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The Bum’s Rush #71
WARNING! None of the news or rumors you see here in The
Bum’s Rush should be considered FACT until it actually
happens. It might never happen. How do you know I’m not just
making all this crap up? I could, you know. You’ve been
warned!
Being That I’m Never, Ever Late *cough*
I Can Totally Talk About This
Late comics. It’s a pretty hot button issue among fans
lately, especially since, as I mentioned briefly last week,
Marvel announced the delay of their mega-event crossover,
Civil War. The book, which was originally supposed to
end in November, has been pushed back, with issue 4 shipping
in September and issue 5 shipping in November, meaning that
the 7-issue series will not end at least until January. This
delay in the release of the main series will in turn cause
the delay of several tie-in issues and new series connected
with Civil War as Marvel wishes to avoid potential
spoilers for the main series. What could be important enough
to push back the release of Marvel’s biggest book of the
year, not to mention drastically alter the shipping of
almost their entire line of comics? As Marvel explains it
the delay is meant to accommodate Civil War artist
Steve McNiven, who has fallen drastically behind in his
deadlines for the series.
Just as the heroes in Civil War have been split into
two powerful factions by the introduction of the Super-human
Registration Act, so too has fandom divided between those
that are against the delay (and late comics in general) and
those that applaud Marvel for trying to maintain the
artistic integrity of the series and don’t give a flip about
late comics. In this bizarre case of life imitating art is
anyone truly right or wrong?
Many fans have taken a very vocal stand decrying the delays,
questioning Marvel Comics’ and the series creator’s
professionalism and the company’s lack of control over the
scheduling of their books. Perhaps more importantly, several
retailers have blasted the publisher, as Civil War
setbacks will markedly affect their sales. And while I do
realize that some comics fans will never be happy and some
retailers let personal bias overrule business sense I truly
believe that some of these people have a very good point.
Late comics, especially top-selling late comics, do smack of
a lack of professionalism and control and will almost
certainly effect sales across the board.
From the opposite side, Marvel has expressed that they are
merely trying to maintain the artistic integrity of a very
important series and have no wish to upset the flow of the
series by placing a fill-in artist on the book. Several fans
agree with Marvel and have leapt to the company’s defense
saying that they would rather wait for McNiven to finish the
book himself rather than see a fill-in artist take the
reigns. Many of them point to DC’s recent Infinite Crisis
limited series as a prime example of an important story that
was ruined by several fill-in artists being brought aboard
to keep that book on time. And again I agree with this side
of the argument as well. Certainly there have been a number
of books, such as Infinite Crisis, which have
suffered heavily exactly because the artistic vision was not
maintained from beginning to end. I also agree with a number
of fans and creators who have said, simply, that a late
comic is just not worth getting so up in arms over. I can
live without reading Civil War, or any other comic
for that matter, for a month or two.
A few top creators, including Bryan Hitch (the chronically
late artist of the popular Marvel series, Ultimates),
have applauded both the creative team and Marvel for the
move and feel that the delay will carry no real significance
in the long run. Hitch even pointed out that late books have
been part of the industry for years and that no one really
remembers that both Dark Knight Returns and
Watchmen shipped late when they were first being
published. He maintains that they are seminal works that
were not compromised to meet a monthly schedule and because
of that they continue to be strong sellers as graphic novels
today. And both Marvel Editor-in-Chief Joe Quesada and
Civil War editor Tom Brevoort have repeated these facts
and have also had nothing but praise for the Civil War
creative team of Mark Millar and Steve McNiven. And here is
where my real beef with the entire issue comes into focus.
As I said, I agree with both sides of the argument to
varying degrees. But to applaud a creative team that can’t
meet deadlines is something I won’t do. I may understand the
need for the delays, but that doesn’t mean I’m going to
stand up and cheer as if Steve McNiven, or any other artist
(ahem, Hitch) or writer who can’t meet a deadline, was doing
some service for the industry. Sure, there are exceptions -
illness, family crisis and so on. But time and time again
most of these artists have shown that no matter how much
lead-time you give them and no matter how much a book is
delayed, they simply cannot get the work done on any
reasonable schedule. And that, my friends, is the very
definition of unprofessional.
