Arriving 10/22/2008

I'm nearly caught up, honestly -- and this week has both FINAL CRISIS *and* SECRET INVASION, so I think it will be time for the compare-and-contrast I've been threatening to Graeme for the last few weeks....

2000 AD #1605
2000 AD #1606
AMAZING SPIDER-MAN #574
ANGEL AFTER THE FALL #13
BART SIMPSON COMICS #44
BATMAN GOTHAM AFTER MIDNIGHT #6 (OF 12)
BATTLESTAR GALACTICA ORIGINS #11
BETTY & VERONICA #238
BETTY & VERONICA DOUBLE DIGEST #165
BIRDS OF PREY #123
BLUE BEETLE #32
BROTHERS IN ARMS #4
CAPTAIN AMERICA #43
CRIMINAL 2 #6
CYBLADE #1 MAYS CVR A
DAREDEVIL #112
DC UNIVERSE HALLOWEEN 08
DEAN KOONTZS FRANKENSTEIN VOL 01 #4 (OF 5) PRODIGAL SON
DMZ #35
FAMILY DYNAMIC #3 (OF 3)
FEAR AGENT #24 1 AGAINST 1 (PT 3 OF 6)
FINAL CRISIS #4 (OF 7)
FINAL CRISIS SUBMIT #1
GHOST RIDER #28
GHOST RIDER DANNY KETCH #1 (OF 5)
GI JOE A NEW BEGINNING #0
HELLBLAZER #248
HULK #7
INVINCIBLE #54
LADIES MAN (NET) (A)
MARVEL ADVENTURES SUPER HEROES #4
MS MARVEL #32
NEW AVENGERS #46 SI
NEW EXILES #13
NEW WARRIORS #17
RUNAWAYS 3 #3
SAMURAI LEGEND #2 (OF 4)
SCALPED #22
SECRET INVASION #7 (OF 8) SI
SECRET INVASION AMAZING SPIDER-MAN #3 (OF 3) SI
SHE-HULK 2 #34
SONIC X #38
STAR WARS KNIGHTS OF OLD REPUBLIC #34 VINDICATION PART 3 OF
SUPERMAN NEW KRYPTON SPECIAL #1
TANGENT SUPERMANS REIGN #8 (OF 12)
TERRY MOORES ECHO #7
THOR TRUTH OF HISTORY #1
THUNDERBOLTS #125 SI
TINY TITANS #9
TRINITY #21
TRUE BELIEVERS #4 (OF 5)
ULTIMATE SPIDER-MAN #127
UNKNOWN SOLDIER #1
USAGI YOJIMBO #115
WARHAMMER CONDEMNED BY FIRE #5 (OF 5) CVR A
WILDCATS #4
WOLVERINE MANIFEST DESTINY #1 (OF 4) MD
X-FACTOR #36
X-MEN LEGACY #217 XOS 2

Books / Mags / Stuff
ABC WARRIORS THIRD ELEMENT ROBOT WAR TP
AMERICAN PRESIDENTS SC
CATWOMAN CRIME PAYS TP
CLASSIC MARVEL FIGURINE COLL MAG #74 HAVOK
CLASSIC MARVEL FIGURINE COLL MAG #75 FALCON
CORRECTIVE MEASURES GN
DUNGEON MONSTRES TP VOL 02
EVIL DEAD TP
HAUNT OF HORROR LOVECRAFT PREM HC
HEAVY LIQUID HC
I LIVE HERE HC
JIM BUTCHERS DRESDEN FILES HC VOL 01 PX WELCOME JUNGLE
JUDGE DREDD COMPLETE CASE FILES TP VOL 11
MAN OF ROCK BIOGRAPHY OF JOE KUBERT SC
MIGHTY AVENGERS TP VOL 02 VENOM BOMB
MORESUKINE GN
NAOKI URASAWAS MONSTER TP VOL 17
NORTHLANDERS TP VOL 01 SVEN THE RETURNED
SHOWCASE PRESENTS WORLDS FINEST TP VOL 02
SKY DOLL PREM HC
SPIRIT FEMME FATALES TP
SSHHHH GN (NEW PTG)
STEVE NILES OMNIBUS TP
STRONTIUM DOG KREELER CONSPIRACY TP
ULTIMATE X-MEN TP VOL 19 ABSOLUTE POWER
VENICE CHRONICLES HC
WARREN ELLIS AETHERIC MECHANICS GN
WEAPON OMEGA TP
X-MEN LONGSHOT PREM HC
Y THE LAST MAN DELUXE EDITION HC VOL 01

What looks good to YOU?

-B

Arriving 10/15/2008

Just got back from Disneyland for Ben's 5th birthday party. Sheesh, I'm WRECKED.... and I have to spend today lifting and toting boxes of comics, hurray.

I'll have a report sometime soon, I think -- I have to get through New Comics Arrival, and Selling, then I have to write a TILTING, and somewhere in there I need to sleep, too, and get caught up on email, etc (68 mostly real emails just over the weekend, ugh)...

I'm getting too old for this shit!

A G SUPER EROTIC ANTHOLOGY #91 (A)
AGE OF SENTRY #2 (OF 6)
AIR #3
AMAZING SPIDER-MAN #573 NWD
ARCHIE DIGEST #248
ASTONISHING X-MEN #27 MD
ATOMIC ROBO DOGS OF WAR #3 (OF 5)
BATGIRL #4 (OF 6)
BATMAN AND THE OUTSIDERS #12 RIP
BOOSTER GOLD #13
BRAVE AND THE BOLD #18
CAPTAIN BRITAIN AND MI 13 #6
CASEY BLUE BEYOND TOMORROW #6 (OF 6)
CHARLATAN BALL #4
CHRONICLES OF DR HERBERT WEST #1 (OF 6)
CONAN THE CIMMERIAN #4
DARKNESS #6 KEOWN CVR A
DC SPECIAL CYBORG #6 (OF 6)
DC UNIVERSE DECISIONS #3 (OF 4)
DOCTOR WHO FORGOTTEN #2
DYNAMO 5 #17
EPILOGUE #2
FABLES #77
FINAL CRISIS LEGION OF THREE WORLDS #2 (OF 5)
FINAL CRISIS ROGUES REVENGE #3 (OF 3)
FLASH #245
FOOLKILLER WHITE ANGELS #4 (OF 5)
GHOST RIDER #28
GHOSTBUSTERS THE OTHER SIDE #1
GRANT MORRISONS DOCTOR WHO #1
GREATEST HITS #2 (OF 6)
GRIMM FAIRY TALES #31 (C: 0-0-1)
GUARDIANS OF GALAXY #6 SI
HAWAIIAN DICK #5
HERESY #1 (OF 4)
HULK MONSTER SIZE SPECIAL #1
I WAS KIDNAPPED BY LESBIAN PIRATES OUTERSPACE #4 (OF 6)
IRON MAN DIRECTOR OF SHIELD #34 SI
JUSTICE SOCIETY OF AMERICA #19
MADMAN ATOMIC COMICS #11
MARVEL ADVENTURES AVENGERS #29
MERCY SPARX #1 (OF 3) BLAYLOCK CVR A
MIGHTY AVENGERS #19 SI
MOON KNIGHT #23
NYX NO WAY HOME #3 (OF 6)
PHANTOM #25 CHECKMATE PART 5 (OF 5)
PUNISHER MAX #63
PVP #41
RASL #3
RED SONJA VACANT SHELL B&W ED
ROBIN #179
SCOOBY DOO #137
SECRET INVASION FRONT LINE #4 (OF 5)
SIMPSONS COMICS #147
SKRULLS VS POWER PACK #4 (OF 4)
SPIRIT #22
SQUADRON SUPREME 2 #4
STAR TREK ROMULANS HOLLOW CROWN #2 (OF 2)
STAR WARS CLONE WARS #2 (OF 6)
STEPHEN COLBERTS TEK JANSEN #3 (OF 5) (RES)
STORMWATCH PHD #15
STREET FIGHTER II TURBO #1 CRUZ CVR A
SUPER FRIENDS #8
SUPERMAN BATMAN VS VAMPIRES WEREWOLVES #1 Of(6)
SUPERMANS PAL JIMMY OLSEN SPECIAL #1
TITANS #6 (RES)
TRINITY #20
ULTIMATE ORIGINS #5 (OF 5)
UNCANNY X-MEN #503 MD
WELCOME TO HOXFORD #3
X-MEN WORLDS APART #1 (OF 4)
YOUNG X-MEN #7 MD
ZORRO #8

Books / Mags / Stuff
ANNIHILATION CONQUEST TP BOOK 01
ART OF HEAVY METAL 2009 WALL CALENDAR
ART OF LUIS ROYO 2009 WALL CALENDAR
BATMAN CHRONICLES TP VOL 06
BREAKDOWNS PORTRAIT OF ARTIST AS YOUNG HC
CLASSIC MARVEL FIGURINE COLL MAG #76 MS MARVEL
COMIC FOUNDRY MAGAZINE FALL 2008
COMICS BUYERS GUIDE #1648 DEC 2008
COMICS JOURNAL #293
CROSSING MIDNIGHT TP VOL 03 SWORD IN THE SOUL
DEAR DRACULA HC
DOKTOR SLEEPLESS TP VOL 01 ENGINES OF DESIRE
DREAMLAND CHRONICLES TP BOOK 01
EX MACHINA TP VOL 07 EX CATHEDRA
GRANT MORRISON SC EARLY YEARS
ILLUSTRATION MAGAZINE #24
JLA THAT WAS THEN THIS IS NOW TP
JONAH HEX LUCK RUNS OUT TP
LEES TOY REVIEW #192 OCT 2008
LOST OFFICIAL MAGAZINE #19 PX ED
MAGIC TRIXIE GN VOL 02 SLEEPS OVER
MARVEL ADVENTURES THE AVENGERS DIGEST VOL 07
MORESUKINE GN
ROUGH STUFF #10
SCALPED TP VOL 03 DEAD MOTHERS
SENTENCES THE LIFE OF MF GRIMM TP
SPIDER-MAN TP VOL 01 BRAND NEW DAY
WALKING DEAD 2009 CALENDAR
WAR IS HELL FIRST FLIGHT PHANTOM EAGLE MAX PREM HC
WILL EISNERS SPIRIT ARCHIVES HC VOL 25

What looks good to YOU?

-B

Hooray for Cheer: Jog on a non-beginning from 10/8

Crossed #1 (of 9)

I wish I was 12 again so I could beg my beloved great aunt to buy me this comic solely on the basis of its cover. She'd go "oooh, that's a scary one," and purchase the hell out of it, because that's just how we rolled in that wing of my semi-immediate family. One of the first Teenage Mutant Ninja Turtles comics she bought me was the start of the Michael Zulli run, where Splinter is puking up mystic rock totems and having a psychic war with Shredder while the Turtles -- snarling, indistinguishable monsters all -- literally rip Foot ninjas to pieces left and right. Sure beat Saturday morning.

But I am older now, and I have my own money to spend however I see fit. Careful, mature considerations go into my every purchase, subtle tumblings of value that led me, perhaps inevitably, to a different economic decision, befitting an adult of my age and social position:

It looks like a boy being thrown out the door at first, but then you can open the comic and see all the things happening on the rest of the airplane! Note the young child being hanged from an oxygen mask cord way in the back; it's the little details that win my variant cover dollars, provided nobody's doing anything silly like charging extra money. I'll settle for the axe under those circumstances.

Anyway, this is the start of the new Garth Ennis/Jacen Burrows series from Avatar, in case the covers weren't clear enough on that. One thing might be tricky, though - despite that issue #1 marking, the true beginning of the story actually showed up in a shorter and less expensive issue #0 from a while back, as is Avatar's current practice.

That actually led to a decent little visual trick: the colorist for issue #0 -- depicting the start of a mysterious, zombie-like onslaught of smirking living people with cross-shaped scars on their faces, relieved of any sense of morality or restraint -- was Avatar mainstay Greg Waller, who depicted everything in his characteristically shiny manner, with the gore in particular taking on a too-bold H.G. Lewis sort of Grand Guignol texture. In contrast, issue #1 is colored by 'Juanmar,' who (which?) takes a much dimmer approach, rendering all the world as in perpetual sundown and all the blood as mucky and browner; even the flashback bits are faded, like issue #0 and Waller got to be the shock of the new, and all the rest of color could do was respond.

