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To be fair, a superhero fight scene would probably have a pretty strong smell.

§ January 8th, 2024 § Filed under indies, publishing, this week's comics § 6 Comments


So I picked up a copy of the normalman 40th Anniversary Omnibus, reprinting in full Jim Valentino’s mid-1980s parody comic series from the mid-1980s. I believe this is the first color reprinting of the introductory back-up stories from Cerebus, as well as the story from A-V in 3-D, presented in color and non-3D. I also believe this is the first color reprinting of the concluding chapter, normalman 3-D in a non-3D format. I appreciate that, given it’s a little harder for my eyes to do 3D in print properly anymore. (These 3D stories have been reprinted in non-3D in previous black and white collections, from Slave Labor and from Image.)

Also featured is the crossover story from Journey #13 by William Messner-Loebs (presented in the original black and white by Messner-Loebs’ request). Other material, such as the later normalman specials from Image, ads, strips produced for conventions, unused pages, and the like round out the book. Sadly not included is 1997’s Max the Magnificent:


…a spin-off starring a character normalman runs into during the course of his adventures. The comic also features an appearance by normalman‘s Captain Everything, which makes it especially odd that it doesn’t make the cut.

Now for the most part, this is a nicely done book…the reproduction of the art is very sharp and clear. The original mini-series and 3D special, however, have been relettered, which…frankly, isn’t an improvement on the original lettering. Maybe in the earlier issues, where the lettering is a little less polished, it is a step up, but in these cases I would always prefer the original, with the lumpier handdrawn word balloons and occasionally funkier typography. However, it wasn’t that distracting, and especially for my eyes it made for an easier reading experience.

Except.

I understand there may be production issues where the art just has to be relettered. It happens, I get it. But it seems like every time relettering like this is done for reprint works such as this, misspellings and such slip in that weren’t in the original printing. As I recall, this happened with Image’s initial reprintings of Matt Wagner’s Mage: The Hero Discovered, and with those strange black and white collections of Jim Starlin’s Metamorphosis Odyssey from Slave Labor Graphics.

And it happens here, in this delxue volume of normalman I’d been wanting to see for years. Granted, for a several hundred page book, it’s not a whole lot, maybe a half-dozen or so errors that I’ve noticed, but they are still pretty distracting.

For example, from issue #1, here’s the original word balloon:


And here it is with an inexplicable word change:


From issue #10, the original panel:


And how it appears in the omnibus, with a couple of extra typos (for “imbecile” and “my”):


And here’s the one that really stood out to me, for what should be obvious reasons…from issue #4:


And here is it in the omnibus:


(Also, making “Or Mister Monster” the same size lettering does alter the gag a little.)

There are more examples (including at least one word balloon in the omnibus that I think has either misspelled a word or left a word out entirely, I haven’t checked yet).

This is just in the original normalman story, which is all I’ve read of this omnibus thus far. I don’t believe the other material has been rejiggered in this fashion. Plus, as I’ve said, it’s only a few of these errors that I’ve noticed, and I’m hoping they’ll be fixed in later reprintings. I should note that the Journey issue reprinted here has not been relettered.

As soon as I saw these, I did pull out my copies of the original series, actually kind of hoping the mistakes were in those. Somehow it would have been slightly less annoying if these were faithful reproductions of original errors, though undoubtedly I would then be complaining about “why didn’t they fix that?”

I am glad I have this book. I mean, mistakes happen — What Can You Do?™ — and given this hardcover was solicited with a first print run of only 1,500 copies, maybe like I said they can quickly fix these issues for new printings. It’s a classic and funny work that deserves to be in print, and I just want it to be in the best possible presentation.

Sometimes having a full run of Amazing Heroes pays off, sometimes it doesn’t.

§ December 22nd, 2023 § Filed under publishing § 6 Comments

Joe asks if Bloodshot #1 (discussed last time) shipped the same day as Superman #75, which you may recall is the “Death of Superman” issue mentioned so rarely around here.

And I’m afraid I have to say…I don’t recall. My memories of Death of Superman Day revolve primarily around “oh shit look at that line out front” so any recollection of other titles released at the same time have fallen to the wayside. But they were released around the same time, but whether it was the same time, I can’t tell you. The Comics Database has an exact date for the Superman book, bit that Bloodshot does not. Ah well.