Also, in the case of books like Dark Knight Returns
and Watchmen, we are talking about comics that are
completely stand-alone. Whether or not those titles shipped
on time had no bearing on an entire line of comics. But with
something like Civil War, where the delay of one
issue means the delay of dozens of other books, well that’s
an entirely different problem.
Look at the continuity mess that resulted from the delays of
Brian Michael Bendis’ five-issue Secret Wars limited
series. That book, which took almost two years to publish,
was supposed to have far reaching effects in the Marvel
Universe, and did, but as a result of such a lag between
issues the effects the story had were confusing and spread
so far apart that it just created a huge mess that no one
has really bothered to clean up. Another example is the
first six issues of the “new” Iron Manongoing
series, which also took around two years to be released. Or
the release of Seven Soldiers #1, the final book in
Grant Morrison’s epic Seven Soldiers multi-series,
which has been pushed back from early summer until October.
There are plot points, stories and characters connected to
these series that spread far beyond themselves and into
other books in the shared comic book universes they inhabit
and these delays or “resolicitations” cause little more than
frustration and confusion for both creators and fans alike.
And what about Hitch’s own delays on Ultimates 2?
That series was first released in 2004 and fans are still
waiting to see issue 12, which isn’t set to ship until
November! Or DC’s All-Star Batman and Robin #5, a
book that was originally scheduled to ship in April, but has
been resolicited twice and is not scheduled to ship until,
you guessed it, November! That’s an eight-month delay!
However long the delays were for either Dark Knight
Returns (each issue of which, by the way, was 48 pages
long unlike the regular 24 pages of a standard comic) or
Watchmen, I doubt they were quite as staggeringly
significant as the delays in books like Ultimates 2
or All-Star Batman and Robin.
What could possibly excuse delays of such magnitude? And
don’t tell me that’s just how things have always been done
in the industry. What about all the comics and creative
teams that miraculously manage to do their work and have it
hit shelves when it’s supposed to? Are the works of these
creators less significant because they were somehow able to
tell their story in a reasonable amount of time? No, of
course not. At some point it becomes the responsibility of
the creator and his willingness (or not) to actually do the
work he is supposed to. I do not believe for a second that
Bryan Hitch or Jim Lee are such magnificent artists that it
actually takes them months and months of painstaking
work to finish the art for a single 24-page comic book. Not
when there are other, equally capable artists out there who
can continually maintain a monthly (or at least
semi-monthly) schedule and manage to put out a consistent
stream of work. Guys like Todd Nauck, Mark Bagley, John
Romita Jr., Doug Mahnke, Scott Kolins, Ron Frenz, Stuart
Immonen and Darick Robertson spring immediately to mind.
But just try being a creator who doesn’t sell books nearly
as well as Bryan Hitch, Jim Lee, Mark Millar or Steve
McNiven. Do you think that guy will get applauded for his
ability to tell a story, no matter how good it is, if he
can’t meet a deadline? Let’s see shall we –
It's an unfortunate truth that I'm going to reveal
here, but since Dan became exclusive to Marvel, he's set
a new record with the company. Absolutely every issue
he's written since becoming exclusive has shipped late.
Perfect record down the line, no exceptions.
Writing comics is a career and Marvel is a
professional company. And the surest way to not get your
exclusive contract renewed is by not having the goods
come game time. As I said before, I think Dan's
super-talented--but that's not going to help him in the
long run if he can't get the work turned around in a
reasonable timeframe like a professional.
That’s what Civil War editor Tom Brevoort wrote in
a public forum about writer Dan Slott, who has indeed had
problems with his books shipping on time, but never by more
than a month and in most cases less than week or two. But
then Brevoort has nothing but nice things to say about
Millar and McNiven who have continually missed deadlines by
months and months at a time. So it really has nothing to
with professionalism but who sells the most books. Which
makes a certain amount of business sense, whether or
not it is fair. I can certainly say though that after
reading that contradictory statement by Brevoort, Marvel’s
argument defending the delays of Civil War has lost
merit in my mind. It seems they will say whatever they have
to say to justify their actions, whether there is any truth
to it or not.
