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So remember last week when we were talking about the Marvel/DC crossovers, and which ones I thought we the good’uns? Well, a couple of you had questions, so let me address those first:
John Lancaster tossed his line into the water with
“Seems to me that a lot of good crossovers that aren’t Marvel/DC are getting forgotten”
and then he proceeds to list some ones that are indeed good. My focus of the post was specifically just the Marvel/DC encounters, but I had planned on address some of the crossovers involving other companies as well. In other words, let’s talk about Deathmate:
Ah, just ribbin’ ya a little, and I’ve already talked about Deathmate at length if you want to go relive that.
But yes, there were plenty of crossovers among the smaller companies, sometimes even with either Marvel or DC. A personal favorite is 1994’s Archie Meets the Punisher (AKA Punisher Meets Archie, as per the Marvel-published diecut cover version):
General reaction to this at the time when this was announced was “Whaaa–!?” and for good reason, though it turned out to actually be a bit of fun. with art by Stan Goldberg and John Buscema.
Archie Comics, in fact, seems pretty game to cross over their character with other companies even to this say. John mentioned Archie Vs. Predator (which featured some fairly shocking content for an Archie comic, but in this post-Afterlife with Archie world, pretty much anything is fair game, I suspect). We’ve also had Archie meet up with Batman ’66, and the Archie gang turned up in issue #13A of Gen13 back in ’96:
I remember that one surprising me more than the Punisher crossover, for some reason. Like, Marvel and the Punisher were fairly “mainstream” and high profile, versus a relatively unknown (though admittedly popular) indie book. Wasn’t sure what Archie was going to get out of that…except, after thinking about it for a second, exposure of the characters to an audience that might otherwise not have paid attention to them, duh.
I suspect creator-owned titles are a little easier to negotiate with when it comes to crossovers like this, simply due to less layers of bureaucracy being involved. I mean, I’m about to exaggerate a little, but assembling the deal to make this happen feels like it probably only took about five minutes:
Don’t write to tell me I’m wrong, I know I am, but you have to admit the process of Todd ‘n’ Dave getting together to team up Spawn and Cerebus probably was a great deal less involved than JLA/Avengers. And Mr. Sim wasn’t shy about letting Cerebus show up here and yonder in other people’s independent comics, which again probably consisted of a fax asking if they could use the character, and Dave faxing back “yeah, sure.” Okay, granted the two that immediately come to mind are Journey and normalman, both Aardvark-Vanaheim publications at the time, like Cerebus, but I know there were others. Alas, the fabled X-Men/Cerebus didn’t happen (beyond a piece of promo art). But look, all I got for that Mr. Monster/Swamp Thing proposed team-up was a single piece of art as well:
…so we all just have to suffer.
More on specific crossovers next time, maybe, but let’s address Thom H.’s query briefly:
“I mean, is it that difficult or costly to have an inter-company meeting to discuss splitting the costs and profits 50/50? It seems like something two lawyers could do via email.”
As it was explained to me by someone also in the comics publishing business, it’s the potential profits that are a problem. Apparently neither Marvel nor DC feel like they’d be making enough profit on bringing any of these back in print, that having only 50% of the take isn’t enough. Now it seems to me making a little money is better than making no money (believe me, I’ve told myself that plenty of times at the shop after looking at the end-of-day receipts) but the Big Two don’t see it that way, I guess.
My half-facetious solution was that each company get the rights to publish their own paperbacks reprinting their crossovers…like, DC could publish JLA/Avengers under their own trade dress, and Marvel could do the same, titling it Avengers/JLA and putting it out with their trade dress, and they could agree to just keep all the profits from their versions. But I can see other problems arising from this (like, what happens when Marvel lets theirs fall out of print almost immediately…can DC still keep publishing their own?) so that may not be much of a solution.
So I don’t know, Thom…maybe when we enter a cashless society then someday all these comics will come back into print. In the meantime…WRITE YOUR CONGRESSPERSON! I’m sure they have nothin’ else going on right now, let them deal with this issue.
Okay, more crossover talk next time? Eh, we’ll see. In the meantime, be good to each other, wear your masks and wash your hands, and for God’s sake quick setting off your firecrackers at night, old comic shop owners need to get their beauty sleep.
Continuing from Friday’s post, where I was going on about intercompany crossovers…well, once again I ran out the clock on my blogging time, so let’s see what I can cover at least briefly here. I did want to mention a couple more favorites of mine…though, oddly enough, I ended up putting a couple of them on sale here at the shop, like a big dummy, but I suppose I can replace them someday.