It did remind me of the much-ballyhooed Alien vs. Predator #1, that upon its release in 1990 it barely sold for us at all. I think it may have been because there was another big release that same week (perhaps Spider-Man #1 with its variations and polybagged editions), or maybe because the logo was a pale green against an orange/yellow background that was barely visible. (The pic of the cover at the link above appears to have been contrast-adjusted slightly, as I assure you that’s not what the coloring on that logo looks like.)

As an aside, I looked at the “Coming Distractions” for that period in Amazing Heroes, which gives the on-sale date for Spider-Man #1 as June 19th, but for Aliens Vs. Predator #1 it simply says “ships in June.” So, I can’t confirm they came out on the same day, but there’s a chance they did and my memory hasn’t completely degraded.

In both cases, Bloodshot #1 and Aliens Vs. Predator #1 ended up selling fine, even if in the case of AvP I think it may have been from customers seeing #2 on the rack and wondering what happened to #1. But perhaps I’m inventing that memory. As I’ve said many a time, had I realized that 1) I’d still be in the business 2 1/2 decades later, and 2) that I’d be writing about my experience sin the biz constantly, I’d have taken better notes.

• • •

So we’re leading into Christmas weekend, and you’re not reading this, you’re out there fighting the crowds doing your last-second shopping or you’re trying to get everything done at the house to make it festive or you’ve bunkered up trying to avoid all this nonsense. However you spend the holiday, I hope it’s a safe and happy one. I may post something on Monday for Christmas, we’ll see how my Christmas Eve goes.

Thanks for reading, pals.

Like they all aren’t facetious.

§ December 20th, 2023 § Filed under 1990s Sins, publishing § 16 Comments

Back to the Most 1990s Comic discussion…as a reminder, my personal pick for the title is X-Force #1 for both artistic and marketing reasons. But, you folks have brought up some good contenders, so let us continue with Tom W and Marvel’s The Age of Apocalypse event (1995):


In my very long-ago pre-internet days, I did a little write-up on the announcement of this event for one of the BBSes I frequented. I can’t recall exactly what I said, all these years later, but I vaguely recall saying something along the lines that this was a drastic attention-getting stunt to grab the readers they could during what was a very apparent industry downturn from the salad days of just a couple years prior. Or if I didn’t say that, I should have.

This was one of those “alternative timeline” stories, where via some time-traveling shenanigans the Marvel Universe finds itself drastically changed, and all the regular X-titles were replaced for a few months by mini-series set in this milieu. For example, Wolverine became Weapon X, Generation X became Generation Next, and I’m not sure what was turned into Gambit and the X-ternals but that series was there too.

Tom describes the comics as containing “characters that are naught but grimaces and cool, endless splash pages of distorted, indecipherable anatomy [and] barely-there plotting” which may be the case, but it certainly sold well at the time and sold out of the back issue bins for quite a while thereafter. They don’t move quite as much now, but the chromium-covered X-Men: Alpha and, to a lesser extent, X-Men: Omega, which bookended the event, still sell fairly well.

As an embodiment of 1990s Comic Sins, I’m not sure how to categorize this. It is, as Tom noted, an attempt to latch onto then-current trends of comic book storytelling popularized by Image and its other imitators. My initial sarcastic idea was to put it in the “Hello, Fellow Kids” category, but to be honest, Marvel’s own form of 1990s excess was at this point well into its own unique style. And, y’know, it wasn’t all completely terrible, to be fair (here’s Chris B for the defense). So maybe let’s file this under “Forget Everything You Know” for its parallel universe stuff. But I’m open to suggestions.

• • •

Roel notes a few contenders, but let’s go with the one he specifically emphasized, and that’s the slightly infamous Extreme Justice (DC, 1995-6)…also noted by Rob S farther down in the comments:


As Roel says, “it looks like DC Comics badly cosplaying Image Comics,” which makes me want to place it in the aforementioned “Hello, Fellow Kids” category. More so than pretty much any other Marvel or DC book I’ve seen, Extreme Justice tried to emulate the, as it says on the tin, “extreme” art style that all of Today’s 1990s Youth were into, and cargo cult-style hoping that would draw in the big numbers that Image was, or at least had been, receiving. It only lasted a year and a half, so clearly it didn’t.

I’d only read a couple of issues of this series myself, and that was more than plenty. The most egregious of this title’s transgressions was its reworking of Booster Gold, who’d been generally a genial and occasionally goofy character, into whatever that is pictured on the cover I posted above. He was refitted with an armored costume, which I remember had one reviewer asking “if you’re going to be armored, why would you leave the top of your head exposed” which seemed like a good question to me.