Again and again these creators suffer no real consequences
for their blatant disregard for any sort of reasonable
timeline. And yes, it’s most likely because these creators
continue to be top sellers. As long as they sell books who
cares how late they are, right? But as we can plainly see
the longer these creators go without seeing any real
consequences arising from their lack of progress the more
likely it will become that they will never attempt to
correct the problem. If you or I were to disregard the
deadlines we are required to meet at our own jobs we would
most likely soon find ourselves out of work. How desperate
would you be to get that report done or finish debugging
software or building that website if you knew that no matter
how long you took you’d suffer no ill-effects? But hey, when
even Marvel’s Editor-in-Chief Joe Quesada can’t even finish
a six-issue limited series (Daredevil: Father) in
under two-years, then why should anyone hurry? And therein
lies the real problem - lateness is becoming a matter of
course within the industry and, left unchecked as it is,
will continue to spiral out of control and pretty soon it
really is going to hurt the industry.
Tomorrow The World
We’ve been putting this together for a few months now. It
seemed like every convention or event the Stumblebum Crew
attended we’d end up talking to other local creators who all
wished there was some kind of regular get together of all
the comic artists and writers in the DFW area. And we pretty
much agreed. Dallas is one of the coolest comic book cities
in the country, with dozens and dozens of creators (pro and
independent) and publishing companies (big and small) and
great comic book stores spread throughout. Who wouldn’t want
to attend a gathering of those kinds of creative dynamos?
Too bad there wasn’t anything like that in town. But wait…
what if someone, some impossibly handsome and stunningly
gifted group of gentlemen, decided to do something about it?
Well, then something like this might happen:
STUMBLEBUM STUDIOS IS PROUD TO PRESENT:
The Dallas/Ft. Worth Sketch Group!
The DFW Sketch Group is the place where artists and
writers from around the metroplex can gather to draw, write,
talk, network and just plain old hang out together. The
group will get together from 2 - 5, on the first and third
Sunday of each month starting on September 3rd at the Barnes
& Noble in North Richland Hills. Over a dozen artists and
writers have already expressed interest in joining the
group. Anyone who is interested in hanging out, drawing,
drinking coffee and having fun is welcome to attend.
When:
Every 1st and 3rd Sunday from 2:00 PM to 5:00 PM
(starting September 3rd)
Where:
Barnes & Noble
8525 Airport Freeway
N Richland Hills, TX 76180
One block north of the North East Mall, I-820 and Highway
183, next to Garden Ridge.
What You Need:
1. Yourself and any other artists you want to bring
along
2. Art supplies (sketchbook, laptop, notebook, whatever you
want)
3. Anything else you want, really
Please RSVP at the email address below if you plan on
attending!
For more information contact:
Paul Milligan - thesuperleezard@yahoo.com
So far the response has been staggeringly positive. So many
people have spread the word around and made this something
of an event. You wouldn’t believe some of the people that
have said they’re going to show up on Sunday. Right, now I
expect to see you all there and on your best behavior. We’ve
got a world to conquer, people!
True Crime
I now present, for your viewing pleasure, a couple of
previews for upcoming comics that you simply cannot miss.
Antigone by
David Hopkins and
Tom
Kurzanski - Antigone stands against King Creon for
the right to bury her dead brother. This new version of the
Oedipus trilogy is a Goth fantasy, mixing ancient and modern
-- a dark, twisted, distorted perspective, playfully
obscure. From the creators of
Karma Incorporated with epilogue by Greek
literature expert Aaron Nelson Thomas.
Click on images to view full size
in a separate window
Criminal by
Ed
Brubaker and Sean Phillips - This fall
crime noir smacks you right in the face, as award-winning
writer Ed Brubaker, whose recent hits on Daredevil, Captain
America and the X-Men have made him one of the top writers
in the field, joins best-selling Marvel Zombies artist Sean
Phillips for CRIMINAL, a new ongoing series from Icon.
