just
like other Archies, at least inside (the cover pictured above is just one of the several variants available, and the only one that resembles traditional Archie). I do like that Archie is fully willing to do peculiar things with their bread-and-butter properties, probably inspired by the need to more firmly establish themselves in the direct market…hence Afterlife, the Sharknado crossover, another attempt at New Look Archie, and this very series I’m talkin’ about here. The comic is
a hoot, though given that this comic contains a significantly larger amount of blood and exposed spines than most Archie titles, I’d definitely keep it out of the hands of young’uns. And for God’s sake, if you’re a store, keep it off the kids rack! Assuming you have
a kids rack.
Hard to believe this series is just about done…only two volumes to go, and it was just announced
that the final book will include Schulz’s early pre-Peanuts
“Li’l Folks” strips! Of note is the introduction for this current volume pictured here, written by a couple of fellas from Rifftrax, which includes a few riffed strips from the founders of Rifftrax
, former Mystery Science Theater 3000
cast members Michael J. Nelson, Bill Corbett and Kevin Murphy. A brief sample:
It reminds me of that long-ago missed opportunity when the MST3K gang were to delve into the world of comics, but cutbacks at Acclaim canned the book
. (And I see the name of a certain stuffed bull
‘s pal mentioned in that long-ago Usenet posting!)
Yet another installment in the ongoing saga of Superman’s No Longer Secret Identity that has yet to see the publication of the first part. A little annoying, yes, but I’ve been actually enjoying the story thus far…it’s a direction that the New 52 Superman needed, one where the character could be explored on its own merits rather than sloppily slapped together as something New and Different and Exciting!
I’m totally in the bag for the Minions, those cute little critters from the Despicable Me
films (and their own movie, coming soon to a theater near you), so I thought I’d take a look at this little ol’ funnybook here. And surprise, it’s beautifully illustrated, with one-page mostly pantomime gag strips and a surprisingly detailed and hard-on-my-aging-eyes two-page spread of their secret underground lair. A couple of the gags are on the hokey side (oh no, the Minions are painting the floor and they ended up trapping themselves in the center of the room!) but I’m sure there’s a kid out there somewhere for whom those jokes are completely new. And it all looks so nice it’s hard to hold that against it.
A couple of questions popped up in the comments to my last post:
“Here’s something I’ve long wondered: Why are so many variant covers so much more awesome than the regular covers for that issue? If the company really wants to sell more comics, shouldn’t they make the variant cover into the actual cover, and make the boring one the variant?”
I’ve wondered about that myself once or twice over the course of this here weblog — on one occasion wondering why some Star Trek comic decided to use the amazing Gorn photo cover for the limited variant instead of slapping that sucker on the regular edition and selling a ton of copies. The answer is almost certainly aimed at enticing retailers into ordering more copies, which for some publishers may be a safer bet than hoping enough readers will be attracted by the better cover. A retailer orders a certain number of a book, sees a cool-looking variant cover that s/he could get for the shop if orders were raised just a smidgen to a particular sales plateau, and bumps orders up accordingly.
Same goes for those comics that have five, six, a dozen different covers, that are all equally available for order by retailers. They’re not necessarily there in the hopes that customers will buy one of each cover (though that does happen, of course). They’re there to get higher initial order numbers from retailers. Instead of ordering 10 copies of one available cover of Mistress Bikini-Armor #1, a retailer might instead order two each of all six variants for Mistress Bikini-Armor #1, just to make sure there’s enough available of each variant to meet theoretical demand. It’s not much of a bump, probably, but in this marketplace every little bit helps.
“So how did Convergence and its various tie-ins sell, now that it’s all over? How do you think it will compare with Secret Wars?”
Overall, it did…okay, I think. Some tie-ins did especially well (like the Shazam! one) and some just didn’t do anything for me (many of the Justice League-related titles sold far less than expected). The actual Convergence series itself actually sold very well, surprisingly for a weekly series. In the end, maybe a shorter main series and fewer tie-ins while not putting everything else on hold may have been preferable, but I didn’t seem to experience any kind of decline in revenue while the event proceeded (despite some sky-is-falling scaremongering by certain online gossips).
