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The $40 perception of value

books for comparison

I posted on this subject a few weeks ago, but have noticed it again a couple times recently.

The pricing—all publishers are guilty, but I’ve mostly noticed it with Marvel books—just seems so out of proportion when books are compared to each other.

Where I’d thought it fairly standard that a six-issue “standard size” TPB would be $14.99 or so…I found that the first volume of Ultimate Comics Avengers, collecting the first six issues of that series, carries a PAPERBACK cover price of $19.99.

As shown to the left of this text, the huge, quasi-omnibus sized Civil War: Spider-Man volume carries a $39.99 cover price. Next to it, the SIGNIFICANTLY smaller in physical dimensions/thickness Deadpool & Cable volume…is also $39.99.

Granted, both volumes contain roughly 18 issues of content, from presumably regularly-sized issues of ongoing series (at the time the series were published). But that hardcover collection is made up of pages enlarged—taller and wider than “standard comic size”…and it’s a hardcover collection. And it’s got the same price as the scrawney-by-comparison paperback.

Really makes the paperback seem like not only an inferior product, but a bad value by comparison, phsyically.

I’ve gotta imagine it’s much cheaper to produce a paperback edition than hardcover. Factor in the extra paper involved by the larger physical dimensions, and honestly…I just don’t “get” it.

$40 is a lotta money…and it’s one thing to drop it on a huge, heavy hardcover. But to see it as the price on a thin little paperback…geez.

Of course, even within the line…the volume containing the only-7-issues Civil War main event itself is also $39.99…and much more comparably sized, at least physically.

These also put the $50 Starman Omnibus volume to shame.

And this is why I buy from Amazon or Half-Price Books, or wait for 33% and 40% coupons from Borders (not even getting into the developing fate of Borders).

books for comparison

Uncanny X-Force #5 [Mini-Review]


Full review posted to cxPulp.com
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Rating: 3.5/5

Deadpool/Cable #26 [Review]


Full review posted to cxPulp.com
.

 

Rating: 4.5/5

Deadpool #31 [Review]

I Rule, You Suck (Conclusion)

Writer: Daniel Way
Pencils: Bong Dazo
Inks: Jose Pimentel
Colorist: Andres Mossa
Letterer: VC’s Joe Sabino
Cover Artist: Dave Johnson
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Published by: Marvel Comics

Story-wise, there’s not a whole lot to this issue. Deadpool’s trapped in a hospital, trying to keep a young doctor alive while killing vampires of the Claw Sect (who have infiltrated the hospital). Amidst the fighting, we get an extremely amusing moment in one of Deadpool’s hallucinations, riffing on Twilight. We also get to see Deadpool spring a couple of traps that are really quite smart–and the flashback to seeing him setting the first struck me as funny in its own way, even while thinking what an awesome moment of planning ahead it was…I’m surprised I’ve never seen that solution used in anything else with vampires before. The issue ends on a bit of a sad note…one can’t help but feel for Deadpool here.

The art by Dazo continues to impress me. There’s something to the visual style Dazo brings to the book that works really well for me, and there was nothing that jumped out at me as complaint-worthy. This looks and feels like the Deadpool I’ve come to enjoy the last couple years, and remains a great-looking comic.

I’d not been following Deadpool for a few months–waiting instead to pick up collected volumes–but the cover of the previous issue drew me in; and especially for discovering this would be only a 2-part story, there was no way I wasn’t going to get this issue. This series continues to surprise me at how much I enjoy it. The enjoyment this time is as much in the story as it is in that the cover price seems to be holding–for present–at “only” $2.99. as well as the fact that this was a highly-enjoyable Deadpool arc of only 2 issues rather than being drawn out across six issues.

The cover shows this as a tie-in to the recently-concluded Curse of the Mutants arc from X-Men…this is a thematic tie-in, but can be read and enjoyed entirely without that story, and vice-versa. This–along with the previous issue–make a great little set for Deadpool fans unwilling to commit to six issues but who want to read a well-done Deadpool story set inside current continuity, interacting with the goings-on of the Marvel Universe.

All in all…this is my favorite issue of the week for sheer enjoyment. Definitely recommended.

