Ewing and Rocafort's "Ultimates" Stand Guard Against Alien Empires & Cosmic Entities
Would it really be that big of a deal if Marvel just did a new cover for Heroes for Hire #13? I get the whole “sticking to principles” thing, but what principle are they exactly sticking to? Stubbornness?
What was your reaction to the reveal in 52 #52? Did you like what the “52” stood for in 52? Dislike it? Vast indifference?
Somewhat spoilers for World War Hulk here…what are the odds that it will NOT turn out that the explosion that killed Hulk’s wife and unborn child (nice Woman in Refrigerator right there, by the way) was caused by one of Hulk’s “compatriots” from Planet Hulk (like the Brood or Miek), instead of the Illuminati? Isn’t it practically a guarantee right now that that WILL be the “twist” at the end?
Note from the Editor: Sorry, Brian wasn’t able to finish his piece. He’ll finish it soon, but in the meantime, here’s a fill-in from Curious Cat!
Which of the following do you think will be different after the Spider-Man story, “One More Day” is over: Mary Jane and Peter’s marital status, Aunt May’s deteriorating coma and/or Peter’s identity being public?
Who should Yorick end up with, Beth or 355, and why?
Marvel’s explanation for why they did not tell retailers about what happened in Captain America #25 (so retailers could adjust orders accordingly) is that they “had no choice” (they actually said that – “While Marvel regrets having to withhold any solicitation information from retailers, we had no choice.”). They say, “The media would never have picked up the story unless it was an absolute secret…so we had no choice. Instead, we made sure to have the healthiest overprint ready to fill reorders for as long as possible.”
So, my question is – do you agree with Marvel’s assessment of the situation?
The biggest reason given for revealing Spider-Man’s identity to the public was that it opened up so many new stories. But then, Spider-Man turned on Iron Man for reasons other than his secret identity being revealed. And according to the latest Friendly Neighborhood Spider-Man, Peter Parker is establishing a new identity in New York while he continues being Spider-Man as a unlicensed hero. So, what then, exactly, is the reason, story-wise, for having Spider-Man reveal his secret identity, if the revelation is not really impacting the books as much as the “fugitive Spider-Man” angle, which, while a fine plot idea on its own, does not require a public identity to have said plot?
What is the earliest example of a comic book advertising it being a “collector’s item” on the front cover (earliest I have seen is Fantastic Four #3)?
Would it be possible, using only the original art from the story itself (just changing dialogue and captions), to turn Identity Crisis into a workable mystery story?
(Thanks to Tadhg for the question.)
Don MacPherson recently wrote an interesting column where he posits that decisions in Marvel’s Annihilation were made to bring certain properties in line with the versions about to be present in the Fantastic Four movie. Do you agree with Don?
Would Watchmen have been as good if Moore had been able to use the actual Charlton characters instead of analogues?
(thanks to Michael for the question)
If the movie had come out first, would Ultimate Spider-Man have mechanical or organic webshooters?
(thanks to yo go re for the question)
Which of the three current Spider-Man ongoing titles (Amazing, Sensational and Friendly Neighborhood) do you dislike the least?
Do you think Runaways will be better or worse with Joss Whedon writing it?
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