This was a real try-hard of a book, and I’m not going to blame the creative team as they were likely following an editorial edict to “MAKE THIS COMIC KEWL.” In fact, the previously used “Kewl Style” category is probably where this should land, even if that doesn’t seem strong enough. The near-manic desperation of it probably overlaps with my somewhat facetious “Hello, Fellow Kids” category, so let’s give it that one too I mean, why not.

• • •

Joseph brings up Valiant’s Bloodshot #1 (Valiant 1993):


…which he compares to the slightly-fancier-covered (and already discussed) Turok Dinosaur Hunter #1 from the same company. This would probably just go into the general 1990s Sins “Gimmick” category, with its chromium card glued to the cover there. But as 1990s comics go, this isn’t…quite the offender as other titles have been, or at least it isn’t seen in quite the same like as that Turok first issue.

According to the Valiant Fans site, it had a print run of about 850,000 copies, which some publishers would push their favorite auntie into an industrial shredder to get those kind of numbers now. But that’s only about less than half of Turok #1, which feels slightly more ubiquitous. Not that Bloodshot #1s aren’t hard to come by (I think I have three in my store right now), but if I recall correctly sold quite well at the time and continued to sell as back issues afterward.

So I’ll probably stick with the “Gimmick” category for this one. As 1990s comics go, this wasn’t quite the burden on the marketplace as others have been.

• • •

JohnJ brings up the dreaded “Chesty Cap” image drawn by Rob Liefeld:


JohnJ mentions not being able to find the cover this is from, but it’s actually from an ad if I recall correctly, that ran on some back covers here and there. An ad for what, exactly, I don’t know…a convention or a mail order house or some damned thing, I don’t particularly feel like delving too deep in Liefeldity right now. (But this cover is pretty close.) Also, apparently there’s a new explanation for why the drawing…looks like that going ’round, decades after the fact, but again don’t really want to entertain RL too much.

The actual Captain America comics Liefeld briefly worked on didn’t feature anything quite as extreme as the above image. Not saying they were good, but they at least weren’t as epically…let’s say “fanciful” as that pic.

Now in its own way this is about as iconic a representation of what 1990s comics were all about as any actual comic you can think of. It’s not a specific comic, though, so I should likely exclude it from categorization. I’m not even sure what category I’d put on it if I did. “The Rob Liefeldest,” perhaps?

• • •

So that’s it for that this time around. I’ll address more of your suggestions soon…but in the meantime don’t forget to give me your 2024 comic industry predictions!

I’m just winging it with the category names, I hope you all realize that.

§ December 4th, 2023 § Filed under 1990s Sins, publishing § 18 Comments

Continuing the discussion of “Most 1990s Comic” with more of your nominees, starting with a couple of comics that, in fact, weren’t nominated but just mentioned by LouReedRichards:


Well, okay, technically LRR only mentioned the second print of Fantastic Four #371 (Marvel 1992) with the red cover:


…which, yes, when photographed correctly, the details on the front cover do show up to some extent, like in the white cover. But under most practical circumstances the cover is unreadable, as LRR says. I mean, yes, if you pick it up in your hands and take a closer look, angling it in the light, you can make it out, sure. But as a cover, it fails in easily and quickly expressing information to anyone just looking across the rack. It does succeed in standing out (“oh hey what’s that big white square between Excaliber #58 and Fish Police #3?”) so it attracts attention by being an anomaly.

Anyway, I probably don’t need to tell you how covers work. I was trying to think of a “1990s Comics Sins” category for this one, beyond simply “Variant.” “Self-Defeating Variant” maybe in that you can’t read the cover…but like I said, it stands out regardless of anyone immediately knowing what it is (beyond awareness of any pre-publication hype) so it succeeds in that regard. Sigh. At least it’s not something they attempted very often (though the “gravestone” overlay on Amazing Spider-Man #400 deluxe edition would be of the same ilk).

• • •


Brought up by Chris and a couple of other folks, Deathmate is certainly about as 1990s as it gets, teaming the characters of the immensely popular Valiant Comics with Image Comics. Ordered in droves, sold in dribbles, the series was an immense flop, leaving retailers who ordered huge numbers stuck with unsold stock.

Now in my mind when I asked “pick the most 1990s comic” I was thinking “single issue” more than “entire series,” but I see I didn’t make that explicit. But if we had to pick a single issue from the run, it’d be a no-brainer to single out Deathmate Red, from 1990s champ Rob Liefeld, which shipped months late and after the rest of the series, even the final “Epilogue” issue, was published.

