Johanna's September Previews
Johanna Draper Carlson
Items shipping in November 2000
Reviewed by Johanna Draper Carlson
New Products
PATTY CAKE & FRIENDS (Volume 2) #1 (Amaze Ink/Slave Labor Graphics, $4.95)
The acclaimed all ages humor series returns with a 48-page issue in a deluxe
format. Scott Roberts is incredibly talented at capturing the real bits of a
little girl's life.
EXPO 2000 ANTHOLOGY (Comic Book Legal Defense Fund, $6.95)
This overstuffed collection is offered again, so here's my reprinted blurb:
Considering the price of many comics, $7 for 352 pages is a terrific bargain
-- plus, it benefits a great charity, the Comic Book Legal Defense Fund, and
it contains contributions from some of the most talented and acclaimed
cartoonists working today, like Chris Ware, Adrian Tomine, Craig Thompson,
and Brian Ralph.
ELECTRIC GIRL VOLUME 1 Trade Paperback (Mighty Gremlin, $9.95)
The first four issues of the series are collected with a new story -- the
origin of Electric Girl. I suspect the use of the o-word is a concession to
the direct market, because aside from her problems with static, she's just a
regular girl, not a superhero. Which is part of the reason I like the series
so much.
AXIS MUNDI (Slab O' Concrete, $11.95)
Wow, I never thought I'd see this again. When it first came out as a
miniseries from Slave Labor years ago, I enjoyed the edgy humor in this
story of a teenage hacker with no patience for jerks. I'm very glad to see
it back as a collected edition; hopefully, that means a complete story.
BELOW CRITICAL RADAR (Slab O' Concrete, $17.95)
I'd be more excited about this collection of writings about alternative
comics and fanzines -- because I like good writing about comics, and one of
the contributors is Roger Sabin, writer of the great coffee table book
COMICS, COMIX, AND GRAPHIC NOVELS -- if it weren't 96 pages for $18. I'm
guessing it's due to the heavy use of full-color illustrations, which,
admittedly, is the best way to read about comics, but still.
COLLECTED BEOWULF (Thecomic.com, $15.95/$30)
Anglo-Saxon literature fans, here's a comic for you (which I guess proves
that there really is a comic for everyone) -- Gareth Hinds has retold the
story of the early epic poem in fully painted form. And if you're going to
read and reread this (for instance, if you're an English teacher), there's a
hardbound version, too.
WAHOO MORRIS STARTER PACK (Too Hip Gotta Go Graphics, $8.25)
New readers can pick up all 3 comics in their original printings for less
than cover price. The future of the title may be in question, but it's still
a good story and great art. If you liked the way fantasy and real life mixed
in DREAMWALKER or SANDMAN, you should like this story of an indie rock band.
BIG CLAY POT (Top Shelf Productions, $12.95)
Thin linework, a variety of tones, inexact panel borders, and distinctively
handwritten lattering give a dreamlike quality to this historical novel,
telling the story of Sun Kim, an immigrant to the relatively new island
country of Japan. Mills' earlier minicomic CELLS won a Xeric Award, so I'm
looking forward to seeing his first long-form work. His books are subtle and
reward continued attention, like a Zen koan. More information can be found
at www.bubbaandsmoot.com.
From the big publishers:
SUPERMAN & BATMAN: WORLD'S FUNNEST (DC Comics, $6.95)
Evan Dorkin writes, and a star-studded plethora of artists (including Alex
Ross, Frank Miller, Jaime Hernandez, Phil Jimenez, Stuart Immonen, and Ty
Templeton) illustrate this 64-page romp through the DCU. (Elseworlds and Mr.
Mxyzptlk are just excuses to let loose without bothering the continuity
mavens.) I've been looking forward to this one for months!
STATIC SHOCK! #1 (DC/Milestone, $2.50)
My second favorite Milestone character (Rocket's the first, of course)
returns in a 4-issue miniseries released to tie into the new WB! cartoon.
I'm trusting writer Dwayne McDuffie not to get too far away from the
original, wise-cracking appeal of the hero, even though the description
(Virgil gave up heroing but has to return to save the universe from
destruction by a villain that's already beaten Hardware and the Blood
Syndicate) sounds a bit too grim'n'gritty, not to mention overly familiar to
superhero fans.
FANTASTIC FOUR'S BIG TOWN #1 (Marvel Comics, $3.50)
Taking a hint from the success of DC's Elseworlds line, Marvel tries another
"What If? Adventure." This one, written by Steve Englehart, attempts to
answer the classic fanboy question: why don't all the cool inventions the
superheroes have trickle down to the public at large? And for this
four-issue story, your total cost is only $12.98! (Better be good, hunh?)
MARVEL MASTERWORKS: FANTASTIC FOUR #51-60 (Marvel Comics, $49.95)
I'm surprised they didn't have an illustration of a hand holding a gun next
to this solicitation: buy this book or the Masterworks line gets it!
(Actually, they say "Readers and retailers take note: sales on this volume
will determine whether or not additional volumes of new material are
produced.") I'm told that this is perhaps the best the FANTASTIC FOUR ever
got, and I'm convinced it's lot more fun reading Masterworks volumes than
old paper comics, but do they have to be so blatant about the economic
pressure?
Continuing Series
SCHOOL GIRLS: SHELLY'S STORY #3 (Adept Books, $2.95)
The miniseries concludes with Shelly coping with both fears and dreams. The
first issue was fun without being silly, gripping without being overdone,
and serious without being maudlin, so I'm expecting similar good things from
this issue.
CASTLE WAITING #3 (Cartoon Books, $2.95)
We learn the legend of the Solicitine Order, the group of bearded nuns. The
series blends various fantasy and historical elements seemlessly, and Linda
Medley has a terrific grasp of human nature and how to illustrate it in an
entertaining and inspiring fashion.
QUICKEN FORBIDDEN #9 (Cryptic Press, $2.95)
Several years ago, it seemed that there was a mini-trend in fantasy comics
with spunky girl heroes; this is one of those that survived. A new
storyline, in which our heroine Jax goes out looking for a fantasy author,
begins here, so it should be a good starting point, but what really caught
my eye was that Andi Watson contributed the back cover. (I'm such a
fangirl.)
FINDER #20 (Lightspeed Press, $2.95)
This storyline is about "hunger and magic" -- which accurately describes the
way both reading, and specifically this series, can grip you.
BREAKFAST AFTER NOON #4 (Oni Press, $2.95)
Louise gets her life together while Rob still has trouble finding a new
direction. Not a good situation to be in when you're planning a wedding.
This series continues to amaze me with its quality and versimilitude.
From the big publishers:
WONDER WOMAN #164 (DC Comics, $2.25)
It's the long-awaited start of Phil Jimenez's run. It's a shame they didn't
go ahead with this plan over a year ago, when Byrne left, but I guess they
couldn't bill Phil as a "superstar writer/artist" at that point. I know he
loves the character and is immensely talented; I'm just a little leery of
the plans to "feature other special DC guest stars." Why can't someone just
write Wonder Woman without dragging the entire DCU in? (As a bonus tie-in
this month, you can now order action figures of Ares, the Cheetah, and
Artemis; they're scheduled to arrive in March.)
MAD MAGAZINE #400 (DC Comics, $2.99)
MAD reaches the big 4-0-0, and there's no big celebration?!? Man, Alfred
gets no respect. This issue, half in color, seems like a good point to check
in and see if it's still funny.
AGE OF BRONZE #9 (Image Comics, $3.50)
The problem with working with seers is that you know the end before you've
even started your next big project... which in this case is the Trojan War.
The acclaimed series featuring gorgeous work by Eric Shanower continues.
KABUKI AGENTS: SCARAB #5 (Image Comics, $2.95)
Wasn't this series over? The last issue was solicited almost a year ago! Or
did they convert it into an ongoing to make up for KABUKI proper's last
issue coming out in July, with no new issues offered?
THE RED STAR #4 (Image Comics, $2.95)
This issue continues the exploration of the mystic war and its tragic
aftermath with beautiful art.
Snarky Comments
DC's newest Fifth Week event features more wallowing in history, as
previously-unseen "Turning Points" between Batman and Commissioner Gordon
are revealed. While the art teams feature some interesting choices -- it's
great to see Steve Lieber doing another Batman story, and I like to watch
the fanboys complain about Paul Pope -- overall, I'm just not that
interested. I'd rather see forward movement instead of more strip-mining of
the past.
I had hoped that the Silver Age AQUAMAN AND AQUALAD ACTION FIGURE SET would
come with Topo or the walrus. At least we get one of the seahorses.
It's amazing what comic companies can unearth once a writer becomes a big
name, whether it's Awesome's "plotting is too writing" YOUNGBLOOD GENESIS
(it's credited to Kurt Busiek, based on an old plot of his, but he's not
scripting it), or DC's resurrection of a Neil Gaiman ACTION COMICS WEEKLY
Green Lantern story. In the latter case, 11 artists on a 48 page book sounds
like an artistic mishmosh.
JLA: A LEAGUE OF ONE is an "instant classic" -- just add PR! I like seeing
Wonder Woman get more spotlight projects; it's a shame that many of them
don't seem to play to the character's unique strengths, choosing instead to
treat her like a female Superman.
I know the holidays are coming, but does it really make sense for DC to
offer an original JLA hardcover ($25), an Alan Moore hardcover collection
($25), the Crisis collection ($30), a Batman original hardcover ($25), an
Authority collection ($18), AND a Christmas collection ($20) all in the same
month? That's $143, and I haven't bought any ISSUES yet! Marvel's doing the
same thing, bragging about their 15 new collections this month. I'm glad to
see them expand their reprint line, but it doesn't have to be all at once.