I don't know if that was planned, but it's there, you know?

Unfortunately, there's not a lot else of interest going on in this comic. I do think Burrows is good for the material; he has this uninhibited passion for the grotesque that he matches with a cartoon-clinical visual approach in a manner that borders on droll. It's fitting for a comic about lots of people going nuts in a world that still sort of has the facade of ours, and Ennis tosses in a recurring motif of people staring at things from a distance for that extra touch of detachment.

It also means, however, that the comic isn't much for immediate shocks; a bit with a scary woman popping up on one side of a fence is about as dispassionate as I can imagine (granted, Ennis doesn't help by having the character spout some dialogue before going "WAAAAHH!!"). Burrows also lacks distinction in his character designs - the main characters are fine, but the various grinning hordes have a way of looking less like people with similar facial expressions than people with similar faces, if you catch my drift.

Still, what's really indistinct right now is Ennis' plot, which is almost entirely a by-the-numbers survival horror-styled zombie(ish) thing, relayed to us via many narrative captions by an observant good-man-hanging-on sort of writer character. It's middling setup stuff (there's no medical services! life is hard! unafflicted survivors must band together, personality clashes be damned!) spiked only by the writer's total disdain for frilly mysticism and nerd naiveté; when a huffing fantasy gamer pops up ("Dungeons and Dragons, do you even know what you're talking about? It was Magic the --") the page all but drips with contempt, and the story goes on to show what awful things happen to such losers and all the doomed fucks that rely on his bullshit in a hard, dark world.

It's a particularly nasty gore scene that takes that one, a double-page spread given Burrows' full, chilled attention. I notice that the book takes some pains to avoid depicting genitals or sexual penetration, this in spite of panels like that of an infected woman being squished under a truck's tires, guts spilling out as she screams "JESUS I'M FUCKIN COMIN" from a mouth pouring blood. Funny that you can see the invisible threshold beyond which the book would maybe have to go in a plastic bag or get racked way beyond where my great aunt would have ever bought it for me, external signals meaning everything.

EH right now, though all the cross images (and, er, the title) suggests that Ennis may be gearing up for another look at the old religion; I don't know if that'll be any more intriguing, but it'll at least add another element on top of literalizing the bottomless hunger within that's plain from most any surface look at the zombie subgenre, to say nothing of the foibles of packed-in survivors.

Abhay Atones For His Sins by Reviewing The Alcoholic

THE ALCOHOLIC by Jonathan Ames and Dean Haspiel; Published by DC-Vertigo, $19.99. I.

I’d like to talk about the book design, for a moment. We’re a couple years after the point where smart, contemporary design is still surprising, but—but, still, great googly-moogly, the book design for THE ALCOHOLIC is glossy.

Sepia-tinted author photos. A liberal use of Futura. The pages of the comic are book-ended by dark brown paper of a heavier stock. Taking off the slipcase reveals a carving of a bottle, with the book’s title for the bottle’s label. Every other odd page combines into a map to Bluebeard’s Treasure. Bluebeard’s Treasure is friendship.

And the pull-quotes: a couple are from fanboy-world luminaries like Brian Vaughan and Neil Gaiman, but there’s also Sarah Silverman, Anthony Swofford, Bret Easton Ellis, John Hodgman, Kirkus Reviews, Jerry Stahl, Thomas Beller. Readers, be assured: whoever wrote this book is friends with celebrities! What could a more important thing in America to know than that?

And the back cover text: THE ALCOHOLIC is hilarious yet heartbreaking. Dean Haspiel’s art is gritty yet poignant. My balls are wrinkly yet succulent.

So: so, shit in my shoes, if this isn’t the damn hippest-looking comic. In April of this year, Vertigo announced its intentions to significantly increase its focus on original graphic novels. THE ALCOHOLIC’s book design, for me, is a little window into the future, or a possible future at least. A name author from the world of books; a slick modern design; celebrity endorsements assuring the reader that the author is socially well-connected; stylish fonts; back cover text promising poignance. Poignance!

I was looking forward to and ultimately bought THE ALCOHOLIC because I'd heard of Ames, because I’d heard of his last novel, Wake Up Sir. I knew that it had been well received. But… well received by who? I’m not really sure. By the World of Books. I don’t know who that is, though; I’m not exactly in Michiko Kakutani’s rolodex. There’s a very strange argument that sprung up on the comics part of the internet in the last couple of days (that I don’t particularly understand to be honest) about avoiding nameless, faceless “mediocre” comics. But: very little seems to have been said as to how one goes about doing that exactly. How do you know what to buy? At $10-20 a trade, what’s a safe bet? Who can you trust? How much will packaging and popularity and buzz from unknown people matter? Risks abound in the future.

I took comfort in the “SUGGESTED FOR MATURE READERS” hiding in the small print on the book’s back corner. It’s comforting to know that comics have a past, and the past left fingerprints. I especially like how it satisfies only the letter of some vestigial corporate policy, but not in any way, that policy’s spirit.

II.

I guess point #2 should be that the book itself is decent. I think it’s alright.

In its particular way, at least. Of the book’s 136 pages, about 125 pages feature Ames’s first person narration in caption boxes, multiple caption boxes that dominate page after page. Of those remaining 11 pages, 3 feature the narrator addressing the reader directly in expository monologues overstuffing word balloons, instead.

It’s an illustrated personal essay with a comic book in the margins. If your dream comic can be understood without ever looking at the words, look elsewhere. Ames’s story isn’t particularly surprising or unique; some might find the book “boring” as a result, that dull, perennial insult for memoir comics (or pseudo-memoirs). But I found the book enjoyable enough for other reasons—- the details Ames selected, the timing of events, the choice of digressions, the book’s particular sense of humor, the clever framing sequence. If it’s an essay, I thought it was an okay essay.

Dean Haspiel’s contribution in making this essay work visually can’t be understated, though. The book whiplashes between comedy and drama; the main character goes from pathetic to sympathetic to loathsome in the space of panels—- without Haspiel being able to handle that variety, and provide some visual moments of interest along the way, it’s hard to imagine THE ALCOHOLIC having worked as a comic. I’d use the phrase “steady hand on the tiller” here but I don’t have a fucking clue what a tiller is. Maybe I don’t want a steady hand on a tiller; maybe, I want a hand that caresses the tiller gently, bringing it gradually but sensually to climax. I don’t really know, my friends.

Also: I don’t know how to describe Haspiel’s style here. This isn’t the unrestrained Haspiel of the BILLY DOGMA comics; any of DOGMA’s enthusiasm for Kirby, bold shapes, immediacy—none of that is particularly noticeable in THE ALCOHOLIC (nor does it seem to have been requested, I suppose). I suppose the emphasis here is more for clarity, for an easy transition for the audience from Ames’s novels to comics. More visually inclined readers are urged to consider FEAR, MY DEAR instead.

With Haspiel, I think again we see a little hint of the future. Haspiel working with Mr. Ames, Jim Rugg working with Ms. Castellucci, Farel Dalrymple working with Mr. Lethem; at some point, the reward for cartoonists who successfully create a particular kind of independent comic became a gig chaperoning World of Books writers on comic book holiday. I guess I think that’s probably more of a good thing than a bad thing. As rewards go, this seems like a good one. But I guess what I find interesting is… when I grew up, comic book artists were the super-stars of comics. And writers were just… well, you know, writers.

With THE ALCOHOLIC, consider again the evidence presented by the book design.

suckithaspielfv8 The back cover’s only reference to Haspiel is in a smaller font, in a subordinate clause. Look at that! What is that??

It’s not for lack of space. No: he’s just the artist.

III.

THE ALCOHOLIC is a portrait of a man who has a substance abuse problem and his struggles with addiction, from his teen years to the days after 9/11. The narrator is sort-of obnoxiously named Jonathan A., I guess to titillate stupid people that some unknowable portion of the book is based upon the real life of Mr. Ames. Why would anyone fucking care? But after all, I suppose we live in an age of completely fictional autobiographies; tawdry voyeurism became worthwhile to authors and important to reading audiences-- oh, well.

There’s not much of a shape to it. Are addiction memoirs generally known for their dramatic tension? Initially, the book adopts a framing sequence involving lengthy flashbacks, but it abandons that structure mid-way through, though “Jonathan A.” continues to incessantly narrate even past that point. But maybe substance abuse is enough of a shape; with substance abuse comes depravity, sex, sexual dysfunction, horny senior citizens, death, fist fights, vomit, puke, barf, shit, orgies, and chase sequences. Everything a good comic book needs.

The 9/11 portion was my least favorite part of the book. I think it’s supposed to reflect his shame over the petty grief that had driven him to drink in comparison to this greater horror; to humbly acknowledge the inconsequential nature of whether he drinks or doesn’t; or to add to the feeling of the last third of the book of things spiraling out of control both internally and externally.

But: I think there’s an inherent danger with fiction and 9/11 of ... clichés not only become offensive because they’re clichés, but because they become... I don’t know, like, offensive because it’s grief porn? Jonathan A. spends the day with a young woman who has just lost her husband in the attack-- she maybe has three or four lines in the book total, none memorable. Because who she is doesn’t matter; all the book seems to say is “I was reminded what really matters through her! I was there for her! I was the witness of her grief! I learned from her grief! I failed to learn from her grief! Me Me Me.” I think there’s a desperation to remember that day as the day Americans “came together”, and I wonder if that isn’t its own way to avoid experiencing grief or fear, to make it still about us, endlessly us.

To some limited extent, this is all to the book’s benefit, as the portrait the book paints of the main character is ultimately of a selfish and self-obsessed man-child. But... I guess it just makes me uncomfortable seeing it as a thing being used clumsily, even if that clumsiness can be justified or explained, regardless of reason or context.

It’s funny, though: while I was reading Ames’s depiction of 9/11, all I was thinking about was a different disaster. Like the good Mr. Hibbs, like many people in this country probably, I’ve been obsessing over financial news lately that I don’t half understand. It’s a lot of Bloomberg.Com. It’s a lot of “What does Nouriel Roubini have to say about that?” It’s a lot of Roubini and Mish’s Global Economic Trends and Federal Reserve conspiracy theories. It’s a lot of naked Tai Chi in front of an open window, to cheer up the poor people huddled outside. It’s a lot of writing and drawing Care Bear pornography-- you know, Care Bears spraying one another with those rainbows that come out of their bellies, giggling. Care Bear Belly-Rainbow Bukkake? You know, for kids. caringsharinggl1

Time spent thinking about our economy, thinking about America, asking the big questions like “Is our way of life sustainable? Can you put off paying the piper indefinitely? What is it like when a country addicted to cheap oil and easy credit has to detox? Did any of those Care Bears have drawings of erect wangs on their bellies?” And here, we have THE ALCOHOLIC, a book very much about someone living a lifestyle that’s unsustainable, that won’t work out so hot in the long term, that probably won’t end well. It felt, I don’t know, timely.

I think one of the reasons I like the book was how Jonathan A. got more and more pathetic as he got older. Too Much is a pretty great strategy when you’re younger, but by the end, A.’s got a lousy haircut, wearing an ugly suit, he’s barely wiser, he’s all alone, and he’s as much a danger & pathetic disappointment to himself and others as ever, if not more so. I’m pretty fatalistic when I read the news, and my guess for the last, well, couple decades is things in this country are about to get really fantastically worse; so, I guess that ending struck a chord with me in more ways than one. We're all going to end up in shambles, huh? See you in the shambles! We'll share some toast.

IV.

But: the future, huh? Vertigo not just getting an author from ye' old World of Books, but releasing a book in the hot genre du jour: the fake addiction memoir.

If the future is books aimed equally for bookstores, who are the people in bookstores, what values do they have, what kinds of books will people create for them, and how will we know which to buy? Oprah? Will Oprah get involved? Nicholas Sparks?

