"Deadpool" Sequel in Motion, Screenwriters to Return
As the average price of serially published, traditional-format comics has risen sharply over the past few years, I’ve gradually turned into a trade-waiter, my pull list shrinking to such a meager size that many Wednesdays I’ll skip what was once a religiously observed weekly pilgrimage. It’s not worth a trip to the shop for one or two books, after all, so I’ll sometimes wait three weeks or so, allowing for a sizable stack to build up.
This was one such week, and I left the shop with a pretty good haul, about $45 worth of 14 comics, including a mess of DC weeklies, a pair of Marvel comics, a trio of high-quality kids titles, the latest issue of a locally produced horror series, a Batman/Green Hornet crossover and an issue of one of IDW’s many Teenage Mutant Ninja Turtles comics.
My pull list is now so small and carefully cut that I rarely encounter a book I don’t like any aspect of (generally, when I do buy a comic I have negative feelings about, they’re generated as much by disappointment as anything else). The flip-side is that because I take relatively few chances as a consumer (as opposed to a critic; as a critic, I read pretty much anything with panels on paper that I find in front of me), I’m rarely pleasantly surprised by what I bring home.
This week, I read one comic that was so good that I was genuinely taken aback by its awesomeness; I was surprised and super-excited. I wanted to stand up and shout “Yeah!” but I was in a coffee shop at the time. I wanted to high-five the artist, but he wasn’t within arm’s reach. I wanted to scrap what I was planning to write about in this space today and champion the book instead. I wanted to take the opportunity to say, “Hey everyone! Stop what you’re doing and read this comic right now!”