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Flippin’ through Previews – May 2011

It’s a bit later than usual, but I hope you’ll forgive me – I’ve been busy. But now it’s time to check out the latest issue of Previews!

More Hickman goofiness!

Dark Horse:

I don’t have a lot of interest in Falling Skies, the new “post-alien invasion” television series that’s coming out soon, but I may get the Falling Skies “prequel” on page 29. Paul Tobin isn’t a bad writer, and Juan Ferreyra is a superb artist, so I might have to pick it up. It’s also only ten bucks, which isn’t bad. (13 July)

I recently picked up the first big hardcover of B.P.R.D., which was pretty good. Dark Horse offers the second one on page 45, so check it out! (7 September)

On page 49 you can find a Creepy Presents Bernie Wrightson hardcover. A bunch of Wrightson horror stories? Yeah, that sounds pretty keen. (14 September)

In “Holy crap” news, Dark Horse has solicited a trade of all the Major Bummer issues on page 54, calling it The Complete Major Bummer Super Slacktacular! This is the first time Arcudi and Mahnke’s wacky masterpiece has been collected, and it’s 30 bucks for 15 issues, which isn’t bad. I’m sure it will be a bit smaller than the issues, as many Dark Horse “omnibus” editions are, but they’re still wonderful comics. You know you want it! (5 October)

DC:

I always hate agreeing with Kelly and her cohorts, but why is it that whenever the Amazons get together outside of Wonder Woman’s comic, they’re invariably some kind of ravenous horde of crazed warriors? It seems like a lot of “Flashpoint” is predicated on this fact, and it’s kind of annoying.

The New Teen Titans: Games gets resolicited on page 95. This, of course, has taken 20 years to get finished, and it was offered a while ago in Previews. So if it took so long to finish, why solicit it when it wasn’t quite finished in the first place? Will it actually show up on the date promised? (7 September)

The “DC Retroactive” thing is kind of weird. It’s interesting that they’re trying to get writers who were indicative of the characters from that time period, but why not artists? I understand that some of these guys are dead and some are no longer in the industry, but fro the 1970s Batman one, DC has access to at least two “iconic” Batman artists from the decade that I can think of – Neal Adams and José Luis García-López. Tom Mandrake isn’t a bad choice, but he doesn’t exactly have a 1970s vibe. They’re getting J. Bone to draw the Wonder Woman story, which will look great but doesn’t really fit the “Diana Prince” phase of the character’s history. They’ve done a nice job with the 1980s artists, but the 1970s ones seem a bit odd. (I just saw that they got Norm Breyfogle to draw the 1990s one, which is extremely keen.)

As for the resolicit of The Dark Knight #4 (page 104), which features a guest artist, I still wonder: Why create a new title just for David Finch when he can’t even make it to issue #4 and the second and third issues are hopelessly late? Good move, DC! (27 July?)

Birds of Prey #14 (page 107) features a guest creative team of Marc Andreyko and Billy Tucci. Tucci is credited with Shi, but didn’t he do that Sergeant Rock thing a few years ago? It seems weird that DC would promote a non-DC book over a DC book, even though he’s more widely known for Shi. (13 July)

On page 117, we find DC Comics Presents: Metal Men #1, which collects the Giffen/DeMatteis/Maguire back-up stories in Doom Patrol. I’ve been liking these “DC Comics Presents” comics that I’ve gotten. I’m sure this one will be neat-o. (20 July)

It's the Maguire mouth!

On the same page, Brubaker and Phillips’ Gotham Noir is offered. I’ve never read this – is it any good? (13 July)

DC continues to do right by Tommy Monagham, releasing the fifth Hitman volume, Who Dares Wins, on page 120. Man, this is an intense story arc. Excellent, of course, but intense. (31 August)

I keep wanting to get the Kirby omnibi that DC puts out, including Kamandi, the Last Boy on Earth on page 121, but it really bothers me that they charge 50 bucks for them and don’t even upgrade the paper quality. The paper quality in these books is s-h-i-t-t-y, and I really don’t want to pony up the dough. It’s quite vexing. (28 September)

This cover is distinctly lacking in Kirby Krackle

There’s a hardcover edition of Joe the Barbarian on page 136. I haven’t re-read it so I don’t know how well it holds up, but I really did enjoy this. And you know it looks phenomenal. (7 September)

IDW:

I’m not going to get The Mighty Thor: Artist’s Edition on page 147, but I think it’s a tremendous idea. I’m very curious to see if IDW can do this with other stuff. That would be neat.

