Friend of the Blog Andrew pointed this out while I was picking up comics over the weekend.
Here’s a panel on page 24 of Prophet #21, by Simon Roy:
Here’s the alternate cover of Prophet #21, by Rob Liefeld:
Friend of the Blog Andrew pointed this out while I was picking up comics over the weekend.
Here’s a panel on page 24 of Prophet #21, by Simon Roy:
Here’s the alternate cover of Prophet #21, by Rob Liefeld:
Whether you’re scrambling of last minute Christmas, Festivus, or Hanukkah gifts or trying to figure out how to spend gift money, we’ve got some really solid suggestions for that comic book enthusiast in your life.
Collections and Trades
I’m a bit of a history/ science nerd, so I’m going to start by recommending everything published by G.T. Labs. Jim Ottaviani’s graphic novels tend to gravitate toward the people and events around the Manhattan Project, but don’t let that dissuade you. He weaves a good narrative without being dry. He finds the heart in all of the people involved, often taking side trips into interesting anecdotes. As important, he typically has really solid artistic talent backing his stories: Steve Lieber, Gene Colan, Jeff Parker, Colleen Doran, Ramona Fradon, and Guy Davis to name a few. The most recent of G.T. Labs’s releases is a look at the career of that eminently entertaining physicist: Richard Feynman. These are well put together stories even if you’re not that into comics but maybe a fan of science and history.
We’re pretty big fans of Michael Kupperman here, so I was thrilled to get a copy of Mark Twain’s Autobiography (1910-2010), but also a bit concerned. Kupperman’s writing style is uniquely suited for his cartooning, but I was worried about how it would translate to prose. I need not have worried, though, as his tight prose is as full of madcap ideas as his best cartoons. Whether it’s working in an ad agency after World War II, shrinking down to ant size with Albert Einstein, or writing mobster porn, Twain’s adventures are guaranteed to be unlike any other book you’ve read. While I suspect Kupperman’s work won’t mesh with everyone’s sense of humor, if you put this book in the right person’s hands it will be a revelation.
On the topic of Kupperman, Fantagraphics recently released a volume collecting several issues of Tales Designed to Thrizzle. Jesse and I have both written on the surreal humor and brilliance of this book. It’s also still pretty easy to get your hands on the Kupperman’s first collection of strips Snake ‘n Bacon’s Cartoon Cabaret.
In addition to this awesomeness, Fantagraphics has also been releasing some great collections of newspaper comic strips. Personally, I can recommend the two volumes of Mickey Mouse as well as all of the Dick Tracy. They’ve also got Bloom County, Peanuts, Little Orphan Annie, and Walt Kelley’s Pogo. These are well put together hardbacks that are designed to display the strips as they would have appeared in the papers.
It’s not new at this point, but since Watchmen makes every list and I’ve just finished rereading it, I’ve got Scott McCloud’s Understanding Comics fresh on my brain. A treatise on the logic, form, and function of cartoons, I enjoyed it when I read it in college but found even more to appreciate with a little more time and reading under my belt. This is a great appreciation for the new or longtime reader. Without question, this book will make you look at comics in a new light.
Mainstream-wise there isn’t much either of us would recommend, but there are a few things worth mentioning.
By the accounts of those reading DC’s New 52, Jeff Lemire’s Animal Man and Frankenstein have been standouts. As always, we recommend seeking out creator-owned comics whenever possible, so for the DC fan in your life, try pointing them to Sweet Tooth or Essex County, his Vertigo and indie work.
Jack Kirby’s Fourth World work spanned multiple titles and a couple decades; it’s always been fairly tough to track down the whole run without spending hundreds of dollars. DC was kind enough to put the entire run in chronological order in the omnibus format several years ago, but it has sadly fallen out of print. The first volume was just re-released in paperback, and is perfect for tbe Kirby fan or space-epic lover in your life.