I’m confused as to how I feel about that entire genre of the addiction memoir, especially; it’s not a genre I’ve ever sought out before in a book. There’s something troubling about the genre but I don’t feel qualified to say what that is since I’m, you know, I’m not educated enough about the program or the twelve steps or any of it; I have concerns whether writing a book like THE ALCOHOLIC is a healthy or recommendable thing to do for someone struggling with that disease since there’s an inherent element of romanticizing the substance abuse portion that struck me as, I don’t know, risky. But I don’t know what the experts say on that topic. I guess I could say: if he’s subverting the genre in some way, I’m not well read in the genre enough to notice how; I couldn’t say how or if this addiction memoir is particularly noteworthy as compared to any of the many, many others. Do they all have wise old recovering addicts that are roommates in rehab? Or foxy lady rehab employees that the main character wants but ultimately can’t have? Because in my head, I guess I imagine they all might.

I guess the genre makes me especially queasy because – what do readers want out of this genre exactly? I don’t typically spend time in my daily life rooting for an addict to fall off the wagon, but if I’m reading an addiction memoir? Look, if I’m reading an addiction memoir, I know that if the addict falls off the wagon, then the Crazy Drug Madness Haha time can resume and I will benefit from that as a reader.

I rooted for Bubbles to stay off the heroin on The Wire, as much as I ever rooted for anything on a TV show to happen. But… you know: this book? There’s 30-ish pages where the main character stopped drinking and the story got boring, and to be honest, I started thinking how nice it’d be for that boring Jonathan A. boy to start drinking again.

That made me feel a little weird and more than a little fucking dirty.

And it took bathing in a lot of Care Bear rainbow ejaculate to feel clean again.

Arriving 10/7/2008

Birthday parties for 20 five-year olds are amusing! But very very tiring....

Here's what's what for this week:

100 BULLETS #96
ACTION COMICS #870
AMAZING SPIDER-GIRL #25
AMAZING SPIDER-MAN FAMILY #2
ARCHIE & FRIENDS #124
AVENGERS INVADERS #5 (OF 12)
BATMAN CONFIDENTIAL #22
BETTY & VERONICA DIGEST #188
BIG HERO 6 #2 (OF 5)
BOMB QUEEN V #4 (OF 6)
BPRD THE WARNING #4 (OF 5)
CARTOON NETWORK ACTION PACK #30
CROSSED #1 (OF 9)
CTHULHU TALES #6 CVR A
DARK TOWER TREACHERY #2 (OF 6)
DEAD OF NIGHT DEVIL SLAYER #2 (OF 4)
DEADPOOL #3 SI
DETECTIVE COMICS #849 RIP
DRAFTED #11
DRAGON PRINCE #2 JOHNSON CVR A
END LEAGUE #5
ENDERS GAME BATTLE SCHOOL #1 (OF 5)
FALLEN ANGEL IDW #30
FERRYMAN #1 (OF 5)
FINAL CRISIS REVELATIONS #3 (OF 5)
GALAXY QUEST GLOBAL WARNING #3
GEARS OF WAR #1
GEN 13 #23
GEORGE R R MARTINS WILD CARDS #4 (OF 6) HARD CALL
GIANT SIZED RED SONJA #2
GOON #29
GREEN ARROW BLACK CANARY #13
GREEN LANTERN #35
GREEN LANTERN CORPS #29
HELM #3 (OF 4)
I KILL GIANTS #4 (OF 7)
I WAS KIDNAPPED BY LESBIAN PIRATES OUTERSPACE #3 (OF 6)
INVINCIBLE IRON MAN #6
JUGHEADS DOUBLE DIGEST #144
KNIGHTS OF THE DINNER TABLE #143
LEGION OF SUPER HEROES IN THE 31ST CENTURY #19
LONE RANGER #14
LOVE AND CAPES #8
MAD MAGAZINE #495
MAN WHO LOVED BREASTS
MARVEL ADVENTURES HULK #16
MARVEL ADVENTURES SPIDER-MAN #44
MARVEL ZOMBIES 3 #1 (OF 4)
NECRONOMICON #2 (OF 4)
PRESIDENTIAL MATERIAL BARACK OBAMA
PRESIDENTIAL MATERIAL FLIPBOOK
PRESIDENTIAL MATERIAL JOHN MCCAIN
PULP TALES CVR A
REX MUNDI DH ED #14
SECRET INVASION INHUMANS #3 (OF 4) SI
SECRET SIX #2
SIMON DARK #13
SONIC THE HEDGEHOG #193
SPAWN #184
SPIDER-MAN LOVES MARY JANE SEASON 2 #3 (OF 5)
STAND CAPTAIN TRIPS #2 (OF 5)
STAR TREK MIRROR IMAGES #4
TRINITY #19
TWELVE #8 (OF 12)
TWO FACE YEAR ONE #2 (OF 2)
UNCLE SCROOGE #380
VOYAGES OF SHEBUCCANEER #3 (OF 3)
WALKING DEAD #53
WALT DISNEYS COMICS & STORIES #695
WE LOST THE WAR BUT NOT THE BATTLE
WONDER WOMAN #25
X-MEN MAGNETO TESTAMENT #2 (OF 5)
X-MEN MANIFEST DESTINY #2 (OF 5) MD
X-MEN ORIGINAL SIN #1 XOS 1
YOUNG LIARS #8

Books / Mags / Stuff
ALMIGHTY GN
BABY SITTERS CLUB SC VOL 04 CLAUDIA & MEAN JANINE
BATMAN AND THE OUTSIDERS TP VOL 01 THE CHRYSALIS
BATMAN BLACK AND WHITE TP VOL 02 NEW EDITION
BIRDS OF PREY METROPOLIS OR DUST TP
CHARLEYS WAR HC VOL 05 RETURN TO THE FRONT
CHIAROSCURO IDW ED TP
DAREDEVIL TP CRUEL UNUSUAL
DC COMICS GOES APE TP
DC VAULT MUSEUM IN A BOOK SPIRAL HC
EMIKO SUPERSTAR
GRIMM FAIRY TALES PIPER TP
GRIMM FAIRY TALES TP VOL 04
HELLBOY LIBRARY ED HC VOL 02 CHAINED COFFIN & OTHERS
HI FRUCTOSE MAGAZINE QUARTERLY #9
HOUSEWIVES AT PLAY GN WHAT A WOMAN WANTS (A)
IMMORTAL IRON FIST PREM HC VOL 03 BOOK OF IRON FIST
IRON MAN TP THE DRAGON SEED SAGA
LABOR DAYS GN VOL 01
LEGENDARY GN
MARSHALL LAW ORIGINS SC
MERCHANT OF VENICE SC
OWLY GN VOL 05 TINY TALES
PUNISHER MAX TP VOL 10 VALLEY FORGE
RICHARD MATHESONS HELL HOUSE TP
SERENITY BETTER DAYS TP
SHOWCASE PRESENTS BLACKHAWK TP VOL 01
SIZZLE #39 (A)
SPARROW ASHLEY WOOD HC VOL 00 SKETCHES & IDEAS
STAR WARS OMNIBUS EARLY VICTORIES
SULK GN VOL 01 BIGHEAD & FRIENDS
TEZUKAS BLACK JACK TP VOL 01
TOYFARE #136 NECA GEARS OF WAR CVR
VIDEO WATCHDOG #144
YOU AINT NO DANCER GN VOL 03
YOUNG AVENGERS PRESENTS TP

What looks good to YOU?

-B

I've Changed My Mind, I Take It Back: Diana Looks At Some Not-So-Fresh Starts, 1/10

So... does anyone remember Ye Olde Days when Issue #1 meant a start, rather than a restart? Yeah, me neither. TERROR TITANS #1: As is usually the way with DCU titles, I have absolutely no idea what's going on here, so strictly in terms of the grade I'll go with NO RATING. What I can tell, based on the content, is that we're looking at more evidence of Embiggened Bloodening - teenage superheroes are abducted by teenage supervillains (who seem to be descendants of previous villains, which I'll admit is a nice twist on the original Titans), drugged and thrown into an arena where they fight to the death. Why? Damned if I know, though it's connected to FINAL CRISIS (I know, what a shock, right?). But more to the point, the thing that really got me about this issue is something I've seen pop up more and more often in DC books: the sense of brutality for its own sake. TERROR TITANS #1 isn't as bloody as, say, a Geoff Johns comic, but it's not much fun to read either. And what's more, it feels tacked-on somehow, like there's a sign over Dan DiDio's office door that says "Your Body Count Must Be This High To Write This Comic."

TOP 10: SEASON TWO #1: Okay, so BEYOND THE FARTHEST PRECINCT didn't happen? I can live with that. Even though the original TOP 10 was one of my favorite miniseries, it's been a while since I read it, and I had to go back and refresh my memory because Zander and Kevin Cannon pick up pretty much exactly where Alan Moore left off almost eight years ago - the mess with Commissioner Ultima is referred to as "recent trouble", Irma is still grieving for her dead partner Sung Li, Smax and Toybox are still on Smax's homeworld. I had my doubts about this one - conventional knowledge says it's never a good idea to follow Alan Moore on anything unless you're Neil Gaiman or possibly Jamie Delano. But I'm very pleased to see that the Cannons have captured the spirit of TOP 10 perfectly: at its core, it's a series that takes human problems and pokes fun at them by applying superpowers, so you get "crossover-dressing" where superhero Top Flight secretly dresses up in a different (very, very scary) costume and calls himself Green Bolt; an old man is selling Shazam-esque Magic Words to kids; and, of course, we have the Big Picture murder mystery, much like the Sentinels case in Moore's run. Now, based on all the comparisons I've made, it's easy to see how SEASON TWO could be considered derivative, but changing the basic formula isn't necessary here: it's enough that the Cannons come up with new concepts (like the aforementioned Magic Word peddler) that run along the same lines as the Galactapuss/Cosmouse Secret Crisis War of times past - that's the sort of clever game that makes this issue a VERY GOOD sequel.

NO HERO #1: You might think this doesn't belong in a post about #1's that aren't really First Issues, but so help me, if I have to play another round of Spot That Ellisism, I'm going to scream and vent my rage like the guy on the cover. Look, a bunch of "superheroes" wearing gas masks! And they fight crime! Violently! And they got their powers through DRUGS! And there's a bunch of historical quotes so it all looks So Very Relevant and Important! And our protagonist is So Damn Mad about the State of the World that he punches out his litterbox! That's how mad he is! And there's a Super-Suicide Girl who prefers texting to talking! AWFUL, because I've seen Ellis do this routine so many times it's not even funny anymore. It's like perpetual deja vu by now.

Some burbling from Hibbs (new business)

Besides the time pressures lately (once we get used to this Kinder schedule, things should be smoother), I've been kind of unimpressed with most of the comics I've been reading lately. Its not even that I hate them or anything -- that's always worth a few inches -- but just that I've been feeling "Meh" about most stuff I'm reading.

It could be the lack of sleep, or it could just be me getting (more) jaded, I dunno.

So I'm really happy that in the last week or so I've read two things that fill me with enough love and joy to actually sit down and write!

We've received both of these books from Baker & Taylor, so I couldn't tell you if they've made it through Diamond's system yet, but both are well worth seeking out:

BURMA CHRONICLES HC: This is Guy Delisle's third "travelogue" book (the previous two are PYONGYANG: A JOURNEY IN NORTH KOREA and SHENZHEN: A TRAVELOGUE FROM CHINA). I quite liked the first, but thought the second was kind of flat. Maybe because North Korea is more mysterious than China? Maybe because there's more dramatic tension (such as one can get in an autobiographical comic!) in the repressive dictatorship than the less-repressive China? Maybe more interesting incidents happened in the first than the second?

Hard to say, but BURMA CHRONICLES, Delisle has a big return to form, with my enjoying this even more than I liked PYONGYANG.

This time through, incidents are often more fragmented from one another, and with a significant portion of the book being one-page relations, Delisle perhaps acts more like a cartoonist, and tries to find a punchline in each vignette.

Delisle's cartooning is deceptively simple, but there's a few places where his mastery of craft is really clear -- especially in comparison to some of the "bad panels" he shows (from lack of proper ink to draw with, or tendinitis at one point)

What I like best about these books is they both teach me something new, as well as being entertaining in their own right. Delisle comes off as an extremely entertaining person who'd you'd love to be seated next to at a dinner party while he regales you with stories of his trips. This is EXCELLENT stuff, and I highly recommend it.