There's no color, so it must suck!

The Martini Edition of Darwyn Cooke’s Parker is a groovy idea, although at $75 it’s a bit steep. I’m a tad bit annoyed that there’s a new 8-page story, but oh well. It’s annoying because you’d want to wait until the best version becomes available, but there’s no guarantee that “best version” will ever come out, especially from a smaller publisher like IDW. C’est la vie, I suppose.

I didn’t pre-order John Layman’s Godzilla: Gangsters and Goliaths (I’ll probably get the trade), but he did show me some pages from issue #2, which is offered on page 160. Ponticelli’s pencil art looks great, and I saw three finished pages, and the coloring with the pencil art is amazing. So, yeah. (I also got to read Chew #27, which comes out next week. Man, it’s keen. I’m not surprised, but we talked about what he and Guillory are doing with some of the scenes and how they relate to the previous issues, and it’s pretty cool. So, buy Chew. But you knew that already.)

Dayummmmmm!

Image:

Jonathan Hickman has a new mini-series coming out from Image, The Red Wing (see the cover of Previews!), on page 172. Fighter pilots of the future who need to travel through time? Sure, why not! Hickman’s track record with artists for his Image series has been decent (none are as good as his own art, however), and the preview art by Nick Pitarra looks pretty neat. I’m glad Hickman hasn’t given up writing these freaky Image mini-series just because he’s a bigwig at Marvel these days. (6 July)

I have no idea what Avengelyne (page 176) is doing being drawn by Owen Gieni. Good for him, sure, but what a weird fit. (20 July)

NO SENSE!!!!

Meta 4 is collected in a trade on page 187. I’m still not quite sure what the heck is going on in this book, but it was interesting journey. Plus, McKeever’s art has never looked better. (20 July)

I know our Dread Lord and Master likes Strange Girl, Rick Remender’s post-apocalyptic story, but can anyone tell me if it’s really worth plunking down 60 dollars for the omnibus that’s offered on page 189? I mean, it’s a good chunk of comics, but is it really that good? (27 July)

If Patton Oswalt likes it, it must be good!

Marvel:

Is Captain America #1 the first issue of a new ongoing (page 25)? With Steve McNiven as the artist? Who’s drawing issue #3? (13 July)

Amazing Spider-Man #666 has the “Spider Island” saga (page 33). Yes, they actually use the line “If everyone’s a Spider-Man … then no one is.” I wonder if Peter’s life will never be the same? Oh, there it is – no, no it won’t. (20 July)

This is supposed to be dramatic, but for some reason it cracks me right up

This is weird: Hulk #37 is a “Fear Itself” tie-in, so it’s solicited on page 17. Hulk #36 is offered on page 40. It makes sense in a horribly demented way (well, the fact that I get it is horribly demented, not the way it’s solicited), but it’s still weird. (20 and 6 July)

So, X-Men: Schism. Wait, the world doesn’t trust mutants again? Oh, the motherfucking horror! Jeebus, this is getting tiresome. (13 and 27 July)

I don’t hate Mark Bagley as much as Tim Callahan does, but Brilliant (page 71) doesn’t sound like something he’d be good at. Bagley is very much a superhero artist, and while it sounds like there will be superpowers in this book, it doesn’t sound like there will be costumes. I just think the tone will be wildly different than what Bendis appears to be going for just because Bagley isn’t up to the task. But I suppose we’ll have to wait and see, right? (6 July)

The X-Men by Chris Claremont and Jim Lee Omnibus sounds like a good idea, but I do like how, from what I can remember, over half of the issues contained within are not actually drawn by Jim Lee. Still, this collects part of some of my favorite X-stories, even though this era doesn’t have a great reputation. How can you not love the battle of Muir Island? That’s some cool-ass shit, man. (5 October)

Holy crap, they're cutting edge!