Jim Valentino's open letter to Retailers (and other readers of PREVIEWS) is
refreshingly straight-forward, setting out how their section is subdivided
and organized, and what they're doing about scheduling issues. They've also
implemented a relist page, which takes several books with something in
common and makes them all available again. (Last month it was Gorilla, this
month it's Bendis.) What great ideas!
POWERS is plugging Warren Ellis as a guest star. Not a guest writer, or even
"plotmaster"; instead, he's appearing as a character. The ad asks "What ...
is Warren Ellis doing in a book he has nothing to do with?" Why, plugging
himself, of course! In the brave new millennium, to stay noticed, you have
to promote yourself; the work is secondary to the creator's reputation.
(Shame it's come to that; I'm all for giving creators their due, but there
has to be a happier medium than what we've got.)
Marvel had a bit of confusion going on with the Mysterio character, showing
him committing suicide in DAREDEVIL while appearing in the Spider-Man books.
But if you thought that was simply editorial miscommunication, you're wrong
-- it was actually the groundwork for a 3-issue miniseries! $9 total, and
you, True Believer, can have all your questions answered!
Reading the Marvel section just gives me deja vu. "In the tradition of
AVENGERS FOREVER," it's X-MEN FOREVER. EARTH X seemed successful? They'll do
UNIVERSE X and assorted specials. DAREDEVIL and BLACK WIDOW worked for
Marvel Knights? Look, there's another round of miniseries with those
characters. No wonder everyone's looking forward to the ULTIMATE line; it's
the only thing the company has with a new concept.
The ad for DREAMS OF THE DARKCHYLDE features the wank-book girl with the
creepy young face peering coyly from behind a tree with the caption "It's
okay ... she missed you too." Eeeugh. I really didn't want to think about
the kind of fanboys who would find this approach appealing. Oh, but best of
all, this issue the creator provides script AND cover! He can't bother to
draw his book, but I'm sure there's someone who can copy this unoriginal
style.
The CHARLIE'S ANGEL MOVIE SPECIAL is a "great opportunity for comic shops to
capitalize on this year's hottest movie" by ordering this cheap cash-in: the
32-page book only has 12 pages of comic story. The rest of the space is
filled with "a special editorial section."
PREVIEWS must not care what kind of ad you run so long as you give them
money, because lately, it seems like not a month goes by without
full-fledged nudity somewhere in the catalog. This month, it's NBM with a
topless woman in their new series ad.
TwoMorrows is publishing the ALL-STAR COMPANION TPB. TwoMorrows also
publishes COMICOLOGY, whose very similar (except it was 80 pages larger for
$2 less) KINGDOM COME COMPANION was served with a cease-and-desist order for
DC. Does TwoMorrows think that DC is less legally leery now? Or do they just
assume that Roy Thomas can get away with it?
THE COMIC READER is offering issue 5, although they already solicited it
last month. Did Diamond screw up again (in the same way they solicited
COMICOLOGY #1 twice), or is TCR adjusting their schedule, since #1 has yet
to appear?
The BETTY & VERONICA FASHION DOLLS have such creepy big eyes that they look
like they're possessed. And since when is Betty the cheerleader while
Veronica plays soccer?
Anticipation vs. Reality
In June, I ordered 22 items. Plus, 2 late items from earlier orders arrived.
Of those,
5 haven't been released yet (21%)
* COMIC BOOK HEAVEN (Volume 2) #3 (Amaze Ink/Slave Labor Graphics, $1.95)
* THE COMICS JOURNAL #226 (Fantagraphics Books, $5.95)
* ELECTRIC GIRL #6 (Mighty Gremlin, $2.95)
* SIDEKICKS #3 (Fanboy Comics, $2.75)
* SPELLBOUND: THE MAGIC OF LOVE #1 (Fanboy Comics, $2.95)
* (Still late from last month are AKIKO #40 (Sirius Entertainment,
$2.95), FINDER #18 (Lightspeed Press, $2.95), and SIDEKICKS #2 (Fanboy
Comics, $2.75).)
* (Still late from April is PETRA ETCETERA #2 (Gratuitous Bunny Comix,
$2.95).)
11 were as good as or better than I expected them to be (45%)
* AGE OF BRONZE #8 (Image Comics, $3.50)
* BOX OFFICE POISON #20 (Antarctic Press, $2.99)
* BREAKFAST AFTER NOON #2 (Oni Press, $2.95)
* CYNICAL GIRL #1 (Mortco, $2.95)
* EXPO 2000 ANTHOLOGY (Comic Book Legal Defense Fund, $6.95)
* OPTIC NERVE #7 (Drawn & Quarterly, $2.95)
* SONOVAWITCH & OTHER TALES OF SUPERNATURAL LAW (Exhibit A Press, $14.95)
* SUPERMAN: TALES OF THE BIZARRO WORLD (DC Comics, $14.95)
* THE WAITING PLACE (Volume 2) #5 (Amaze Ink/Slave Labor Graphics, $2.95)
* WHEN PENGUINS ATTACK! (St. Martin's Griffin (Book Section), $13.95)
* XENO'S ARROW #10 (Cup o' Tea Studios, $2.50)
4 were ok (17%)
* DORK TOWER #10 (Dork Storm Press, $2.95)
* HOUSE OF JAVA #2 (NBM, $2.95)
* PABLO'S INFERNO #4 (Abismo, $2.95)
* SIMPSONS COMICS #50 (Bongo Comics, $5.95)
4 were disappointing (17%)
* AQUARIUM #5 (CPM Manga, $2.95)
* DOUBLE HAPPINESS (Shigabooks, $4.95)
* GO GIRL! (Image Comics, $2.95)
* MERIDIAN #3 (CrossGen Comics, $2.95)
So, this month my success ratio for good or ok books is about the same (62%;
last month was 60%).
Johanna Draper Carlson joh...@comicsworthreading.com
Reviews of Comics Worth Reading -- http://www.comicsworthreading.com
Staff Writer, Comic Book Galaxy -- http://www.comicbookgalaxy.com
Traik
>MAD MAGAZINE #400 (DC Comics, $2.99)
>MAD reaches the big 4-0-0, and there's no big celebration?!? Man, Alfred
>gets no respect
Well, for what it's worth, there was a big book of MAD magazine
covers in last month's Previews which looked pretty cool, and
I think the Warner Brothers Studio Stores are doing one of those
special limited edition, way-too-expensive-for-average-guys-like-me
lithographs that they sometimes do. So it's not like there's
*nothing* going on for MAD's 400th. And at least Alfred's
running for President this time like always...
Nenad Vidovic
Johanna Draper Carlson wrote:
> Jim Valentino's open letter to Retailers (and other readers of PREVIEWS) is
> refreshingly straight-forward, setting out how their section is subdivided
> and organized, and what they're doing about scheduling issues. They've also
> implemented a relist page, which takes several books with something in
> common and makes them all available again. (Last month it was Gorilla, this
> month it's Bendis.) What great ideas!
I haven't noticed much difference in their section from previous months.
And the
letter confused more than it explained.
Actually I have yet to buy an Image comics so my opinion is not really
worth much
is it.
> PREVIEWS must not care what kind of ad you run so long as you give them
> money, because lately, it seems like not a month goes by without
> full-fledged nudity somewhere in the catalog. This month, it's NBM with a
> topless woman in their new series ad.
Oh it is barely visible, mind you. And those do look more natural then
half
the covered in other ads. Nothing wrong with nudity I say.
> THE COMIC READER is offering issue 5, although they already solicited it
> last month. Did Diamond screw up again (in the same way they solicited
> COMICOLOGY #1 twice), or is TCR adjusting their schedule, since #1 has yet
> to appear?
Was wondering if I missed this, but it turns out no. Hope they don't
leave
yesteryear news when it comes out though (if it comes out at all that
is).
> Anticipation vs. Reality
>
> In June, I ordered 22 items. Plus, 2 late items from earlier orders arrived.
> Of those,
>
> 5 haven't been released yet (21%)
> * COMIC BOOK HEAVEN (Volume 2) #3 (Amaze Ink/Slave Labor Graphics, $1.95)
> * THE COMICS JOURNAL #226 (Fantagraphics Books, $5.95)
> * ELECTRIC GIRL #6 (Mighty Gremlin, $2.95)
> * SIDEKICKS #3 (Fanboy Comics, $2.75)
> * SPELLBOUND: THE MAGIC OF LOVE #1 (Fanboy Comics, $2.95)
> * (Still late from last month are AKIKO #40 (Sirius Entertainment,
> $2.95), FINDER #18 (Lightspeed Press, $2.95), and SIDEKICKS #2 (Fanboy
> Comics, $2.75).)
> * (Still late from April is PETRA ETCETERA #2 (Gratuitous Bunny Comix,
> $2.95).)
>
> 11 were as good as or better than I expected them to be (45%)
> * AGE OF BRONZE #8 (Image Comics, $3.50)
> * BOX OFFICE POISON #20 (Antarctic Press, $2.99)
this is going to be reprinted in TP form, right?
> * BREAKFAST AFTER NOON #2 (Oni Press, $2.95)
> * CYNICAL GIRL #1 (Mortco, $2.95)
never had a chance to see this
> * EXPO 2000 ANTHOLOGY (Comic Book Legal Defense Fund, $6.95)
yes this was excellent
> * OPTIC NERVE #7 (Drawn & Quarterly, $2.95)
this was a big disappointment. Tomine should really stop using ruler
when drawing
and his stories are beging to look all the same. He is really just an
average artist
getting too much attention. The first few issues looked promising. And
also he is
very slow - 'Optic Nerve' is now published yearly!