My one complaint: the book is in a different format than the previous two (no dust-jacket [which I actually prefer] and just a little physically shorter), and isn't going to look as nice on the bookshelf.

TAMARA DREWE: Posy Simmond's new book isn't exactly "new" -- it's been out in the UK for at least a year, maybe more, but it is just coming out in the US now.

What a masterpiece!

It's sort of 1/3 prose, from three different characters thoughts, with a mix of panel narrative and single piece counterpoints to the text. It is bold, it is supremely assured, and I think it is the best piece of comic-ing that I've read this year.

The story sounds a little dull on summary -- it is about a writer's retreat and the characters that live in and around it, and how they react to return to the area of the book's title character, but it is sharp and expressive and extremely rich and vivid in detailing that world and the characters in it. I also liked how the book is ABOUT Tamara Drewe, but that the narrative focuses mostly on characters around her orbit.

I got lost in some of the British slang in a few places (thankfully, they explained what "paps" were a few pages on), and I think the TWO deaths at the end of the book lost some impact being piled upon each other, but otherwise I absolutely adored this comic, and give it my strongest possible recommendation. EXCELLENT!

What did YOU think?

-B

Some burbling from Hibbs (old business)

I'm off the school hook this morning as Tzipora is taking Ben in, so hurray I can babble for a bit!

Some old business first, before I say anything about comics...

1) The Bendis/Kirkman debate thing. They're both right (as such things usually go) -- it is EXTREMELY difficult to solely do creator-owned material and make a proper living from it, but when it works, it works amazingly well.

In a way, there are two kinds of comics shops, which for the purpose of this conversation, I'll call "leaders" and "followers". Leaders are always on the make for new voices and new ideas, and are pretty active in trying to identify new talent and to support them. Followers aren't interested in a work (and/or creator) until AFTER it's already broken elsewhere, so their risk is minimal. Getting through those first few ugly months of sales (Bendis' three-issue drop) is nearly entirely a function of the Leaders. I've long suggested that the real trick is making through your first 9-18 releases (largely depending on both how good you are, as well as your production schedule), until the Followers figure out there's something going on there, and that's the point you can start to profit from your creator owned work.

Doing "mainstream" Marvel/DC work generally does very little for your creator-owned profile, with a couple of rare exceptions where your first "notices" are coming from the M/D work. Mark MIllar might be a fairly OK example of that -- prior to his M/D work, there was very little "head turning" indy work from him. Sure, he got a little attention for SAVIOUR, but that never lasted long enough (or finished the story, even) to make much of a real mark. It was through doing increasingly higher profile material at M/D that got eyes on him for creator-owned material. But it is a rare creator that can do that because what you bring with you are associations from your M/D work.

See, generally speaking, in today's market (pretty much from the 90s on) any "base" you build from M/D work comes from the characters first, and the creative voice second, unless there's something strikingly different about that voice. Not a lot of guys really have that special thing, or rare alignment of circumstances to make it all work.

What I always tell creators is to build their own brand, a brand of themselves, rather than hoping that the M/D brands will rub off upon them. Bendis, for example, became hotter than sin as a M/D guy, to the point where he's one of the prime architects of the Marvel U. His sales on POWERS, meanwhile, haven't had any appreciable bumps, relative to the book being published by Image -- at least not the kind you'd hope for when you can say "FROM THE WRITER OF SECRET INVASION!" (or whichever) on the cover, y'know? Either way, "his" brand is inextricably tied with Marvel's brand right now.

Very generally, when a creator makes a reputation from M/D books that is translatable to creator-owned work, it isn't from the Big Books, but from the Quirky stuff. The audience for Spider-Man and X-Men or whatever isn't portable to your creator-brand recognition. The audience for the books/characters that people have written off can be.

Dunno if this is making any sense, it's too early in the morning.

2) The MINX thing. One thing to consider is that the "teen" reader devouring all of that Manga really really seem to be attracted to series, rather than titles or creators -- what they appear to be looking for is something they can read for a good long time, that comes out on a fairly regular basis to fill that jones. One-off titles don't show any great evidence of being popular in that demo. While some of the Minx books did eventually develop (or at least start to develop) sequels, the line was positioned very much as stand-alone books.

Spurgeon mentioned that he thought some of the demise might have come from the spending they did at the launch, and not getting the return they wanted from that, but that doesn't really sound like a DC thing to me -- they're usually pretty good at the Long Game.

In the DM, Minx looked like it was doing pretty well, to me -- probably enough to carry the line for a good while longer, so I think it's fair to think the problem is the bookstores.

I don't KNOW if any of this is right, but here's my educated guess. In the DM DC offered some big incentives to get stores to stock the books, so I suspect they did the same in the bookstore market. Bookstores, however, are a returnable market. My guess is what happened is that they way front-loaded copies into the bookstore market, and that most of them came back. I suspect that the Minx books had decent sales, relative to similar work from say, Vertigo (the OGN line, I mean), but that the big returns coming back made it so that any profit there, as well as the profit from the DM, was wiped out. Further, Vertigo-style OGNs launch first as a $25 (ish) HC, followed by $15 (ish) PB -- Minx books were only $10. The smaller trim size would make them a little cheaper to print, but probably not 1/3 less.

Retailers, in any market, fear the Stench of Death from a line. Once you're on our "bad producer" list (be that from quality, or policy), it's really hard to get off of it. Sometimes that designation comes from PERCEPTION, rather than reality. That is to say, you might not be looking at the number of copies that you sold as much as the number you SENT BACK. "Oh," you think, using imaginary and made up numbers, "normally I return 5-10%, and I've been returning 30-40% here; wow this line has the Stench of Death, let's cut back my orders to be REALLY tight"

It doesn't matter so much that you sold a modest and sustainable number of copies -- you THINK the line is a flop. In the DM you can see this sometimes in stores that don't do cycle sheets, where they "eyeball" the rack for sales -- if you see too big of a stack left over, you THINK a book isn't selling, and tend to cut it below it's actual market value.

My guess (and purely a guess) is that the actual sales of the line were probably good enough to keep it going on its own, but that the perception of the line meant that it needed to be a "hit" in order to keep going, and that the initial wave of returns were too high because the expectations for line were oversold...

Frack, I've been writing for 90 minutes? Got to jet over to the store to open. Back with some actual reviews in a few hours (it's a small enough week for comics that I'm sure I'll have time to bat them out)

Be right back!!

-B

Reviews And A Lot Of Other Mental Detritus

I know, I know. I've been gone for far too long again. What can I say? I've been busy. But just as my last appearance here was to tell you 50 things I love about comics, I'm giving you another list this time: 25 Entirely Random Thoughts About Comics From My Past Week. Feel free to rip apart any of these in the comments; that's what they're there for.

1. The Minx closure is just depressing, for reasons that Chris Butcher puts his finger on, in part, here. I'm nowhere near the target market for this line, but I enjoyed almost all of the books to varying degrees (including Clubbing, which seems to get beaten up in almost all write-ups for some reason. Yes, the art was on the sterile side, but I loved the writing. Also, despite what Johanna thinks, the line did have at least one person who loved it: my wife, who eagerly devoured each new release), and think that it was a wonderful balance to the genre-heavy rest of DC's output (Also, format-wise, I loved the $10 for a small OGN price point). I hope that everything that was already in the works for the line ends up at a new home somewhere.

2. Again to agree with Chris Butcher, the early closure of Minx has got to make Vertigo Crime editor Will Dennis very nervous about how his imprint is going to perform. That can't be fun, knowing that your line may have less than two years to prove itself.

3. While I'm talking about Minx: The second Plain JANES book, JANES IN LOVE, was much better than the first, even though I'm not sure I could coherently explain why. The writing was tighter and had a much stronger narrative arc, the art was - I don't know... weirder? More individual? More Jim Rugg-y? It felt more honest, less attempting to be generic, if that makes sense - and the book as a whole had a much greater sense of purpose than the first. Me, I thought it was Very Good.

4. On the other hand, THE NEW YORK FOUR disappointed the Local fan in me. That's not Ryan Kelly's fault (if anything, his art in this was stronger than in his Local issues), but Brian Wood's, and for the same reason that The Plain JANES disappointed: the book just stopped, as opposed to finishing. Obviously, a sequel was planned - and is being worked on as I type, I believe - but it doesn't stop this otherwise enjoyable (The guidebook commentary in particular is a nice touch, and Wood manages to bring some humanity to what could've otherwise just been a bunch of stereotypes) book from slamming on the brakes so suddenly at the end that you probably hit your head off the metaphorical dashboard. A high Okay, sadly.

5. My favorite new series to have appeared recently are both Vertigo books - House of Mystery and Air. Does this mean that we're headed back to a period where Vertigo is putting out a lot of good, surprising work again, or just that I'm getting old?

6. AIR's second issue is better than its first, by far (A high Good compared to an Okay, if you're going by that scale); I got sent previews of the first five issues from DC just after the first issue came out, and the fourth issue in particular just made me a massive fan of the series - which made me somewhat sad, because how many people will stick around to the fourth issue in this kind of market? Nonetheless, if you've bought the first two issues and feel like you're still on the fence, stick around until the fourth before you make a decision.

7. No, I can't tell you what it was about the fourth issue that I liked so much without ruining the surprise. Sorry.

8. The comic I'm most looking forward to read that's currently in my (growing) to-do pile? Andy Ristaino's massive The Babysitter, which just blew my mind leafing through the oversized, densely-packed, pages.

9. Mark Millar and Bryan Hitch's FANTASTIC FOUR #560 just continues their lackluster attempt at being imaginative without, you know, actually coming up with anything new. When The World's Greatest Comic Magazine reads as if it's stolen its plot from Heroes, which in itself stole its plot from "Days of Future Past," then that's not a good thing. It's such a... dull book, now. Not just in the sense of being boring (although it is; it's slow and unsurprising and unamusing, all of which the ideal Fantastic Four comic should never be), but also in terms of the visuals, with Hitch's overly-rendered, awkward figures buried under coloring that seems like sludge. I'd love to be a fly on the wall in Marvel's offices to see discussions about this run - it's not in the top 20 best selling books, generating next to no buzz, and has roughly the same readership as Dwayne McDuffie's run. Is it a failure, considering what was expected? Oh, and Awful.

10. I've been reading a lot of Essentials lately, so part of my mind is convinced that it's not really the FF unless Joe Sinnott is inking, admittedly.

11. Also from reading so many Essentials: Ed Brubaker's CAPTAIN AMERICA #42 is both Good and completely influenced by Steve Englehart's run on the book from the mid-70s - He even brought back crazy 1950s Cap! It's not just the cast (The Falcon, Sharon Carter, Red Skull and Arnim Zola? Come on); there's something about Bucky's character and the constant questioning himself about whether he's worthy enough of Steve Rogers' legacy that's 100% Englehart-esque. All of which is a good thing, in case you were wondering.

12. In fact, between Brand New Day, Brubaker's Captain America and Dan Slott's plans for Mighty Avengers , Marvel's really going for a return for the 1970s these days. You could even argue that things like Secret Invasion and even Civil War are just longer, slower, versions of the kind of quasi-political things that Englehart and co. were trying to do back then, only taken much more seriously and to greater extremes. This can only mean one thing: Dark Reign is what happens when America is taken over the elf with a gun.

13. That said, four ongoing mainstream continuity Avengers books is insanity. Especially when you know that they'll all end up coming out on the same week. Which'll also be the same week that Invincible Iron Man and Captain America come out.

14. Completely random observation: Marvel events are all about bringing the books together and setting a coherent tone and overall plot for the universe going forward, but DC events are all about trying to launch different plots and tones - Look at One Year Later or all the different titles that have the Final Crisis branding.

15. DC's variety is never played up as the strength that it should be. The Batbooks aren't like the Superman books aren't like Wonder Woman, Flash (which is, admittedly, a bit schizophrenic in and of itself right now) and Green Lantern, etc. etc. - Why isn't this seen as a good thing by fandom at large? When a Marvel book comes through that is genuinely different and not smothered by the frowny self-importance of the Marvel Universe Status Quo Du Jour (like Hellcat or The Immortal Iron Fist, say), it seems much more of a surprise and like it's somehow slipped through the cracks... why can't DC play their books up as a whole line full of such happy surprises?

