That can be Volume 4, we’d all buy it, right?
The Art of Troma: This was put out by Dynamite so I felt like it’d be worth putting out here. As a Troma fan, it’s a bit of a disappointment. The only interesting bit is a small section around the middle that goes into the cover artist for a few of their more iconic movies (interview/work-in-process materials/reproductions) but that’s really only a sliver. The rest is just a very by-the-numbers recap of the studio’s history, screenshots from the movies, and very (very) brief summaries of the movies.
Probably best if you’re trying to get someone into the franchise - but other than that, it’s really only a novelty. Not living up to itself as an overview or as an artbook. The price tag on the Deluxe Edition is definitely not something I can recommend. If you must, the standard edition would be fine.
As far as I know all the copies were just restickered Icon stock, not new Image printings.
I was working with the writer of Terror Firmer and Poultrygiest this past weekend.
What on, Rory?
He’s a producer for IGN now and was running their NY Comicon coverage so I was editing videos for him. He was sharing all the fast food puns that he didn’t get to include in Poultrygiest.
He’s still pretty close with Kaufman and has written a more couple films for Troma in the last few years.
They’ve lasted quite a while if so.
Finally finished this the other day. Hard going. It wasn’t really all that funny or exciting. I may have felt more positive towards it if I’d read it in my youth but I’m not 100% sure. I doubt I’ll get the subsequent volumes.
Did you get around to reading it @ChrisS?
I’ve not got to it yet, it’s on the stack - I did get the feel that it could get a bit repetive for me as I don’t really do well with older comics, although I feel a lot of the U.K. stuff ages better then the old marvel and dc books
Just posted this in the New Comics thread, but it’s worth putting it here too.
My Heroes Have Always Been Junkies HC
I’ve been looking forward to this book for months and it didn’t disappoint.
Most of all, I was happy that the experimentation with the format of this latest Brubaker/Phillips collaboration - this is their first book to be released straight away as a single hardcover comics ‘novella’ - allowed them to provide a different reading experience to their monthlies.
Without the concerns of the single-issue format, the book is free to adopt a longer-form structure that allows a gentler pace during the earlier sections, fully setting the scene and building things up gradually, rather than having an episodic story in which every 20 pages must be filled with incident.
The art style reflects that sense of openness and calmness in the opening pages too, with some lovely sections early on that feel brighter and more airy than most Brubaker/Phillips books tend to get. Jacob Phillips’ vibrant colours certainly play a big part in that too - they add a real freshness to the look of the book that help it stand out from previous works.
Of course, as we learn more about the book’s key players we see the darkness gradually start to creep in, with some effective twists and gradually-revealed details that eventually help to move the tone of the book closer to what we might expect from a Criminal story.
There are also some great flashback sequences throughout the book, which not only illustrate character and flesh out plot, but also allow Brubaker some nostalgic musings on music history, which make for enjoyable and atmospheric interludes.
It helps that they’re accompanied by some of the best art in the book - I loved the full-page illustrations from Phillips that we saw in the slower and more thoughtful sections of Kill Or Be Killed, and we get a return to that here.
You’ll notice that in talking about the story I haven’t touched on specific plot details or even character elements in any great detail, and that’s intentional, as the book works best knowing very little about it going in.
But what I will say is that it’s another great Brubaker/Phillips collaboration, and one that immediately earns its place alongside their other excellent Criminal books while also providing a distinctive flavour of its own, and offering a noticeably different reading experience by taking advantage of the opportunities offered by the OGN format.
That would be a fairly thin “deluxe” volume. As I recall, Volume 1 contained the first 13 individual issues of the series, and Volume 2 was even bigger.
Glad to hear this is living up to expectations
I hope this sells by the bucketload because I like the idea of them doing OGNs. I tend to read the stuff in trade now because I always end up buying the collections on top of the singles anyway - I’ve re-read their collaborations to death, particularly Fatale, Criminal and even Kill or Be Killed - and like having them on the shelf.
Interesting to see if this is a one off or an experiment to test the water.
Hope to pick that up this weekend in Kendal at the festival.
It’s well worth it!
True, but with the right price point, it’d still be a quality volume.
I received my copy of the new edition of Exiles: Complete Collection v1 this morning. It is pretty much just the Ultimate Edition with the name changed (and the house ads updated), which is fine. I was kind of dreading what state it would turn up in though, given the horror stories of production quality from Quad Graphics printed Marvel trades lately. Thankfully, it turns out to have been printed by LSC Communications (me neither) and is pretty solid. Decent weight covers and the pages (though a bit wavy from the looks of them) are thick enough.