Fantastic Four: 1234 is a minor Morrison work, but it does feature some nice art by Jae Lee, so it’s nice that Marvel is giving us a hardcover (page 81). Of course, it wouldn’t be a comic-book company without a dickish move, so it includes the Nick Fury story Morrison wrote, which I don’t own. I’m still not getting this, because I own the individual issues. (5 October)

I usually wait for softcover trades, but I might have to get Astonishing Spider-Man and Wolverine in hardcover (page 90). It’s only 25 dollars, and damn, is this a fun comic book. Must … ponder!!!! (27 July)

If you thought Marvel couldn’t screw up the “Point One Initiative” any further, guess again. Instead of including them in trades with the series they tie into, they’re releasing a bunch of “Point One” issues in a single trade (page 106). Um, yeah. I thought these issues were supposed to provide a good place to jump onto the regular series, so why not include them as the first issue of a trade? I assume Marvel will do that too, but then why would they release this sucker? Trying to get inside the minds of Marvel and DC execs makes my head hurt. (20 July)

Why, it’s the back of the book! Yay!

I’m kind of glad I didn’t order the Echo trades as they were coming out, because on page 222 Abstract Studios has the Echo Complete Edition for 40 dollars. Terry Moore has also quickly moved on to a different series, Rachel Rising, which is offered on the same page. He’s on a roll!

That had to hurt

Bongo Comics offers Funnies #1 on page 258, which is the new series written and drawn by Sergio Aragonés. You might not think Aragonés is funny, but damn, the man can draw.

Dynamite brings you the crossover you never thought you’d see but wanted nevertheless: Terminator/RoboCop: Kill Human #1 (page 278)! Who wouldn’t want to read that? Rob Williams and PJ Holden aren’t bad creators, and it’s Terminator vs. RoboCop!

I'm more than a little bit in love with this cover, I'm not ashamed to admit!

Matt Wagner returns with Zorro Rides Again on page 283. I’m glad Wagner is completing his Zorro epic, and while I’m not the biggest fan of Esteve Polls, he’s not bad.

Fantagraphics is nice enough to offer another Jacques Tardi/Jean-Patrick Manchette joint, Like a Sniper Lining Up His Shot, on page 296. Bleak, existential French comics from the early 1980s? Yes, please!

Tucked away at the top of page 300 is Gallery Books offering The Crow: Special Edition for $18. Thirty pages of new material. Sigh. Still, as emo as this is, it’s very powerful. In case you’ve never read it. (On page 270, staff writer Heather Wiegand actually admits that she has only now discovered that the movie, which she loves, is based on a comic book. I think not knowing that is a fireable offense, right?)

On page 310, Oni Press has Petrograd, an espionage story set during World War I in which a British spy is supposed to kill Rasputin. Of course, I dig espionage stories, and the art looks pretty keen, so I’m getting this. It’s 30 bucks, though, so beware!

History? Espionage? I'm so there!

I didn’t get the final issue of Atomic Robo this week (damn it!), but I can say with confidence that if you buy trades, you should get the trade of the series on page 314 from Red 5. It’s sure to be a good ending, right?

At the bottom of page 314, Lovern Kindzierski and John Bolton have a weird horror comic, Shame volume 1: Conception from Renegade Arts Entertainment. I say weird because it sounds like a medieval passion play, with characters named “Virtue” and “Shame” and the like. Still, Bolton has that odd painted art style that works well with creepy stuff, and while I don’t know if Kindzierski can write, he’s a good colorist, right? I’m kind of curious about this.

Top Shelf has some intriguing stuff this time around. On page 320 Alan Moore and Kevin O’Neill bring us The League of Extraordinary Gentlemen III: Century #2: 1969 (phew!). Then, Nate Powell’s follow-up to the tremendous Swallow Me Whole is Any Empire, which is about a gang of kids who reunite as adults and things get messy. I don’t know enough about Kagan McLeod (he’s a good artist, but I don’t know about his writing skills) to say whether Infinite Kung Fu will be any good, but I’m sure it will look keen.

Trippy!

Jason Latour writes but doesn’t draw Loose Ends from 12-Gauge Comics on page 332. It sounds like a fairly typical noir tale, but who doesn’t love a good noir comic?

Even further in the back of the book, Back Issue #50 (page 349) celebrates Batman in the 1970s. I can hear Greg Hatcher pre-ordering this book as I type!

And, of course, your slavish devotion to the God of All Comics won’t be complete without picking up Supergods on page 351 from Spiegel & Grau. In it, Morrison writes about superheroes. Because he hasn’t done enough of that in his comics. I’m actually pretty excited about this, so I hope it’s good.

Well, that looks familiar ...