16. I just realized: Kathryn Immonen should write Fantastic Four.

17. TRINITY (#17 of which came out this week) reads really well in chunks - It's the DC event book for people who think that Final Crisis makes them think too much - but really poorly in single-issues (The most recent issue, when taken on it's own, for example, is just an Eh). When fight scenes last more than an issue, even with the shortened page-lengths of the split book format, then you should know that something's wrong. Also, is it just me, or does it feel as if the Busiek/Bagley strip is taking up less and less of the book as the series progresses? I don't think that it actually is, but it always seems to give the impression of being over too quickly.

18. If I were in charge of collections at DC, I'd put Trinity into a series of quick and cheap trades immediately, so people can realize that it really does read much more smoothly when you read a month or so at once.

19. Also, Mike Carlin? Page 7 of #17 isn't a third of the way through a 52 issue series. That'd be page 7 of #18. 17 x 3 = 51, remember?

20. My not-so-secret anymore shame: Brand New Day Spider-Man has grown on me. I'm sorry, but I'm a sucker for Spider-Man Done Right, and if you can get over the whole "they invalidated Peter's marriage and continuity oh no," this comes pretty close to it being done right in my eyes (It's not perfect, mind you, but it's enjoyable). New Ways To Die is almost undoing that, however, so there's still hope for my cynical side to win out.

21. Talking of New Ways To Die: A six-part story told in a comic that comes out three times a month and we really have to wait four weeks for the last part? How did anyone let that happen?

22. Why the hell is the internet suddenly bothered about whether or not Peter Parker slept with Betty Brant thirty years ago?

23. You know, it's kind of hard to argue with this year's Harvey Award winners. Congratulations, Doug! (And also Bryan, Brian, Darwyn and everyone involved in All-Star Superman.)

24. I want an Absolute All Star Superman collection already.

25. I have felt so guilty about not writing for Savage Critics for so long that I have just spilled my mind onto the keyboard and forced all of you who've made it to the end to read the above. I'll try and post more regularly and more coherently in future. Honest.

Arriving 10/1/2008

I've been having my ass beaten by everything going on -- Kindergarten (I honestly think that we totally over-schedule kids these days), massive shipping weeks, planning for Ben's birthday (next weekend he's five, sheesh), finishing the order form and so on. I am totally crushed, and I guess my fellow Critics are too, since everyone has been on Radio Silence this week.

Assuming I get the order form done in a reasonable amount of time tomorrow (I'm past the brokered pubs, so it's looking alright), I'll be back tomorrow with a review or three, but for now it's just a shipping list.

Unlike last week, where we got crushed beneath the heel of TOO MANY FRICKIN' COMICS, here is a list of (comparatively) COMPLETE GASPING FAMINE. There's a handful of interesting comics, BUT STILL...!

2000 AD #1601
2000 AD #1602
2000 AD #1603
2000 AD #1604
A G SUPER EROTIC ANTHOLOGY #90 (A)
ANITA BLAKE VH LAUGHING CORPSE #1 (OF 5)
ARMY @ LOVE THE ART OF WAR #3 (OF 6)
ARMY OF DARKNESS #13
AUTHORITY #3
BATMAN #680 RIP
BATMAN STRIKES #50
BATTLESTAR GALACTICA ORIGINS #10
BETTY #176
BEYOND WONDERLAND #2 (OF 6)
BOYS #23
CABLE #7
CITY OF DUST #1 A CVR PARRILLO
CIVIL WAR HOUSE OF M #2 (OF 5)
DC UNIVERSE DECISIONS #2 (OF 4)
DEAD #1
DOKTOR SLEEPLESS #9 (RES)
EL DIABLO #2 (OF 6)
ETERNALS #5
FIRE & BRIMSTONE #2 (OF 5)
FUTURAMA COMICS #39
HELLBLAZER PRESENTS CHAS THE KNOWLEDGE #4 (OF 5)
HOUSE OF MYSTERY #6
INVINCIBLE #53
JONAH HEX #36
JUSTICE LEAGUE OF AMERICA #25 (NOTE PRICE)
LOONEY TUNES #167
MAN WITH NO NAME #4
MANHUNTER #35
MARVEL APES #3 (OF 4)
NEW EXILES #12
NIGHTWING #149 RIP
NO HERO #1 (OF 7)
PALS N GALS DOUBLE DIGEST #125
PUNISHER WAR JOURNAL #24 SI
RED MASS FOR MARS #2 (OF 4) (RES)
SAVAGE DRAGON #138
SPIDER-MAN MAGAZINE #3
SUB-MARINER DEPTHS #2 (OF 5)
SUPERGIRL #34
TALES FROM RIVERDALE DIGEST #30
TERROR TITANS #1 (OF 6)
TOP TEN SEASON TWO #1 (OF 4)
TOR #6 (OF 6)
TRINITY #18
VENOM DARK ORIGIN #3 (OF 5)
VIXEN RETURN OF THE LION #1 (OF 5)
WITCHBLADE #121
WORLDS OF DUNGEONS & DRAGONS #4 BALAN CVR A
ZERO G #1 (OF 4)
ZMD ZOMBIES OF MASS DESTRUCTION #2 (OF 6)

Books / Mags / Stuff
ALCOHOLIC HC
ALTER EGO #81
BLACK HEART BILLY COLOR ED TP
BLUE BEETLE TP VOL 04 ENDGAME
BOYS TP VOL 03
BROKEN GIRLS GN VOL 01
CAIRO SC
CLASSICS ILLUSTRATED HC 03 THROUGH THE LOOKING GLASS
COMPLETE CHESTER GOULDS DICK TRACY HC VOL 05
COUNTDOWN TO FINAL CRISIS TP VOL 03
DARK TOWER LONG ROAD HOME HC
DEAD AT 17 TP VOL 04 13TH BROTHER (RES)
EVERYBODYS DEAD TP
FEMME FATALES VOL 17 #4
GHOST WHISPERER HAUNTED TP
GREEN ARROW BLACK CANARY WEDDING ALBUM HC
GREEN LANTERN REVENGE OF THE GREEN LANTERNS TP
HARVEY COMICS CLASSICS TP VOL 04 BABY HUEY
JESUS HATES ZOMBIES LINCOLN HATES WEREWOLVES GN VOL 01 (OF 4
JUDGE DREDD MEGAZINE #276 (NOTE PRICE)
JUSTICE TP VOL 02
JUXTAPOZ VOL 15 #10 OCT 2008
LOCKE & KEY HC
MARVEL ZOMBIES TP SPIDER-MAN COVER
NEIL GAIMAN GRAVEYARD BOOK HC
NIGHT OF YOUR LIFE HC
NUMBER OF THE BEAST TP
PUNISHER MAX TP FROM FIRST TO LAST
SAVAGE SWORD OF CONAN TP VOL 04
SFX #174
SILENT LEAVES GN VOL 02 EXCEPTIONS TO LIFE
SONIC THE HEDGEHOG ARCHIVES TP VOL 09
SPIRIT HC VOL 02
STAR TREK NEW FRONTIER TP
SUPERMAN THE THIRD KRYPTONIAN TP
TOMARTS ACTION FIGURE DIGEST #170
ULTIMATE IRON MAN II PREM HC (RES)
VAMPIRELLA CRIMSON CHRONICLES MAXIMUM TP
VICTORIAN TP ACT 05 SELF EXSOULMENT
VIGNETTES DIRECTORS CUT TP

What looks good to YOU?

-B

Arriving 9/22/2008

Big week!

A G SUPER EROTIC ANTHOLOGY #89 (A)
ALL STAR BATMAN AND ROBIN THE BOY WONDER #10
AMBUSH BUG YEAR NONE #3 (OF 6)
ANGEL REVELATIONS #5 (OF 5)
ARCHIE #589
ARCHIE DOUBLE DIGEST #192
AVENGERS INITIATIVE #17 SI
BACK TO BROOKLYN #1 (OF 5)
BART SIMPSONS TREEHOUSE OF HORROR #14
BARTHOLOMEW OF THE SCISSORS #1
BATMAN GOTHAM AFTER MIDNIGHT #5 (OF 12)
BLACK PANTHER #41 SI
BLUE BEETLE #31
CAPTAIN AMERICA #42
CARTOON NETWORK BLOCK PARTY #49
CHUCK #4 (OF 6)
CTHULHU TALES #5 CVR A
DAREDEVIL #111
DEAD AHEAD #1 (OF 3)
DEADPOOL #2 SI
FABLES #76
FANTASTIC FOUR #560
FANTASTIC FOUR TRUE STORY #3 (OF 4)
GOLLY #2
HELLBOY THE CROOKED MAN #3 (OF 3)
HULK #6
I KILL GIANTS #3 (OF 7)
IMMORTAL IRON FIST ORSON RANDALL DEATH QUEEN
JACK OF FABLES #26
JUGHEAD #191
LEGION OF SUPER HEROES #46
MADAME XANADU #4
MARLOW SOUL OF DARKNESS #1
MARVEL 1985 #5 (OF 6)
MARVEL ADVENTURES FANTASTIC FOUR #40
MARVEL ADVENTURES SUPER HEROES #3
MEAT CAKE #17
MS MARVEL #31
MY NAME IS BRUCE ONE SHOT
NECESSARY EVIL #8
NEW AVENGERS #45 SI
NEW WARRIORS #16
NINJA HIGH SCHOOL #163
NORTHLANDERS #10
NOVA #17 SI
PERHAPANAUTS #4
POWERS #30
PROJECT SUPERPOWERS #6 (OF 7)
PROOF #12
PS238 #34
PVP #40
REIGN IN HELL #3 (OF 8)
RESURRECTION #6
RUNAWAYS 3 #2
SAMURAI LEGEND #1 Of(4)
SCOOBY DOO #136
SECRET INVASION AMAZING SPIDER-MAN #2 (OF 3) SI
SHE-HULK 2 #33 SI
SKAAR SON OF HULK PRESENTS SAVAGE WORLD #1
SOLOMON KANE #1 (OF 5)
SONIC X #37
SPAWN #183
STAR WARS LEGACY #28 VECTOR PART 9 OF 12
SUPERMAN #680
SUPERMAN BATMAN #52
SUPERNATURAL RISING SON #6 (OF 6)
TAROT WITCH OF THE BLACK ROSE #52
TEEN TITANS #63
TERRY MOORES ECHO #6
THUNDERBOLTS #124 SI
TRINITY #17
UBU BUBU #3
ULTIMATE FANTASTIC FOUR X-MEN ANNUAL #1
ULTIMATE SPIDER-MAN #126
ULTIMATES 3 #5 (OF 5)
UNCLE SCROOGE #379
USAGI YOJIMBO #114
VINCENT PRICE PRESENTS #1
WALT DISNEYS COMICS & STORIES #694
WASTELAND #20
WILDCATS #3
WOLVERINE FIRST CLASS #7
WOLVERINE ORIGINS #28
WOLVERINE ROAR
X-FORCE #7
X-MEN LEGACY #216
YOUNGBLOOD #5
ZORRO #7

Books / Mags / Stuff
100 BULLETS TP VOL 12 DIRTY
ABSOLUTE RONIN HC
BACK ISSUE #30
BARKS ROSA COLL TP VOL 03 GOLDEN HELMET CHARTS COLUMBUS
BATMAN BLACK AND WHITE TP VOL 03
BLACK PANTHER TP BACK TO AFRICA
BLACK SUMMER TP
CLASSIC MARVEL FIGURINE COLL MAG #72 BLACK WIDOW
COMPLETE PEANUTS HC VOL 10 1969-1970
COMPLETE TERRY & THE PIRATES HC VOL 04 1941 1942
CONAN HC VOL 06 HAND OF NERGAL
CONAN TP VOL 06 THE HAND OF NERGAL
DRAW #16
GEEK MONTHLY VOL 2 #10
HELP IS ON THE WAY TP
INCUBUS GN VOL 03 (A)
JLA SALVATION RUN TP
KINGDOM COME TP NEW EDITION
MADAME MIRAGE TP VOL 01
MARVEL BOY PREM HC
MASCOT TO THE RESCUE YR NOVEL
MINIONS OF KA GN
PREVIEWS VOL XVIII #10
PUNK ROCK & TRAILER PARKS GN
RED ROCKET 7 TP (IMAGE ED)
SHOWCASE PRESENTS METAL MEN TP VOL 02
SPIDER-MAN FAMILY TP ITSY BITSY BATTLES DIGEST
STAR TREK ARCHIVES TP VOL 01 BEST OF PETER DAVID
STAR WARS CLONE WARS TP VOL 01 SHIPYARDS OF DOOM
SUBLIFE GN
UNCANNY X-MEN TP DIVIDED WE STAND
WIZARD MAGAZINE #205 GREEN LANTERN CVR
WOLVERINE FIRST CLASS TP ROOKIE
WONDER WOMAN THE CIRCLE HC
ZOMBIE-SAMA ONE SHOT

What looks good to YOU?

