I like the concept and the fact that each trade looks to be a complete story. And it only contains 4 issues but it’s a quality book too (that’s a dig at Marvel).
It is, so I tend to use it to hoover up Cinebooks as the one you have to pay full price for isn’t much.
There is a simple answer to that, and it is that I was 11 when New X-Men came out
Yeah, it’s a nice approach. Milligan packs in a lot so you don’t feel shortchanged. The first volume is also only $10.
One other thing I liked about it that I forgot to mention is that it’s the rare Milligan book with a solidly heroic lead character. Most of his work features protagonists with deep personal flaws, sometimes to the point where they’re quite horrible people, but Axia is generally a noble guy. Even his slave, Bran, you find out in issue 2 agreed to be his slave to avoid taxes for a bit and can have his freedom at any time
I’m currently in the midst of being taken on a ride by my love of all things X-Men from the late 80’s through 1990’s (I fell off just before “zero tolerance”). I’ve spent a good deal over the last year or so acquiring as much as possible in that respect. However, I just managed to miss out on the Claremont/Lee omnibi, and I’m kicking myself for letting those slip by.
Obviously, I could sit idle and wait for reprints (if the history of these marvel omnis are anything to go by, I won’t hold my breath), or search the internet for other forms that these stories may have taken. I live in the states, and I’ve not found anything with a fair price, or at least anything much lower than $125.
My question to those of you across the pond is, are those runs collected in any other somewhat compete formats? Like English language panini editions perhaps? I’ve found versions sold from Italy while doing a quick search, but logic dictates that those are likely printed in Italian.
There are English language Panini trades for the UK market (and they tend to be cheaper than the original Marvel ones). They don’t have the same range though but could well have some X-Men stuff from that era.
A good bet is to check https://www.bookdepository.com/. They operate from the UK but send out books free of shipping anywhere in the world.
On the Morrisson X-Men, I think not only is it only rivalled by Claremont as the best X-Men run, but it’s one of the best superhero comics overall. A lot of the trappings of the book aren’t original - the X-Men had a shared uniform before, the idea of Xavier’s being an actual school at which the X-Men teach came from the movies - but it’s so different from traditional cape books, let alone X-books in how the team decide to deal with their problems. Here, the X-Men are a step away from the usual ‘fight to resolve our problems’ paradigm. They’ll still fight, sure, but the resolution is usually more holistic. Like trapping Cassandra Nova in Stuff and turning her into a student. But like the best superhero books, it’s been ignored or misunderstood in terms of influence on subsequent titles.
I think it would be a perennial bestseller had the art remained consistent or at least had a consistent rotation. I spent some time with one of the artists on that series and it was not a good situation.
I’m not even thinking of sales, but more that the X-Men just went back to the same-old angst and punching after Morrison left. Chuck Austen didn’t even understand that Ernst was Cassandra Nova, for Bob’s sake!
Do you mean he told you the Morrison run was not a good situation, or that when you and the artist spent time together it wasn’t good?
Whatever happened to Cassandra Nova after Whedon’s run? I remember there was a suggestion in the third arc (I think?) that she had possessed Armor, but I don’t know if it ever paid off.
According to Wiki, that’s her most recent appearance.
I’m quite surprised - that’s a while ago now. Maybe she’s ripe for a revival. She’s a good villain.
The situation for the artists during Morrison’s run was not a good. Sorry my wording was a bit ambiguous. Some of the situations have been discussed here already.
Yeah, EVS essentially never worked with Marvel again for how it went on that book.
Neither did Morrison.
I wonder if that was about his treatment on the X-books or something else (specifically he seemed to really hate Jemas).
It was notable, to me, that when Peter Tomasi - along with Shreck, Morrison’s ‘man’ at DC - stepped down from his editorial position at DC, they went over and hired Mike Marts, and immediately got him to replace Tomasi on Morrison’s Batman books.
Marts handled the later Morrison X Men issues I believe (I’d have to check) so I imagine that was done at the specific behest of Morrison.
I always got the impression that the greater editorial freedom offered to him by DC was a big part of it. Everything I’ve read about Jemas suggests he was quite ‘hands on’ in terms of steering writers, perhaps too much so for Morrison’s comfort.
This hints at some clashes (both in general and over Marvel Boy).
The crowd eventually steered the discussion to Morrison’s past work in the Marvel Universe, which he characterized as very gritty and pedestrian, “with so many rules and limitations… it’s all based in the streets of New York City. I just didn’t feel comfortable in the Marvel Universe.” He defended his controversial “New X-Men” run as about, among other things, the next generation of man and ordinary people’s reactions to them. Morrison also noted that while other X-scribes have employed the X-Men as a means to discuss issues of race and homosexuality, his run was about what he finds to be a growing hatred of children and the adult world’s apparent mission to stifle children’s ability to express themselves. He also touched on the internal politics of his lauded “Marvel Boy” series, which, according to Morrison, then-publisher Bill Jemas refused to allow to develop to its full cosmic potential. “[Jemas] couldn’t wrap his head around it,” Morrison said. “Jemas wanted Marvel Boy based in a steel town, ‘fixing things up good!’”
Chomped through some trades last week.
DC: New Frontier - When I first read this as it came out in singles I loved it. Now on a reread I still think it’s one of the best looking comics I’ve ever seen. However, although the script is tight, the setting of Silver Age DC turns me off massively. Something about the hokey corniness just doesn’t sit right with me no matter how nice the pictures. I still fully appreciate the work involved and do like it (just not love it anymore) but when you’re reading about characters you have no love for, some parts were a bit of a slog to get through.
Britannia vol 1 - As echoed by those above this is nice little book.
Animosity vol 1 - Really enjoyed this and I honestly wasn’t sure I would. Y The Last Man crossed with We3, Fables and a typical style future apocalypse. It’s all about talking animals and surviving members of the human race and it’s worth a look.
Wonder Woman: Earth One - I got up to 25 pages before quitting. Nice art obviously but it was just so boring.
Monstress vol 1 - I only managed 16 pages here. Dull uninspiring characters and an art style that did nothing for me.