> * SONOVAWITCH & OTHER TALES OF SUPERNATURAL LAW (Exhibit A Press, $14.95)
> * SUPERMAN: TALES OF THE BIZARRO WORLD (DC Comics, $14.95)
> * THE WAITING PLACE (Volume 2) #5 (Amaze Ink/Slave Labor Graphics, $2.95)
is this going to be collected?
> * WHEN PENGUINS ATTACK! (St. Martin's Griffin (Book Section), $13.95)
???????
> * XENO'S ARROW #10 (Cup o' Tea Studios, $2.50)
>
> 4 were ok (17%)
> * DORK TOWER #10 (Dork Storm Press, $2.95)
> * HOUSE OF JAVA #2 (NBM, $2.95)
ok but not nearly as good as the original graphic novel (recommended)
> * PABLO'S INFERNO #4 (Abismo, $2.95)
what is this?
> * SIMPSONS COMICS #50 (Bongo Comics, $5.95)
>
> 4 were disappointing (17%)
> * AQUARIUM #5 (CPM Manga, $2.95)
> * DOUBLE HAPPINESS (Shigabooks, $4.95)
> * GO GIRL! (Image Comics, $2.95)
> * MERIDIAN #3 (CrossGen Comics, $2.95)
There is everything here - indy titles, mainstream, manga, trash and
comics about
nothing at all - really strange taste.
Lea Hernandez
>Actually I have yet to buy an Image comics so my opinion is not really
>worth much
>is it.
So pick up a few Image Central titles like RUMBLE GIRLS, POWERS, A DISTANT SOIL
(ADS is available in trades), and make it worth something.
>Oh it is barely visible, mind you. And those do look more natural then
>half
>the covered in other ads. Nothing wrong with nudity I say.
Me, either. PREVIEWS, on the other hands, actually has an editorial policy
agfainst it. No bare breasts, and no bare buttcheeks (ie.
th-th-th-thuh-thuh-THONGS!) in full or 3/4 view.
Lea Hernandez
Woman of Image
www.DivaLea.com
April 2K: RUMBLE GIRLS: Silky Warrior Tansie
Lea Hernandez
>is Warren Ellis doing in a book he has nothing to do with?" Why, plugging
>himself, of course! In the brave new millennium, to stay noticed, you have
>to promote yourself; the work is secondary to the creator's reputation.
Bendis wrote Warren in, THEN had him look over it. The appearance originated
with Bendis, not Ellis.
Promoting to get noticed was actually fairly important in the last millenium,
too.
James Schee
>ELECTRIC GIRL VOLUME 1 Trade Paperback (Mighty Gremlin, $9.95)
>
I'm beginning to soften my position on this trade a little. I do enjoy the
series but I still don't care much for the idea of adding new material to a
trade. Five stories for $10 is such a good deal though and would look neat on
my bookshelf. (grr)
>AXIS MUNDI (Slab O' Concrete, $11.95)
>Wow, I never thought I'd see this again. When it first came out as a
>miniseries from Slave Labor years ago, I enjoyed the edgy humor in this
>story of a teenage hacker with no patience for jerks. I'm very glad to see
>it back as a collected edition; hopefully, that means a complete story.
I've never heard of this before, from your description here (better then the
Previews blurb) it sounds interesting.
>
>BELOW CRITICAL RADAR (Slab O' Concrete, $17.95)
>I'd be more excited about this collection of writings about alternative
>comics and fanzines -- because I like good writing about comics, and one of
>the contributors is Roger Sabin, writer of the great coffee table book
>COMICS, COMIX, AND GRAPHIC NOVELS -- if it weren't 96 pages for $18. I'm
guessing it's due to the heavy use of full-color illustrations, which,
>admittedly, is the best way to read about comics, but still.
Hmm one of my local book chain stores has a couple of copies of that COMICS,
COMIX... book and I've been thinking about asking if it was good enough to pick
up.
I do agree with you BTW that 96 pages for $18 does seem a bit much.
>SUPERMAN & BATMAN: WORLD'S FUNNEST (DC Comics, $6.95)
>Evan Dorkin writes, and a star-studded plethora of artists (including Alex
>Ross, Frank Miller, Jaime Hernandez, Phil Jimenez, Stuart Immonen, and Ty
>Templeton) illustrate this 64-page romp through the DCU. (Elseworlds and Mr.
>Mxyzptlk are just excuses to let loose without bothering the continuity
>mavens.)
I hope that turns out to be the case as otherwise it might be a bit too much
like the recent Superman/Bugs Bunny mini.
>QUICKEN FORBIDDEN #9 (Cryptic Press, $2.95)
>Several years ago, it seemed that there was a mini-trend in fantasy comics
>with spunky girl heroes; this is one of those that survived. A new
>storyline, in which our heroine Jax goes out looking for a fantasy author,
>begins here, so it should be a good starting point,
It has been quite sometime since the last issue of this right? Someone sent me
some issues well over a year ago of it, I can't remember if I liked them or
not.
>FINDER #20 (Lightspeed Press, $2.95)
>This storyline is about "hunger and magic" -- which accurately describes the
>way both reading, and specifically this series, can grip you.
>
Wasn't that a great Previews Blurb?
>WONDER WOMAN #164 (DC Comics, $2.25)
I'm just a little leery of
>the plans to "feature other special DC guest stars." Why can't someone just
>write Wonder Woman without dragging the entire DCU in?
I guess this is to get fans of those characters to hopefully give this series a
look. (remember some folks still look at Wonder Woman as an icky girl hero:) )
>KABUKI AGENTS: SCARAB #5 (Image Comics, $2.95)
>Wasn't this series over? The last issue was solicited almost a year ago! Or
>did they convert it into an ongoing to make up for KABUKI proper's last
>issue coming out in July, with no new issues offered?
I was wondering about that myself as well. I know they resolicited the other
issues of this in last month's Previews so I thought it had finished. I kind of
liked the first couple of issues but never saw #3.
>I had hoped that the Silver Age AQUAMAN AND AQUALAD ACTION FIGURE SET would
come with Topo or the walrus. At least we get one of the seahorses.
>
Those are two of the oddest looking figures I've seen in a while, especially
the posing of Aqualad.
>
>POWERS is plugging Warren Ellis as a guest star.
Yeah that is rather odd, I can see a cameo or something like that but a guest
appearance is quite weird sounding. (think Bendis will try to copyright Warren
now?:) )
> No wonder everyone's looking forward to the ULTIMATE line; it's
>the only thing the company has with a new concept.
Or just new period, I'm looking forward to it because I know I'll need to read
only the one title to follow a book.
>Anticipation vs. Reality
>
>In June, I ordered 22 items. Plus, 2 late items from earlier orders arrived.
>Of those,
>
>* WHEN PENGUINS ATTACK! (St. Martin's Griffin (Book Section), $13.95)
What was this?
There didn't seem to be a plethora of totally new projects this month did it?
James
BradW8
>What was this?
IIRC this is this year's compilation of Tom Tomorrow's THIS MODERN WORLD (i.e.,
The Smartmouth Penguin in Your Local Freebie)
Lisa Webster
"Johanna Draper Carlson" <joh...@comicsworthreading.com> wrote
> KABUKI AGENTS: SCARAB #5 (Image Comics, $2.95)
> Wasn't this series over? The last issue was solicited almost a year ago!
> Or did they convert it into an ongoing to make up for KABUKI proper's
> last issue coming out in July, with no new issues offered?
I like the *sound* of the snarkiness, but not what you say :) In truth I
think the last Scarab issue did come out this year since I know that I
reviewed it for the June Sequential Tart. (Looking through Diamond's
archives it shipped 5/10)
Also, the Kabuki Metamorphosis storlyine is _over_, so of course there are
no new issues offered. And, there won't be for quite some time. Everybody
should know that Mack has been occupied with painting the upcoming Daredevil
story, working on Scarab with Rick Mays, and working on the film. :)
FYI: the cover to Scarab #4 was recently linked to from the message boards
at NohTV-- www.nohtv.com or www.wfcomics.com Very pretty.
Lisa
--
Read Artesia! Visit Artesia Resources:
www.angelfire.com/ar2/artesia
Dwayne McDuffie
>STATIC SHOCK! #1 (DC/Milestone, $2.50)
>My second favorite Milestone character (Rocket's the first, of course)
>returns in a 4-issue miniseries released to tie into the new WB! cartoon.
>I'm trusting writer Dwayne McDuffie not to get too far away from the
>original, wise-cracking appeal of the hero, even though the description
>(Virgil gave up heroing but has to return to save the universe from
>destruction by a villain that's already beaten Hardware and the Blood
>Syndicate) sounds a bit too grim'n'gritty, not to mention overly familiar
>to
>superhero fans.
"Grim and gritty?" Virgil? Not a chance, a little pouty, maybe. And while it
may sound familiar, I'm 99% sure that you've _never_ seen a villain trying to
do what ours is doing.
As far as the "save the universe from destruction" part goes, I quote Virgil
himself who says, "I speak metaphorically."
Hope you enjoy the comic...
Dwayne McDuffie, Milestone Media, Inc.
<A HREF="http://hometown.aol.com/dwaynem595/site/DwayneHomeNew.html">Click here
for more about Milestone, comics and me</A>
http://www.dwaynemcduffie.com
http://www.egroups.com/group/MilestoneComics
Paul 'Duggy' Duggan.