You can’t top the G-Mozz, so let us end this sojourn through Previews here. Sorry for the delay, but I’m sure you still have time to page through the catalogue and do some ordering of the weirder stuff out there in comic book land! So get to it!

34 Comments

Tom Fitzpatrick

May 4, 2011 at 9:01 pm

Dang! LOEG III # 2 coming out soon, I hope.

Bad enough that it comes out once a year, I sure hope it’s worth the wait.

I’m looking forward to the Wolfman/Perez reunion on The New Teen Titans: Games hc.
I do hope that its the last time Perez will have to wait another 20 years to work on such and such a project.
Nobody’s gonna live forever, so why wait?

Hey, another Terminator/Robocop crossover! Well, I did think the first one was pretty freaking fantastic back in the mists of time …

I am sooooo excited on a Grant/Breyfogle Bat-reunion. I hope this means DC has lifted its apparent Breyfogle ban and we can get Norm drawin’ up some Detective or Batman Inc.

I like the paper quality in the Kirby Omnibi. Well, I prefer it to the shiny stuff. It feels better on the fingers. And if it means we get twice the amount of issues for the same price of an Archive edition, I’ll take it.

Now that DC is rereleasing the ‘Who Dares, Wins’ tpb, can we hope that they’ll (finally!) release the rest of Hitman in trades? It’s been TEN FREAKIN’ YEARS!

Yay for Echo, the complete edition, offering an excellent series in one book at a decent price. Boo for me, who bought the trades at $14 each. :(

I’m confused about Falling Skies. Based on the publicity, I thought the hook of the show was that we get plopped down in the middle of La Resistance and learn the backstory as we go along. But they are doing a prequel comic?

Duh, hern?

Seriously? Infinite Kung Fu? Is there going to be any new material? (Honestly, one of my favorite comics ever.)

“I don’t know enough about Kagan McLeod (he’s a good artist, but I don’t know about his writing skills) to say whether Infinite Kung Fu will be any good, but I’m sure it will look keen.”

http://www.topshelfcomix.com/ts2.0/artist/260

You’re in luck, the first 250 (of 464) pages are available on Top Shelf’s website.

Man, I found the latest Previews depressing. Hardly anything grabbed my interest, and all the stuff that did, like the Kirby omnibus, bore a prohibitive price tag. Also, I’ve noticed more and more recently that the number of Big Two comics I’m interested in buying runs in inverse to proportion to the number they’re putting out. Maybe flooding the market isn’t such a good idea?

FunkyGreenJerusalem

May 4, 2011 at 11:51 pm

I still wonder: Why create a new title just for David Finch when he can’t even make it to issue #4 and the second and third issues are hopelessly late?

Because when trying to get him to jump ship from the top publisher, to the second place one, you’ve got to dangle one heck of a carrot, and ‘we’ll give you your own series to write’, is a pretty big carrot.

Now why they solicited when he seemingly only had half an issue drawn is a question I can’t answer, but it doesn’t seem scheduling is a Mike Marts specialty.

DC continues to do right by Tommy Monagham, releasing the fifth Hitman volume, Who Dares Wins, on page 120. Man, this is an intense story arc. Excellent, of course, but intense

Sweet!
These are coming out fast and furious – I missed most of Hitman the first time around, so I’m loving it!

I usually wait for softcover trades, but I might have to get Astonishing Spider-Man and Wolverine in hardcover (page 90). It’s only 25 dollars, and damn, is this a fun comic book

Have you been reviewing it?
I honestly can’t remember it if you have.

Travis Pelkie

May 5, 2011 at 1:16 am

I TOLLLLLLLLDDDDDD you that DH was doing Major Bummer! If Rich Johnston says it, it must be true, right?

I think the Kamandi and other omnibi are on different paper due to the way the coloring would look on shiny glossy paper. Or sum’in.

On CBR, I believe it said that when Cooke does another Parker book, there’ll be another deluxe version with all the Parker books, plus some new stuff. So I might wait for that.

The Nick Fury GMozz story is in Marvel Knights Double Shot #…2, I think. Which also has a cool Ted McKeever Man-Thing story, so it’s well worth seeking out.

I might get the complete Echo. Terry Moore is a pretty nice guy. More on that later….

30 new Crow pages? Damn you O’Barr!!!!