Navigating through a world of smoky barrooms and
double-crosses to present tales of heists, murders and cons,
CRIMINAL is determined to be different than any other book
on the shelves today.
Click on images to view full size
in a separate window
Just remember – I’ll know if you don’t actually buy these
comics like you should. I’m always watching you. How else
would I know that you’re on the internet right now?
And I’m Goin’ Right Out The Door
With
Wizard World Texas
just around the corner the deadline for the Stumblebum
Studios Anthology 2006 is beginning to look more and more
daunting. With that in mind, plus working to get the new
site design finished, I’ve decided to take a little break
from The Bum’s Rush. But don’t cry my lovelies! I may be
leaving for a little while but The Bum’s Rush ain’t
going nowhere! That’s because
Ring Psychology’s
own A.C. Hall has graciously agreed (do not believe a word
he says about threats toward his loved ones) to take the
reigns of this column for the month of September. Just
remember to treat him with the same respect you treat me...
uh… on second thought…
See you in a month!
The Only Comics That Matter
Last Week –
Batman And The Mad Monk #1 by Matt Wagner
Astonishing X-Men #16 by Joss Whedon and John
Cassaday
This Week –
The Boys #2 by
Garth Ennis and Darick Robertson
Justice #7 by Jim
Krueger, Alex Ross and Doug Braithwaite
X-Factor #10 by
Peter David and Roy Allen Martinez
Next Week –
Agents of Atlas #2 by
Jeff Parker and Leonard Kirk
Beyond #3 by Dwayne
McDuffie and Scott Kolins
If you know of any interesting news, rumors, lies, etc.
about comics and think I should know about it too just email
me at thesuperleezard@yahoo.com.
Read more dumb crap written by me at
www.livejournal.com/users/superleezard.
My semi-daily webcomic, Der Wundervolle Bean, will be coming
to an end soon. But you can still check it out here
www.livejournal.com/users/der_magic_bean.
End of Line
The Bum’s Rush #71
WARNING! None of the news or rumors you see here in The
Bum’s Rush should be considered FACT until it actually
happens. It might never happen. How do you know I’m not just
making all this crap up? I could, you know. You’ve been
warned!
Being That I’m Never, Ever Late *cough*
I Can Totally Talk About This
Late comics. It’s a pretty hot button issue among fans
lately, especially since, as I mentioned briefly last week,
Marvel announced the delay of their mega-event crossover,
Civil War. The book, which was originally supposed to
end in November, has been pushed back, with issue 4 shipping
in September and issue 5 shipping in November, meaning that
the 7-issue series will not end at least until January. This
delay in the release of the main series will in turn cause
the delay of several tie-in issues and new series connected
with Civil War as Marvel wishes to avoid potential
spoilers for the main series. What could be important enough
to push back the release of Marvel’s biggest book of the
year, not to mention drastically alter the shipping of
almost their entire line of comics? As Marvel explains it
the delay is meant to accommodate Civil War artist
Steve McNiven, who has fallen drastically behind in his
deadlines for the series.
Just as the heroes in Civil War have been split into
two powerful factions by the introduction of the Super-human
Registration Act, so too has fandom divided between those
that are against the delay (and late comics in general) and
those that applaud Marvel for trying to maintain the
artistic integrity of the series and don’t give a flip about
late comics. In this bizarre case of life imitating art is
anyone truly right or wrong?
Many fans have taken a very vocal stand decrying the delays,
questioning Marvel Comics’ and the series creator’s
professionalism and the company’s lack of control over the
scheduling of their books. Perhaps more importantly, several
retailers have blasted the publisher, as Civil War
setbacks will markedly affect their sales. And while I do
realize that some comics fans will never be happy and some
retailers let personal bias overrule business sense I truly
believe that some of these people have a very good point.
Late comics, especially top-selling late comics, do smack of
a lack of professionalism and control and will almost
certainly effect sales across the board.