Compared to Secret Wars, Convergence seemed to lack some measure of cohesion and direction, beyond “here are a bunch of cities from parallel Earths crammed together on one planet, and they have to fight each other to see who survives.” The upshot of the series is that it…undoes Crisis on Infinite Earths which had already been undone, I think, or otherwise just ignored, and, well…maybe if the series had been a more focused 4-part mini instead of a bloated repeating-the-points 9-parter, we might have been better off. In addition, I think Marvel managed to push Secret Wars as something Marvel fans had to read, explicitly tied to the Marvel Universe’s overall continuity, whereas Convergence never really felt like more than “here’s something you might want to read for a couple of months, we hope.” However, I do appreciate that the creators of the series managed to trick DC fans into reading what was essentially a Warlord comic for an issue.
Speaking of Shazam, as I was just a couple of paragraphs back (go ahead, check, I’ll wait) here’s one thing I had noted on the Twitterers the other day:
I’d love to see more only slightly-tangentially related to the wider DC Universe Captain Marvel adventures like in Convergence
(and both series showed how the Shazam Family can play nice with other superhero milieus without losing the ol’ Shazam charm), instead of seeing the Big Red Cheese squeezed into the grittier ‘n’ darker comics where he never quite fits in. I know the temptation is to contrast Cap’s innocence with the “real world” of the regular DCU (like in this week’s Justice League
, where Cap is distraught at having seen a dead body for the first time…hey, kids, comics!) but it would be nice to have him star in, and be the hero of, his own series, instead of the odd-man-out that he almost always is everywhere else.
I suspect once the always-forthcoming Shazam movie finally does come, and if it’s successful, it’ll establish which tone the comics will follow. Probably more “New 52” and less “C.C. Beck,” if I were to hazard a guess.
And yeah, I keep calling him “Cap” or “Captain Marvel,” the name he retains in the retro-style Convergence and Multiversity comics, but as since been discarded in favor of being called “Shazam!” for ease-of-licensing-and-market-exploitation-that-doesn’t-conflict-with-Marvel-Comics purposes. I mean, I can understand why DC would want that change, and it looks like they wrote around the old Marvel Family issue of characters who can’t say their own names without switching back to normal humans. But “Shazam” as a name just by itself seems nonsensical…”hey man, why are you called ‘Shazam’?” “Well, it’s the magic word I use to turn into a superhero! The ‘S’ is for ‘Solomon,’ the ‘H’ is for Herc…hey, where are you going?” Personally, I would have gone with “Captain Shazam,” so at least you could still call the character “Cap” or “The Captain” and retain some connection to the Captain Marvel of old. That wouldn’t be any more ridiculous a name than, say, “Batman.” But nobody asked me. Nobody ever asks me. (sigh)
• • •
In completely unrelated news, I was convinced to read the new Airboy
#1 from Image that came out this week, in which creators James Robinson and Greg Hinkle tell a story of themselves trying to come up with an angle on an Airboy reboot. SPOILERS AHEAD:
Horrible things are done over the course of the story, with drink, drugs, sex, and more drugs, while the creators, Robinson especially, uncomfortably assess their comic-creating careers. It’s probably the last thing you’d expect in an Airboy comic, and probably some 80-year-old somewhere is really pissed off that this was done in a comic named after his favorite comic book character, but it really is a compelling read. And, if you’ve read ahead to solicitations for future issues, you already know that by the end of the comic, somehow Airboy himself appears to Robinson and Hinkle, disgusted by their debauchery.
And what that reminded me of was this comic:
…Airboy and Mr. Monster
comic where an apparent apparition of Airboy appears to help a comic creator through a time of trouble. In this case, it’s the fictional Everett Coleman, whose failed career and torment by some of the evil characters he’s drawn over the years eventually leads to other
characters he’s drawn coming his assistance…including Airboy. Now, Airboy is just one of an army of characters who pop up in this book, making the implied team-up of the characters in the title only just technically correct. It’s still amusing that Airboy, of all characters, has now been used twice in these mildly similar fashions.