The first two Marvel/DC ones I wanted to point out as being particular notable, and the first tow have one thing in common: John Byrne. Now, Byrne seems to be most in his wheelhouse when playing in Jack Kirby’s playground, and that’s definitely the case with Darkseid Vs. Galactus: The Hunger:
It helps that Galactus is a character I’d liked since I was a kid, and that Byrne’s Galactus is the one that I was really into, so it was nice to see Byrne returning to him. And pitting two of Kirby’s big baddies from either side of the publishing aisle is hard to resist. Sadly, it’s been a while since I’ve read this, so I forget most of the details (again, wish I hadn’t given up this comic) but the conclusion, as I recall, is a pretty good and clever defining moment for each character.
The other Byrne-produced crossover was Batman/Captain America, presented as a period piece with both characters in the World War II-era incarnations. You’ve likely seen the much-scanned-and-posted sequence from this book where the Joker, discovering that his partner in crime, the Red Skull, is a Nazi, turns on him, declaring himself an all-American criminal (shades of The Rocketeer movie). It’s a good scene, and the comic overall is a lot of fun…Byrne gets to play with Kirby’s Cap, and I’ve always liked his version of Batman.
Of note, I had a copy of this in the shop recently, and posted a pic on the store Instagram. I received a lot of requests for it (not just on Instagram, but in email, via Twitter DMs, etc.). Alas, had but the one to sell, but it certainly demonstrated the demand for these things.
Another book I wanted to mention was Incredible Hulk Vs. Superman, featuring beautiful art by Steve Rude (and honestly, would you expect any less from The Dude?). As was noted in the comments to my last post, it’s a nice retro-presentation for both characters, with the early ’60s version of the Hulk and the Golden Age-esque style of Superman, which nicely matches Roger Stern’s story placing this encounter early in the careers of both.
It’s a common thought I have about comic works of notes, but it’s a real shame material like this is out of print and difficult to come by. A nice, permanent edition of this (or any of thse intercompany crossovers) would be perennial sellers. I realize there are economic reasons that make it difficult to keep these in print, but still, what a waste and what a shame.
Okay, it’s been a long day, and I’m starting to write this late, but thankfully reader Matthew Murray dropped in a question that I can type about for a few minutes here:
“…What are your favourite intercompany crossovers?”
OOH BOY. There are quite a few, actually, and now that I’m pondering the question I realize this is a post that could go on for a while. So, let’s see what I can do tonight before Mr. Sandman whisks me away to sleep.
Well, JLA/Avengers, already discussed, is a great one, I think. Really, you look at it, you look at how crammed full it is of, well, everything, and there’s literally no way it could have worked in this particular form except for the fact that it’s by Kurt Busiek and George Perez. It should have been a disastrous mess, but instead it’s a towering achievement. Good on them.
The very first intercompany crossover I bought was the second Superman/Spider-Man crossover from 1981, published as Marvel Treasury Edition #28:
…and in many ways, it still remains my favorite. Marvel and DC, for their first batch of superhero meet-ups, were trading off the producution duties, so DC did the first Superman/Spidey, Marvel did this one, DC did Batman/Hulk, and Marvel did that X-Men/Titans one.
And I think it was the Marvel-ness of it that made me really like this particular event. It very much felt like “What If Superman Was a Marvel Character?” with Supes drawn in a very Marvel style by one of the most Marvel of artists, John Buscema, and colored in more somber tones than the usual brightness of DC’s Super-books. It felt…gritter, more “realistic” if you’d pardon the expression. This was not a version of Superman I was used to seeing, and I very much took to this version of the character.
Alas, I no longer have that original treasury edition, or any of those original four crossover books from the ’70s/’80s (not counting the Wizard of Oz adaptation DC and Marvel teamed up to produce) as I have that trade paperback reprinting of the four instead. Kinda loses something shrunk down like that (especially since my eyes would probably appreciate the larger format right about now). Also, I could be wrong on this, but it feels like they colored Superman’s costume even darker in the reprint than in the original tabloid. But, it’s still a good read, if you can find a copy.
Now I briefly mentioned the other super-crossovers between Marvel and DC published around that time. I actually liked them all quite a bit, but that second Superman/Spider-Man team-up is the tops of the bunch for me. But look, that Batman/Hulk treasury was full of giant pages of Jose Luis Garcia-Lopez art, and X-Men/Titans was chock full o’Walt Simonson. Those initial four comics have images and dialogue that have been stuck in my head for decades now…just a lot of fun.