From the opposite side, Marvel has expressed that they are
merely trying to maintain the artistic integrity of a very
important series and have no wish to upset the flow of the
series by placing a fill-in artist on the book. Several fans
agree with Marvel and have leapt to the company’s defense
saying that they would rather wait for McNiven to finish the
book himself rather than see a fill-in artist take the
reigns. Many of them point to DC’s recent Infinite Crisis
limited series as a prime example of an important story that
was ruined by several fill-in artists being brought aboard
to keep that book on time. And again I agree with this side
of the argument as well. Certainly there have been a number
of books, such as Infinite Crisis, which have
suffered heavily exactly because the artistic vision was not
maintained from beginning to end. I also agree with a number
of fans and creators who have said, simply, that a late
comic is just not worth getting so up in arms over. I can
live without reading Civil War, or any other comic
for that matter, for a month or two.
A few top creators, including Bryan Hitch (the chronically
late artist of the popular Marvel series, Ultimates),
have applauded both the creative team and Marvel for the
move and feel that the delay will carry no real significance
in the long run. Hitch even pointed out that late books have
been part of the industry for years and that no one really
remembers that both Dark Knight Returns and
Watchmen shipped late when they were first being
published. He maintains that they are seminal works that
were not compromised to meet a monthly schedule and because
of that they continue to be strong sellers as graphic novels
today. And both Marvel Editor-in-Chief Joe Quesada and
Civil War editor Tom Brevoort have repeated these facts
and have also had nothing but praise for the Civil War
creative team of Mark Millar and Steve McNiven. And here is
where my real beef with the entire issue comes into focus.
As I said, I agree with both sides of the argument to
varying degrees. But to applaud a creative team that can’t
meet deadlines is something I won’t do. I may understand the
need for the delays, but that doesn’t mean I’m going to
stand up and cheer as if Steve McNiven, or any other artist
(ahem, Hitch) or writer who can’t meet a deadline, was doing
some service for the industry. Sure, there are exceptions -
illness, family crisis and so on. But time and time again
most of these artists have shown that no matter how much
lead-time you give them and no matter how much a book is
delayed, they simply cannot get the work done on any
reasonable schedule. And that, my friends, is the very
definition of unprofessional.
Also, in the case of books like Dark Knight Returns
and Watchmen, we are talking about comics that are
completely stand-alone. Whether or not those titles shipped
on time had no bearing on an entire line of comics. But with
something like Civil War, where the delay of one
issue means the delay of dozens of other books, well that’s
an entirely different problem.
Look at the continuity mess that resulted from the delays of
Brian Michael Bendis’ five-issue Secret Wars limited
series. That book, which took almost two years to publish,
was supposed to have far reaching effects in the Marvel
Universe, and did, but as a result of such a lag between
issues the effects the story had were confusing and spread
so far apart that it just created a huge mess that no one
has really bothered to clean up. Another example is the
first six issues of the “new” Iron Manongoing
series, which also took around two years to be released. Or
the release of Seven Soldiers #1, the final book in
Grant Morrison’s epic Seven Soldiers multi-series,
which has been pushed back from early summer until October.
There are plot points, stories and characters connected to
these series that spread far beyond themselves and into
other books in the shared comic book universes they inhabit
and these delays or “resolicitations” cause little more than
frustration and confusion for both creators and fans alike.
And what about Hitch’s own delays on Ultimates 2?
That series was first released in 2004 and fans are still
waiting to see issue 12, which isn’t set to ship until
November! Or DC’s All-Star Batman and Robin #5, a
book that was originally scheduled to ship in April, but has
been resolicited twice and is not scheduled to ship until,
you guessed it, November! That’s an eight-month delay!
However long the delays were for either Dark Knight
Returns (each issue of which, by the way, was 48 pages
long unlike the regular 24 pages of a standard comic) or
Watchmen, I doubt they were quite as staggeringly
significant as the delays in books like Ultimates 2
or All-Star Batman and Robin.