> EXPO 2000 ANTHOLOGY (Comic Book Legal Defense Fund, $6.95)
> This overstuffed collection is offered again, so here's my reprinted blurb:
> Considering the price of many comics, $7 for 352 pages is a terrific bargain
> -- plus, it benefits a great charity, the Comic Book Legal Defense Fund, and
> it contains contributions from some of the most talented and acclaimed
> cartoonists working today, like Chris Ware, Adrian Tomine, Craig Thompson,
> and Brian Ralph.
Some it was fantastic... some of it I just didn't get.
> COLLECTED BEOWULF (Thecomic.com, $15.95/$30)
> Anglo-Saxon literature fans, here's a comic for you (which I guess proves
> that there really is a comic for everyone) -- Gareth Hinds has retold the
> story of the early epic poem in fully painted form. And if you're going to
> read and reread this (for instance, if you're an English teacher), there's a
> hardbound version, too.
Doing Anglo-Saxon at the moment... might pick this up...
> AGE OF BRONZE #9 (Image Comics, $3.50)
> The problem with working with seers is that you know the end before you've
> even started your next big project... which in this case is the Trojan War.
> The acclaimed series featuring gorgeous work by Eric Shanower continues.
Yay.
> DC's newest Fifth Week event features more wallowing in history, as
> previously-unseen "Turning Points" between Batman and Commissioner Gordon
> are revealed. While the art teams feature some interesting choices -- it's
> great to see Steve Lieber doing another Batman story, and I like to watch
> the fanboys complain about Paul Pope -- overall, I'm just not that
> interested. I'd rather see forward movement instead of more strip-mining of
> the past.
Or, importantly if you're going to flash back do it for a reason, not for
an event.
> PREVIEWS must not care what kind of ad you run so long as you give them
> money, because lately, it seems like not a month goes by without
> full-fledged nudity somewhere in the catalog. This month, it's NBM with a
> topless woman in their new series ad.
So, what was the point of the Adult-Content Previews then? Oh well...
> TwoMorrows is publishing the ALL-STAR COMPANION TPB. TwoMorrows also
> publishes COMICOLOGY, whose very similar (except it was 80 pages larger for
> $2 less) KINGDOM COME COMPANION was served with a cease-and-desist order for
> DC. Does TwoMorrows think that DC is less legally leery now? Or do they just
> assume that Roy Thomas can get away with it?
Maybe, since All-Star covers a lot more area, they think they can get away
with it %-wise...
> THE COMIC READER is offering issue 5, although they already solicited it
> last month. Did Diamond screw up again (in the same way they solicited
> COMICOLOGY #1 twice), or is TCR adjusting their schedule, since #1 has yet
> to appear?
Don't they normally mention resolits? Or is that company dependent?
> The BETTY & VERONICA FASHION DOLLS have such creepy big eyes that they look
> like they're possessed. And since when is Betty the cheerleader while
> Veronica plays soccer?
In Bizarro-Riverdale?
> Anticipation vs. Reality
> In June, I ordered 22 items. Plus, 2 late items from earlier orders arrived.
> Of those,
---
- Dug.
---
Se treowth is ut ther
---
Todd Kogutt: Scavenger
Draper Carlson <joh...@comicsworthreading.com> wrote:
>
> The BETTY & VERONICA FASHION DOLLS have such creepy big eyes that they look
> like they're possessed. And since when is Betty the cheerleader while
> Veronica plays soccer?
>
yeah..neat idea in concept, but they're freaky lookin'
---SCAVENGER
Paul 'Duggy' Duggan.
> > The BETTY & VERONICA FASHION DOLLS have such creepy big eyes that they look
> > like they're possessed. And since when is Betty the cheerleader while
> > Veronica plays soccer?
> yeah..neat idea in concept, but they're freaky lookin'
Sounds like my friends...
Paul 'Duggy' Duggan.
> Actually I have yet to buy an Image comics so my opinion is not really
> worth much is it.
You refuse to
a: comics in that identifibly Image "style", or
b: buy comics by Image
if (a) I couldn't agree more... if (b) you are missing some good
non-image-style stuff.
> Oh it is barely visible, mind you. And those do look more natural then
> half
> the covered in other ads. Nothing wrong with nudity I say.
Ah... so they should scrap the Adult Previews and put everything in the
normal?
> > * EXPO 2000 ANTHOLOGY (Comic Book Legal Defense Fund, $6.95)
> yes this was excellent
'twas.
> > * HOUSE OF JAVA #2 (NBM, $2.95)
> ok but not nearly as good as the original graphic novel (recommended)
Don't say that... I've tried not to think about buying the original
graphic novel...
> There is everything here - indy titles, mainstream, manga, trash and
> comics about
> nothing at all - really strange taste.
I think a wide range of tastes in always a good thing...
Carl Henderson
>>From: Johanna Draper Carlson
>>QUICKEN FORBIDDEN #9 (Cryptic Press, $2.95)
>>Several years ago, it seemed that there was a mini-trend in fantasy comics
>>with spunky girl heroes; this is one of those that survived. A new
>>storyline, in which our heroine Jax goes out looking for a fantasy author,
>>begins here, so it should be a good starting point,
>It has been quite sometime since the last issue of this right? Someone sent me
>some issues well over a year ago of it, I can't remember if I liked them or
>not.
Were issues 5-8 even solicited via Diamond? I loved issues 1-4, but I never
saw 5-8. Guess I've got some back issue searching out to do.
>>POWERS is plugging Warren Ellis as a guest star.
>
>Yeah that is rather odd, I can see a cameo or something like that but a guest
>appearance is quite weird sounding. (think Bendis will try to copyright Warren
>now?:) )
I think Warren Ellis is now creator-owned.
-----------------------------------------------------------------------------
Carl Henderson rec.arts.comics/rec.arts.comics.misc FAQ
carl.he...@airmail.net http://www.enteract.com/~katew/faqs/miscfaq.htm
-----------------------------------------------------------------------------
| The RFD for the removal of rec.arts.comics.other-media has been |
| posted to news.groups. If you don't participate in the discussion, |
| please watch for the CFV and vote. Vote to keep it, vote to remove |
| it, vote to abstain, but please express interest in this vote. A |
| copy of the RFD is at: http://www.enteract.com/~katew/racom.txt |
| (sig stolen from Mike Chary and Kate Hahn) |
Johanna Draper Carlson
>> The last issue was solicited almost a year ago!
>> Or did they convert it into an ongoing to make up for KABUKI proper's
>> last issue coming out in July, with no new issues offered?
>
> I like the *sound* of the snarkiness, but not what you say :) In truth I
> think the last Scarab issue did come out this year since I know that I
> reviewed it for the June Sequential Tart. (Looking through Diamond's
> archives it shipped 5/10)
My records show that Kabuki: Scarab 4 was solicited in October of 1999, 11
months ago. (Notice that we're talking about two different dates -- you're
talking about release, I'm talking about originally offered.)
> Also, the Kabuki Metamorphosis storlyine is _over_, so of course there are
> no new issues offered.
Generally, continuing series don't just disappear when a storyline is over.
Unless you're suggesting that the series is finished as well?
> And, there won't be for quite some time. Everybody
> should know that Mack has been occupied with painting the upcoming Daredevil
> story, working on Scarab with Rick Mays, and working on the film. :)
That's nice, but I would prefer for him to work on his series before all
these side projects. I read his work for his art, so Scarab just doesn't
fulfill that need.
Johanna Draper Carlson
> On Sat, 2 Sep 2000, Johanna Draper Carlson wrote:
>
>> EXPO 2000 ANTHOLOGY (Comic Book Legal Defense Fund, $6.95)
>
Yeah, but it was such a great deal that that didn't matter (I thought).
Unlike, say, a $5 anthology with 5 stories. If you don't like 3 of those,
then you're out of luck.
>> DC's newest Fifth Week event features more wallowing in history, as
>> previously-unseen "Turning Points" between Batman and Commissioner Gordon
>> are revealed.
>
> Or, importantly if you're going to flash back do it for a reason, not for
> an event.
Exactly.
>> THE COMIC READER is offering issue 5, although they already solicited it
>> last month. Did Diamond screw up again (in the same way they solicited
>> COMICOLOGY #1 twice), or is TCR adjusting their schedule, since #1 has yet
>> to appear?
>
> Don't they normally mention resolits?
I don't think this was labeled as one. My guess is that Diamond just screwed
up.
Johanna Draper Carlson
> Johanna Draper Carlson wrote:
>> Jim Valentino's open letter to Retailers (and other readers of PREVIEWS) is
>> refreshingly straight-forward, setting out how their section is subdivided
>> and organized, and what they're doing about scheduling issues.
> I haven't noticed much difference in their section from previous months.
You didn't notice the three section dividers and the alphabetical order? I
found it helpful, because I could more easily find what I was looking for,
and I could figure out whether a particular title wasn't solicited this
month instead of wondering if I just missed it somewhere.
> Actually I have yet to buy an Image comics
They're publishing some really great ones, like Age of Bronze, Red Star, and
Kabuki (whenever it bothers to come out). They also took chances on unusual
books like Amanda & Gunn, Bohos, Duncan's Kingdom, Go Girl!, Wahoo Morris,
and Ragmop.
> Nothing wrong with nudity I say.
Oh, me neither. The problem with Previews running it is that it violates
their policies, and me finding it when they didn't shows that the customer
is paying more attention to the catalog than they are, which is shoddy.
>> * SPELLBOUND: THE MAGIC OF LOVE #1 (Fanboy Comics, $2.95)
(I've since been told that this may be cancelled, but I'm waiting to hear
official notice.)