Yeah, okay, surprise surprise, I’m being long-winded about this. Let’s pick up on this topic on Monday and I’ll try to think what more recent (i.e. 20 years ago) intercompany crossovers really strike my fancy.
So the 11-year-old niece and the 9-year-old nephew were telling me the other day how much they wanted Marvel and DC to have their characters meet. Specifically, they wanted the Justice League and the Avengers to fight.
“Oh, they already did that!” I told them. “I can show you a book of–”
“A BOOK!?!?” they exclaimed. “Why would you want to read a book of that? We meant a Marvel and DC movie!”
Well, I figure we’re some time away from a movie like that…probably going to take the collapse of the superhero film industry to make everyone desperate enough to band together, much like the ’90s collapse of the comics industry encouraged such crossovers. But, boy, speaking of which we sure did have a lot of those crossovers between Marvel during the ’90s, and while they used to be as common as dirt in the back issue bins before, now that some time has passed they’re not quite as plentiful.
I’m sure part of the reason is the same one I’ve given before, that a lot of the shops that existed during that period, and had wholesaled stock of those titles from distributors and possibly still had extras in storage, are now gone. Maybe their stock made it to other shops, maybe that stock is languishing in some poor bastard’s garage or storage unit, but whatever the cause, those crossovers don’t seem to pop up as often as they used to. Not long ago I had a copy of the Batman/Captain America team-up, and I’d posted a pic on my Instagram…and I had multiple requests to buy it. Demand definitely outstripped supply in that case.
And it’s just not that comic…once common, low-demand examples of Marvel/DC crossovers like Spider-Man/Batman or Batman/Daredevil never seem to last long. And high-demand ones like Hulk/Superman barely even get a change to get put in the back issue bins before it’s out the door.
It’s a shame that the deals between the companies that could result in keeping them in print (like they did in a series of paperbacks collecting them all together) are gone. And no more terrible example of this is JLA/Avengers.
I pulled my copy of the oversized, slipcased hardcover set to eventually show to the niece and nephew, who will probably glance at it briefly, shrug, and tell me “this isn’t a movie,” which is fine. But it was nice to look through it again…and at this size, it’s a lot easier for me to enjoy given the eyeball problems I’ve had of late.
It really is amazing…it’s nothing short of a miracle and Kurt Busiek and George Perez were able to cram in pretty much every character ever associated with either team, fill each page witih multiple panels and plenty of dialogue, and still have it come out at the end beautiful and readable. Sometimes you hear folks talk about how “not an inch is wasted” when discussing comic art, and boy howdy, does it ever apply here.
The real shame here is that it is not in print. This should be a perennial seller, constantly available, and it practically sells itself. So much money being left on the table by not having this available, and so many new fans just missing out on it. Well, okay, some people are just downloading it for free via file-sharing, I’m sure, but they’d probably do that anyway even if it was in print.
I’m saying the book should be available, as well as the other crossover collection paperbacks. But, it was pointed out to me on the Twitters when I was griping about this very thing, the economics of it probably don’t work very well, with money on each copy sold would have to be split between Marvel and DC. My idea was that maybe each company can just publish their own version of the paperbacks and keep all the profits from their own book. Like, DC could put out JLA/Avengers, Marvel could release Avengers/JLA, identical except it’s under the Marvel label and they get all the cash. I don’t know, there’s probably reasons why that wouldn’t work (least of which that the two companies probably wouldn’t want competing products that were essential the same), but…I just want JLA/Avengers back in print. Somehow. Just look at all that work that went into it…only for it to be dropped down the memory hole.
I would like to see Marvel/DC crossovers again…I tended to enjoy most of the ones that were released. I never did get my Swamp Thing/Man-Thing comic, despite cameo gag appearances. Ah, well. I know Todd McFarlane was throwing the idea out there of a Spawn/Spider-Man team up, to generate some excitement and get folks into stores after the retail shutdowns. That’s Image/Marvel, not DC/Marvel, but it’s the same kinda thing.
In conclusion, the niece and nephew better like seeing my copy of JLA/Avengers. At the very least, I’m sure they’ll enjoy that crazy “every character from either team ever” image on the slipcase. Honestly, what kid could resist that?