And here comes another month of people seeing the variant covers and thinking one thing and requiring me to explain “no, no, it’s just a variant…the cover image doesn’t reflect the contents.” So, sorry, kids, no Superman versus Joker, no Joker wearing Green Lantern’s ring, no Joker pierced with Green Arrow’s arrows, etc. etc. Also, despite the actual story in this comic taking place after the events in Superman
#41, despite Superman
#41 being referenced in a footnote in this story, you didn’t
#41 since it’s not coming out ’til the 24th of this month. Just for your information. …The comic does
do a very good job of making you curious about just what did…er, will
happen in Superman
#41, however. It’s a weird mix of the story being very outside the typical Superman formula, but feeling like it builds on the Superman we know, rather than the “let’s do Superman, but different!” throwing-at-the-wall-to-see-what-sticks that characterized most of Superman’s New 52 existence.
We’re getting three
Star Wars comics this week…the regular series, Darth Vader
, and Princess Leia
. That’s a bit much, almost Avengers
-esque in its scheduling, but I do have an awful lot of customers who are interested in just
the Star Wars books, so getting all three at once won’t be that much of a burden. I don’t know if I’ve said it on my site already, but the timing and success of the Star Wars books vis-a-vis the opening of my own shop was very fortuitous: the release of the new titles driving new customers into shops, causing them to seek out and find my store, was a strong financial influx just when my young store needed it. In fact, at one point I had double-reordered the first Darth Vader
by accident, to which I reacted with “I’m never
going to sell all of these.” Of course, they sold out and now I wish I’d triple
I don’t have a dog in the Secret Wars
race, and while I appreciate the strong sales on this series and most of its tie-ins, but I don’t have any particular interest in it (but I’m still getting this
). Which is fine…nobody can be a fan of every
thing, and I’m certainly not against it by any means. Between this and Convergence
, though, that did leave me trying to figure out order numbers on a bunch of oddball titles at about the same time I’m still trying to suss out the buying habits of my new customer base, and believe you me, my friends, that took all of my comic book retailer super-powers to tackle that particular task. But I’m mostly
managing, with a couple of hiccups (who knew people would want that Ultimate End
comic, after years of Ultimate comics just not selling). But anyway, I did buy that Future Imperfect
tie-in, because it’s Peter David revisiting that old mini-series of his
that I enjoyed so much. I guess the Maestro (the evil future Hulk, for those of you who don’t know) has also popped up in David’s recent Spider-Man 2099
run, so I guess I’ll have to look into those, too.
SPOILERS ahead, but mostly just for All Star Western:
I don’t read the regular monthly Simpsons titles, for ultimately no good reason whatsoever except perhaps “I already get too many comics and I have to draw the line some
where.” It’s clearly good work, very representative of the show and an all-around professional package…I just never got into the habit of following the ongoing series.
On the other hand, I do pick up the minis and specials, particularly the character-focused one-shots they release every few months. That’s generally enough Simpsons funnybookin’ to keep me going…they probably appeal to my childhood enjoyment of the treasury editions, the extra-sized anniversary issues, and what have you. Basically, I’m a cheap bastard who wants more bang for his buck, though if you’re going to be one of those people that does a page count and “number of cents per page” breakdown to tell me I’m better off buying the regular-sized $2.99 issues if I’m that concerned about pinching a penny…well, off with you, then.
Besides, these specials usually come with some kind of fancypants novelty insert, like the “Don’t Blame Me, I votes for Kang”/”…Kodos” bumper stickers that accompanied the special pictured above. Okay, I’m still too anal-retentive a fanboy to want to remove those stickers, but it’s nice to know that they’re there and I can enjoy ’em every time I open this comic. Well, until that glue dries out and the stickers come loose, but that’s a problem for whatever creditors come digging through my house after I’m gone. So, you know, in a week or two.
a specific review about Red Lanterns
, though of the Lantern Bunch (“Here’s the story of some lovely Guardians / Who were bringing up 3600 very lovely GLs”) it probably is my favorite series, which is not something I’d expected to say way back when DC was originally threatening to publish such a thing. But there it is: the characters and situations are more exciting and compelling than those in the other Green Lantern books. Not that the other GL books are bad…I still like them, but Red Lanterns
kind of brings it in a way the others don’t.