I found this next one in the bargain section of a chain bookstore. DC put out a pretty nice collection of some of their covers from the last 75 years. The collection is roughly tabloid size and the pages are perforated with the suggestion that they are suitable for framing. Outside of the covers you’d expect, there are some truly bizarre gems from the 50′s and 60′s that don’t see the light of day much. Whether you frame them or not, it’s a neat book to flip through.
DVDs
Capitalizing on the release of the Tintin movie, Shout! Factory is releasing season one of The Adventures of Tintin. This was a really good Canadian series that aired on Nickelodeon back in the mid nineties. It’s a good translation of Tintin from paper to screen.
2011 was a good year for comic book movies also. As it turns out, they’re all on Blu-Ray and DVD in time for the holidays. If you didn’t catch them in the theaters, it would definitely be worth it to at least pick up Marvel titles.
In the past several weeks DC has been ruling comic book news with the revelation that following Flashpoint all of their titles will be cancelled, replaced with 52 new ongoing series all starting with new #1′s. Matt and I have been pretty quiet on this so far, but I think I can sum up my feelings pretty easily:
No sir, I don’t think I like it.
It’s not just the fear of a new retcon. I started reading comics shortly after Crisis on Infinite Earths, so the post-Crisis universe has been “my” DCU, but I’ve gone more or less willingly through other revamps like Zero Hour and the Infinite and Final Crises. It’s not just being an old stick-in-the-mud, attached to “my” universe and unwilling to give up any variation from that (although certainly that is a part of it), it’s that I don’t see the necessity.
For so long we’ve been trying to convince the world that “Bang! Pow! Comics aren’t just for kids anymore!” Well it’s worked, and now nobody believes comics aren’t for dudes in their thirties. Guys who have lived with the continuity for decades and are happy with it. We’re having to BEG kids to come read comics and bribe them with Free Comic Book Days.
For a moment let’s accept the premise that nobody cares about the established continuity and there are potential readers just waiting for the prime jumping-on point. DC is launching their new universe* with 52 brand new titles! No one (other than a few of those aforementioned 30-somethings) has been waiting all this time to get into comics just to start picking up 52 new books. So we’re negating the very premise right off the bat. And with trade paperback programs it’s never been easier to get caught up to speed on a title, so is DC building a straw man argument to justify ripping apart the foundations of the DCU? Add in to that some of these titles, while sounding interesting, can’t possibly last more than 13 issues. Justice League Dark? Demon Knights? Deadman? Not a chance.
DC (and Geoff Johns in particular) has ALREADY spent the last 5 years trying to retcon the DCU into the place they remember from their childhoods. To wit: Supergirl and Superboy, Krypto, Batman catching his parents’ killer, the returns of Barry Allen and Hal Jordan, and the end of secret identities**. Mark Waid had a totally valid reason for opening that door, but it didn’t take much for Geoff Johns to stick his foot in there and build a universe around it. In fact, Johns’ hard-on for the Superfriends and 80′s eras of the Justice League (the hands-down worst era in modern times for storytelling and good ideas) is returning the DCU to a one of the WORST periods in DC history and stifling progress, even as it returns the DCU to one of HIS favorite times. Hey, that’s just me, though. I have different affections than Johns. But it just proves that there’s no perfect, ideal, one size fits all DCU.
Practically, screwing with the timeline can only work for so long. If you’ll recall, after the Crisis on Infinite Earths relaunch Superman and Wonder Woman were new arrivals, although Batman, Flash, etc still had an established history. Then there was the confusion with the Justice League (Was it a new group? Old? Who was the founding female member?) and the lines got so indecipherable that the only way to solve the problem was to drift further and further back to original continuity. And yet DC doesn’t appear to have learned that lesson AT ALL, as all three of those examples will be new to the DCU again***. Batman, Flash, and GL are all still established****, the JLA will be a new team (and the first in DC continuity…who knows what that will mean for the JSA and the Golden Agers), Superman gets one current title and one set five years in the past. I’m lost already! No way does this not become a mess 2 years in.