-B

God's in his Heaven - All's right with the world!

All Star Superman #12

This is the last issue of this series, barring future specials or two-issue story bursts from writer Grant Morrison and various unknown possible artists - regardless, it surely is an ending. A GOOD one, as a single issue, if sapped of immediacy by Morrison's rigorous prior explorations of his themes, in more interesting single issues (I'm thinking #10). Frank Quitely & Jamie Grant do keep the pace nicely -- which means some fine physical poise and a few helpfully low-detail clouds of dust in various backgrounds -- although this isn't so much a grand finale as a concluding step off the ledge into inevitability.

But then, the issue is titled Superman in Excelsis, so maybe a bit of godly distance is appropriate. And Morrison's approach to the Superman mythos is nothing if not Catholic! Allow me go into some detail, thus ruining all surprises forever. This is a capstone issue, one covering the top of Superman's tomb. Yes, he does die - sort of. He 'dies' in that he has to leave humanity to their own devices by becoming a prolonged temporary part of the sun -- poisoned by Solaris the Tyrant! -- thus joining fully with the source of his powers and literally shining his radiance down on Earth.

It's fully the end of Morrison's take on the character, one that saw him face down his mortality by confronting various doppelgängers and alternate visions of himself, to the eventual effect of his preparing humanity to take the next step without him; Morrison is maniacal in his enthusiasm for the character, gleefully pushing him in ever more heavenly directions, at one point having him literally create our universe -- presumably after this 'death' he rises again as Superman Prime, as per issue #6 and Morrison's own much-referenced Old Testament of JLA: One Million -- but his is a theology that realizes the day-by-day is utterly left to people, who have the potential to be like gods themselves.

But Superman knew that before he knew it, you know? As Our Hero noted way back in issue #2, concerning the gates to his mighty Fortress:

"One day some future man or woman will open that door with that key.

"When they do, I want them to know how it felt to live at the dawn of the age of superheroes."

Knowing all we know now, the obvious suggestion is that superheroes will stop dropping from the sky into the heartland and start rising from the grass itself. Which isn't to say that no mortals at all can fly in the present:

I like that Morrison has characterized Lex Luthor as the world's most pompous skeptic -- because it's funny -- but I like even more that it isn't the skepticism that makes Luthor wicked - it's his unwillingness to use his obviously formidable talents to do anything but stroke his own persecution complex. As Quintum notes at the end of this issue, without a Superman to tangle with, Luthor simply fades away.

Oh, did anyone else think Quintum was somehow Luthor in disguise for most of this series? I sure did - that was my big secret theory. But I think Morrison has done something more interesting; if Luthor is Superman's most profound mirror image, then Quintum is ultimately Luthor's, being a mad genius who struggles to accomplish things ("...the measure of a man lies not in what he says but what he does," as the series' first collected volume opines), and generally needs Superman to haul his sorry rainbow ass out of trouble. He's completed a journey by the end of the series too, his similarities to Superman's foe finally representing humanity's progress in the post-Superman era, where a statue stands in a park like in Whatever Happened to the Man of Tomorrow?, although Morrison's story doesn't turn on any loss of powers from this world - just the opposite.

All of this, granted, doesn't make for so much a pleasing issue of a comic as an assurance that notions raised in prior issues would reach completion. Issue #12 itself is actually a pretty low-key thing, with nearly half its space given to an elegiac cruise with Jor-El over an erupting Krypton (cute reversal of the famously concise destruction sequence from issue #1), and a mostly plain Superman/Luthor final throwdown in a dim Metropolis (we don't see the deadly blue sun until the end); I wish there'd been less orthodox superhero hitting and more of Luthor's gradual awareness as to the nature of the universe due to his artificially heightened intellect.

In the end, he can only weep from the human enormity of it all; fascinatingly, Morrison then has Superman make the cynical (if not unfounded) assumption that Luthor is merely realizing how he's been outsmarted again, allowing some gentle ambiguity to linger regarding both icons' positions as Greatest Good and Greatest Ill. It does make sense from this series' point of view, dealing in archetypes but unwilling to let any character sit quite still in his or her prescribed roles (and feel free to insert your favorite enlightenment-through-drugs-in-a-Grant-Morrison-comic joke here).

I look forward to reading through this whole series again, carefully, from start to finish; I'm sure there's plenty of variations lurking around, not to mention one million allusions to other works that I've missed. Yet I also think it's a very simple story, one that certainly doesn't need every last image to be puzzled over and indexed. Quintum's final stroll may lead to a colorful solid wall on that last page, but I think it's plain enough that whatever's behind it will be the new humanity, the people to lift the half-million ton key, the genetic mix of man and superman that will be the true descendants of the man of the title, sometimes peeking their heads back into the past, in that undying spirit of aid. Inspired.

Hibbs' thought for the day

It's said that this week's ACTION and DCU: DECISIONS were also pulped because of some sort of other problem -- ACTION for showing Clark drinking beer on the cover. His bottle is now very glaringly labeled "SODA POP". You just know that Pa Kent has a moonshine still...

But DCU: DECISIONS is even weirder for me -- apparently it was to "de-Condi" one of the candidates, but between solicitation and publication, the cover suddenly now has a piece of graffiti on a wall that says "Heroes don't vote!" which, to me, is like 10,000 times worse than Clark drinking a brew, or Condi in the DCU. To me, I read it as "Hey kids, be a hero: Don't vote!"

*brrr*

God, I have to finish this Tilting I'm writing, more later.

-B

Arriving 9/17/2008

Here's what we're getting this week...

ACTION COMICS #869
AGE OF SENTRY #1 (OF 6)
AIR #2
ALL STAR SUPERMAN #12
AMAZING SPIDER-MAN #572 NWD
ASTOUNDING WOLF-MAN #8
ATOMIC ROBO DOGS OF WAR #2 (OF 5)
BATGIRL #3 (OF 6)
BATMAN AND THE OUTSIDERS #11 RIP
BETTY & VERONICA SPECTACULAR #85
BILLY BATSON AND THE MAGIC OF SHAZAM #2
BIRDS OF PREY #122
BOYS CLUB #1
BRAVE AND THE BOLD #17
BROKEN TRINITY #2 KEOWN CVR B
CAPTAIN BRITAIN AND MI 13 #5
CASEY BLUE BEYOND TOMORROW #5 (OF 6)
CASTLE WAITING VOL II #12
CHECKMATE #30
CONAN THE CIMMERIAN #3
DC SPECIAL CYBORG #5 (OF 6)
DC UNIVERSE DECISIONS #1 (OF 4)
DC WILDSTORM DREAMWAR #6 (OF 6)
DEAD SPACE #6 (OF 6)
FALL OF CTHULHU GODWAR #2 (OF 4) CVR A
FAMILY DYNAMIC #2 (OF 3)
FLASH #244
FOOLKILLER WHITE ANGELS #3 (OF 5)
FUZZ & PLUCK IN SPLITSVILLE #5 (OF 5)
GHOST RIDER #27
GLAMOURPUSS #3
GODLAND #25
GRAVEL #5 WRAP CVR
GREATEST HITS #1 (OF 6)
GUARDIANS OF GALAXY #5 SI
HELLBLAZER #247
INCREDIBLE HERCULES #121
INDIANA JONES & TOMB OF THE GODS #2
IRON MAN DIRECTOR OF SHIELD #33 SI
MAD MAGAZINE #494
MARVEL ADVENTURES AVENGERS #28
MARVEL APES #2 (OF 4)
MIGHTY AVENGERS #18 SI
MOON KNIGHT #22
PUNISHER #62
RANN THANAGAR HOLY WAR #5 (OF 8)
ROBIN #178
SCALPED #21
SECRET INVASION THOR #2 (OF 3) SI
SIMPSONS COMICS #146
SKRULLS VS POWER PACK #3 (OF 4)
SPIKE AFTER THE FALL #3 (OF 4)
SPIRIT #21
SQUADRON SUPREME 2 #3
STAR TREK ASSIGNMENT EARTH #5
STAR WARS KNIGHTS OF OLD REPUBLIC #33 VINDICATION PART 2 OF
STORMWATCH PHD #14
SWORD #11
TANGENT SUPERMANS REIGN #7 (OF 12)
TINY TITANS #8
TITANS #5 (RES)
TRINITY #16
TRUE BELIEVERS #3 (OF 5)
UNCANNY X-MEN #502 MD
WALKING DEAD #52
WAR HEROES #2 (OF 6)
WORLD OF WARCRAFT #11
X-FACTOR #35
X-MEN FIRST CLASS VOL 2 #16
YOUNG X-MEN #6 MD
ZOMBIE TALES #5 CVR A

Books / Mags / Stuff
ABE SAPIEN TP VOL 01 THE DROWNING
ASTRO BOY TP VOL 1 & 2
CAPTAIN AMERICA TP VOL 02 DEATH OF CAPTAIN AMERICA
CINEFEX #115 OCT 2008
CLASSIC MARVEL FIGURINE COLL MAG IRON MAN MOVIE SPECIAL
COMICS BUYERS GUIDE #1647 NOV 2008
CRIMINAL MACABRE MY DEMON BABY TP
ESSENTIAL IRON MAN TP VOL 01 NEW PTG
GIANT ROBOT #55
HEAVY METAL NOVEMBER 2008 #119
HUSTLERS TABOO ILLUSTRATED #6 (A)
INCREDIBLE HERCULES AGAINST THE WORLD TP
INTO THE VOLCANO HC
JANES IN LOVE
JSA PRESENTS GREEN LANTERN TP
JUSTICE LEAGUE OF AMERICA TP VOL 01 TORNADOS PATH
LEES TOY REVIEW #191 SEP 2008
LOCAL HC
LOVELESS TP VOL 03 BLACKWATER FALLS (RES)
MANGA SUTRA FUTARI H GN VOL 03 (OF 5) (A)
PANTHEON TP VOL 01 WELCOME TO THE MACHINE (RES)
PATH OF THE ASSASSIN TP VOL 13 HATEFUL BURDEN
POWER PACK TP DAY ONE DIGEST
SOUVLAKI CIRCUS HC
SUPERMAN KRYPTONITE HC
ULTRA TP VOL 01 SEVEN DAYS (NEW PTG)

What looks good to YOU?

-B

Retailing: You Fucking Asshole Cunts!

As everyone probably knows by now, the latest issue of ALL-STAR BATMAN had a unfortunate printing error where the black bars over numerous swear words printed too light, letting you see the swears underneath.

DC caught this only after the books were printed, in hand at Diamond, and already in the process of being distributed. They attempted to get the distribution ceased, but because of the mechanics of distribution, some copies (largely, but not exclusively, to those who get "early" delivery) made it to stores on the East Coast and Midwest and South. No one on the West Coast got any copies whatsoever.

Some percentage of stores who received these copies decided that, rather than destroy the copies, as DC comics asked (but could not, at least within the terms of their TOS, DEMAND -- there may be some other legal principle I am unaware of that they may have done so, I do not know), that they would sell them instead. Whether that percentage is 1% or 10% or 98% we have no way of knowing, though I imagine DC and Diamond will be able to come to a pretty fair estimation.

Some percentage of THAT group further decided, since we now have nationwide and international tools to sell material, to put these on the internet in places like eBay, and were therefore handed a free pile of fifty dollar bills.