Shame sounds cool with new Bolton art. The only Kindzierski writing I can think of was that Lunatik mini from…15? years ago. Which was….eh.

All I know is that I hope this SpiderMan story features an entire issue devoted to a beach party full of bikini wimmens, so that I can say “The Horror!”. Man, now I gotta find that MST3K ep and watch it again….

And Red Wings? Ewwww.

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Tom Fitzpatrick

May 5, 2011 at 5:48 am

Don’t you just “hate” it when TP says “I TOLLLLLLLLDDDDDD you …”? ;-)

He must really love to rub it in our faces.

BUT it’s good to know that MB is finally getting the recognization that that series deserves.

The Wonder Woman/Amazons thing doesn’t *always* happen, but it is noteworthy that the current DC regime has done it twice in the last five years.

It’s also interesting how Green Arrow is the one who became a murderer, but the take on his subsequent breakup with Black Canary has universally been “bitch left him when he needed her most.”

If you thought Marvel couldn’t screw up the “Point One Initiative” any further, guess again. Instead of including them in trades with the series they tie into, they’re releasing a bunch of “Point One” issues in a single trade (page 106). Um, yeah. I thought these issues were supposed to provide a good place to jump onto the regular series, so why not include them as the first issue of a trade? I assume Marvel will do that too, but then why would they release this sucker? Trying to get inside the minds of Marvel and DC execs makes my head hurt.

This actually makes a lot of sense to me. If the .1 issues are about giving people a sample of the ongoing book as a good jumping on point, I’d like to read all of them in one place. That way I could decide which books I want to give a long term try. Kind of like a sampler. I actually hoped they would do exactly this when I first heard of the .1 idea. I’m buying it.

Because when trying to get him to jump ship from the top publisher, to the second place one, you’ve got to dangle one heck of a carrot, and ‘we’ll give you your own series to write’, is a pretty big carrot.

Which brings up the next question: were people that rabid for a poor man’s Marc Silvestri that DC really felt compelled to dangle such a huge carrot in front of Finch? I think they really overestimated his appeal.

Bill: There’s something off about the paper in those Kirby books. I know it’s not the original paper, but it still feels weird to me. If they’re not going to go to glossy paper (which is fine with me), I wish they at least had a little better paper quality.

FGJ: I’ve only read one issue of Astonishing Spider-Man and Wolverine, and I loved it, but I’ve been flipping through them when they come out just to check out Kubert’s amazing art, plus everything I’ve heard about the rest of the series leads me to believe each issue is just as good as the one I read.

T.: That’s a good point. I’ve only read one .1 issue so far, and while it was a standalone story, it also led into the rest of the series fairly well, so I wonder if they’re going to include it in the trade with the series as well. If each story was a true standalone story featuring the character and the regular creative team, that would be fine. But the Thor one was not by Fraction and the Spider-Man one apparently featured the new Venom pretty heavily, so they seem to defeat the purpose.

@gregburgas Why do you hate to agree with us? :) XXX Kelly co-hort. Also a few things of interest.
Regarding J.Bone and the Diana Prince Retro issue, I spoke to him this weekend and he is drawing Diana Prince in the Mike Sekowsky style. Also Darwyn Cooke said that 12 of the Martini editions of Parker will have cloth covers that he paint original artwork on. I can’t even imagine the price those will go for.

Sue: It’s because you’re icky girls, of course! :) That’s interesting about J. Bone and his style. That will look very neat, I’m sure.

Which brings up the next question: were people that rabid for a poor man’s Marc Silvestri that DC really felt compelled to dangle such a huge carrot in front of Finch? I think they really overestimated his appeal.

You see it in the world of sports all the time.

DC Comics is like a mid-market MLB or NBA team. They draft ‘ok’, but whenever they get a real star, they (e.g. Marcos Martin, Stuart Immonen, Mike Deodato) get signed by a big market team. Either that, or they are forced to over-pay to keep their own talent (e.g. letting JH Williams III write BATWOMAN). From time-to-time, they go out into the market to make a splash. However, their history of over-paying prevents them from going after the A-listers. They want substantially more than the B-lister that you just over-paid. Instead, they have to dangle bigger and bigger carrots in front of lesser and lesser talents.

So, DC has worked down the line of Marvel artists from Andy & Adam Kubert to Mark Bagley to David Finch.