It’s not that I don’t see benefits. First and foremost, DC is trying something new. That’s got to be lauded. Then there are lines like the Super- and Bat-books that have gotten so bloated it’s hard to tell what one title offers versus another.***** We’re also seeing the return of titles like Resurrection Man, Stormwatch, and Legion Lost (if you’re into such things), which is pretty exciting. There’s real opportunity here.
But more than anything, it feels like DC has painted themselves into a corner after years of short-sighted storytelling. It’s gotten so messy they can’t “One Year Later” changes into place, they’re having to magically “Brand New Day” it back into cohesiveness. It’s as if this were the only possible solution to get back to the status quo after Batman, Inc and Superman’s marriage, and obviously Marvel owns the rights to Mephisto.
One of the things that made Marvel significant in the 60′s was creating one coherent universe where any of their characters could and did interact with another, and that was the default mode for developing superhero universes for the last 50 years. But maybe what we’re seeing here is the end of continuity and a move to storytelling where each story stands on it’s own.
All this said, let’s look back on my comments from a couple weeks back. I suspect that this isn’t an attempt to retcon a new CONTINUITY, it’s an attempt to build a new CANON. With all of DC’s titles starting from issue 1, they have the rare opportunity to scrap what doesn’t work, keep what does, and then declare from this point on, they are staying true to the key concepts of each character without having to fight with the continuity of every story. It’s the core of the
character that’s key and they want to keep drawing in new readers without burdening them down with 60 years of stories or hundreds of issues that may or may not matter.
No sir, I don’t think I like it.
Grudgingly, I admit this is a valid approach. And they are DC’s characters, not mine. But continuity is part of what we love, even if it can be a burden to creators, new readers, and even us readers. Yes, I want everything to fit, but it’s not a deal-breaker. When the line I’ve followed faithfully is gone, when those characters aren’t the same, it doesn’t mean that those stories no longer exist or aren’t valid, but it does mean the characters we’ve spent so much time with AREN’T THE SAME CHARACTERS.
The other day I asked if continuity was just trivia, keeping us from great stories. Well, the answer is no. Those details are characterization, and they’re exactly why we’ve followed these characters for months or years or (in my case) decades.
Stay tuned next week for Part Three, in which we look at the news and rumors for the DCNu line and make rampant speculations and ill-informed inferences like everyone else on the Internet.
Continuity.
If there’s anything more divisive in the comic community (aside from organic vs mechanical web shooters) I can’t think of what it is. With as many creators as it takes to create a line of comics nothing can stay 100% consistent. That’s
okay, we’re all human. Stan Lee invented the No-Prize as a way of poking fun at just that thing and we’ve all found our own ways to adapt with the ever-shifting reality of our favorite fictional worlds. But the real problem with continuity is that all of us have different burdens of acceptability for variation.
I can’t count the number of times I’ve seen someone ask how Spider-Man can be fighting the Scorpion in Amazing at the same time he’s fighting Doc Ock in Web or Spectacular. I’ve never really had this problem: comics don’t operate in real time. One issue is probably several hours to a few days (out of 30 in a month) so there’s plenty of time for Spidey to be somewhere else. Yes, it is an insanely nerdy solution to a nonexistent problem, but that’s how it works in my head. I didn’t ask for it, that’s how it happens. But even that example shows I buy in to the very idea of continuity. There must be a place and order for everything that happens.
Even with my (eminently reasonable and sensible) rationalization* I’ve been struggling with continuity lately. I’ve set up what I consider a relatively low bar for continuity: I just want to know where everything fits in. Normally this isn’t a problem. We have the DCU and the 616 Marvel U. The Ultimate line is its own consistent universe. The Adventures line (along with DC Kids/Johnny DC) is the all-ages line that focuses on done-in-one stories and doesn’t worry about continuity. No problem there. But then there are books like Thor: The Mighty Avenger, anything involving the Legion of
Superheroes, or umpteen one-shots and mini-series (like the recent glut of Captain America titles) that feel like they should have a place in core continuity but don’t.