Unfortunately, my copy arrived with a big dent to the front of it, because Speedy Hen used the thinnest cardboard mailer possible, it seems. I don’t buy that many Marvel trades brand new these days, given the price, so it would have been nice if the one time I did it actually turned up looking like it was.
SpeedyHen’s packaging is the worst. I usually bundle a few things together when buying from them in order to get slightly heavier packaging and courier delivery.
Speedyhen have always been ok with me in the past - when there has been damage they’ve been quick to offer a refund or replacement.
I heard about the Spider-Man Venom Epic Collection having a cover that was printed misaligned, missing the Epic logo on the spine, with pages cut at the wrong angle and the cover curled up a couple of days after it was open.
(I guess having a covering that behaves as though it’s alive is quite apt for a Venom book.)
Yeah. Their customer service is pretty good, when there have been problems. But, there are problems more regularly than most; at least in my experience.
Wonder Woman: Earth One, volume two HC
This was a very pleasant surprise. I enjoyed the first Wonder Woman: Earth One book, but I felt like it struggled to fit in all of its world-building and commentary while still laying out a full superhero origin story and a first encounter with a super-villain.
But this follow-up is a lot better, in that it reconciles its more high-minded elements with the more traditional superhero aspects a lot more successfully, it has a lot more ambition in terms of imagining how the world of today might be affected by the arrival of Wonder Woman, and it generally spends more time getting inside its characters’ heads while putting them in some difficult situations.
As with the first book, Morrison takes a lot of original Wonder Woman concepts and reworks them for the modern era. So we again get an in-depth exploration of what “loving submission” might mean for both parties, we see how Wonder Woman’s trusting nature and her belief in Truth can be twisted and used against her, and we get re-imaginings of original William Moulton Marston villains like Dr Psycho and the nazi Paula von Gunther.
Morrison uses these characters and the setup of the first book to examine how Wonder Woman would fit into the modern world and ask some interesting questions about the character. He covers issues like trans rights, toxic masculinity, radical feminism, SJW culture, gender wars - all things that could feel forced and shoehorned-in if handled badly, but which slot into the story Morrison is telling very smoothly.
Occasionally there’s a moment that goes a bit far in trying to make the character relevant to the modern world - like a montage image that shows Wonder Woman using the lasso of truth on Sean Spicer at the White House (yes, really) - but in the main the consciously modern approach works very well.
Most interesting is the reinvented Dr Psycho, who Morrison presents as a sort of cross between Tom Cruise’s character in Magnolia and a slightly more charismatic Jordan Peterson, and who Yanick Paquette has clearly modelled on Nick Cave.
The way in which he gradually manipulates Diana and gets inside her head is subtly stomach-churning, and makes for a far more disturbing threat than a more traditional physically-imposing villain might have offered.
That’s not to say that there isn’t any traditional superhero action here - there’s plenty sprinkled throughout the story, including some violent clashes with Uber-Fraulein and a well-choreographed scene in which Diana comes to the rescue of Steve Trevor (who actually doesn’t get that much to do in this sequel, compared to the first book).
But it’s the culture-clash aspects that Morrison handles best here, and it makes the book a lot more engaging than the first volume - in particular during the sections that question whether the Amazons’ philosophy is as benign as it seems.
Paquette is as great here as he was in the first book, making the Amazonian culture beautiful and alien, elegant and feminine, including more subtly risqué architecture based on female body parts, and some lovely designs for the individual Amazons’ costumes.
Talking of costumes, there’s a great attempt here to show how Wonder Woman might modify her clothing to fit in with different world cultures, resulting in Morrison and Paquette’s concept for a ‘Wonder Burka’ (which actually turned out more like a ‘Wonder Niqab’):
(Which might seem a bit crass in isolation, but again works in the context of the story.)
Elsewhere, there’s very occasionally a sense of cheesecake creeping in, like this early splashpage (that I would have easily believed was by Terry Dodson):
But for the most part the art fits the story well.
All in all, this is a very confident follow-up to the first volume which fixes some of the problems I had with that book, and moves things into a very interesting place for the third and final volume of this trilogy (for which we get several teases and semi-cliffhangers here). Based on how great this second book was, I’ll look forward to it.