I have to say that I think that the PEOPLE who bought those copies for, in some cases, over $100, are extremely foolish. A year for now, no one will care or remember, and you'll be lucky to get even $5 for them, but there you go.

This is going to be very costly for DC, in reprinting the book, and what I imagine is a few frenzied hours at Diamond as they tried to "unpull" as many copies as they could, but it has several pernicious effects on retailers as well. First off the "bad actors" (those who have no LEGAL reason to comply, decide they also have no MORAL one to do so) are all REWARDED for being such.

One such retailer is Mitch Cutler of St. Marks in New York. I'm not singling Mitch out because of any animus -- I actually quite like the man, and I shopped at his stores in the Summers as a teenager (My Mom lived across from Washington Square park) -- but because he was quoted in the New York Post:

"We've sold a lot," said store owner Mitch Cutler.

"We didn't destroy it because we couldn't know everyone would destroy it," Cutler said.

The comic is currently doing "Dark Knight"-like business on eBay, with copies selling for between $20 and $250.

Cutler was selling copies at his store for cover price, $2.99. "There's no need to inflate the price," he said. "It's wrong and evil and slimy."

The funny thing is that Mitch is trying to take the moral high ground, apparently thinking since he isn't hyper-inflating them he is the "good guy" in this.

The problem is that the "good actors" (that is, the ones who respect their trading partner's wishes, even though they have no compelling LEGAL reason to do so) then get screwed.

How?

1) Some percentage of customers, when faced with a store that has one of these, and one that does NOT have one of these will choose to take that week's custom to the "bad actor". Not JUST that issue, but, well, they're there already so why not pick up ALL of that week's comics? The stores that complied with DC's wishes are out of pocket not just on the mistake, but on a whole host of other comics. DM retailers, as always, buy non-returnable, so that's 100% out-of-pocket.

2) Some percentage of customers, when told either "Sorry, we never received it" or "Sorry, we've destroyed them as we were asked" will assume that the retailer is LYING, and will become angry. Angry customers are not good for business, either near- or long-term. Entire buying relationships can be disrupted over something like this, I've seen it happen many times before.

3) Our partners, both at the publishers and at Diamond, who many retailers have been working on for years, if not DECADES, in trying to make to-store distribution a little more sane, now have fresh ammunition to completely dismiss us. As one DC executive said on the CBIA this morning (and I paraphrase to stay within CBIA rules), "This is why we don't have street dates"

Well, fuck.

One of the most incredibly fucked up things about New Comics distribution is that we don't have a Street Date. Most stores in most places get Wednesday delivery, for Wednesday sale, wholly dependent on their shipping option. This means most stores are waiting around for a UPS truck, and that many stores are OPEN and full of customers clamoring for the comics while they're trying to count them in, pick and pull subs, merchandise the store, etc. This sucks, this really really really really sucks, and it's a huge waste of manpower and frustration levels. A massive pointless waste, with no upside.

It also means that if your shipping option FUCKS UP (rare, but not especially unique), and, say, loses your shipment, or delivers it 6 hours late, you're not 100% hosed on New Comics Day's sales.

A very small number of stores have Tuesday delivery -- most of these are chains who need the extra processing time to move product from a central hub to client stores. But due to a series of strange and unusual incidents in the Bay Area involving multiple distributors competing (pre-exclusives), many single-stores in the Area are "grandfathered in" for Tuesday shipments. I'm one of them.

I would never EVER EVER go back to Wednesday receipt. Seriously, I'd close my store rather than go back to that. It was hell, and I'm a decade older and a decade more out of shape, and shipment sizes in terms of line-items have done nothing but increase. I'm too old for that shit.

I've been a tireless advocate for Street Dates for, like, ever, and I think it would have nothing but benefit for the overwhelming majority of real comic book stores in running smooth and professional operations.

So, to Mitch Cutler, and every other retailer out that there that decided they should sell these copies of ALL-STAR BATMAN: Fuck You Very Much. Hurray, you've just pushed EVERY OTHER RETAILER IN THE COUNTRY back (at least) another five years! Great job! Thinking of yourself before the wishes of your partners or the rest of your industry ("We didn't destroy it because we couldn't know everyone would destroy it") means you've just painted EVERY OTHER RETAILER IN THE COUNTRY as an irresponsible fuckwit too. There's no doubt that any retailer who decided to mark those copies up is a far greater douchebag asshole, but you don't get any points for selling something you were asked not to for fucking cover price!

So thanks to you, one and all, who just had to go fuck it up for the rest of the retailers.

Cunts.

-B

Abhay's Sixth Review Of SKRULLS VERSUS NEW YORK Isn't Very Cheerful For Some Reason.

BEFORE WE JUMP: Are fans excited about the SECRET INVASION? Can I watch them be excited? Through binoculars? Part of the pleasure I hoped to have from SECRET INVASION was voyeuristic.

My emotional investment in the "Marvel Universe" is greater than an average person, true, but my suspicion is that it's far, far, far behind that of the dedicated fans. The guys who love that company. The guys who have a favorite superhero they’ve been reading about for years. The guys who own costumes, and try to talk girls into attending Comic-Cum 2008. The Marvel Zombie. The True Believer. The Huddled Masses. The guys who get blamed for every single thing that's gone wrong with comics.

Part of what I hoped would happen in reading this series, in writing about it every month, involving myself with it, watching fans, watching fans react to it, trying to be as excited as them-- part of what I hoped would happen was that a window might open for me to that enthusiasm. How can you not envy their enthusiasm? Didn’t I use to be more enthusiastic? Not just about Marvel Comics? About life?

So I say to myself, maybe it’s just a question of sense memory. Maybe I can remember how to be that person again, just by moving like he moved! Sure, that sounds completely wrong and doomed for failure, but: maybe a comic like SECRET INVASION could be a road back to some hypothetically more hopeful, more open, more eager person I imagine that I used to be. If I could feel excitement, unembarrassed excitement about something as dumb as a Marvel superhero comic book again, maybe I could take that feeling into other parts of my life; I could become a person unafraid to be unapologetically enthusiastic, again; I could bend spoons with my mind, Uri-Gellar-style. Maybe I'd find out something about Love. Maybe I'd find out that sometimes letting go is the only way to know what you need to hold onto. I didn't see the movie DAN IN REAL LIFE, but I really wanted this to be like the trailer for that.

I wanted SECRET INVASION to tell me that I deserve to be loved-- I don't think there's anything weird about that.

But, obviously, it hasn’t worked. It isn't working. Where's my enthusiasm? What's there to be enthusiastic about? Is anyone out there fired up about the SECRET INVASION? As far as I know, angry fans haven't even demanded anyone be fired once over SECRET INVASION -- demanding someone be fired is how they show their affection. Like Lennie petting the mouse from Of Mice and Men.

Instead, this crossover which should be completely exciting is all over-shadowed on the Internet on Wednesday by ALL-STAR BATMAN printing errors, which... Are you as excited by the ALL-STAR BATMAN printing errors as I am? It's the closest comics get to nip-slips. "Oooh, I shouldn't be seeing this, but I am, because of an 'accident'." It's not a printing error; it's a nip-slip!

The same day the ALL STAR BATMAN issue came out, photos came out of the very untalented Ms. Jennifer Aniston wearing a black dress that to her surprise became transparent when exposed to flash bulbs. Coincidence? Or cross-promotion?!

It's weird to know, after all these years, if those black bars on Batman's dialogue had been removed, we'd have found out that Batma was saying "Criminals are a shit-guzzling and cowardly lot of ax-wounds, who like to fuck babies in the ass while they're shitting even though their herpes sores are flaring-up" all along--? I knew those black bars were awfully big, but I didn't realize Batman was going so hog-wild under there, all these years.

paytonls6

How can SECRET INVASION compete with a nip-slip? By advancing the storyline another 2 whole minutes? Shya'right. But... Awww, hell, show me your nipples, SECRET INVASION #6.

AND NOW WE HAVE JUMPED:

What a fucking failure!

Wow: they just fucked that one up completely.

This comic really lacks the eye of the tiger, man. This isn’t Rocky Balboa at the end of ROCKY 3; this is Rocky Balboa at the beginning of ROCKY 3. This book is an exhibition match with Thunderlips.

Thunderlips, yo.

****

Finally! Finally, we get page after page attacking the true enemy: LIBERAL PROTESTERS.

hatefulleftieskx4 Where the fuck did that shit come from??

Page after page, not of the first or second or even third issue, page after page of the SIXTH ISSUE-- it wasn’t spent escalating the stakes of the comic, it wasn't spent dealing with characters we care about, it wasn't spent paying off earlier scenes. The fucking SIXTH ISSUE was spent introducing an entirely new cast of straw-men liberal characters, and then attacking them for being naive about the nature of evil.

First, let me just say, on a political level, this comic can go fuck itself. You know-- one pretty easy way a person could read this comic if they were so inclined is that it equates protesting wars with supporting terrorism. I don't think the people who made the comic think that. I don't think they were thinking at all. I don't think they made a big priority of thinking.

Second, the liberal woman character is from INDEPENDENCE DAY. The lady character in the Los Angeles section of the movie who goes to celebrate the aliens arriving on top of a LA skyscraper and gets vaporized in the first 10 minutes? Same exact shit. Don’t be ripping off INDEPENDENCE DAY unless you’re willing to go full-on Goldblum. This comic wouldn’t know full-on Goldblum if the Goldblum poured water on its hand in order to explain Chaos theory.

Three: what does that liberal moment accomplish? Nothing in the issue, not a goddamn thing, whatsoever. But does it accomplish anything conceivably? Anything? Oh, it could be argued that it portrays SECRET INVASION from the street-level perspective. Uh, Except: fans already spend time and money on that. They spend money on SECRET INVASION FRONT LINE. They spend time on the SECRET INVASION web-comic. What does this scene accomplish??

***

There’s also a 2-page splash of New York in ruins. Because I didn’t know that New York was in trouble before now. They hadn’t told me that information in the last 5 issues of nonstop New-York-in-trouble scenes. That came as a COMPLETE SURPRISE.

Even if you want a splash page on New York—- what, they couldn’t do a 1 page splash? What does a 2 page splash accomplish that a 1 page splash wouldn't have? How is that not padding?

Or maybe I don’t know what I’m talking about: maybe people buy superhero comics to look at splash pages of New York City. Maybe that takes 2 pages so people get doubly excited. "Look how much New York I'm getting for my money!" I didn’t realize that’s why people buy comics.

The splash pages are to convey the horror of what’s gone on in New York while the characters on the page before spent FIVE ISSUES on a half-hour long scene in the Savage Land. Except they… don’t bother to show any characters reacting to the splash! That moment of horror that double-page splash is designed to create? Off-panel. Characters reacting? The drama of their reactions? Oh, fans don't want that! They just want New York drawings-- that other stuff is just icing.

What the fuck?

***

Anything I would guess fans would want to see isn’t here. Fans don’t want to see Hawkeye after the last page of the last issue? Fans don’t want to see more of Iron Man interacting with the Skrull Queen after their earlier confrontation? Fans don’t want to see more of Nick Fury doing … anything, after all the build-up for him? Anything at all?

Speaking of that scene-- remember that last page of Hawkeye in the last issue, where Hawkeye is all “We’re going to get those Skrulls?” Remember that? Don’t worry if you don’t because you get two more pages of that EXACT SAME SCENE, except Iron Man and Luke Cage saying the same thing instead. That’s a good scene because they’re different characters than Hawkeye. That’s not repetitive at all! That’s not repetitive at all! That’s not repetitive at all! That’s not repetitive at all! That’s not repetitive at all!

I can’t tell if the villains joined forces with the heroes because there are two characters in this comic with red hoods—uh, both of whom are men. Did all of the villains in the Marvel universe team up with all of the heroes in the Marvel universe (holy shit!) OFF PANEL so that the comic could spend time attacking liberals?

I want to give them the benefit of the doubt they didn’t fuck up that badly... I literally can not tell.

Remember that cliffhanger a couple issues back, where it’s like “Oh my god, y’all, Captain America and Thor are going to show up?” Guess what the payoff of that was?

ONE PANEL.