What could possibly excuse delays of such magnitude? And
don’t tell me that’s just how things have always been done
in the industry. What about all the comics and creative
teams that miraculously manage to do their work and have it
hit shelves when it’s supposed to? Are the works of these
creators less significant because they were somehow able to
tell their story in a reasonable amount of time? No, of
course not. At some point it becomes the responsibility of
the creator and his willingness (or not) to actually do the
work he is supposed to. I do not believe for a second that
Bryan Hitch or Jim Lee are such magnificent artists that it
actually takes them months and months of painstaking
work to finish the art for a single 24-page comic book. Not
when there are other, equally capable artists out there who
can continually maintain a monthly (or at least
semi-monthly) schedule and manage to put out a consistent
stream of work. Guys like Todd Nauck, Mark Bagley, John
Romita Jr., Doug Mahnke, Scott Kolins, Ron Frenz, Stuart
Immonen and Darick Robertson spring immediately to mind.
But just try being a creator who doesn’t sell books nearly
as well as Bryan Hitch, Jim Lee, Mark Millar or Steve
McNiven. Do you think that guy will get applauded for his
ability to tell a story, no matter how good it is, if he
can’t meet a deadline? Let’s see shall we –
It's an unfortunate truth that I'm going to reveal
here, but since Dan became exclusive to Marvel, he's set
a new record with the company. Absolutely every issue
he's written since becoming exclusive has shipped late.
Perfect record down the line, no exceptions.
Writing comics is a career and Marvel is a
professional company. And the surest way to not get your
exclusive contract renewed is by not having the goods
come game time. As I said before, I think Dan's
super-talented--but that's not going to help him in the
long run if he can't get the work turned around in a
reasonable timeframe like a professional.
That’s what Civil War editor Tom Brevoort wrote in
a public forum about writer Dan Slott, who has indeed had
problems with his books shipping on time, but never by more
than a month and in most cases less than week or two. But
then Brevoort has nothing but nice things to say about
Millar and McNiven who have continually missed deadlines by
months and months at a time. So it really has nothing to
with professionalism but who sells the most books. Which
makes a certain amount of business sense, whether or
not it is fair. I can certainly say though that after
reading that contradictory statement by Brevoort, Marvel’s
argument defending the delays of Civil War has lost
merit in my mind. It seems they will say whatever they have
to say to justify their actions, whether there is any truth
to it or not.
Again and again these creators suffer no real consequences
for their blatant disregard for any sort of reasonable
timeline. And yes, it’s most likely because these creators
continue to be top sellers. As long as they sell books who
cares how late they are, right? But as we can plainly see
the longer these creators go without seeing any real
consequences arising from their lack of progress the more
likely it will become that they will never attempt to
correct the problem. If you or I were to disregard the
deadlines we are required to meet at our own jobs we would
most likely soon find ourselves out of work. How desperate
would you be to get that report done or finish debugging
software or building that website if you knew that no matter
how long you took you’d suffer no ill-effects? But hey, when
even Marvel’s Editor-in-Chief Joe Quesada can’t even finish
a six-issue limited series (Daredevil: Father) in
under two-years, then why should anyone hurry? And therein
lies the real problem - lateness is becoming a matter of
course within the industry and, left unchecked as it is,
will continue to spiral out of control and pretty soon it
really is going to hurt the industry.
Tomorrow The World
We’ve been putting this together for a few months now. It
seemed like every convention or event the Stumblebum Crew
attended we’d end up talking to other local creators who all
wished there was some kind of regular get together of all
the comic artists and writers in the DFW area. And we pretty
much agreed. Dallas is one of the coolest comic book cities
in the country, with dozens and dozens of creators (pro and
independent) and publishing companies (big and small) and
great comic book stores spread throughout. Who wouldn’t want
to attend a gathering of those kinds of creative dynamos?
Too bad there wasn’t anything like that in town. But wait…
what if someone, some impossibly handsome and stunningly
gifted group of gentlemen, decided to do something about it?
Well, then something like this might happen:
STUMBLEBUM STUDIOS IS PROUD TO PRESENT:
The Dallas/Ft. Worth Sketch Group!
