Comics Creators

The Trades Thread - Hardcovers, Graphic Novels, and More


His shampoo is awesome though.

I agree Lemire is quite variable,Black Hammer is in the top bracket though.


Bastard, I corrected that


Whoa, thanks Gar for restoring my sanity. I read “Lenore” in Chris’s post, blinked, and then read “Lemire”. Thought I was cracking up. Must have looked just as he changed it :smiley:


Chris is screwed, I have him under observation. :smile:


I think I get a bit bored with some of Lemire’s concepts as a series wears on. I got bored with Sweet Tooth. I initially thought his Animal Man would be a classic and eventually dropped it. I think the 12-issue format like he’s doing with Moon Knight suits him.


Agreed. My favorite works of his aside from Black Hammer are mini-series or GNs like Trillium and Underwater Welder. (Still have to read Moon Knight!)

The sentimentality in his longer works can get a bit cloying for me–it’s why I dropped Descender, and the main reason why I don’t rank Sweet Tooth with the great Vertigo runs.


I don’t know if I’d use the word “enjoy”! That book gave me PTSD! It is good though.


So he’s worth it? Wait, wrong brand.


Have you read Roughneck? I don’t want to go throwing around “best OGN ever” around willy nilly, but I’ve owned it about 6 weeks and read it 3 times, just check it definitely was as good as I thought it was, because it seemed impossible something could be that fucking good.


Right then, just found a Transformers Phase 2 OHC7 listing for next year, end of March - the big Q then is: How good has the post-Dark Cybertron TF line been? Is it consistent enough to justify a set of £30 a time OHCs or better to just stick with Roberts’ output?


I think my favourite if his is still the Essex County trilogy.


I have not read either Roughneck or Essex Trilogy but I really need to. Roughneck especially sounds great.


Formerly known as RiD is decent, but not as good as “season 1”, with a returning focus to Earth. It gets sucked into more toy synergy driven stuff like Dark Cybertron, but it’s still miles above the work of Costa and McCarthy. MTMTE gets a little bit self-indulgent and a tad choppier, but pulls together well by the end of “season 2”. Windblade… is certainly a comic that exists.


Little bit of Amazon fishing.

Gotham City Sirens gets an omnibus and top billing for Harley Quinn. It’s like she’s Diana Ross or something.

New paperback editions of Sleeper. Will DC actually print all of them? Who fucking knows! They’ve at least resisted the urge to sell this as a “complete series”.


Yeah, this is an excellently succinct summary of why I don’t bother buying new editions of old DC stuff now.


Thanks. Sounds like it’s MTMTE all the way then and into ‘The Lost Light’ set.

I really don’t care about Earth in the TF story, they have an entire galaxy - stuff this mudball.


Finally finished my Hickman super-trade-wait Avengers read, with the OHC of Time Runs Out and Secret Wars. Two very different final acts, in this amazing epic.

The sense of impending doom, the palpable tension, and the sheer anything goes craziness of Time Runs Out made for an exciting read. I loved how Hickman wove together so many disparate, and seemingly unconnected plot threads from his run on the two Avengers books, into this apocalyptic tale. I also enjoyed the way that he introduced the Ultimate Universe into the mix, bringing with it a giddy wave of nostalgia and making up somewhat for the lost potential of his earlier, truncated, Ultimates run. Walker, Casselli and Deodato all provided spectacular artwork to go along with this great “what if”.

And, then, after the end of the world, we get the quieter, more thoughtful finale in Secret Wars (by Hickman and Esad Ribic). A truly stunning piece of work; possibly the finest event comic I’ve ever read. The artwork, the story, everything was on a whole other level. I read the whole book in more or less one sitting. I couldn’t wait to see what happened next. And, I wasn’t at all disappointed. A beautiful final chapter.

One thing that did stand out though, even as I was reading it, was the complete absence of Tony & Steve. Funny when they were at the heart of his earlier Avengers run.


Yeah, but by the time Secret Wars happens, Tony and Steve have shown themselves to be a pair of petty, egomaniac super-crapsters.

Changing tack, it looks like the upcoming Bloodshot Reborn OHC2 is going to have an RRP of $50. So, it’s inevitable to me now that that price point will end up becoming the standard point for these deluxe hardbacks. On the plus side, this will certainly see my buying of the format reduce, but it’ll still be a shame as I think that price point will kill it. There’s that extra psychological hill when a product is just the other side of a significant number, it’s the appeal of £27.99 beating £30.99, despite it being only a few quid difference. Also looks like Valiant are moving away from the format too.


I didn’t especially care when they went back, but they convinced me with a couple of the characters and it was just getting interesting when it all got jettisoned in favour of shoving GI Joe in there for Revolution, so… yeah, stick with MTMTE.


Clean Room vol. 3 - I really wanted to like this but I couldn’t. Vol. 1 was excellent, a really disturbing little horror tale with a genius premise. Vol. 2 was pretty good but a step down. There were too many characters with the result that only the lead, Astrid Mueller, felt like a real person. Even the other lead, Chloe Pierce, began to feel flat. The nihilistic cosmic horror of the first volume also gave way to a more irreverent tone (with one of the monsters even being revealed as friendly and even kinda cute) and that to me is just not an interesting route to go with cosmic horror. It undercuts the dread. Fully embracing the irreverence could have made for something as good as In the Mouth of Madness, but as it stands the book feels like an awkward pairing of Lovecraft and Buffy.

All these problems are magnified in volume three, with the added issue of the artist who replaces Jon Davis Hunt not being very good. All of the people Hunt drew, even the attractive ones, had an element of the grotesque to them which fit really well with the horror of the story. That’s lost completely with the new artist, Walter Geovani. His art conveys the plot fine, but there’s no mood, no palpable dread, to any of his pages, which sucks the life out of even the better horror moments in Gail Simone’s script. Simone and Hunt complemented each others’ weirdness perfectly and made something really special in the best moments of this series. But I don’t think this book can survive with just one-half of that pairing, not unless it can find another artist of Hunt’s caliber. Horror relies on the visual side of the story probably more than any other genre.