Story: 8/10
Art: 9/10
Whole: 8.5/10

A quick 2nd-to-last week of 2010 comics rundown

deadpool30 While making my usual trip to the comic shop during lunch on Wednesday, I–along with my pull-list books–bought a small stack of old Archies to give coworkers in place of Christmas cards.

The next day, I wound up at another comic shop in search of Vertigo Resurrected: Shoot (which I should have picked up several weeks ago when I saw it at a friend’s local shop in Michigan). After rejecting several cool/interesting-looking Marvel books due to the $3.99 price (I’ve lost track of how many sales Marvel has missed out from me on impulse sales alone, for that $3.99 point killing any impulse). I spotted Deadpool #30 and saw that it was a tie-in to the just-wrapped Curse of the Mutants story from X-Men.

Seeing the cover—DP’s grin and the label “Vampire Hickey”—was sufficiently amusing as to draw me in. And the book remaining at the $2.99 price point was enough to get an impulse sale there. (Not too thrilled that this 2-parter begins the same week the main story ended, though).

Continue reading

Collected volume pricing

Disparate Pricing

marvelbooks20101211 While collected volumes of comics are priced based on their contents…I’m finding more and more lately that paper quality and format lend a different sort of visual perception to the mix.

Take The Heroic Age TPB. $24.99…yet, it’s about twice as thick as the $14.99 Deadpool: Secret Invasion volume. Twice the size, but $5 less than twice the price.

Compare that to Deadpool Classic vol. 1: The Heroic Age…roughly the same thickness is $24.99…yet Deadpool Classic is $29.99–$5 more.

hardvssoft Looking at Deadpool & Cable, there’s a similar thickness—a little more to it than the Classic volume, granted—but it’s $39.99…a $10 difference for not a lot of difference in size.

Those have different contents, though, by several issues at least. Bringing a hardcover into the mix…look at the Invincible Iron Man by Fraction and Larrocca vol. 1 OVERSIZED hardcover. 19 issues in this volume for $39.99…and 18 issues in Deadpool & Cable…which is a paperback, but also carrying that $39.99 price.

With all interests in characters/series (and consideration of quality) being equal…The Iron Man volume would seem to be a much better value for number of issues’ content and physical size/format for the price.

Of course, I do know there are reasons (which may not come to me off the top of my head or that I—in terms of simply purchasing books—don’t even care about) for the varying prices. Print runs, quality of paper, creator royalties, projected profits, and who knows what all.

While I lack a photo at present for the visual…another point of interest are the Vertigo $4.99 TPBs that collect the first issue of many of their popular series. (Additionally, Top Cow recently put out a $4.99 volume with the first issue of several of their soon-to-debut series). Of course, it’s a much different thing to have an “anthology” type volume with a single chapter from multiple series. These serve more as samplers, as opposed to a volume that collects an entire story.

Though Top Cow has recently hooked me with their bargain-priced premiere volumes of Witchblade, Witchblade: Redemption, and The Darkness, collecting an entire arc (5-6 issues) of each for only $4.99. That’s 4-5 “extra” issues compared to the $3.99 single-issue pricepoint of far too many comics out there these days.

Disparate Trade Dress/Editions

variededitions

On a much different note, but dealing with thick volumes and a little with pricing (getting more expensive through the years for successive reprints of the same content/volumes)…Knightfall, and Essentials.

I have all three Knightfall volumes…but each is a different printing. Vol. 1 is the original printing from the mid-1990s. Vol. 2 is from the later printing…maybe early 2000s or late-1990s. And the third volume is from the last few years, whenever it was reprinted after DC changed to their present version of the DC “star” and trade-dress.

The Essential Uncanny X-Men vol. 1 I bought the week before I went off to college, back in August 1999. After the Essentials’ trade dress was revamped, they continued reprinting those earliest X-men issues as Essential Classic X-Men, but numbered the volume as 2, picking up from Essential Uncanny. And finally, under the newest revamp of the trade dress (AND pricing), they put out a 3rd volume.

While the price that I paid was right—I got vols. 2 and 3 of both sets for at least half-off—I’m the sort of person who likes it when a series actually looks like it goes together…whether first editions, second prints, or 10th-print and beyond.