So I had a fella bring in a few Spider-Man comics to sell the other day, and he had them stowed away in a small cardboard carrier. That that carrier looked a little something…like this:
I bought the comics, as it turned out I needed them all, and the seller left behind this box when he departed. At first clance, I thought it was a homebad box, as I’ve certainly seen a lot of personally-decorated comic boxes over the decade.
But no, the lettering appears to be printed directiy on the cardboard, which doesn’t preclude someone making one of these for himself, but more likely it’s some kind of mass-produced item. And it’s not official Marvel merchandise, given the lack of copyright notices. Not sure if this really counts as a copyright violation, despite the phrase “Amazing Fantasy” appaering, and having a spider dropping from the name “Peter,” which must be some kind of look ‘n’ feel thing.
Anyway, no idea where this comes from. I’d be very surprised if this was an Official Spider-Man Item™, but if you know where this came from, let me know!
Not to get all Inception on you, but I’m going to address some comments made to a post where I was addressing your comments from a previous post, before returning to responding to more comments from the initial post. Got it? Good.
Anyway, I wanted to say just a few words about Marvel’s (or editor-in-chief Jim Shooter’s) “New Universe” publishing initiative, in which on the event of Marvel’s 25th anniversary (counting from the publication of Fantastic Four #1) they were going to introduce a whole “new universe” (hence the name) of superheroes completely unrelated to the shared world with Spider-Man, the Hulk, etc. The tagline was that this would be “the world outside your window,” with a somewhat more realistic take on what supeheroes would be like and what impact they would have on the society and people around them. Even the time scale in which the comics operated was “real time,” with a month passing in story time between each monthly issue. (Not sure how long that was kept up, to be honest.)
This dovetails nicely with a post I made recently about “realism in superhero comics, and I’m sure much of New Universe’s inspiration was informed by the success of Watchmen and Squadron Supreme. Star Brand, the one NU title I followed all the way through, had several examples of this sort of thing, such as pointing out a superhero costume wouldn’t really hide one’s identity very well, or the main character getting lost while flying around…little things, but details that commented on that nature of the genre.
Like I said, Star Brand was the one I kept on with, though I liked early issues of D.P. 7 (a superhero team) and tried out an issue of Merc or two. Star Brand, being the work of the NU creator Jim Shooter, would probably be the title that most exemplified what the whole imprint was about…at least in my opinionl, since as noted I didn’t really read too many of these titles. But it did try to tell a superhero story in a different and unconventional way. The hero’s “costume,” as such, was kinda drab, the hero himself wasn’t exactly the sharpest knife in the drawer, as I recall…at the very least, he was a flawed human and no paragon of perfection. He even flew funny, in an upright, “standing” position instead of the usual “one fist forward” Superman pose. Even when John Byrne took over the book for the final few issues, and it began to look like a somewhat more conventional superhero comic, it still underminded the genre here and there, even if seemingly biting a particular plot point from Miracleman.
Even the trade dress of the comics was unusual, at least for the initial couple of years, with each cover framed in a black border, like they were in mourning for something. It gave everything a sheen of solemnity, that this wasn’t some flashy comic with dudes punching each other. It was something different, something somber, with dudes punching each other realistically. Or perhaps the more obvious interpretation was that black frame was a window frame, tying back into the “world outside your window” concept…you’re lookiing through your “window” at the New Universe that’s outside it.
The imprint was shaken up a bit with The Pitt (not to be confused with, well, you know) in which “the world outside your window” was distanced from the New Universe with the destruction of Pittsburgh. And then that was follwed by The Draft™ and then The War™ and my sense was that emphasis was less on keeping the New Universe “realistic” and more “something customers might keep buying.”
Anyway, the imprint eventually came to an end, with the last issues of the series reading “# [x} of a [x]-Part Limited Series,” which was sort of clever. And that was that, ’til elements of the New Universe started to creep into the regular Marvel Universe (a crossover that was once verboten). It started with some stuff in Spider-Man 2099 and in Quasar early on, and continues even today, with reboot series and character appearances and such.
I don’t think the original New Universe was a bad idea…kinda beat the big rush to everyone starting up their own “new universes” a few years later during the Big Comics Boom/Crash. And I think, in a way, the “Ultimate Universe” was a continuatino of the idea with marginally more realistic/deconstructive takes on the standard Marvel heroes. Of course, it ended the same way, eventually petering out with shake-ups to the premise and then getting folded into regular Marvel Universe continuity. But what probably did the New Universe in wasn’t necessarily the execution, but the rejection of Marvel fans to buying new Marvel comics that weren’t part of the regular Marvel universe they’d been following. I mean, sure, the Ultimate Universe books did fine at first, but those featured the familiar characters…this was a whole new batch of weirdos and unless they were going to fight Wolverine at some point, why bother reading them?