>> * BOX OFFICE POISON #20 (Antarctic Press, $2.99)
> this is going to be reprinted in TP form, right?
Top Shelf has announced that they'll be publishing an omnibus edition around
April of next year, collecting ALL the issues.
>> * CYNICAL GIRL #1 (Mortco, $2.95)
> never had a chance to see this
It's worth seeking out, imo.
>> * OPTIC NERVE #7 (Drawn & Quarterly, $2.95)
> this was a big disappointment.
I disagree. I think the art is outstanding, and the stories continue getting
deeper.
> also he is very slow - 'Optic Nerve' is now published yearly!
True... but as long as it comes out when solicited, I don't have a problem
with him setting a schedule he can keep. Better than continually making
promises he skips out on, isn't it?
>> * THE WAITING PLACE (Volume 2) #5 (Amaze Ink/Slave Labor Graphics, $2.95)
> is this going to be collected?
No idea. I'd love to see a trade of the first miniseries, because I thought
it was better than the current series.
>> * WHEN PENGUINS ATTACK! (St. Martin's Griffin (Book Section), $13.95)
> ???????
A collection of political strips by Tom Tomorrow. Very enjoyable. Plus, it's
got a lenticular cover.
>> * HOUSE OF JAVA #2 (NBM, $2.95)
> ok but not nearly as good as the original graphic novel (recommended)
I agree.
>> * PABLO'S INFERNO #4 (Abismo, $2.95)
> what is this?
A 5-issue miniseries about a little boy who goes to hell and meets up with
Aztec mythological figures. It's intriguing, although its direction has
changed since the first issue. (There's more information on my web page.)
> There is everything here - indy titles, mainstream, manga, trash and
> comics about nothing at all - really strange taste.
I like to call it "eclectic."
(Trash? What's trash?)
Johanna Draper Carlson joh...@comicsworthreading.com
Reviews of Comics Worth Reading -- http://www.comicsworthreading.com
Comicology Contributing Editor and Writer of Ask Answer Lass!
Johanna Draper Carlson
>> From: Johanna Draper Carlson
>
>> ELECTRIC GIRL VOLUME 1 Trade Paperback (Mighty Gremlin, $9.95)
> I'm beginning to soften my position on this trade a little. I do enjoy the
> series but I still don't care much for the idea of adding new material to a
> trade.
I don't either, but I figure I'll take it up with the author at SPX. :)
>> AXIS MUNDI (Slab O' Concrete, $11.95)
> I've never heard of this before, from your description here (better then the
> Previews blurb) it sounds interesting.
I thought it was, very much so.
It was somewhat ahead of its time then; I wonder how it reads now, with the
internet so much more prevelant.
> I do agree with you BTW that 96 pages for $18 does seem a bit much.
Apparently, Slab-O-Concrete is inflating their converted prices, which is
somewhat scummy. The prices are more reasonable in the UK, I've been told.
>> SUPERMAN & BATMAN: WORLD'S FUNNEST (DC Comics, $6.95)
>> Evan Dorkin writes, and a star-studded plethora of artists (including Alex
>> Ross, Frank Miller, Jaime Hernandez, Phil Jimenez, Stuart Immonen, and Ty
>> Templeton) illustrate this 64-page romp through the DCU. (Elseworlds and Mr.
>> Mxyzptlk are just excuses to let loose without bothering the continuity
>> mavens.)
>
> I hope that turns out to be the case as otherwise it might be a bit too much
> like the recent Superman/Bugs Bunny mini.
Oh, no, I don't think so. This promises to be great fun.
>> QUICKEN FORBIDDEN #9 (Cryptic Press, $2.95)
> It has been quite sometime since the last issue of this right?
Yes. Last thing I remember seeing was the TPB, which collects 1-5.
>> WONDER WOMAN #164 (DC Comics, $2.25)
>> I'm just a little leery of
>> the plans to "feature other special DC guest stars." Why can't someone just
>> write Wonder Woman without dragging the entire DCU in?
>
> I guess this is to get fans of those characters to hopefully give this series
> a look.
It's a form of sexism, though, because no one assumes the male heroes need
constant guest star help.
> There didn't seem to be a plethora of totally new projects this month did it?
No, there didn't. I guess everyone is recovering from the summer and putting
out the big ticket items for the holidays.
Johanna Draper Carlson
> Johanna wrote:
>
>> STATIC SHOCK! #1 (DC/Milestone, $2.50)
>> original, wise-cracking appeal of the hero, even though the description
>> (Virgil gave up heroing but has to return to save the universe from
>> destruction by a villain that's already beaten Hardware and the Blood
>> Syndicate) sounds a bit too grim'n'gritty, not to mention overly familiar
>> to superhero fans.
>
> "Grim and gritty?" Virgil? Not a chance, a little pouty, maybe.
Well, I said I was trusting you to make it all right.
The blurb just sounded somewhat generic to me. It's something of a moot
point, though, because I knew I was buying it no matter what it said.
Todd VerBeek
>>>QUICKEN FORBIDDEN #9 (Cryptic Press, $2.95)
>>>Several years ago, it seemed that there was a mini-trend in fantasy comics
>>>with spunky girl heroes; this is one of those that survived. A new
>>>storyline, in which our heroine Jax goes out looking for a fantasy author,
>>>begins here, so it should be a good starting point,
>jame...@aol.comNOSPAM (James Schee) wrote:
>>It has been quite sometime since the last issue of this right? Someone sent me
>>some issues well over a year ago of it, I can't remember if I liked them or
>>not.
Our friend Carl Henderson said:
>Were issues 5-8 even solicited via Diamond? I loved issues 1-4, but I never
>saw 5-8. Guess I've got some back issue searching out to do.
Yes, they came out over the course of 1999. This is the first issue since
last Fall.
>>>POWERS is plugging Warren Ellis as a guest star.
>>Yeah that is rather odd, I can see a cameo or something like that but a guest
>>appearance is quite weird sounding. (think Bendis will try to copyright Warren
>>now?:) )
>I think Warren Ellis is now creator-owned.
In that case, I hope he's on good terms with his parents. {smile}
Cheers, Todd
--
I'm an optimist: the glass is empty, but maybe =someday= it'll be half full.
Johanna Draper Carlson
> Johanna wrote:
>
>> is Warren Ellis doing in a book he has nothing to do with?" Why, plugging
>> himself, of course! In the brave new millennium, to stay noticed, you have
>> to promote yourself; the work is secondary to the creator's reputation.
Thanks for snipping the parenthetical that indicates that I'm making a
bigger point that takes off from this.
(That bigger point is: in earlier decades, the work was considered most
important, so much so that creators didn't get credited. Now, the creator is
considered much more important, so much so that their names are being used
to sell work in fashions confusing to the reader. [1] I'd like to see the
creators be recognized, and I certainly don't want them to lose any of the
gains they've fought for, but at the same time, the quality of the work
regardless of whose name is attached is also important. Being a "Waid
zombie" or "Ellis zombie" is just as damaging to comics as being a "Marvel
zombie" or "Batman zombie".)
[1] See: Kurt Busiek's problems with Awesome, the use of ghost writers, this
case, the "Counter X Revolution", etc.
Johanna Draper Carlson joh...@comicsworthreading.com
Reviews of Comics Worth Reading -- http://www.comicsworthreading.com
Comicology Contributing Editor and Writer of Ask Answer Lass!
John Northey
>> I do agree with you BTW that 96 pages for $18 does seem a bit much.
>
>Apparently, Slab-O-Concrete is inflating their converted prices, which is
>somewhat scummy. The prices are more reasonable in the UK, I've been told.
Welcome to the world us Canadians live in. DC has been charging over
50% exchange to Canadians for months now even though our dollar has
been in better shape (not by much but better) than that for months.
Some companies overcharge, some undercharge, some just don't bother
with putting a Canadian price on. For those without a Canadian price
my local store just does 50% as it is simple and close to what they
get hit with (45-52% depending on week...Diamond can overcharge on
exchange too from what I've heard).
Sigh. Why can't all countries just pick one currency and live with
it? (sadly I have an economics degree and know why but it still bugs
me)
John Northey.
Crazy Canadian and creator of the Fans of Teri Sue Wood site.
http://www.sentex.net/~jnorthey/TSW
Mikel Midnight
Draper Carlson <joh...@comicsworthreading.com> wrote:
> It's amazing what comic companies can unearth once a writer becomes a big
> name, whether it's Awesome's "plotting is too writing" YOUNGBLOOD GENESIS
> (it's credited to Kurt Busiek, based on an old plot of his, but he's not
> scripting it), or DC's resurrection of a Neil Gaiman ACTION COMICS WEEKLY
> Green Lantern story. In the latter case, 11 artists on a 48 page book sounds
> like an artistic mishmosh.
I had actually been looking forward to the release of the Green
Lantern/Superman story, but I was hoping they'd just give it to Dave
Gibbons to draw and release it in a trade paperback along with Gaimin's
assorted mainstream short stories (as a companion volume to the recent
Midnight Days collection). But you're right ... this sounds like a
mishmash and I will avoid it.
--
_______________________________________________________________________________
"She always had a terrific sense of humor" Mikel Midnight
(Valerie Solonas, as described by her mother)
blak...@best.com
______________________________________http://www.best.com/~blaklion/comics.html
Lisa Webster
"Johanna Draper Carlson" <joh...@comicsworthreading.com> wrote
> > Also, the Kabuki Metamorphosis storlyine is _over_, so of course there
> > are no new issues offered.
>
> Generally, continuing series don't just disappear when a storyline is
over.