• • •

DK sneaks in two picks, which I’ll allow because I like DK, starting with


Doom Force Special #1 (DC Comics 1992), by Grant Morrison and a host of artists, including Keith Giffen and Mike Mignola on that great cover with an all-timer of a gag. As a representative of the 1990s, I don’t know if it would be my go-to example, but it is directly addressing what was going on in the industry at the time, a not uncommon tack taken by other books of the era, so I suppose it can get its own 1990s Comics Sins category. “Parody” is a pretty wide net, including some publications of…varying quality, but I think it fits here.

DK’s other “real” choice is Eclipso: The Darkness Within #1 (DC Comics 1992):


…part one of what would be a multi-part crossover event that runs through all of DC’s annuals for the year, ending in The Darkness Within #2. That would put this in the “Events” category, I suppose, but I think what stands out about this comic outs it more firmly in the “Cover Gimmick” section. It’s that twice-damned plastic jewel glued to the cover on the “direct market” edition, the thing that sticks out and puts a good diamond-shaped dent in the comic right before it in the storage box unless precautions are taken. (I think I put a backing board in front of my copy of this comic to ease said pokiness.)

As gimmicks go, this was…pretty out there, actually gluing a three-dimensional object to a cover. The only other comic I can think of that tried something like this was Sin #1 (Tragedy Strikes Press 1992) with its Band-Aids (or “Adhesive Bandage Strips”) but at least those are flatter than that gem. (Come to think of it, I should look at the condition of my copy of Sin to see if the glue has eaten through the paper yet.)

Anyway, that gem probably seemed like a good idea at the time. It is kind of neat, but still, what a thing to do.

• • •

Okay, let’s wrap this up for today with Customer Sean, who submits


New Mutants #98 (Marvel 1991), the introduction of Deadpool, drawn by the inimitable (or overly-imitable) Mr. Liefeld. That cover is certainly representative of a certain type of comic, a bunch of Kewl Characters standing around with Kewl Names.

For a 1990s Comics Sins category, maybe “Introducing a New Character,” perhaps? I mean, unlike other 1990s comics that would fit in this category (such as those series of annuals from both DC and Marvel introducing new folks) Deadpool actually caught on. Granted, it was more due to its handling by Other Hands than in its initial appearances, but still it’s not a bad visual, and the name “Deadpool” at least feels more like a name appropriate to the character.

Is it a Symbol of 1990s Comics like we’re talking about here? I feel as if its more recent position as a “hot” “collectible” comic that commands high prices is what I more immediately associate with this book. New Mutants #98 is absolutely Of Its Time, but it’s maybe evolved past that to be more representative of more recent industry shenanigans.

• • •

That’s plenty of my typing sticking into your eyes today. We’ll continue later in the week after a certain special something tomorrow. Thanks for reading, as always!

You’re going to see “Marvel” a lot in this post.

§ December 1st, 2023 § Filed under 1990s Sins, publishing § 7 Comments

Well, I’m not sure how I’m going to do this. I don’t particularly want to start another series of posts in the middle of wrapping up the “Favorite ’80s Comics” thing and you know my Variant Cover-age is still technically unfinished. But what the heck, let’s at let’s look at what you’ve got to say about what single comic book is the most 1990s.

As a reminder, I’m starting with the idea that X-Force #1 as the most symbolic of the comics industry of the decade, with both its artistry and the cynical marketing ploys of the publisher. I’ve written about the title once or twice and you can read more about what I think of the title there, if you are so inclined.

So let’s start off with none other than the dreaded, the infamous, the vastly-overordered Turok Dinosaur Hunter #1 (Valiant Comics, 1993) as first suggested by Matthew and seconded by several others:


Now have I talked about this comic before on this site? Friends, I have a category specifically for Turok. You can click that link and see what I’ve said in the past.

But, in short, Turok Dinosaur Hunter #1 is a very good example of retailers thinking past performance is indicative of future results. In this case, Valiant was a “hot” company in the early ’90s, goosed along by Wizard Magazine, with demand being high for both new and back issues, sometimes commanding huge prices. When it came time to place orders for Turok #1, it seemed like ordering high was a safe bet, not only because it was a new Valiant first issue and sure to sell, but because it was another revival of an older popular comic book character

And lots were ordered Lots of lots. I know at the shop where I worked at the time, we got an awfully robust pile of them. Again, in an effort to keep this reasonably succinct, I’ll just to the spoiler and tell you that this comic did not sell up to expectations. As I’ve said before, the comic actually sold pretty well in-store, at least for us, but just not anywhere near to what was ordered. A lot of retailers ended up dumping these in their bargain bins. Others…went to more extreme measures.

