And only 4 have been released so far?
And only 4 have been released so far?
Or flog them at the $75-100 price point, those extra $25-50 makes a big difference in people’s willingness to buy. Especiallly when the Shang-Chi volumes are 650-700 pages.
A counter-point is that they had to restore the material and so on and so forth, but the lower price point likely would have sold more so covered that. Marvel clearly see this as a niche product though, as printrun is in the range of 3000 copies only.
June: Deadly Hands of Kung Fu 2
Oct: Shang-Chi 4
If they have only a limited ability to release though I could see them being a handy investment down the line and being flogged off for $300.
I think the Tomb of Dracula set was similar and that trio of omnibuses are not cheap.
Even when there are no rights issues attached, out-of-print omnibuses can fetch a fair price.
My policy is just to buy the ones that I actually want and hang on to them - but for OOP books that get a new printing announced, I have been known to quickly sell the originals off at the inflated prices, before most buyers get wise to the reprint.
See Uncanny X-Force.
I think you must have mistyped that, because it seems completely unbelievable
There’s a little write-up on this Ditko blog if you’re interested.
I recently decided to look again at Hickman’s early standalone tales, save for Nighty News / Pax Romana because I remember those a bit too well. (Might revisit them when Frontier has come out next year)
A Red Mass for Mars
I remember not being too taken with this first time around, this time? It worked better in that I liked the notion of civilisation being upheld by an incredibly uncivilised, despotic individual. An individual for whom a last, unwinnable battle save by him fighting to the death would represent that which he could never refuse and so it proves. This was also Hickman’s first collaboration with Bodenheim.
The Red Wing
This one still isn’t a complete success for me but I still really like the central idea of a time war, even if the entire story eludes my grasp completely. Pitarra’s art is excellent too. He and Hickman would go on to do the rather too bleakly cynical for my liking, Manhattan Projects.
This is the story that was most improved for me. On the one hand it has Hickman’s signature design aesthetics all over it, but on the other it was his first real collaboration with an artist, in this case Ringuet. What I missed first time round was a very dark strand of gallows humour, coupled with riffing on superheroes. There’s some very funny (and equally bleak) jokes here. It has the same density as Pax Romana and Nightly News, so like them it does an awful lot with the space it has. I enjoyed this quite a bit more this time around.
And now a new one:
For a time, like their most recent collaboration, The Dead and the Dying, some would have wondered if this would ever be finished. It certainly went up in the air for quite some time, but such is the benefit of reading the trade that none of that matters.
A 7-issue story, this is a step up in ambition for these standalone tales. And what is it? Well, it’s certainly a genre-splicer, throwing in pieces of noir, corporate warfare, espionage and gangsters into a blender and hitting max setting. Bodenheim’s art is generally excellent but it’s the clever use of colour and black and white that really sets this one apart. Hickman too seems to be experimenting with taking his fractured style a few steps further, so the reader gets all manner of story puzzle pieces thrown at them, and then, issue by issue, the image begins to coalesce.
Like his other books there’s a distinct design aesthetic to the structure and chapter headings and end pages too.
I found this to be an excellent mystery read, though overall it defies easy categorisation. That said, I got it for a bargain cost of £2.93 so I can’t really be that harsh on it. Definitely worth a look if you’re after something different.
And now? Now The Black Monday Murders: Volume 1: Mammon beckons…
EDIT: Knew there was something I forgot! @njerry my copy of Spirits of the Dead has arrived! Damn, it’s a nice book, I don’t mind paying £13-14 for a volume like this. Looks to be an excellent read too. Thanks for the tip-off.
Talking of Corben, anyone read his Rat God?
More on the extras that McFarlane is adding to the Spawn: Vault Edition - I don’t hold out hope that I’ll get a copy with a sketch, but some lucky reader will.
(Again, Vimeo doesn’t autoplay for me, but if it does for anyone else then let me know and I’ll edit the link so it doesn’t embed.)
I’ve been a fan of Richard Corben’s art since I first saw it in the Warren horror magazines (Creepy, Eerie) in the 70s, and fell in love with his color work in the first American edition of Heavy Metal. Always a pleasure to promote him.
Does Todd ever remind anyone else of Strong Bad?