Anyway, not what I wanted to mention. It’s just that the DC Universe books (at least, most of the ones I read) are sort of wrapping up storylines in order to make way for the “Futures End” one-shots with the 3D covers an’ all that are debuting this Wednesday and hopefully not bankrupting all of us retailers by contributing to insane distributor bills. I talked about trying to order these things before, and at the time it didn’t occur to me that the weekly series event-thingie the one-shots are tying into might turn out to…well, underperform, thus cutting off that entry avenue. With not a lot of interest in the event, there is the danger of ending storylines giving readers jumping-off points on titles they were sort of iffy on, or maybe just to cut reading costs and spend that money on, I don’t know, feeding the kids or something. Hopefully the novelty of the 3D covers will still entice people to continue, but that sort of thing does make me worry.
I am getting requests from customers to pull all the fancy covers for them, so the interest in there. Still wondering if we’re going to get anything like the rush from last time.
When DC, and then everybody, cut page counts down to 20 pages from 22 in their standard books, it felt like the story content were slighter. I mean, technically, it was
; comics were two pages shorter. Maybe it was just psychological, but it felt like there was some kind of event horizon crossed, that the two pages significantly
affected the amount of content present, far in excess of the actual
storytelling loss caused by the truncation of the page count. The feeling’s lessened a bit, as creators have adjusted to the page loss and I’ve just sort of become used to it, but I occasionally read a comic, come to the end and think “what, already?”
That’s a long intro to say I didn’t have that feeling with Flash Gordon #5. In fact, this is the first standard-sized comic book I’ve read in quite a while where it seemed like things just kept going, where I kept expecting to come to the end of the comic, but nope, there was still more comic coming! After I finished reading it, I even went back and counted the actual number of story pages in the comic, convinced this was some kind of unannounced extra-sized issue.
20 pages. Including a two-page spread. Amazing.
A clever twist on what has been one of the more…macabre and great “ultimate fates” for any of DC’s characters. We all know how Hex is supposed to go out (I cover his death and adventures afterward here
) and it’s nice that the last issue of All Star Western
pays homage to that famous death while finding a new spin on it, one that also doesn’t necessarily reset Jonah’s life to the pre-time travel adventures status quo.
And it’s all drawn by Darwyn Cooke, so it’s very pretty looking, which is not a descriptor one usually uses for Jonah Hex, but, well, there you go. I do wonder what they’ll do with Hex after this, but now that time travel adventures for the character are once again on the table, look for his future Justice League membership. …Actually, he’d fit right into Justice League Dark, wouldn’t he?
I’m just going to remind you that a new issue of this has come out whenever it does
come out. It’s pretty great.
A bunch of you told me this was coming, and here it is, now in my possession, the 1:10 ratio variant cover for Super Secret Crisis Wars
#2, which was inspired by the cover for House of Secrets #92
(the first appearance of Swamp Thing, of course).
This cover is by Andy Suriano, who notes next to his signature that the image is “After (Bernie) Wrightson” and that it’s “For Weezie!!” — AKA Louise Simonson, the writer of Super Secret Crisis Wars, and, oh, by the way, was also the model for the woman on the cover of that original House of Secrets #92.
Suriano might as well have added “Buy This, Mike Sterling” next to his signature as well. This also makes the second Powerpuff Girls-related Swamp Thing parody that I own (the first being the first issue of their IDW series).
In other ridiculous comic news…well, I wasn’t going to buy Injustice: Gods Among Us for the Xbox 360 at $59.99 or whatever the price point was, but I noticed that it recently was available in the Xbox store as a $7.99 download, so, you know, what the heck, I can probably get eight bucks of entertainment out of it. And to be frank, I liked it a lot more playing the full game than I did when I played the demo way back when. Getting the actual “story,” such as it is, and the cut scenes setting up the battles actually does help quite a bit in fleshing this game out into more than just a punch-em-up. Not much more, granted, but I’m having some fun with it. Plus, I’m trying to actually use the special fighting moves each character has, rather than my usual “push every button on the controller in a panic” strategy in dealing with games like these. I’m mostly successful.
