Where do the dinosaur and giant penny come from anyway?
The Cretaceous and a giant cash register, respectively.
Yeah and it wasn’t really a few years later. Moore lost faith in Liefeld (the imprint was collapsing anyway with funding issues) and went almost immediately to work with Jim Lee on ABC, there are barely 3 months between the last Extreme/Awesome book (Glory) and Tom Strong #1 .
There are some clear themes overlapping which you can see he repurposed.
Did you read this in singles or was it one of the awful Checker reprints? It’s possible that these problems could be from either source. Awesome was not known for its put-togetherness.
Yes, but it was several years between Moore’s first issue of Youngblood and his second.
(I’m exaggerating of course, but his Awesome stuff was dogged by delays. The first issue of Judgment Day came out in June 1997 and that one Awesome issue of Glory came out in March 1999. That’s almost two years for just a handful of comics.)
1946 and 1947, respectively. They are both souveniers of Batman’s early cases. He had an entire trpohy room originally, but most of them have been forgotten in subsequent stories because… well, they aren’t as funny as a giant dinosaur and giant penny.
The dinosaur is a robot from an amusement park, the penny was from a deathtrap set by the (I swear I am not making this up) Penny Plunderer.
I heard how bad the Checker TPB was (and I know from experience with the Supreme collections from Checker) so I read this in the original singles.
I doubt Checker changed anything anyway, even with the errors. From what I gather they just scanned the issues in (badly) and stuck them together with something approximating the glue you get on Post-It notes.
I hope his evil scheme was to gather up the rounded down percentage of pennies in bank accounts, like Gus in Superman III or the scheme in Office Space
Yeah. You’re right. I forgot how close together they were.
Talking of which, there’s a hilarious set of afterwords in issues #1 and #2 of Judgment Day by (Awesome publisher) Jeph Loeb, the first of which lays out how committed Awesome is to delivering its comics to readers on-schedule, and the second of which immediately apologises for so many months having passed between issues #1 and #2.
Yes and I suspect that was part of the problem and linked to the financial issues at Awesome (Leifeld went through imprints quickly, Extreme / Maximum / Awesome before finally giving up and heading back to Image for the rest of his stuff).
That period was Moore at his most prolific since he was a young gun starting out in British comics, which he noted was down to his dabbling in magic which gave him extra writing powers!
By the time he had a settled base with ABC he was back up to 4 titles a month.
Yeah, and the ads in those issues are for all the kinds of things that people point to as being symptomatic of the late-1990s crash (endless #1s, variant covers, special collectors editions etc.) - lots of them for series that never even saw the light of day. In retrospect they were doing it all at the worst time.
Yup it’s hard to imagine Moore and Sprouse were the cause of the Youngblood delays when a year or so later they teamed up on Tom Strong and it came out regularly.
Definitely. (Although it was mostly Skroce on Youngblood. But Sprouse did a few Moore bits and pieces at Awesome too.)
As I understand it there were quite a few Moore scripts left over from the Awesome period that never got illustrated and released at the time, which pretty much proves he wasn’t the problem.
I think a final Supreme one got illustrated and officially released a few years back, and there was a fan-project to illustrate a couple of his Youngblood scripts, and to write some more that create an ending for the series in line with his original plans for the book.
Yep. The final Supreme was drawn by Erik Larsen, and sort of leads into a short lived Larsen run on the title. I didn’t read it, but solicitations made it out to effectively Swamp Thing #21 Moore’s run.
Cool stuff Sean, I think Millar got one of those pretty recently too.
(Now I fancy reading some of those old comics and all the classic art).
This is something I am disappointed never really amounted to much - the idea behind it, the meta-textual explanation for 90s “edginess” and the cohesive origins for these archetypes is really well put together. It’s a great collection of artists; if that was a starting line-up of artists for regular titles (which seemed to be what was hinted at) you’d have an amazing team at hand.
X-Force #8 has a soft spot in my heart.