I don’t really know what this upcoming Spider-Man story is about exactly, but the ads just look bad.
I don’t know. I’ve been horribly disappointed ever since Slott took over as full-time writer, even though the stories themselves aren’t really any worse on average than they were before. There just seems to be something about his writing that feels fake and overdone to me.

I’m also sick of the world being against mutants– I have been since the late ’80s. Every so often, it looks like they’ll tone down this aspect of the X-books, but then they always ratchet it back up again.

Why is that Thor book done by someone other than Marvel? I didn’t think they’d allow something like that.

The paper quality on the Kirby archives isn’t shitty at all- it’s a nicer newsprint that’s designed to portray Kirby’s art better than the supershiny paper in, say, Marvel Masterworks. Some of Kirby’s photo experiments from the 70s actually display better on that newsprint paper than if it had been printed on the whiter, shinier paper. I remember talking to Steranko at a recent convention, and he confirmed this story. It LOOKS cheap if you’re used to the white paper, but it really isn’t.

Pedro Bouça

May 5, 2011 at 2:04 pm

Does it need to be either crappy newsprint or shiny, glossy paper? Who decides DC Comics’ paper quality? Mr. A?

Here in Europe, cradle of western civilization, sometimes publishers print collectors’ editions of old comics in a rugged, uncoated paper that is nonetheless very white and long-lasting. It was the paper those books were printed back in the day and I’ve seen some original editions that are OVER 50 YEARS OLD and kept without particular care (like my uncle’s comics) and yet aren’t yellowed or brittle at all.

THAT’s the paper the Kirby books should’ve been printed on. Wish I knew how is it called, but I bet anyone with minimal knowledge of the subject is able to name it.

Who decides DC Comics’ paper quality? Mr. A?

I would like to state for the record that this cracked me up.

That is all. Thank you for your time.

Brian Cronin

May 5, 2011 at 2:52 pm

Yeah, that Mr. A line was great.

Super-obscure, true, but still great!

I didn’t think that Morrison Nick Fury story was very good, and it’s about 11 pages long, so don’t sweat it (yes, it was from Double Shot #2)

There already is a RoboCop/Terminator comic, written by Frank Miller and drawn by Walt Simonson.

The one Jacques Tardi story I’ve read was one of the new FG releases, and it was really good in format and content, so I’ll be happy to check out any further releases!

My enjoyment of Moore & O’Neill’s League comics tends to correspond to how much I like what they are aping. Does anyone know what the main influences on 1969 will be?

funkygreenjerusalem

May 5, 2011 at 6:33 pm

Which brings up the next question: were people that rabid for a poor man’s Marc Silvestri that DC really felt compelled to dangle such a huge carrot in front of Finch? I think they really overestimated his appeal.

I don’t – his stuff sells.
They’ve been doing it with Scott Kollins and a few others as well.

It’s not the worst idea in the world – the artist is more likely to stay if the company is giving them a book of their own – or a chance at a book of their own – rather than going back to just being an artist.

DC wins by keeping the artist longer – they don’t come then leave with little to show like the Kuberts – and there’s the chance you’ll discover a new Frank Miller along the way.

Marvel did a very similar technique in the 90’s with the Image founders, before they left, to great success.

hey draft ‘ok’, but whenever they get a real star, they (e.g. Marcos Martin, Stuart Immonen, Mike Deodato) get signed by a big market team. Either that, or they are forced to over-pay to keep their own talent (e.g. letting JH Williams III write BATWOMAN)

Immonen only seemed to become a ‘star’ once he was at Marvel – he got lots of projects from DC, but none seemed to take off like he has at Marvel.

Why would you think they are over-paying to have JH Williams write Batwoman?
He’s co-written quite a few books at DC before – most pretty good, he’s an A+ level talent – easily in top five artist working today, and as Greg Rucka left, letting JH write the book is the best way to let fans know they aren’t throwing the baby out with the bath water when it comes to the character. I bet more fans of the Detective run who saw it as Rucka’s baby will check it out than if they gave it to any other writer.
I’d say you couldn’t pay enough to keep the guy around – everything he does is gold.

@ FGJ:

When you take an artist who can produce 6 brilliantly drawn issue per year and turn him into a writer-artist that can script one issue in that same time (while drawing only half of it), you have lost.

Also, the careers of the Image guys have hardly been a shining example of a success for Marvel. The aftermath of their departures almost put the company under.