> Unless you're suggesting that the series is finished as well?
You have read Kabuki in the past, haven't you? (This isn't supposed to sound
snotty :) Mack does storylines, then they end, and he breathes for a while
and does a new storyline. Hence Circle of Blood, Masks of the Noh, Skin
Deep, and now Metamorphosis. He doesn't just whip this stuff out of thin
air. Yes, he's got it all planned out for quite a ways, but it takes a lot
of energy to get there :)
> That's nice, but I would prefer for him to work on his series before all
> these side projects. I read his work for his art, so Scarab just doesn't
> fulfill that need.
He's taking a break between storylines. There won't be any new Kabuki
solicited for a while. Sorry. :/ Scarab's storyline does impact the main
Kabuki series... but I understand wanting Mack art instead of Mays.
Johanna Draper Carlson
> You have read Kabuki in the past, haven't you?
I've read everything Kabuki that I'm aware of, including the Dance of Death
story.
> Mack does storylines, then they end, and he breathes for a while
> and does a new storyline.
Previously, Mack did miniseries, labeled as such with subtitles. This was
meant to be a continuing story, I thought.
I think we're talking about slightly different things here. I'm talking
about the publishing structure -- if this is really a continuing series,
then there should be plans for it to continue, right?
> Scarab's storyline does impact the main
> Kabuki series... but I understand wanting Mack art instead of Mays.
I'm beginning not to see many differences between this behavior, and say,
that of Joe Mad. (Yes, it hasn't gotten that bad yet, but that's a
difference of degree, not kind.) I don't want to support that kind of
distraction.
It's something of a moot point, since all this means that I'll likely not
pick up Kabuki if it continues, waiting instead for the collected versions;
it's just too frustrating otherwise.
James Schee
>James Schee at jame...@aol.comNOSPAM wrote:
>>> From: Johanna Draper Carlson
>>
>>> ELECTRIC GIRL VOLUME 1 Trade Paperback (Mighty Gremlin, $9.95)
>> I'm beginning to soften my position on this trade a little. I do enjoy the
>> series but I still don't care much for the idea of adding new material to a
>> trade.
>
>I don't either, but I figure I'll take it up with the author at SPX. :)
>
Tell him James Schee didn't like it either but has finally decided that
boycotting it will only hurt himself since he likes the series. (and when he
asks who James Schee is tell him "You don't know who James Schee is??? GASP!"
:) )
>>> AXIS MUNDI (Slab O' Concrete, $11.95)
>> I've never heard of this before, from your description here (better then
>the
>> Previews blurb) it sounds interesting.
>
>I thought it was, very much so.
>
>It was somewhat ahead of its time then; I wonder how it reads now, with the
>internet so much more prevelant.
Does the art work inside look better then that cover? As that was one weird
looking cover.
>> I do agree with you BTW that 96 pages for $18 does seem a bit much.
>
>Apparently, Slab-O-Concrete is inflating their converted prices, which is
>somewhat scummy. The prices are more reasonable in the UK, I've been told.
Eww.. that may prevent some of these items from making it off my maybe sheet to
the order.
>> I hope that turns out to be the case as otherwise it might be a bit too
>much
>> like the recent Superman/Bugs Bunny mini.
>
>Oh, no, I don't think so. This promises to be great fun.
I hope so as I couldn't get thru the two issues of the S/BB mini and this will
cost even more.:)
>> I guess this is to get fans of those characters to hopefully give this
>series
>> a look.
>
>It's a form of sexism, though, because no one assumes the male heroes need
>constant guest star help.
Yeah, I'm just hoping that the stories read like Wonder Woman stories and not
Batman or whatever gueststar is used stories. Otherwise the whole point of the
gueststar appearance , getting the Batman readers to like Wonder Woman and
stick with the title after he leaves, will have done nothing.
Of course with someone like Phil on the title as you said there is the question
of why couldn't the title have found its own audience without the help.
James
Lea Hernandez
>trying to suggest that Ellis becoming a character in a book he's not working
>on isn't publicity for him?
No, not at all, but you said, "The ad asks "What ... is Warren Ellis doing in a
book he has nothing to do with?" Why, plugging himself, of course!" which
sounds as if you think Ellis masterminded the guest spot himself.
Johanna Draper Carlson
> you said, "The ad asks "What ... is Warren Ellis doing in a
> book he has nothing to do with?" Why, plugging himself, of course!" which
> sounds as if you think Ellis masterminded the guest spot himself.
I thought we already went over this a couple of messages ago: I made no
assumptions about who set it up, I was simply recognizing that the spot had
benefit for him, as you agreed.
If you think the question is misworded, I can agree with that, but that's a
hazard of ad-writing.
Lea Hernandez
>hazard of ad-writing.
I don't.
Alan Travis
> (This, being a discussion of the industry, is probably best suited for
> rac.misc, so I've crossposted there.)
>
> Alan Travis at alnt...@earthlink.net wrote:
> > I'm sure if Marvel had a corporate sugardaddy to front the cost of their
> > more experimental nature
>
> Everything I heard at DC when I worked there and since says that DC is
> expected to turn a profit, not coast on other business units. If you have
> facts otherwise, though, I'd love to know about them.
I don't think it's a secret that DC has shown the ability in the past to carry
lagging series (Vertigo? Animated line?) at lower or negligible profit margins
than Marvel because of their more secure financial standing within the Time-Warner
empire.
> (And since Marvel's currently more Toy Biz than publishing oriented, this
> isn't as much of a difference as you might like it to be. :) )
Oh, there's a huge difference between Marvel and their relationship with Toy Biz
and DC and their relationship with Time-Warner. We're talking about a minor toy
company and one of the largest media corporations in the world.
> > Still, did you forget comics like Spaceknights or Power Pack or Avataars of
> > the Shield or even Punisher (a la Hitman) when considering the breadth of
> > Marvel's product line?
>
> Aside from them all still being superheroes, I was very disappointed in the
> first two you mention.
Well, we can argue about whether Spaceknights is superhero or science-fiction. Is
it more or less like superheroes than Vertigo's Deadenders or Swamp Thing? Outside
of tone, I mean. As for you being disappointed, well, we weren't talking about the
subjective quality of the projects.
> Where's Marvel's fact-based adult line (Paradox)? How about non-superhero
> books for a mature audience (Vertigo)? How is Marvel getting away from a
> dependence on superheroes?
Well, you'll argue that they are just superheroes, but I think the Marvel Knights
line has at least been a line of books for a mature audience. When they can
experiment outside of the superhero market, they have done so in the past (Epic
line, Clive Barker horror titles, etc.). I don't think there is a single Vertigo
title that would be above Marvel's cancellation levels. Same with Paradox.
> More importantly, why does my noting that Marvel is dependent on superheroes
> get turned by fanboys into an "us vs. them" for publishers? I think that's
> subtly supporting my point. :)
More importantly, why do you feel the necessity to disminish other people's
arguments by extrapolating them to cover all fanboys? Also, Johanna, isn't this
awful early in the exchange for you to start crying out about the conspiracy of
fanboys against you?
I don't appreciate being included within your dismissive term, "fanboys."
BTW, how would that sublty prove your point?
> > And, Marvel has published books like World's Funnest fairly recently, a la
> > X-Babies?
>
> X-Babies had some of the best artists of the past few decades on it? I must
> have missed that.
Well, once again, you're moving the bar. World's Funnest is a franchise humor
title as is X-Babies. When did we start talking about the subjective opinion of
the quality of the talent involved?
We can talk about the kind of talent Marvel and DC employ, but I thought this was a
discussion about the type of projects they publish.
> >> Image has much more variety, with titles like Age of Bronze and Kabuki;
> >> there's really no such thing as an Image universe.
> >
> > True, but I see multiple Witchblade and Spawn spin-offs. No one is innocent
> > on this score.
>
> Other companies have more variety to balance the spin-offs, in my opinion.
It's true. I've already acknowledged that fact and have told you the reasons why.
> There's nothing wrong with giving customers more of what they want. The
> problem comes when there's nothing more creative going on as well.
I wouldn't characterize a company publishing series like Inhumans, Marvel Boy or
Sentry as having "nothing more creative going on as well".
I see you criticizing Marvel for not carrying titles that wouldn't sell well enough
for them to publish them. Who's fault is that?
> > They do have the pocketbook to be more experimental than Marvel, but that
> > doesn't change the fact that there is 21 Batman books, 12 Superman, and 4 JLA
> > solicited for November.
>
> Right, as I pointed out in the piece you're responding to, when I noted that
> DC was expecting their fans to have awfully deep pockets.
And DC had to have awfully deep pockets to take the risk that the fans would reach
into their pockets.
> >> Marvel seems to me to be the worst of the big four in terms of diversity.
> >
> > Blame the guy that bankrupted the company. I don't see the reason to blame
> > the people that are trying to dig out of the mess he left behind.
>
> No one's "blaming" anyone, Alan. I'm simply noting the facts.
Semantics. Here's some more: "Marvel seems to me to be the worst" or "Other
companies have more variety to balance the spin-offs, in my opinion." is not the
same as "noting the facts."
Alan
Johanna Draper Carlson
>
>> Everything I heard at DC when I worked there and since says that DC is
>> expected to turn a profit, not coast on other business units. If you have
>> facts otherwise, though, I'd love to know about them.
>
> I don't think it's a secret that DC has shown the ability in the past to carry
> lagging series (Vertigo? Animated line?) at lower or negligible profit
> margins than Marvel because of their more secure financial standing within
> the Time-Warner empire.