So let’s put this comic in the “Overordering” slot of 1990s Comics Sins, I suppose. It also had a gimmick cover (a chromium card attached to an embossed background) and while the gimmick was part of the problem, and perhaps fed into the hype that fed the orders in turn, “Overordering” is what this comic represents, at least to me.

• • •

Next up is Todd McFarlane’s Spider-Man #1 (Marvel, 1990), as suggested by Chris B:


I wrote a lot about this comic in my Variant Cover-Age series, and let’s not beat around the bush: the 1990s Comics Sin here is clearly “Variants.” Particularly the entirely pointless “bagged” variants…bagged not because they contain a trading card or something, but simply bagged to have another version of the comic to sell. The one pictured above even cost a quarter more, because…they could? The green bagged one cost the same $1.75 as the unbagged copies, so the black one…had no cover price printed on the actual cover, so that cost 25 cents more, I guess.

There are sub-categories for this particular comic, such as “Comic Built Around Hot Artist” or “New #1 for Established Character” (distinct from “Relaunched with New #1,” if you’ll allow me to split hairs). But “Variant” I think fits the best, a cynical ploy by a publisher to get collectors to buy multiple copies of the same book, for (in the case of the bagged versions) the least of reasons.

• • •

Here comes ScienceGiant with his excellent contribution of Spider-Man Maximum Clonage Alpha (Marvel, 1995) with its chromium cover:


My initial instinct was to put this in the category of “Gimmick Cover” (as opposed to “Variant”) since, I mean, look at it. Well, the pic above doesn’t really do it justice. You have to see it in its full shiny metallic glory for the full impact.

But it’s not just the fancy cover that makes it 1990s. It’s that it’s part of a “Big Event” (in this case, the ever continuing Spider-Clone Saga, that in some ways is still going on even now). I can see my category idea falling apart already, but “Gimmick Cover” and “Big Event” seem to be hand-in-hand here as far as 1990s Comics Sins go.

• • •

I think Thom H. has an interesting entry here that he explains quite well, Fantastic Four #375 (Marvel, 1993):


Again, the scan doesn’t quite get across the shiny foil-y bits of the cover, but I think you get the important points. To wit, per Thom H.:

“A lesser-known but equally offensive example of ’90s excess: Fantastic Four #375 (prism foil cover featuring shoulder armor, giant guns, an unnecessarily ‘sexy’ costume, and multi-pocket jackets).

“Once ‘kewl’ ’90s style has infected comic book’s first family, I feel like it’s truly reached its zenith.”

Yeah, that about sums it up. (Though I have to point out “375th anniversary,” just to be pedantic.) I think the content here is more important than the gimmick (or is it variant…did the newsstand cover have the foil highlights too, I can’t tell from the scans), so this would probably go in the “Kewl Style” category.

To be fair, it’s more about the accoutrements and the clothing than the actual artwork, which is by Paul Ryan and is perfectly fine. We’ll be getting to another “Kewl Style” category member shortly where the art itself is the key to its submission.

• • •

But not too shortly because that’s it for today. We’ll continue back here on Monday. Thanks for reading and participating, pals!

The Progressive Ruiin Swimsuit Special remains an unrealized dream.

§ November 27th, 2023 § Filed under publishing, zines § 4 Comments

Just a reminder: reader Daniel pointed out that Kwakk.info, which had featured search engines for Amazing Heroes and The Comics Journal, has been greatly expanded. Now it includes Wizard, Hero Illustrated, Comics Interview, Comics Scene, Comics Feature, Marvel Age, FOOM(!) and The Comic Reader(!!!).

The Comic Reader database is the one I’m most excited about, being a huge fan and collector of that particular ‘zine. This search engine covers issues #75 through the end of the run, #219, with some scattered earlier issues.

When looking at the Amazing Heroes page, I noticed in the little rotating cover gallery they have there a cover from the post-Fantagraphics era of the magazine, when it was acquired by another publisher. Now when I went to look this up on Wikipedia, that article claims the title was obtained by Personality Comics, but “nothing came of it.”