I finally finished the Rachel Rising Omnibus. It’s Terry Moore so the artwork is absolutely stunning. I don’t think any other artist quite captures facial expressions and body language the way he does. It’s just amazing work.
The story’s engaging from start to finish but I have to say it felt a bit choppy at times. It starts off with a murder mystery, and then takes a long dive into witchcraft, but then the conclusion that tries to tie it altogether feels a bit rushed. It’s not bad by any means, Moore’s strength at writing believable characters keeps the whole thing together. And honestly, even his best work Strangers in Paradise, is a little all over the place at times too. So it’s not much of a flaw its just more noticeable reading the whole thing together.
After years of putting it off, I finally knuckled down and bought the deluxe hardcovers of Scalped. It has always been one of my favorite comics (it’s Top 5 Vertigo for me along with Invisibles, Sandman, 100 Bullets, and Enigma) and now I have it in volumes that showcase it better than ever.
I remember R.M. Guera’s art being muddier in the initial issues than it actually is. I suspect he might not have been used to drawing for the standard American comic page-size because at larger size all of the clarity issues (and there weren’t that many to begin with, IIRC) have disappeared.
Jason Aaron’s writing is as strong, maybe stronger, than I remember. He takes a similar approach to The Wire in his depiction of life at every stratum of the Prairie Rose Reservation, but he pulls it off with far less space. There isn’t an ounce of fat in any issue, and Guera gets plenty of room to flesh out life on the Rez in gritty detail. Every stain on a wall, every wrinkle on an old man’s face, every beat-up vehicle and weathered piece of clothing tells as much about the Rez and its people as Aaron’s scripting. Guera is so integral to the feel of the book that even a phenomenal artist like John Paul Leon feels like an intrusion during his fill-in issue.
At the heart of Scalped are two of the best characters in comics, Dashiell Bad Horse and Chief Lincoln Red Crow. Bad Horse hates the Rez he abandoned as a teenager and returns only to see it burn. Red Crow believes he must protect the Rez at all costs, even if it means harming the very people he governs, and he does not care if this damns him. Bad Horse infiltrates Red Crow’s criminal empire on behalf of the FBI, and what follows is one of the most riveting and heartbreaking stories I’ve ever read.
As the story goes on, Aaron and Guera introduce more and more citizens of the Rez, each one fleshed out in loving and unforgiving detail, but the story remains Bad Horse and Red Crow’s. Will they find redemption, or will they destroy each other and the Rez? The way things play out is both unexpected and intensely satisfying.
Yeah I’ve come to expect that from Moore now. His books don’t have the greatest structure and pacing but it gets forgiven because the character work is so strong (and I agree, it’s in the facial expressions as much as the dialogue).
I suspect that may actually be a reason for it, that he gets so invested in the characters it takes him down certain paths that may not really contribute to the overall plot but are still interesting to read.
This is in my top 5 all time comic books, not just Vertigo.
I’d agree with all of that, Red Crow is a fascinating character, but I also really like Shunka.
In other news, as SpeedyHen were offering them at nearly half-price, I gave in and grabbed the Orion Omnibus (thanks to @Bruce) for just over £37 and Gotham Central Omnibus for just over £46 via an Abebooks 10% off voucher.
What I wasn’t expecting was for both books to be a pair of massive, oversized bastards. These books are big, really big - certainly larger than expected. So what happened? In two words: Paper quality. Both are way up from the last DC OHC I bought, the Lemire-Sorrentino Green Arrow: Deluxe Edition, which in turn makes for a much thicker, heavier volume, but which more importantly really shows off the art!
So DC have done very well for themselves here, this bodes very well for the upcoming Batman & Robin Omnibus, I might consider the Johns Aquaman one too.
That reminds me I need to finish reading the Johns Aquaman trades.
Good to hear that the omnibuses have gotten better though. I think the only DC one I have is Planetary.
DC’s biggest problem on these editions for the last few years has been lack of consistency on quality and getting some really bad press when they’ve screwed it up.
It got to the point where I didn’t order their OHC/Omnibus because who knew what I’d actually get? So it was only select buys and each one felt like an uncertain gamble.
DC have really improved lately. Their solicits seem more reliable, the books more comprehensive, and the quality much improved.
Still not perfect, but much better than they used to be.