I know DC uses profits from one title and/or line to allow more
experimentation with others, but overall, they're still expected to show an
overall profit, as I understand it. I'm asking again: do you have *facts* to
show otherwise?
>> Where's Marvel's fact-based adult line (Paradox)? How about non-superhero
>> books for a mature audience (Vertigo)? How is Marvel getting away from a
>> dependence on superheroes?
>
> Well, you'll argue that they are just superheroes, but I think the Marvel
> Knights line has at least been a line of books for a mature audience.
I'm not going to argue that they're superheroes, because it's obvious to
everyone. :)
> I don't think there is a single Vertigo
> title that would be above Marvel's cancellation levels. Same with Paradox.
Given the deep stocking of the Paradox Big Books in bookstores, I'm not sure
about that. But then we get into sales outside the direct market and sales
over time instead of all at once.
> BTW, how would that sublty prove your point?
Discussing the industry doesn't have to be "us vs. them" ("Marvel vs. DC").
We could talk about the plusses and minuses of one company without having to
"keep score" against another.
That battle mentality just seems to fit well with superheroes, in which
every problem is solved with a fight.
>> X-Babies had some of the best artists of the past few decades on it? I must
>> have missed that.
>
> Well, once again, you're moving the bar.
No, I'm recognizing that it's very likely we'll agree on anything, so I'm
making jokes to keep the tone light. I thought that would be friendlier than
yet another "no it's not" "yes it is" discussion.
>> Other companies have more variety to balance the spin-offs, in my opinion.
>
> It's true.
Good, then, we agree.
Johanna Draper Carlson joh...@comicsworthreading.com
Reviews of Comics Worth Reading -- http://www.comicsworthreading.com
Newly updated: September Previews
Dwayne McDuffie
>The blurb just sounded somewhat generic to me.
As Static's old editor Matt Wayne is fond of saying, "That's the risk you take
when you work in a genre."
>It's something of a moot
>point, though, because I knew I was buying it no matter what it said.
Glad to hear it.
Alan Travis
> > I don't think it's a secret that DC has shown the ability in the past to carry
> > lagging series (Vertigo? Animated line?) at lower or negligible profit
> > margins than Marvel because of their more secure financial standing within
> > the Time-Warner empire.
>
> I know DC uses profits from one title and/or line to allow more
> experimentation with others, but overall, they're still expected to show an
> overall profit, as I understand it. I'm asking again: do you have *facts* to
> show otherwise?
Read the above paragraph. I'm not saying that they don't have to make a profit.
I'm saying that they are allowed to exist at lower levels than Marvel can afford.
Also, you said it yourself. DC allows profits on, say, Superman to allow books
like, say, Deadenders more time to find a sufficient audience.
> >> Where's Marvel's fact-based adult line (Paradox)? How about non-superhero
> >> books for a mature audience (Vertigo)? How is Marvel getting away from a
> >> dependence on superheroes?
> >
> > Well, you'll argue that they are just superheroes, but I think the Marvel
> > Knights line has at least been a line of books for a mature audience.
>
> I'm not going to argue that they're superheroes, because it's obvious to
> everyone. :)
I read your comments about keeping it light, but I still don't see the point in this
comment.
> > I don't think there is a single Vertigo
> > title that would be above Marvel's cancellation levels. Same with Paradox.
>
> Given the deep stocking of the Paradox Big Books in bookstores, I'm not sure
> about that. But then we get into sales outside the direct market and sales
> over time instead of all at once.
Deep stocking? Never been aware of that at the bookstores I frequent, which
includes indy and large chains. Of course, both of these comments are examples of
that bad old anecdotal evidence that neither of us seem to agree upon.
> > BTW, how would that sublty prove your point?
>
> Discussing the industry doesn't have to be "us vs. them" ("Marvel vs. DC").
> We could talk about the plusses and minuses of one company without having to
> "keep score" against another.
Sure, but when you single one company out for a negative tactic that is shared by
all the others, I wouldn't complain when people point out that it's a common
concern.
> That battle mentality just seems to fit well with superheroes, in which
> every problem is solved with a fight.
So now I'm just a simpleton that has to settle every dispute with a fight? Ya know,
for someone that complains about her treatment at the hands of fanboys as much as
you do, you don't seem to have any qualms about insulting other people.
> >> X-Babies had some of the best artists of the past few decades on it? I must
> >> have missed that.
> >
> > Well, once again, you're moving the bar.
>
> No, I'm recognizing that it's very likely we'll agree on anything, so I'm
> making jokes to keep the tone light. I thought that would be friendlier than
> yet another "no it's not" "yes it is" discussion.
Oh, that was a joke? I didn't see a smiley. Or do you only use those to provide
yourself an out for the snarky comments?
> >> Other companies have more variety to balance the spin-offs, in my opinion.
> >
> > It's true.
>
> Good, then, we agree.
Sure. That was never the point of the discussion, though. The point was that it
seems to me to be unfair to criticize Marvel for laying on with the spin-offs when
every company does its fair share.
You countered with the opinion that DC and Image have more in the way of variety
than Marvel so it's okay for them to have 21 Batman titles in a single month.
Marvel, on the other hand, earns a snarky comment for 3 Daredevil titles and a
follow-up sequel to Earth X.
I maintain that DC is in a different financial position than Marvel so they are
better able to experiment than Marvel. Back when Marvel was on top, we saw things
like Open Space (science-fiction), Fafhrd & Grey Mouser (sword & sorcery), Werewolf
By Night (mature title), the Epic line, Clive Barker horror titles, the Star line,
and many, many others.
I don't think anyone truly believes that Marvel wants to rely solely on
super-heroes, but, in a market where Mavel can't afford to publish the very series
you are happy to see DC put out, they are forced to do so. Still, I think
Spaceknights, Inhumans (under Jenkins and Lee), Marvel Boy, and Sentry point to a
company that will stretch their line when audiences are more inclined to reward them
for doing so.
BTW, Johanna, is it in keeping with good netiquette to snip large sections of my
posts without indicating that you have done so? Seems to me that you have a
irritating tendency to opt out of responding to various points for who knows what
reason. One might be led to believe that you simply ignore points you can't think
of a way to counter.
I believe that I make every effort to give each of your responses the respect it
deserves.
Alan
Johanna Draper Carlson
> I'm not saying that they don't have to make a profit.
Thanks for clearing that up.
>> I'm not going to argue that they're superheroes, because it's obvious to
>> everyone. :)
>
> I read your comments about keeping it light, but I still don't see the point
> in this comment.
Are you seriously saying that the Marvel Knights books aren't superhero
books?
> Sure, but when you single one company out for a negative tactic that is shared
> by all the others
To a much lesser degree, in some cases.
The Marvel section is the one where it struck me, so I mentioned it there. I
also think Marvel is the one who's worst about it.
(Their reasons might be good ones, as you point out; that doesn't change the
present situation.)
>> That battle mentality just seems to fit well with superheroes, in which
>> every problem is solved with a fight.
>
> So now I'm just a simpleton that has to settle every dispute with a fight?
No, Alan, I'm saying that the attitudes have similarities. Given our
history, I would hardly dare jump to a conclusion about what you personally
were thinking. No personal comment or insult was intended.
> Oh, that was a joke? I didn't see a smiley.
Says the guy who refuses to use them and has gotten in trouble with this in
the past. :) <--- Just for clarity.
> You countered with the opinion that DC and Image have more in the way of
> variety than Marvel so it's okay for them to have 21 Batman titles in a single
> month.
I also pointed out that I criticized DC for this overkill elsewhere in the
same post you were responding to.
> is it in keeping with good netiquette to snip large sections of my
> posts without indicating that you have done so?
Good netiquette is snipping any large section that you're not responding to,
so yes.
As I've said before, I don't feel a need for us to keep going back and forth
on "yes it is", "no it isn't." If I don't have something new to contribute
to the discussion at that point, I remove the relevant text. If you'd
particularly like to have my opinion on something, feel free to ask again.
> One might be led to believe that you simply ignore points you can't
> think of a way to counter.
If one tended to assume the worst about discussion partners, one might
assume that. Or one might assume that every point doesn't need a response
for a variety of other reasons, one of which I've given above.
Adrian Brown
div...@aol.comestible (Lea Hernandez) writes:
>>You misread; glad I could clear up the confusion.
>
>"POWERS is plugging Warren Ellis as a guest star. Not a guest writer, or even
>"plotmaster"; instead, he's appearing as a character. The ad asks "What ...
>is Warren Ellis doing in a book he has nothing to do with?" **Why, plugging
>himself, of course!** "
>
>Sorry I misread that.
me too.
a simple "oh did it really originate with bendis ? well of course Warren is
unlikely to turn down the chance to plug himself" ... but that would perhaps be
"difficult"
Still glad to see Bendis plugging himself by association with a big name ;-)
* * * * * * * * * * * * * * * * * *
charity comic requests contributions
http://members.aol.com/adeheathen/c2000page.htm
Adrian Brown
Carlson <joh...@comicsworthreading.com> writes:
>> I do agree with you BTW that 96 pages for $18 does seem a bit much.
>
>Apparently, Slab-O-Concrete is inflating their converted prices, which is
>somewhat scummy. The prices are more reasonable in the UK, I've been told.
>
This wouldn't have anything to do with cost of "importing" a low print run item
?
I just wonder because Slab-O -Concrete are considerably smaller than the major
label record companies who sell their wares for £6 above the average price when
they are not distributed here in the UK.
Not that it makes it right. Just in context.
