Comics Creators

The Trades Thread - Comic collections, Paperbacks, Hardbacks, Bargains etc


This became something of a tradition on the predecessor boards. It also came to exemplify much that was best about it.

Due to rising costs, buying trades online has become a very cost-effective option for many comics readers.

Reviews, comments, recommendations are the name of the game.

If you’ve read something good, not-so-good, even a rare absolute stinker, this is the place to talk about it.

Found a great price for a trade online - share it here! (Being aware that some offers tend to be region / country specific.)

There is only one thing to beware: You might find out about all kinds of good stuff you never knew existed!


American Vampire Volume 7 HC

Everyone talks about his Batman run but, for me, I think this is Snyder’s best book by far! It’s just such a well-done combination of great concepts - vampire species, conflicts and time - mixed with great execution. I’m not a vampire genre fan, but this intrigues me in a way those books don’t.

It could be due to the fact that Snyder doesn’t play down the horror aspect - for all the good and for all the reasons they do it for, Skinner and Pearl remain very scary beings indeed. Or it could be that the story has now ranged over a good few decades and invokes the various eras exceedingly well.

It could also be said what is left to be fought? The series has been surprisingly ruthless at times in dealing with some of its adversaries in very permanent fashion. It was stunning and refreshing at the time and remains so now. Suffice to say there is an indeed a new enemy, a very scary enemy indeed and its in the depiction of this the creators prove, that where horror is concerned, less really is more. A more explicit rendering would either tip the story into excessively dark territory or break the creepy spell the more restrained style conjures. It is a superbly creepy creation and I’ve no idea how it or indeed its master will be defeated. Suffice to say the new revelations fit uncannily well into the overall mythology that has been built up over the preceding six volumes.

Albuquerque’s art is as great as ever. In keeping him as the main artist the book has made a very smart move. Not least as he and Snyder work so well together.


Made a start on rereading Nemesis the Warlock last night. This is probably my favourite Pat Mills series. I think it might be because it’s actually been wrapped up, rather than continuing to go on (and on and on and on) like Any Warriors or Savage. That said I really enjoy Slaine too and it’s showing no signs of slowing down… Anyway, Nemesis. Wooo!


Due to the prohibitive effects on my wallet of two small children I am still consuming every last trade available from my local library.
Thankfully somebody involved in the Cambridgeshire Libraries Catalogue has a decent knowledge of comics and is keeping it well stocked.
I just finished volumes 1-4 of Thief of Thieves, reminded me a lot of Supercrooks but at a slower pace.
Currently working through Volume 6 of The Sixth Gun which is an interesting take on the western genre.
I have Volume 4 of Fables waiting for me to start as well as Saga Volume 1 (hoping to see if I read one of the characters with Malory Archer voice as @SteveSensible suggested) waiting to be collected from the library.


The Sixth Gun is superb, I’m waiting on the next big deluxe edition.

Abe Sapien Volume 5

Technically, there’s nothing wrong with this collection but it is leisurely paced and Abe is, in his new form, proving a frustrating lead. The frustration stems from Abe’s procrastinating, dithering and vacillating over what he is and what he should do.

The Fiurama brothers continue to be one of DHC’s best art finds, with Max supplying some of the art here.

What makes the Mignolaverse, in its current phase, stand out is it is the story of the end of the world, as it’s happening. It is not post-apocalyptic, it is the apocalypse!

That said, in Abe Sapien, it’s most definitely an easy-going apocalypse so don’t buy this if you’re a fast paced roller coaster. This isn’t it.


I read The Sculptor. I liked the art, and there’s some lovely sequences (especially towards the end of the book), but the writing left me cold.

I found the lead character incredibly grating, and few other characters get enough to do to even qualify as being characters. I found the plot rather silly, and I was never clear how seriously it was meant to be taken.

I’ve never been a fan of stories about how creating art is the absolute most important thing a person can do, and this is chock full of that.

I’m now glad that the copy I got from Amazon was dented during transit, so I get to send it back and get a refund,


I have been devouring the Lucifer series. I didn’t think I’d like it - I Byrne-read parts of an old paperback and didn’t think much of it. But I’ve been thinking a lot about free will and destiny as part of a role-playing game I’m working on and it just hit me the right way. Caution though - I can see where it wouldn’t be everyone’s cup of tea.


I love Lucifer. One of my all time favorite series. In fact, I think I’m due for a reread now.

In other news, I finished up the Stray Bullets Uber Alles monster of a TPB. It still holds up and I’m quite looking forward to picking up the next tpb. I’m so happy that Lapham is finally back to work on this.


That opening line and your new name made me think you were taking this thread in a new direction.


My only regret is that it wasn’t my very first post on the new forum.


I’m halfway through The Sculptor and still really enjoying it. McCloud uses some great techniques very precisely (perhaps unsurprisingly), and it makes for an interesting read even when the story gets a bit self-important.


Sally Heathcote: Suffragette

Mary Talbot (writer), Kate Charlesworth (artist), Bryan Talbot (I assume co-writer to some degree, though it appears to be predominantly Mary’s work).

Sally Heathcote is a (fictional) working-class girl from the Edwardian era who finds herself involved with all the main suffragette figures and actions of the time. Through her story we get to see the story and the personalities of the suffragette movement from the inside. We don’t learn a lot about Sally herself – her own feelings and motivations are a blank slate, she’s just the point-of-view character who tells the story.