Except something did come of it…Personality (under its Spoof Comics imprint) published at least two issues of new(?) Swimsuit Specials in 1993 (numbered 4 and 5), like this one:

And there were at least four issues of Amazing Heroes Interviews published in 1993 from “Amazing Heroes Publishing,” which I am presuming was another imprint of Personality:


I don’t have these on hand…I seem to recall looking at these at the time and thinking “…nah” (hence the “borrowed from eBay” images)…and I can’t find a lot of info on them online aside from finding sale listings. I think the interviews are new…doing a search on some specific phrases from the Walter Koenig interview only turns up references to the later magazine, not the original Fantagraphics series. And speaking of which, many online sources refer to the interview mag as “Fantagraphics,” though that doesn’t look like their trade dress. Maybe someone can set me straight.

So there you go. Despite Wikipedia’s assertion, another publisher did use the “Amazing Heroes” name, if even justr briefly. Perhaps amending the reference to “almost nothing came of it” would be more appropriate.

• • •

Anyway, speaking of thirty years ago, I’ve been monitoring your responses to my quest for the most 1990s comic and I do plan on addressing the ensuing shenanigans there. I personally still think the ’90s remain Rob Liefeld’s world, and we were just living in it, though I waffle a bit on which comic is the most representative. I said Youngblood at first, but am now leaning toward, teeth gritted and my contorted footless body backed by speedlines, towards X-Force #1. It’s the perfect storm of both artistic and marketing…let’s say “qualities” of the time.

But you folks are bringing up some compelling arguments for other books. Like I said, I’ll get back to this and crown the ’90s King eventually (which may go to my choice, because this is my website and I’m a jerk) but keep on chiming in with your thoughts. I always appreciate them.

Yes, I know a buck each for Brigade is too much.

§ November 20th, 2023 § Filed under 1990s Sins, publishing § 30 Comments

So I related this story on my Bluesky account (follow me there if you can, and I have a couple of spare invite codes if anyone needs ’em) where a customer came in looking for a present for a friend of his. Said friend was described as a “big collector” of comics during the ’90s, and wanted to find a special comic that would essentially symbolize that time in this person’s life.

Well, of course the initial thought that ran through my head was to run to the dollar bins and pull out a full run of Brigade, but I couldn’t do that to a complete and presumably innocent stranger. Plus, of course this customer was looking for something “giftworthy,” so we’re probably looking at a single issue of a comic that was a tad more substantial (i.e. dollar-iffic) than some random ’90s thing that was better off as a tree fished out of the Boxes of Misfit Comics.

My next thought was something like Spawn or Youngblood, both titles that in their own different, yet surprisingly similar, ways were emblematic of the excesses of that particular partial decade prior to the market’s Big Crunch.

But before I could voice these suggestions, my customer spotted an item that fit the bill perfectly, a special comic that is near and dear to my heart. Yes, friends, it could only be one thing:


Yes ineedy, the Death of Superman, Superman #75, rears its head yet again. After a couple of questions from the customer (“Is it the original? Is the bag sealed?”) I had me a sale and he had him a piece of 1990s comics history.

Anyway, after telling this story (in a much-truncated less-that-300-characters fashion) I posed the following question to my Bluesky pals: “what would you pick to be THE most 1990s comic book?”

I had quite a few responses, including one or two for books like Starman, which, you know, while definitely good, I’m not sure that’s exactly what I was looking for here. I mean, yes, we shouldn’t ignore the fact that very nicely done, high quality comics were in fact published, but I tend to associate (as I said earlier) publishing excesses to the earlier part of the decade, and “the stink of desperation” to the latter. Perhaps unfortunately, for having lived through it as a funnybook seller, my perspective is a little more cynical. Which is on me, admittedly.

Perhaps my question is better phrased “what most exemplified the” (here’s that word again) “excesses of the era?” The “Death of Superman” issue is certainly one aspect of it, the immense hype and overwrought demand for a “collectible” item. Which would also apply to, say, Youngblood #1, where a talk show appearance the night before release drummed up business for a comic that…mmm. perhaps was not the medium putting its best foot forward for an audience that normally did not buy comics. (And I wonder how many of these new folks, if any of them even bothered to look inside, still picture that as what all comics are like.)

Now I had some good suggestions for other titles, like pal Ian dropping Darker Image #1 on us (a title that promised big things but ultimately never made it past that first issue). Or stuff like X-Men #1 or X-Force #1, selling millions of copies on the basis of multiple covers or card inserts, representing the gimmicky methods publishers used to push comic sales above and beyond and reasoable (or healthy) expectation. (And I don’t need to tell you the multiple cover strategy is still in play today, on much smaller scales but for basically the same reasons.)