Jailmute
>> * OPTIC NERVE #7 (Drawn & Quarterly, $2.95)
>this was a big disappointment. Tomine should really stop using ruler
>when drawing
>and his stories are beging to look all the same. He is really just an
>average artist
>getting too much attention.
He's a very good cartoonist getting better.
> The first few issues looked promising. And
>also he is
>very slow - 'Optic Nerve' is now published yearly!
You want him to drop out of school so that you can have issues of a
comic that you don't like more often?
Jailmute
declared:
>James Schee at jame...@aol.comNOSPAM wrote:
>>> From: Johanna Draper Carlson
>> I do agree with you BTW that 96 pages for $18 does seem a bit much.
>Apparently, Slab-O-Concrete is inflating their converted prices, which is
>somewhat scummy. The prices are more reasonable in the UK, I've been told.
I think it's scummy of all American publishers to inflate their
prices when converted to Australian dollars and factoring in the cost
of shipping books by air. Why don't they give them away for free in
other countries? It'd make *me* happy, even if it makes no economic
sense.
Nenad Vidovic
Justin Bacon wrote:
>
> In article <39B3B5B2...@yesic.com>, Nenad Vidovic <ne...@yesic.com>
> writes:
>
> >- drawing or coloring was done on a computer
>
> This is bizarre. What do you have against high-quality coloring?
Nothing much...And in fact I have one computer colored comic:
'Mercenary: Giants'...I am just allways afraid that it's purpose it to
cover up bad pencils and make it all flashy. With artist such as
Segrelles I have no problem at all as he has proven himself to be an
excellent artist (though not so good storyteller), but with newcomers
(or at least someone I am not familiar with) it becomes an issue. But
with 'Red Star' my main problem is that it is on-going series (will it
ever end?) and I am always worried that I will have to keep on buying it
(even if I stop liking it or they change the artists, story etc...)?
Plus I am never sure if it will actually finish (I mean it could finish
because there are not enough buyers). And the TPB might be published
which might mean less money spent.
nenad
>
> Justin Bacon
> tria...@aol.com
Nenad Vidovic
Jailmute wrote:
> >> * OPTIC NERVE #7 (Drawn & Quarterly, $2.95)
> >this was a big disappointment. Tomine should really stop using ruler
> >when drawing
> >and his stories are beging to look all the same. He is really just an
> >average artist
> >getting too much attention.
>
> He's a very good cartoonist getting better.
That is your opinion.
>
> > The first few issues looked promising. And
> >also he is
> >very slow - 'Optic Nerve' is now published yearly!
>
> You want him to drop out of school so that you can have issues of a
> comic that you don't like more often?
That was just an observation.
Ojerasmus
>> I do agree with you BTW that 96 pages for $18 does seem a bit much.
>
>Apparently, Slab-O-Concrete is inflating their converted prices, which is
>somewhat scummy.
Not really, The latest Journal has complaints from an Australian publisher
about their problems receiving Diamond payments in dollars, I'd expect they
apply just the same to UK publishers. UK banks charge an arm and a leg for
adminstrating payments in dollars and I would expect that Slab O'Concrete is
also responsible for paying for the books to be shipped to the states before
Diamond becomes involved.
I'm reasonably sure quite a lot of the foreign material in Previews are
probably cheaper in the country of production but Slab O'Concrete happens to
have gotten itself a place in with the American publishers rather than in the
Foreign Imports ghetto but they are foreign imports all the same. It's not
exactly nice for the consumer but I very much doubt if they are seeing all of
the price inflation as extra profit.
Owen Erasmus
Paul 'Duggy' Duggan.
> > RISING STARS
> ?????
The JMS series that is often compared to The Watchmen...
---
- Dug.
---
Se treowth is ut ther
---
Alan Travis
> On Mon, 4 Sep 2000, Nenad Vidovic wrote:
>
> > > RISING STARS
> > ?????
>
> The JMS series that is often compared to The Watchmen...
I've heard people make that comparison. Are they being facetious?
Alan
Matthew High
>
>Great to hear! I guess my source was incorrect, then. Thanks!
Then again, I could be wrong, too....
(how's that for a confidence booster?)
- Matthew
----------
"Matt! Come into the light" "No! I like the darkness!"
Distributor/Retailer Liaison Radio Comix http://www.radiocomix.com
Promotion/Sales Cold Cut Distribution http://www.coldcut.com
John McMahon
>
> On Mon, 4 Sep 2000, Nenad Vidovic wrote:
>
> > > RISING STARS
> > ?????
>
> The JMS series that is often compared to The Watchmen...
...by the guy who writes it. And Wizard, probably.
J.
Johanna Draper Carlson
>
>> The JMS series that is often compared to The Watchmen...
>
> I've heard people make that comparison. Are they being facetious?
I think it's a statement more of the goal (or wishful thinking, depending on
how positive you want to be) than the reality.
Johanna Draper Carlson
> Then again, I could be wrong, too....
Well, that's the thing about "news" of this sort ... just wait a while, and
our questions will be answered. Either it will come out (yay!) or it won't.
terri...@my-deja.com
Nenad Vidovic <ne...@yesic.com> wrote:
always more
>> RED STAR
> >although I've read a couple of good reviews I have stayed off
this
> >title. Two reasons:
> >- on-going (as soon as hear that I assume it is never-ending)
> >- drawing or coloring was done on a computer
Well, I can tell you that I got to know the crew that's doing RED
STAR pretty well out this summer and from their mouths was that it
is an ongoing series. I've also seen the pencils (before coloring)
and I have to say it is a quality book all around(in my opinion) for
what it matters. I only see them getting better and better.
Try it...I enjoyed it.
Terri Boyle
Sent via Deja.com http://www.deja.com/
Before you buy.
Alan David Doane
<joh...@comicsworthreading.com> wrote:
>Alan Travis at alnt...@earthlink.net wrote:
>> Paul 'Duggy' Duggan. wrote:
>>
>>> The JMS series that is often compared to The Watchmen...
>>
>> I've heard people make that comparison. Are they being facetious?
>
>I think it's a statement more of the goal (or wishful thinking, depending on
>how positive you want to be) than the reality.
Rising Stars would certainly have built more momentum and been better
thought of if it hadn't been crippled by such atrocious artwork,
especially in the early issues. I am more curious to see how JMS does
with a skilled artist on MIDNIGHT NATION.
Alan David Doane
Comic Book Galaxy
http://www.comicbookgalaxy.com
Talon The Merciless
Not at all, although it's mostly to HYPE the series, as no one can fairly
compare the two yet seeing as how RISING STARS is barely a third of the way
through.
It has many similarites to Watchmen, chief of which is an excellent writer.
Odds are that even if the series ends up somewhat less than WATCHMEN, the
*ending* of RISING STARS has a greater probability of being better than that of
WATCHMEN! ;)
Talon T M
Absolute Ruler of RACM
Vatican declaration says only faithful Catholics can attain full salvation from
earthly sin
http://www.FreeRepublic.com/forum/a39b668cf3435.htm
Breaking***Clinton Calls for UN Army***
http://www.FreeRepublic.com/forum/a39b67b7b40d7.htm
Paul 'Duggy' Duggan.
And others. It is similar in many ways. Not commenting on the
quality of either, but the story.
I'd say it was closer to The
Watchmen then it is to an "Image-style" comic.
Paul 'Duggy' Duggan.
> Alan Travis at alnt...@earthlink.net wrote:
> > Paul 'Duggy' Duggan. wrote:
> >> The JMS series that is often compared to The Watchmen...
> > I've heard people make that comparison. Are they being facetious?
> I think it's a statement more of the goal (or wishful thinking, depending on
> how positive you want to be) than the reality.
I think it's like ShockRockets being compared to Star Wars. It's not Star
Wars, but it reminds people of it.
Paul 'Duggy' Duggan.
> Paul 'Duggy' Duggan. wrote:
> > The JMS series that is often compared to The Watchmen...
> I've heard people make that comparison. Are they being facetious?
I'd say it has the same "feel" of the ordinary lives of a small number of
people with powers. Quality is something on the individual can judge.
Graeme
news:Pine.OSF.3.96.100090...@barra.jcu.edu.au...
> On Wed, 6 Sep 2000, Alan Travis wrote:
> > Paul 'Duggy' Duggan. wrote:
>
> > > The JMS series that is often compared to The Watchmen...
> > I've heard people make that comparison. Are they being facetious?
>
> I'd say it has the same "feel" of the ordinary lives of a small number of
> people with powers. Quality is something on the individual can judge.
Actually the two issues I've read reminded me a of a coherent, American
version of "Zenith".
Graeme
Matthew High
>and
>our questions will be answered. Either it will come out (yay!) or it won't.
FYI, the info came from this month's Diamond cancellation list, which
unfortunately I cannot check right now because of Diamond's daily web site
maintenance. If I remember correctly, both cancelled books were listed as code
4, which means "will resolicit", so I assume they just ran into production
difficulties rather than something more dire.
Paul 'Duggy' Duggan.
> > I'd say it has the same "feel" of the ordinary lives of a small number of
> > people with powers. Quality is something on the individual can judge.
> Actually the two issues I've read reminded me a of a coherent, American
> version of "Zenith".
I can see that... well, there's nothing new in three-colours.
Jailmute
>> > The first few issues looked promising. And
>> >also he is
>> >very slow - 'Optic Nerve' is now published yearly!
>>
>> You want him to drop out of school so that you can have issues of a
>> comic that you don't like more often?
>That was just an observation.
You "observed" that Tomine is a "very slow" cartoonist. Considering
that he is studying full-time, the schedule of Optic Nerve is probably
not an accurate indicator of his capability.
-Chris
__________________________
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