While some of these are very good stories, I want them to fit in. Somewhere. Anywhere! And that they don’t fit into a certain established chronology is frustrating me to no end. Marvel launched their Ultimate line as a means to escape the burden of continuity and start from scratch without making the same mistakes. But now, 10 years in, Ultimate comics are in the exact same predicament. It’s just by the nature of serial storytelling that a backstory gets built up. The Adventures line is great, and you can miss any issue without missing a critical piece of story, but then again none of the stories in the have as much weight, because everything has to be reset by the end of the issue. There’s no character arc. In addition, these stories cheat in a sense, because we already know the characters from years of their primary stories already established. As much as I love Jeff Parker’s MA Avengers, they wouldn’t work as well with brand-new characters. To some extent it is by piggybacking on established continuity that he is able to skips the characterization and focus on the adventures.
It’s not just comics in this dilemma. Less than a decade after Spider-Man finally made it to the big screen, relaunched Batman and Superman movies are looking to get rebooted, too. Where does X-Men: First Class fit in? Good luck figuring it out! Imagine if comics worked like the movies, where three stories represented a burden of backstory and required a reset!
It looks like I’ve been picking on Marvel, but stay tuned for Part Two next week, where I finally share my thoughts on DCNu and explain why I’m so befuddled by the whole thing.
Just a reminder that Free Comic Book Day is one week from today! To find a store near you (or better yet, several stores), check out this handy-dandy comic shop locator.
Yesterday Bleeding Cool shared the trailer for Plan 9, a new remake of the Edward D. Wood, Jr classic Plan 9 From Outer Space.
At least they kept the speech by Criswell!
Now we here at the L.E.M.U.R. Comics Blog are incredibly huge fans of the original, though it seems to me remaking the film is a no-win situation. If you make a good movie it defeats the point of Plan 9 and you alienate your base, and if you make a bad movie it’s already been done.
Still, if you’re going to make a movie you should do it right. Here are the 10 things that should absolutely, definitely, 100% be in the remake.
What did I miss? Is there something that no Plan 9 remake should leave out? Hit us up in the comments section.
I’m sure most folks have seen these already, but I just thought I’d throw up the most recent Marvel movie photos making the rounds.
X-Men: First Class - in which I recognize only Mystique and Emma Frost
Spider-Man - in which they reinvent the wheel

Captain America – in which Chris Evans is safely prepared to ride a motorcycle

This Week’s Comics will be postponed until tomorrow to bring you an important announcement.
For as long as we’ve been writing the blog I’ve been railing against escalating cover prices and saying how comic values are depreciating to the point at which it’s cheaper to wait two months and pick up issues in discount bins. Well, I’ve decided to put that theory to the test and as of January 1st I’ve taken all Marvel and DC books* off my pull list, and for 2011 I will be buying them exclusively through back issue boxes or discount bins.
I’ll still be looking at new releases every week, though. Rather than focusing solely on the comics I’ll be buying I’ll look at anything I have a more-than-passing interest in, then add it to my pull list. I’ve also set up a new page (formatting still to be finalized) that will track every comic I’m looking for, how long it takes me to find it, and cover price vs what I pay for it. Hopefully, if all goes as planned, I’ll be picking up more comics (and thereby keeping more current with the Marvel and DC Universes) but also spending much less on them. Will I succeed? Fail? Quit after 3 weeks? Well, we’ll find out together.
Deciding to go through with this ignoble experiment has made me stop and take a look at the books I regularly get in order to give myself a little time to mourn. Now that Grant Morrison’s Batman has priced itself out of my range, the only thing I think I’ll especially miss at the moment is Jonathan Hickman’s Fantastic Four. Especially with all the speculation around the end of the “Three” storyline, I predict that issue will be hard to find, highly priced, or (most likely) both. Other than that…there’s not much of a sense of loss yet.
Stay tuned, we’ll see how long this experiment lasts. This Week’s Comics will be up tomorrow.