Captain America says “What’s shakin', bacon” to Thor. Thor says “Give me some love, turtle dove” back. That’s it. That moment was a moment they promised fans would be awesome, and they failed and they failed spectacularly. Fans got one panel. It was a cliffhanger in an earlier issue-— what is a cliffhanger but a promise to fans that awesome shit will ensue? And what's the pay-off?

ONE PANEL!

Holy shit, y'all: they're asking people to pay money for this! Think on that, for a moment. HOLY SHIT, Y'ALL!

Two page splashes of New York, three pages of snarky attacks on liberals, and four pages of wannabe-George-Perez spreads is supposed to make up for a story that’s not doing it’s job. Wow.

Do you think they can rally from this issue? You know, if I had to bet money, I'd bet against them. I don’t think they can rally. It's possible. It's conceivable. But... it'd be an upset. For me, personally, there’s nothing here.

I just look at it, and think, you know, they weren’t hungry. They didn’t have the fire in their bellies. They didn't want the belt badly enough.

thunderlipsjr5 *******

I’d seen the basic facts about that issue of some SECRET INVASION tie-in or another, where the Skrulls were making all the Reed Richards Skrulls in order to figure out how he thinks. I’d hoped that it was a hint that my theory was right, and that the Reed Richards we’ve seen throughout the series was a Skrull all along. That the Skrull-ray he invented was a fake, and that the superheroes killed last issue were the real deal. I just think that would be really entertaining.

But with this issue, the way things are playing out, it seems like my theory is a big load of bunk.

But what do we have instead?

The Skrulls imitated Reed Richards but not long enough to find out how he’d stop them…? Here’s the Skrull’s stated motivation: “We hate Reed Richards because he stops us every time. But we’re not going to plan for him trying to stop us. We're not going to find out how he'd stop us this time and plan for that. Instead, we’re going to go play boggle with Catherine Keener.”

I don’t understand that at all. Does anyone even understand that?

***

Could someone tell me anything this comic did right?

I’ve learned enough over the years that a reaction this negative usually means it’s as much if not more me and what’s going on in my life than the comic itself. Which-- you know, it’s been a long day. Sure. It's been a long day. It's been a long month. Maybe I’m in a worse mood than I realized tonight.

But... What did this comic do right?

***

Go to the tundra.

Learn to make comics again by chopping wood. Carrying timber. Turn this around.

Go to the tundra!

Risin' up, back on the street Did my time, took my chances Went the distance, now I'm back on my feet Just a man and his will to survive

So many times, it happens too fast You change your passion for glory Don't lose your grip on the dreams of the past You must fight just to keep them alive

Chorus: It's the eye of the tiger, it's the cream of the fight Risin' up to the challenge of our rival And the last known survivor stalks his prey in the night And he's watchin' us all in the eye of the tiger

Face to face, out in the heat Hangin' tough, stayin' hungry They stack the odds 'til we take to the street For we kill with the skill to survive

chorus

Risin' up, straight to the top Have the guts, got the glory Went the distance, now I'm not gonna stop Just a man and his will to survive

chorus

The eye of the tiger (repeats out)...

Spoken like a spoke: Douglas catches up on periodicals, quick-hit style

I got to read two weeks' worth of individual issues at once. Behind the times! Oh no! Under the cut: AMBUSH BUG, ROGUES' REVENGE, JONAH HEX, AVENGERS both MIGHTY and NEW, SECRET SIX and some spoilers.

AMBUSH BUG: YEAR NONE #2: The premise of this mini, as I understand it, is that each issue is Keith Giffen and Robert Loren Fleming riffing on some project in recent DC history; the first one was a reasonably pointed take on Identity Crisis. This one seems to be about the run-up to Infinite Crisis, but there's not much to say about that--a death-of-Ted-Kord scene, a couple of near-miss OMAC gags--so Giffen and Fleming spend most of the issue riffing without a theme, and their jokes don't go anywhere. A low EH, but I'm looking forward to the 52 and Countdown issues...

FINAL CRISIS: ROGUES' REVENGE #2: I used to actively dislike a lot of Geoff Johns's comics--I thought they leaned hard on gross-out sadism and obscuro continuity to cover up for what they lacked in plot dynamics and character development. I'm not sure if my sensibilities have shifted or if he's just gotten significantly better over the last year or two, because I've been thoroughly digging most of what he's been writing lately. This issue is as gruesomely violent as any mainstream comic I've read lately, but it roars--I'd say it's just a well-constructed crime story that happens to have costumes and powers, but actually the costumes-and-powers stuff (as well as some backstory from his old Flash run that's spelled out briskly and fairly gracefully) is central to the way the story comes together. And I love the ragged, nasty grain of Scott Kolins' line here. VERY GOOD.

JONAH HEX #35: Gray & Palmiotti's ongoing series about sexual assault in the Old West gets a special issue drawn by J.H. Williams III, maybe my favorite artist currently working in mainstream comics, and he digs into the dust-and-sagebrush look with relish. But the gunfight half of this issue is the most generically written Western I've seen in a long time, and the premise of the rest--in which Hex gets some psychedelic roofies in his drink from a couple looking for him to knock the woman up because he's too ugly for her to fall in love with... well, it's pretty GOOD as long as you just look at the pictures, anyway.

MIGHTY AVENGERS #17/NEW AVENGERS #44: Has anyone put together a comprehensive Secret Invasion chronology? At this point, with the main action of the invasion treading water in the Savage Land and the two Bendis Avengers books flashing all over the timeline, I'm losing touch with how these stories fit into the overall scheme, and what they signify. In particular, I'd appreciate it if somebody could explain what's happening in this particular Mighty (aside from its cute cover nod to TALES TO ASTONISH #27): so the Skrull replacements for Hank Pym keep going off-message and being killed and replaced? But after Criti Noll/Pym gets killed, he's replaced by another Criti Noll? Or another Skrull pretending to be Criti Noll pretending to be Pym? What? And, in New, the Skrull "clonepod" Reed Richards only has access to the real one's mental abilities if he thinks he's the real one? Both OKAY, but I'm impatient for everything to click together.

SECRET SIX #1: It is a personal weakness of mine that I really prefer first issues to act like first issues. Having only read bits and pieces of Gail Simone's Secret Six projects in the past, I found myself navigating through this page-by-page just fine, but wondering what exactly the premise of the series is. The title includes a "six," there are four characters visible on the cover, on the inside there are five members on the team but the promise of a sixth (why would there have to be six?), and... what kind of team is it? They have missions? They're assassins and thugs? They're sort of in Batman's good graces? Why do they work together? As usual, Simone is more than solid with the character stuff (the best bit here is Deadshot blithely ignoring a stickup at the convenience store where he's buying ice cream until he finally gets fed up and demonstrates how one should hold up a convenience store), but this is very oddly paced--the opening scene setting up a creepy bad guy who talks like Herbie Popnecker seems like it'd be more appropriate for an issue that doesn't have a big "#1" on the cover, for instance. OKAY.

 

Arriving 9/10/2008

Hm, I wonder why ALL-STAR BATMAN is getting pulped? They didn't distribute it to the west coast at all, so I may never find out...!

100 BULLETS #95
1001 ARABIAN NIGHTS ADVENTURES OF SINBAD #3
A G SUPER EROTIC ANTHOLOGY #88 (A)
AMAZING SPIDER-GIRL #24
AMAZING SPIDER-MAN #571 NWD
ARCHIE & FRIENDS #123
BATMAN CONFIDENTIAL #21
BATTLESTAR GALACTICA ORIGINS #9
BETTY & VERONICA DOUBLE DIGEST #164
BIG HERO 6 #1 (OF 5)
BLOOD BOWL #3 (OF 5) KILLER CONTRACT CVR A
BLOWJOB #23 (A)
BOOSTER GOLD #12
BPRD THE WARNING #3 (OF 5)
CABLE KING SIZE SPECTACULAR #1
CARTOON NETWORK ACTION PACK #29
CIVIL WAR HOUSE OF M #1 (OF 5)
CRIMINAL 2 #5
CRIMINAL MACABRE CELL BLOCK 666 #1 (OF 4)
DAMNED PRODIGAL SONS #3 (OF 3)
DARK TOWER TREACHERY #1 (OF 6)
DARKNESS #5 KEOWN CVR A
DEAD SHE SAID #3
DEADPOOL #1 SI
DEAN KOONTZS FRANKENSTEIN VOL 01 #3 (OF 5) PRODIGAL SON
DOCTOR WHO CLASSICS #10
DRAGON PRINCE #1 JOHNSON CVR A
DYNAMO 5 #16
EPILOGUE #1
EX MACHINA #38
FINAL CRISIS REVELATIONS #2 (OF 5)
GEN 13 #22
GENEXT #5 (OF 5)
GOON #28
GREEN ARROW BLACK CANARY #12
GREEN LANTERN CORPS #28
GRIMM FAIRY TALES #30
I KILL GIANTS #2 (OF 7)
INVINCIBLE #52
KICK DRUM COMIX #1 (OF 2)
LEGION OF SUPER HEROES IN THE 31ST CENTURY #18
LONE RANGER #13
MARVEL ADVENTURES HULK #15
MARVEL ADVENTURES SPIDER-MAN #43
MARVEL SPOTLIGHT MARVEL KNIGHTS 10TH ANNIVERSARY
MS MARVEL #30 SI
NEOZOIC #6
NEW EXILES #11
NYX NO WAY HOME #2 (OF 6)
PATSY WALKER HELLCAT #3 (OF 5)
PAX ROMANA #3 (OF 4)
REAR ENTRY #18 (A)
RED SONJA #37
SALEM #2 (OF 4)
SECRET INVASION #6 (OF 8) SI
SECRET INVASION INHUMANS #2 (OF 4) SI
SECRET INVASION RUNAWAYS YOUNG AVENGERS #3 (OF 3) SI
SECRET INVASION X-MEN #2 (OF 4) MD
SIMON DARK #12
SIRIANUS #2 (A)
SONIC THE HEDGEHOG #192
STAND CAPTAIN TRIPS #1 (OF 5)
STAR TREK MIRROR IMAGES #3
STAR TREK ROMULANS HOLLOW CROWN #1 (OF 2)
STAR WARS CLONE WARS #1 (OF 6)
STRAW MEN #2 (OF 12)
SUPER FRIENDS #7
TALES DESIGNED TO THRIZZLE #4
TRINITY #15
TRON #6
ULTIMATE ORIGINS #4 (OF 5)
ULTIMATE X-MEN FANTASTIC FOUR ANNUAL #1
WELCOME TO HOXFORD #2
WOLVERINE SAUDADE
WONDER WOMAN #24
WORLD OF WARCRAFT ASHBRINGER #1 (OF 4)
X-MEN MAGNETO TESTAMENT #1 (OF 5)
YOUNG LIARS #7

Books / Mags / Stuff
AMERICAN WIDOW HC
ANGEL AFTER THE FALL HC VOL 02 FIRST NIGHT
BATMAN THE BLACK GLOVE HC
CLASSIC MARVEL FIGURINE COLL MAG #71 QUICKSILVER (C: 0-1-3)
COMIC BOOK COVER PORTFOLIO #2 JUSTICE COLLECTION
COMICS NOW #3
DUGOUT GN
ENIGMA CIPHER TP
ETERNALS BY JACK KIRBY TP BOOK 02
FREDDY VS JASON VS ASH TP
GOOD-BYE MARIANNE GN
GOTHAM CENTRAL HC VOL 01 IN THE LINE OF DUTY
GRAPHIC CLASSICS VOL 06 AMBROSE BIERCE NEW PTG
GYPSY JOE JEFFERSON GN
OMEGA THE UNKNOWN PREM HC
PRINCE OF PERSIA GN
SIXTEEN MILES TO MERRICKS & OTHER WORKS SC
SPIDER-MAN RED SONJA TP
TOMARTS ACTION FIGURE DIGEST #169
TOYFARE #135 STAR WARS CLONE WARS CVR
ULTIMATE POWER TP
VIDEO WATCHDOG #143 (NOTE PRICE)
VINTAGE DC COMICS 2009 WALL CALENDAR
X-MEN VS APOCALYPSE TP VOL 02 AGES OF APOCALYPSE

What looks good to YOU?

-B