On The Shelf

dragonlanceshelfActually looking like a single series, my Weis/Hickman Dragonlance volumes sit together on a shelf. Ultimately, this is an ongoing series of core characters by these authors. The books all go together, and in this particular edition, they look like it.

Most of these books have seen numerous different editions in paperback with successive printings and even different publishers. Dragons of Autumn Twilight was originally published in the mid-1980s, while Dragons of the Dwarven Depths wasn’t published until about 20 years later.

I don’t collect books—or comics, or collected volumes/TPBs/graphic novels/whatever for value.

But I am very much a collector in wanting to read the stories (I prefer bookshelf editions to single issues these days, given choice and feasibility) and enjoying when the volumes that I get look good together, on the shelf.

Deadpool: Merc With a Mouth #13 [Review]

Full review posted to cxPulp.com.

Story: 3.5/5
Art: 4/5
Overall: 3.5/5

Deadpool: Merc With a Mouth #12 [Review]

Writer: Victor Gischler
Pencils: Bong Dazo
Inks: Jose Pimentel
Colors: Matt Mills
Letters: Jeff Eckleberry
Cover: Arthur Suydam
Production: Taylor Esposito
Asst. Editor: Sebastian Girner
Editor: Axel Alonso
Published by: Marvel Comics

Deadpool and the gang find themselves in a bit of a race–both literal and figurative–to get back to the chopper and get to the portal so they can go home. While Deadpool’s group deals with their immeediate threat of Zombie Prof. Veronica, the surviving AIM agents plot how to get home, since they need Deadpool as well. When the groups converge, negotiations are had, a deal struck, and things still don’t really go according to plan…but then, Deadpool’s involved. What plan can really be had for things to go according to?

The art has a cartooney yet modern flair to it. The characters are pretty distinct, and it’s not hard to follow the action. Nothing much really stands out, as even the gorier parts fit within the atmosphere of the story. As with any character interpreted by multiple artists across different books, Deadpool’s got a mildly different appearance here than in other books–it in no way takes away from the character, but the style may not entirely fit one’s personal tastes. I do prefer other takes on the character slightly more, but this is not a bad look for the character. The zombies look properly creepy and messaged up…and as a whole, the art does fit itself with the story.

While I referenced above the idea of things not going according to plan where Deadpool’s involved, the writing does show a plan that stretches beyond just a single arc. While there was a distinct split-point, this arc specifically builds on elements from the opening arc. I’m not sure I’d read anything by Gischler a year ago, but he has quickly become my favorite Deadpool writer, capturing the chaotic, whimsical nature of the character (and the multiple voices) while building a relatively long-term story within a couple of smaller arcs.

Though this was begun as an ongoing series and has since been retroactively deemed a 13-issue limited series (something I’m not thrilled with)…this issue actually feels like a penultimate chapter of something big…and taking prior issues along with this, I would hope there’d be an oversized single-volume hardcover for this series.

If you’ve been following the series so far, this is certainly worth picking up. However, at issue 12 of 13, if you’ve not been following along, I’d recommend holding out for a collected volume.

Story: 7/10
Art: 8/10
Overall: 7.5/10

Deadpool #22 [Review]

Writer: Daniel Way
Art: Tan Eng Huat
Colorist: Marte Gracia
Letterer: VC’s Joe Sabino
Cover Artist: Jason Pearson
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Published by: Marvel Comics

Having parted ways with Spider-Man, Deadpool finds himself on his own, trying to play the part of the “hero” rather than merely gun-totin’ merc-with-a-mouth. After a nice bit of Pool-o-vision, we find Wade on a bus, which, of course, conveniently is in the right place/time to be robbed. After the robbers leave, ‘Pool realizes they were dirty cops, and heads into a nearby town seeking justice. Of course, in typical Deadpool fashion, what he finds isn’t what one would exactly expect, and leads to a true test of Deadpool’s will to be more heroic than mercenary.