Yeah, that Wrightson HC is a must.

Going to keep following up on ordering that TEEN TITANS: GAMES until the damned thing comes out or (heaven forbid) George passes away and it never gets released.

The DC retroactive stuff… I may glance through them when they arrive in stores, but I won’t pre-order any.

That Walt Simonson Thor, Artist Edition – too pricey for my budget, unfortunately.

I did mark a “?” by both Terry Moore’s ECHO COMPLETE EDITION and RACHEL RISING in my catalog, but I’ll likely end up passing for now. Budgetary constraints, and I remember being slightly non-plussed about ECHO when I glanced through a singles issue a while back.

Joe Harris and Brett Weldele’s SPONTANEOUS (Oni Press, page 309) is marked off by my dad(?!). This is a shocker- he looks through the catalog every month just because he’s bored and never mentions anything to me, so seeing this noted is kinda weird and thus possibly worth mentioning to you folks. After all, if a 67 year old non-fan is potentially interested in the idea…

I’ll borrow SUPERGODS out of the library if and when it’s ever available.

THE WORLD OF A WAYWARD COMIC BOOK ARTIST: THE PRIVATE SKETCHBOOS OF SANDY PLUNKETT (page 348) caught my attention. Not that familiar with Plunkett’s work, but it looks to be in the same vein as Mark Schultz, which I enjoy. So I googled him and his site shows some of the interior work here:

http://plunkettart.com/books/books.htm

I’m sold. Maybe you will be too.

Travis Pelkie

May 6, 2011 at 7:22 am

@Sue — I was at the Boston Con too, and didn’t realize that J Bone was there! Dang. I believe it was him that did the Teenage Satan yarn doll. That was sweet.

And now I think I’ll have to keep checking out the DC Women Kicking Ass blog, linked from Sue’s name. Dang you icky girls!!!

When you take an artist who can produce 6 brilliantly drawn issue per year and turn him into a writer-artist that can script one issue in that same time (while drawing only half of it), you have lost.

Exactly. I agree with all of Dean’s analysis.

Also, how much do we know about how much Finch can truly sell? He’s always been attached to big-name books or book launches like New Avengers or on Bendis or Millar titles. Then he goes to DC and launches a new Batman book starring Bruce Wayne with a new #1, Bruce Wayne’s first solo series in over a year.

Pedro Bouça

May 6, 2011 at 9:12 am

“Yeah, that Mr. A line was great.

Super-obscure, true, but still great!”

Clearly not obscure enough, after all two people got it. I need to improve that for the next one…

When you take an artist who can produce 6 brilliantly drawn issue per year and turn him into a writer-artist that can script one issue in that same time (while drawing only half of it), you have lost.

Except when the book comes out and sells huge, as it will.

The delay of #1 is to stop delays in the following issues after all.

He’s not working for Marvel, people are hungry for the character, and the books going to do huge – they aren’t losing at all.

Also, the careers of the Image guys have hardly been a shining example of a success for Marvel. The aftermath of their departures almost put the company under.

That’s besides the point – those are some of, and THE, highest sales levels the company ever achieved.

Marvel buying Heroes World, and an owner who loaded them up with debt, is what put the company under – not the image founders leaving.

So it’s hard not to see it as a decent business decision.

Also, how much do we know about how much Finch can truly sell? He’s always been attached to big-name books or book launches like New Avengers or on Bendis or Millar titles. Then he goes to DC and launches a new Batman book starring Bruce Wayne with a new #1, Bruce Wayne’s first solo series in over a year.

Because books with Finch covers sell more?

Because his runs on books with those creators sell more?

Because a book written and drawn by him was the highest selling book that month?
(A month after TWO #1’s with the same character were released, one drawn by him? And the #2, although dropping in sales, after a 3 month delay was still the #4 book, topping any other book with the same character, even though five other titles shipped with the same character that month?)

You’ve got to remember – just because you don’t like an artist, doesn’t mean they don’t sell books.

Trying to cast doubt on DC’s business decisions, by questioning whether David Finch actually helps sales, sounds like you have your head in the sand.

Linguist jerk

May 8, 2011 at 3:52 pm

“Omnibi” = not a word. “Omnibus” is already plural (but in the dative case). “Omnibus” is the source of the word “bus”, we don’t pay money to ride around in “bi”.

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