Or titles like Alley Cat, part of that small trend of basing comics around models/actresses, who would often have their pictures featured on the covers. (A precursor to the modern trend of “cosplay” covers, I think.) No less a personage than Rusty Shackles brought up the comic based on the mostly-forgotten Barbi Twins, for which I owe him my revenge.

But I think, personally, it comes down to pretty much any comic by Rob Liefeld…Youngblood, or X-Force #1, or Deathmate Red (another suggestion), or titles like that. It’s what I picture in my head when I think of my 1990s toiling in the comics mines, in between slinging POGs and wondering what these new Magic: The Gathering cards were all about.

I’ll ask you the same question: what is the most 1990s comic? I don’t mean “what’s your favorite 1990s comic” — I’ll get to that question eventually, when I’m done with my ’80s countdown — but what comic do you look at and think “yeah, this is what the ’90s comic industry was like, for good or for ill.” Please let me know in the comments.

Meanwhile, please enjoy this 1993 cable access comic book show I found on the YouTubes. WARNING: the DC Comics commercial at 11:55 will give you an aneurysm.

The ghost of Harlan is going to get me for putting his book so close to a Fantagraphics thing.

§ November 6th, 2023 § Filed under publishing, zines § 5 Comments

My apologies for skipping out on Friday’s post…I’d been a little under the weather, and I’m still recovering though I’m feeling much better now. Not COVID, thankfully (and I got the most recent booster just a couple of weeks ago), but still, enough to throw me off my game.

So I’ll just try to do a little catch-up today, noting some things of interest, like (courtesy Daniel T.) this search engine for the Amazing Heroes comics ‘zine. Well, the link takes you to a page explaining how it was made, with a link to the search engine itself. But it’s worth reading the behind-the-scenes because, man, if I spent this much time putting something together I’d want people to read about my travails, too.

But I’ve tested it out on a couple of things, and it seems to work fine. Now I have an whole run of Amazing Heroes and its associated specials here at home, and over the years, mostly because of writing for this site, I’ve had to dive deep into the collection to research somethin’ or ‘nother and it would take a while because unless I knew right off the top of my head where it would have been, I otherwise would only have a vague sense of where to locate it and I would spend an inordinate amount of time paging through the mags. Anyway, this was quite the project, and I hope it stays around.

Also of note, I just found out there’s a new edition of Harlan Ellison’s legendary anthology Dangerous Visions on its way early in 2024:


That’s a wild color. I discovered this via a post on Bluesky via J. Michael J. Straczynski, who says he’s providing a new introduction to the volume (which makes sense, since the infamously-unpublished Last Dangerous Visions is in his hands). Another new intro is by Patton Oswalt, which…I mean, sure, why not, I like him, I’m sure both he and JMS can provide a modern context as to the importance of this book, and the cutting-edge nature of the work at the time.

It’s been a while since I’ve read Dangerous Visions. I don’t even own a copy, which is why I’m happy to have this new edition (and my choice of hard or soft covers, apparently being released simultaneously next March). I do wonder how the stories have aged since the book was first released in 1967, and how much time may have blunted those cutting edges. I do own a battered hardcover of Again, Dangerous Visions which is probably due a new poke-through after sitting on my shelf for many a year. (Or I can wait for that book’s reissue next summer.)

I don’t want to relitigate the whole Last Dangerous Visions thing here, which you can read about on Wikipedia if you don’t know the details. But I do wish JMS the best of luck wrestling that beast…the Wiki entry does claim that Blackstone (the publisher of the DV reissue) will be releasing Last Dangerous Visions late next year, but surely no one can blame me if I say “I’ll believe it when I see it.”

I don’t know how unsuccessful it was, all my readers apparently bought Grendel from a newsstand.

§ October 30th, 2023 § Filed under fanzines, publishing § 6 Comments

Hi pals…I’m pretty wiped out today so I’m going to apologize up front for a less thorough post. But you folks really stepped up with some info regarding the woes of comics publisher Comico, researching and finding relevant articles in The Comics Journal that I didn’t.

What I was doing when looking through my Journals for the last post was specifically searching out articles along the lines of “COMICO DISTRIBUTES TO NEWSSTANDS.” I stuck mostly to Journals released around mid-1986 through mid-1987. However, if I’d kept going through December 1987, I might have found this feature the mag ran in December ’87, presented here courtesy reader Lars. This is more in the context of Comico’s large printer debt, which the article states

“…Was at least partly incurred as the result of an apparently unsuccessful nationwide newsstand distribution of such Comico titles as Jonny Quest, Grendel, and the three Robotech titles….”