The art by Huat and Gracia is not bad, though somehow it doesn’t strike me as the best Deadpool’s looked. Of course, I’m finding myself inundated lately with Deadpool all over the place by so many artists that it doesn’t seem the character has any overly consistent appearance these days. This issue tips a bit more toward the realistic side away from some of the more exaggerated, cartooney takes on the character and his stories. The visuals don’t particularly stand out all that much, but they’re not anything that’ll turn me off to the book, either.

The story itself–while fitting into the general theme of Deadpool trying to “go hero” left me feeling rather put off. This issue is a one ‘n done tale–and as such, in a title that has operated on the modern formula of multi-issue arcs that have some forward movement but lead directly from one issue to another, it’s rather disappointing. I do imagine this will sit better in the longer view–whether it’s the first of several such stories, or if it’s setting up something to come or perhaps serving as a bit of an epilogue: “here, after encounterying Spider-Man, see what Deadpool tries to do after being so inspired.”

Whatever intellectual rationalization is given, for me, with what I’ve come to expect from a Deadpool comic, this one was a distinct let-down, and possibly my least favorite issue of the series to date.

If you’re all about ANYthing and everything Deadpool, chances are you’ll have already decided to pick this up. The single-issue story format makes it a sorta neutral point for someone considering checking the character out–you see some key aspects of the character, from “Pool-o-vision” to the multiple voices in his head, to how he deals with certain situations. But without a through-narrative from a previous issue or lead-in to the next issue, this one’s ultimately forgettable and seems non-essential.

Not recommended.

Story: 4/10
Art: 7/10
Overall: 5.5/10

Deadpool Team-Up #895 [review]

Writer: Christopher Long
Art: Dalibor Talajic
Colors: Tomislav Tikulin
Letters: Jeff Eckleberry
Cover: Humberto Ramos
Production: A. Dial & D. Lucchese
Asst Editor: Sebastian Girner
Editor: Axel Alonso
Published by: Marvel Comics

More than ever, this Deadpool Team-Up book seems to be the outlet for various creative teams to do one-off tales with Deadpool and various obscure Marvel characters. As with earlier issues…you don’t need to have read any of the previous issues of this series. And also in line with every previous issue…you don’t need to pick up the next issue to get the next part of the story, because this is a done-in-one story with nary a “To Be Continued” in sight.

For whatever reason, and however he does it, Deadpool’s been hired to captain a sub taking the niece of the man who controls “It! The Living Colossus,” who has been in a coma since a long-lost battle with Dr. Doom. The niece thinks that she can revive her uncle by getting him into close proximity with the Colossus he used to control. While the logic is iffy, the results can’t be argued with and–when things invariably go bad with the sub, Deadpool and his ‘client’ find an unexpected result of the uncle’s body being present so close to the statue his mind once controlled.

The story here is amusing enough, but ultimately not all that exciting. While I enjoy one-and-done issues as much as the next guy, as the status quo for this series, it’s just hard to get all that excited knowing nothing picks up from this issue’s events next issue, and to look back at these last few issues and realize that I could’ve skipped any–or all–of them and not be at all “lost” on the latest issue.

The art’s not bad–this is definitely Deadpool…he looks familiar and doesn’t appear out of place any more than he should in the situation he’s got himself mixed up in this issue.

Perhaps that’s the thing–this series is like the classic Ninja Turtles cartoon (or probably any of a number of other ‘classic’ cartoons of the 1980s and such). All you REALLY need to know is the basics of Deadpool. Merc With a Mouth. Healing factor, butt-ugly face…body basically maintained by that healing factor. Loves guns, great with a sword, somewhat crazy, and breaks the “fourth wall.” You can enjoy the entirety of the series as a large, dynamic dose of Deadpool…or you can tune in for any given issue and get a story from start to finish…a story that’s not entirely devoid of formula.

If you like Deadpool, and you have an extra $3 burning a hole in your budget…this is a great issue to get. No crossovers, no tie-ins, no preludes…just a complete Deadpool story all in one issue.

If you’re a bit more picky about your Deadpool stories, and prefer the longer multi-issue arcs, you’d be better served with Merc With a Mouth which is largely following its own continuity in multi-issue arcs, or the main Deadpool title, which follows the mainstream Marvel Universe continuity, in multi-issue arcs.

Story: 7/10
Art: 7/10
Overall: 7/10