And that’s one of the key points about the book: it’s not a story as such. It’s more like one of those dramatized history programmes you get on the telly. There isn’t a linear narrative of Sally’s (or anybody’s) life, rather it portrays the history of the suffragette movement in a series of isolated dramatic scenes. So if you’re going in expecting a graphic “novel” you’re going to be disappointed I suspect. I think that in a way I was disappointed myself because it wasn’t a proper “story”, but as I reflect more and realise what it actually is that I’ve just read, I realise I’m not disappointed at all – quite the opposite.

Because if you’re interested in the historical detail of the subject, you need to read this. (And if you’re not interested, you will be after you read this and have your eyes opened.) Because it does a fantastic job of telling the history in a detailed but accessible way. All I knew of the suffragettes I learned at school, and that knowledge was very broad and superficial. This book delves into the personalities and actions, humanising the people (they weren’t all saints, and there was plenty of in-fighting and back-biting within the organisation) and putting the actions into a historical context, and it taught me a huge amount.

There are moments when the story of the character does take over, but even these serve to add to the historical background (for example, the details of Sally struggling to make ends meet as a working-class girl in London).

The art by Kate Charlesworth is beautiful and educates you all by itself in its wealth of period detail. You can spend ages looking at the background detail of isolated panels. Considering that it’s a small-format page (roughly 6 by 9 inches) and uses a 9-panel grid for most of the book, that’s very impressive. And the whole thing is coloured with a subdued, almost sepia, pallet, with just odd splashes of bold colour to make a point. And as is typical in a Talbot book, the panel layout itself adds to the job of storytelling – though interestingly Bryan attributes that to Mary this time rather than himself. Physically the book is beautiful too, a hardcover with thick paper stock, and with copious end notes to give more background to the events on the page.

Look, this is just really good. Go and buy it, ok?


Has anyone read any of the IDW Teenage Mutant Ninja Turtles stuff? I’m currently reading Sophia (formerly Ross) Campbell’s run on Glory and was intrigued by the run on TMNT.


A message from Walt Simonson on the new Orion Omnibus:

A Few Notes about the upcoming ORION OMNIBUS
I received comp copies of the Orion Omnibus from DC Comics late yesterday afternoon. I believe it’s due out in a few weeks. The physical package is nicely done, but I have decided to express publicly, in a way I rarely do, that I am very disappointed in the book.
As some of you may remember, many of the issues of my run on the title consisted of a lead story and a short backup story. I got a lot of my friends, including Dave Gibbons, Frank Miller, Howard Chaykin, Jim Lee, Eddie Campbell and others to draw the back ups. I wrote most of the twelve stories. Generally, the backup stories were related in some way to the lead story. Sometimes, it was matter of atmosphere. Sometimes it was some sort of continuation of thematic material from the lead story. In the case of the Arthur Adams drawn story in Orion 10, there was a direct connection to the lead story, focusing on and specifically answering some of the questions I’d posed there.
My only connection to the Omnibus was early on. I learned of the upcoming collection like most other folks, by catching the announcement at last year’s San Diego ComicCon. I had some brief contact with DC afterwards about the Omnibus, and supplied a few high res scans for drawings as requested. I also drew a new cover for the volume. And that was it. I will say that in the case of other reprints elsewhere, I have generally been kept in the loop more, often to the extent of seeing pdfs of the entire volume and collaborating on the final form of the book before it heads off to press.
Nevertheless, I was thrilled Monday afternoon when I received a box of complimentary copies in the mail from DC. As I said above, it’s a very nice package.
However, I was dismayed when I began looking through the book and discovered that all of the backup stories for the issues, although included in the volume, have been separated from their lead stories and stripped of their context by putting them in the back of the Omnibus, in a separate section behind all the lead stories. And they aren’t entirely in order in that section either.
To say I was dismayed at these discoveries is probably too gentle a word, but what’s the point of going further? What’s done is done. It seems unlikely that there will be future collections of the same material. I feel it’s some of my best work, and I am very unhappy that the stories in this collection are never going to be read in the correct order by anyone except perhaps by extremely die hard fans of the work, or by people who simply go back and buy the original back issues.
The one bright note is that Dan Didio told me, after I spoke to him about the matter this afternoon, that if the book is reissued in paperback at some point down the road, he would do everything he could to see that all of the stories are printed in the correct order in that edition.
That would be nice.


Yeah, Lucifer is pretty remarkable. I think it’s the best non-Sandman Vertigo series (and of course, it sprung from Sandman).


For UK posters, Wordery seem to be determined to be the new BD / SpeedyHen as I bagged Storm Volume 1 from them for £7.85.

Like BD their prices can change quickly, but as of now, it’s under £8 still, but could change:

(EDIT 13 March: Got my copy, but it collects #1-5, not #1-6. Get it for under £8 though and it’s still a good price.)

As to other stuff, have to agree Lucifer is superb stuff. Walt Simonson’s dismay over the Orion omnibus is not good at all, so easily avoided too.


At least all the material is there, I guess, even if it’s not in the preferred order. With DC I would have half-expected them to omit it altogether.


Two questions about Simonson’s Orion work:

  1. Is it any good/worth picking up? I see he says he considers it some of the best work of his career, which is no small thing.
  2. Why on earth would DC not consult him about the layout/design? What’s wrong with people?


Well, that would imply that DC actually gave a damn about the creators that work for them…

  1. It has quite a rep Sam. Did read the TPB that collects #1-5 and think it was quite good, but I read it years ago.

  2. See Bruce’s post!