Or maybe it was the execution. A couple of them were pretty bad.
Now this all started prior to my entering the world of comics retail in 1988, so I don’t know what initial sales/customer reaction was like at the shop. I’ll have to ask former boss Ralph when next I see hiim…or maybe I can finally start going through these stacks of ancient invoices he passed along to me for research purposes, now that my eyes are a little more up to the task.
In the meantime, you should at least read John’s comment explaining his Spitfire #1 collection.
So Marvel’s been teasing an upcoming series/event/thingie that involves a murder, prompting folks to draw comparisons to DC’s recently concluded murder mystery even comic Heroes in Crisis. Which, you know, fair enough…there’s no shortage of times Marvel’s copied something successful of DC’s, and DC’s copied something successful of Marvel’s. I’d just mentioned Marvel Comics #1000 a few days ago as a very recent example.
This time around, the general assumption seems to be that Marvel is biting DC’s recently concluded mini-series Heroes in Crisis, which also centered around a superhero-related murder mystery. I saw the reaction online from here and there wondering why Marvel “didn’t learn from DC’s mistake,” why they would model one of their own projects on something their competitors did that was “bad” and a “disgrace” or whatnot.
The answer, of course, was that Heroes in Crisis, despite what anyone may have thought of it online, despite what perhaps you thought of it…it still did very well. Sold well enough for individual issues to go into multiple printings to meet demand. And just from personal experience, many of my customers were really into it and greatly anticipated each succeeding issue. It had a base of readers who did like it quite a bit.
Despite online grousing, was well received by the comic buying public. Of course other companies would take inspiration from it. It has nothing to do with how good or bad you might think the actual story is — and personally, I thought it was 5 pounds of story in a 30-pound bag, with good intentions but questionable results — it made money, which is the most important metric for publishers.
Reminds me a bit of that classic Batman comic book series y’all liked so much, All-Star Batman and Robin the Boy Wonder, nearly every issue receiving an enormous amount of derision online. And yes, and I even said this at the time, as I recall, at least at our store it was one of the highest-selling, if not the highest selling comic for that period. Outsold X-Men, the other Batman titles, Amazing Spider-Man, several others…lots of people hating on it online, but someone was buying it. And it wasn’t all bloggers picking up copies to scan and mock on their sites.
Anyway, if you find yourself wondering why a publisher puts out this comic or that comic, or why they’d emulate someething their competitor did that you didn’t care for…it’s all about the…Washingtons? Lincolns? I don’t know your youth slang of today. But you get what I mean.
It did get me thinking a bit about different publishers mimicking the sales strategies of others. Especially after reading this week’s new issue of Doomsday Clock — only one issue to go, where hopefully the previous 11 issues of set-ups and mysteries will get resolved in a normal-sized comic and not an 80-giant giant like it seems it will require.
But despite that, what I was thinking was what Marvel-published work that had previous been standalone, but also highly regarded, would be the equivalent of DC’s ,cite>Watchmen? And, would also be highly inappropriate to mix Marvel’s modern superhero universe with it. Most of the things I was thinking of were either under the Epic imprint and not technically owned by Marvel…like an Avengers/Moonshadow crossover or something…or like The ‘Nam, but that had a Punisher appearance of all things, so I guess that was kinda done.
Marvels doesn’t really count, because that’s just the regular Marvel Universe, told with a then-fresh viewpoint and art style. Unless Marvel took a month to have all their titles transform their contents into Marvels-a-likes. We did have Marvel’s anniversary celebration of that series with tribute variant covers, so we got kind of a taste of that, with mixed results.
So anyway, if you think of a good one, let me know.
Your timely celebrity reference for the day:
I’m just the right age to have that running “gag” about the purple socks stuck in my head to this very day.
from Fun and Games Magazine #3 (November 1979)
From Marvel Comics Retailer Spotlight #16 (August 1990), here is the hype for the Walt Simonson/Art Adams “New FF” run on Fantastic Four #347 through #350:
In case you’ve forgotten, here’s what the first issue looked like:
Now, it’s been a long time, and I think in 1990 I was still in the “huh-yuk, I’m a’sellin’ comic books!” starry-eyed haze and not worried overly much with the behind-the-scenes ordering hoohar that the boss concerned himself with, so I probably didn’t know at the time that this first issue was in fact returnable. (Returnability is only occasionally afforded to retailers on certain books today, but it was a real rarity back then.)