This last Wednesday was the rare Mike-less Wednesday at the shop, as I ended up being stuck at home all day waiting for a locksmith to come and repair the lock on my front door…well, not all day, but by the time everything was done, there wasn’t any point in making the drive to work. Hopefully I won’t return on Thursday to find smoking ruins and “MIKE MUST DIE” painted in blood on one of the remaining walls, because I wasn’t thrilled the last time that happened. Alas, the lock problems were a special morning surprise, and not anything I planned for, so I had precious little work to do at home whilst I waited for the Friendly Neighborhood Locksmith to make his way to me. A little eBaying, a little store website maintenance (i.e. getting the store website back up because someone screwed up somewhere…not saying it was me, but…um, it was me)…
…and a little catching up on reading this week’s new comics over lunch. My fifteen minutes are almost up here, so let me just throw out the fact that I really enjoyed the Red Lanterns Annual. In fact, the Red Lanterns title in general is a lot of fun. I was skeptical as anyone on the Tumbling-Twitter-Journals about this when it was announced, that the world surely didn’t need a comic about the Red Lanterns, of all things, and who are, well, kinda gross when you get right down to it. But there’s always something interesting going on in the title, and this recent annual was stuffed with all kinds of crazy events and twists and turns, and personality conflicts mixed with the occasional grudging friendships are entertaining to read. I certainly like this comic more than the Green Lantern titles, which aren’t bad as such…just seem a bit staid compared to their more crimson-hued cousin.
Sinestro is good, too. Must be something about Green Lantern villains/antagonists that make for compelling reading. …Where’s my Myrwhydden series?
Jim Starlin, the creator of Thanos, returns with artist Ron Lim to fill in a gap or two in the character’s past while setting up yet another Infinity Something-or-other
series, which is fine with me, actually, so long as Starlin will be involved. The annual comes with three variant covers, and of course there’s only one choice as to which I’d get.
Collecting Jason Yungbluth’s longform post-apocalyptic Peanuts
(and other comic strips!) parody, both from previous print appearances and the online strips, plus other goodies new to this collection. I’ve been a fan of Weapon Brown
since first encountering it in Yungbluth’s Deep Fried
comics, though I sort of fell behind keeping up with the webcomic and am glad to have it all here in one giant lump.
This is supposed to be the “Batman ’66” variant, though that mostly has translated to “‘characters drawn by Mike Allred in the usual Mike Allred style’ variant,” which is perfectly fine, don’t get me wrong. But everyone’s costumes need to be, I don’t know, a little baggier, maybe? At least one giant “KA-POW!” sound effect, some
where? Swamp Thing (looking more like the Dick Durock portrayal from the first film) dancing the Swamptusi with an Abby Arcane who looks suspiciously like Eartha Kitt in a white wig with black stripes?
Been digging Matt Kindt’s covers on this series. The story’s interesting as well, giving us outsiders’ views of the Original Trilogy’s core characters. I suspect this and the other ongoing Star Wars
monthly may be the last hurrahs for these characters in this form for a while, as the franchise switches over to Marvel and the ramp-up to Episode VII begins.
This issue goes a long way to establishing that the Fantastic Four are dangerous and possibly crazy people, which is something that probably should have been obvious from the get-go but James Robinson has a lawyer really go after the team on this and it’s hard to argue that the lawyer is wrong. It’ll all wrap up with our heroes coming out of it just fine, surely, or at the very least forgotten when the next writer comes along or the new first issue comes out, or both, but it makes for a compelling story in the meantime.
Was actually sort of surprised this wrapped up as quickly as it did, in only six issues, but there probably isn’t much more to say on the topic, really. A lot got squeezed into these comics, and the tone of the last issue swings from touching to appalling and back again, in true Garth Ennis fashion.
REMINDER: Swamp Thing appearance in Aquaman
this week, about seventeen years since the last time that’s happened
, so, you know, we were about due. Also, I have just dropped dead from old age, in case you were wondering.
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