The article also notes other reasons for Comico’s money woes, including the collapse of some distribution companies that owed the publisher money. That particularly rings a worrying bell right now, as the industry is currently splintering amongst multiple distributors after many years of just one company bringing us our comics. I mean, it’s a different situation now — it’s not likely Penguin Random House is suddenly going to disappear overnight — but those of us who remember distributors dropping like flies can’t help but think of those days.

Anyway, thank you Lars for the scans, and thanks also to ChrisB for pointing out other issues of the Journal for me to check out. As Michael points out, the mag’s “Newswatch” section is pretty consistently amazing, and I found myself just paging through article after article being reminded of the many events of the time. This is one of the reasons I like ‘zines, reading about comics news as reported contemporaneously. As I noted on Bluesky, “this is my comics nostalgia.”

I plan on digging through more of these Journals and seeing if I can find any more articles of note, not just about Comico but other topics as well. Though I did spot an editorial by Gary Groth about the end of the black and white/investment boom which I also can’t wait to revisit.

Honestly, I love Canada, I once wrote a report on the country that I used, unchanged, in two different school years.*

§ October 27th, 2023 § Filed under publishing § 9 Comments

So a few of you folks popped into my comments to note that yes, you too bought Grendel off the newsstands back in ’86, along with Johnny Quest, another Comico-published property. (And then Matthew brings up the Canadian newsstand distribution of Melody: Story of a Nude Dancer, and, well, Canada being a lawless land is perhaps a topic for another day….)

Anyhoo, I spent my Thursday evening going through the mid-1980s portion of my Comics Journal, looking at the news sections and trying to find any mention of Comico’s newsstand distribution plans, along with any note of how those could have been a factor in the publisher’s demise. Alas, I found nothing, but with the caveat that one of my issues from that run is AWOL, possibly in the stacks of unsorted material that I am currently reorganizing at the house. And also, I could have just plain missed it. I should check my Amazing Heroes from the same period, when it’s not approaching midnight (as I write this), along with their Preview Specials, to see if there’s any mention there.

Well, hold on, I still have the Previews Specials here next to my desk, so let me poke through ’em real quick-like and see if I can find anything.

[TEMPUS FUGITS RIGHT ALONG]

Nope, no mention in the Grendel entries in those.

Anyway, suffice to say Comico was experimenting with distribution outside the comic book store direct market. Much like how Now Comics would also attempt it not too much later. I am curious if Grendel ever got any blowback from “concerned parents” or news crews lookin’ for controversy, as, as the articles I was seeing in Comics Journal of the period remind me, comic content and censorship in the industry was a real hot topic. Just news item after news item of shops being harassed, publishers issuing subject matter guidelines, creators parting ways (or getting fired for complaining) with DC after announcing their content-labeling plans, complaints about the Miracleman birth issue…it was a real mess. Even putting “PARENTAL GUIDANCE SUGGESTED” across the top of their comic, like Comico did with Grendel #1, wouldn’t stop anyone from startin’ any trouble with them. If anything, it would just make them a target.

That’s…probably a bigger topic than I have time to really tackle here. I was actually specifically reminded of the whole “look at the filthy comics your kids are reading!” hoohar that went around whenever comics started selling reasonably well in the last couple of decades. Lots of people always willing to hitch their agenda wagon to whatever seems popular, and if comics are popular, well, that’s a good hook to rail against the sinfulness in society and “protecting” the children. Of course now video games an’ such get much more attention, so those are more attractive to those types, so it doesn’t matter if Batman says a swear, or whatever.

So, the thing that specifically reminded me of this. I was looking up old San Diego Comic Con videos on YouTube and found this one, a San Diego news programs retrospective of their own coverage of the event over the years. It’s pretty neat seeing the sales floor and the people in costumes, and the coverage ranges from “comic books are weird” to “comic fans are weird” to “oh thank God normal celebrities and big movies are here,” but keep a lookout for the coverage in the 1990s where, gasp, adult comics are on sale here in full view of children!


So going back three or four topics, I’ll keep my eye out and see if I can’t spot any info on Comico’s newsstand distribution. Also, at one point Comico was piggybacking on DC for a bit, offering their books through DC’s distributor solicitations. That’s kinda weird too.
 
 

* BONUS: the two teachers were spouses.

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