As it turned it, it sold extremely well, eventually going to a second printing (also not a very common occurence in those long-ago Young Mike days). I know we didn’t have much backstock on it, and we’d buy back copies as they came in collections. This was quite the popular item for some time after its release, and even still today gets an inquiry from curious fans here and there.
It’s an interesting look at the cross-promotion and sales strategies used for a comic that one would think would almost sell itself anyway. This was during the big 1990s comics boom, so something like this seemed like it was almost guaranteed to outsell the Bible anyway, but even in those times when the gold poured out of the rivers and the oil flowed freely, no one was going to take any chances. Even dragging in ol’ Fin Fang Foom and referencing the rest of the Marvel Monsters to get that crowd (you know, “them”) shows the extent of hype for this book.
The listing of each guest star and why he’s of import is certainly a sign of the times, when any of these characters popping into any book usually meant at least something of a bump upward, if not necessarily in rack sales, but at least in retailer order numbers. It may still sorta be true today, but not nearly to the extent it once was, a combination of readers being a little choosier with their comics money and the fact that “Special Guest Appearances” of “hot” characters are no longer the huge sales pull due to overuse and overexposure. Wolverine’s “sales power,” once taken for granted as shown here, is no longer the sure thing.
I think most interesting to me is the characterization of this storyline as a “fill-in,” which I think maybe surprises me a little. It never felt like a fill-in, like some inventory story or reprint pulled out of storage thanks to the Dreaded Deadline Doom. I mean, it was the same regular writer and a special guest artist…it may have interrupted the main storyline, but it didn’t feel intrusive (like a fill-in in the Simonson run a couple of issues later, which was…okay, but it was a real case of “well, I guess this’ll do ’til Simonson’s back”).
Anyway, this is one of those few cases where the publisher was all “better order lots of these!” and being correct. It was quite the item, and stil is today, thanks to fans with long memories or a deep interest in comics past. Also a rare encouragement to stock up for later back issue sales, which you don’t see too much of anymore. (I think Crossgen was the last company to really push the “better have back issues for new fans!” thing.)
But as far as that advice to place copies of this comic “all over [our] comic racks” — yeah, I know one of Marvel’s publishing strategies was (and maybe still is) to make a retailer fill up his/her shelf space with all the Marvel product they could possibly carry, and crowd off everyone else. I mean, I get it, they wanted copies of this next to Ghost Rider, etc. However, I’m pretty sure we just had them up on the rack under “Fantastic Four,” and it seemed to do fine.
One last note…as to this being the Punisher’s “most unique” role…yeah, I think there’s a challenger.
So please let me know if you’d like me to put in orders to Pacific Coast Distributors for you on any of these items from their August 1984 catalog (click to expand):
“Any room,” you say? I say every room! Redecorate the interior of your house solely with mighty Marvel banners!
I remember seeing these banners around the old shop back when I was but a mere customr, and then eventually selling the last two or three still languishing about the backroom when I was doing the eBay thing for that same shop a couple of decades later. The one I remember specifically is that Alpha Flight pennant. I bet that Spider-Man one will still sell great today.
Now these things:
…Sure, it’s a little more common knowledge nowadays who the “X-Men” are* but I can only imagine how the mundanes reacted to the whole “Mutant Maniac” thing. …By the way, do people still refer to non-nerdy folk as “mundanes” or is everybody too infected with nerdiness now to be separated out? Gobble gobble one of us, and all that.
When discussing these on the Twitters pal Andrew noted that his younger brother still had a “Follow Me to the Secret Wars” bumper sticker on this car. As I said to Andrew, given its current non-awareness by the general public, I can imagine the uninitiated seeing that and thinking it’s some kind of political statement or somesuch. Or, like, some conspiracy-minded talk radio thing. It can serve multiple purposes!
And I was serious about the subject line. That Doctor Doom sticker needs to make its comeback, especially if this image of ol’ Vic were used on it:
* A story I’ve told before, but worth repeating: one of my earliest experiences in comics retail was, sometime in the late 1980s, someone calling the shop alarmed that these X-Men books she just heard about were “X-rated,” hence the name. “No, lady,” I replied, “the 1990s aren’t here yet.”
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