The DFW Sketch Group is the place where artists and
writers from around the metroplex can gather to draw, write,
talk, network and just plain old hang out together. The
group will get together from 2 - 5, on the first and third
Sunday of each month starting on September 3rd at the Barnes
& Noble in North Richland Hills. Over a dozen artists and
writers have already expressed interest in joining the
group. Anyone who is interested in hanging out, drawing,
drinking coffee and having fun is welcome to attend.
When:
Every 1st and 3rd Sunday from 2:00 PM to 5:00 PM
(starting September 3rd)
Where:
Barnes & Noble
8525 Airport Freeway
N Richland Hills, TX 76180
One block north of the North East Mall, I-820 and Highway
183, next to Garden Ridge.
What You Need:
1. Yourself and any other artists you want to bring
along
2. Art supplies (sketchbook, laptop, notebook, whatever you
want)
3. Anything else you want, really
Please RSVP at the email address below if you plan on
attending!
For more information contact:
Paul Milligan - thesuperleezard@yahoo.com
So far the response has been staggeringly positive. So many
people have spread the word around and made this something
of an event. You wouldn’t believe some of the people that
have said they’re going to show up on Sunday. Right, now I
expect to see you all there and on your best behavior. We’ve
got a world to conquer, people!
True Crime
I now present, for your viewing pleasure, a couple of
previews for upcoming comics that you simply cannot miss.
Antigone by
David Hopkins and
Tom
Kurzanski - Antigone stands against King Creon for
the right to bury her dead brother. This new version of the
Oedipus trilogy is a Goth fantasy, mixing ancient and modern
-- a dark, twisted, distorted perspective, playfully
obscure. From the creators of
Karma Incorporated with epilogue by Greek
literature expert Aaron Nelson Thomas.
Click on images to view full size
in a separate window
Criminal by
Ed
Brubaker and Sean Phillips - This fall
crime noir smacks you right in the face, as award-winning
writer Ed Brubaker, whose recent hits on Daredevil, Captain
America and the X-Men have made him one of the top writers
in the field, joins best-selling Marvel Zombies artist Sean
Phillips for CRIMINAL, a new ongoing series from Icon.
Navigating through a world of smoky barrooms and
double-crosses to present tales of heists, murders and cons,
CRIMINAL is determined to be different than any other book
on the shelves today.
Click on images to view full size
in a separate window
Just remember – I’ll know if you don’t actually buy these
comics like you should. I’m always watching you. How else
would I know that you’re on the internet right now?
And I’m Goin’ Right Out The Door
With
Wizard World Texas
just around the corner the deadline for the Stumblebum
Studios Anthology 2006 is beginning to look more and more
daunting. With that in mind, plus working to get the new
site design finished, I’ve decided to take a little break
from The Bum’s Rush. But don’t cry my lovelies! I may be
leaving for a little while but The Bum’s Rush ain’t
going nowhere! That’s because
Ring Psychology’s
own A.C. Hall has graciously agreed (do not believe a word
he says about threats toward his loved ones) to take the
reigns of this column for the month of September. Just
remember to treat him with the same respect you treat me...
uh… on second thought…
See you in a month!
The Only Comics That Matter
Last Week –
Batman And The Mad Monk #1 by Matt Wagner
Astonishing X-Men #16 by Joss Whedon and John
Cassaday
This Week –
The Boys #2 by
Garth Ennis and Darick Robertson
Justice #7 by Jim
Krueger, Alex Ross and Doug Braithwaite
X-Factor #10 by
Peter David and Roy Allen Martinez
Next Week –
Agents of Atlas #2 by
Jeff Parker and Leonard Kirk
Beyond #3 by Dwayne
McDuffie and Scott Kolins
If you know of any interesting news, rumors, lies, etc.
about comics and think I should know about it too just email
me at thesuperleezard@yahoo.com.
Read more dumb crap written by me at
www.livejournal.com/users/superleezard.
My semi-daily webcomic, Der Wundervolle Bean, will be coming
to an end soon. But you can still check it out here
www.livejournal.com/users/der_magic_bean.
End of Line
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