I have been informed that the Squiddies, an annual on-line comics poll, has declared “Many Happy Returns”–the return of Kara storyline–to be the best multi-part story of 2003.
I appreciate the validation, although it does remind me of Tony Randall’s five-second acceptance speech upon winning the Emmy for Best Lead in a Comedy for “The Odd Couple” the same year the show was cancelled: “I’m pleased I won. Now I just wish I had a job.”
PAD
• 
Deano,
I think you are a cool person, but I really have to take issue with your comments. If you read them, please respond. I would appreciate feedback!
1.)First, how can you take ANYTHING Micah Wright says seriously? He is a fu–ing liar, who lied about being in the military to give himself and his stories more credibility. This person (I won’t call him a man) does not have 1/10th the crdibility PAD has.
2.) You are buying into the crap that there “are TOO MANY X BOOKS ON THE MARKET”, which has been the constant whine of other books that cannot find a readership. Bull. I like “Emma Frost” and “Mystique”. If they get cancelled, that doesn’t mean I’m going to have more money (since obviously all comic readers and retailers are poor AND sheep and ignore good and potentially money-making comics for bad, money-losing ones that begin with X!
And X-Factor ended years ago, dude. Since that time, “Gambit”, a series with Bishop and other mutant books have bitten the bullet.
In fact, if an X-book drops below the “Top 50” mark, it is more than likely to be cancelled, since the expectations are higher. So any book that survives, deserves it.
Look at “X-Statix”. Critically acclaimed by everyone from “Wizard” to “The New York Times Book Review”! And it was one of Axel Alonso’s favorites to boot!
But being #81 in February and #95 in March just doesn’t cut it for ANY book, let alone an X-book, so it’s gone!
Thank goodness, since i found the stories silly and the characters COMPLETELY unlikable!
3.) I think Christopher Priest is talented. I LOVED his “Power Man/ Iron Fist” stories. I have interviewed him.
But “STEEL”?
Please!
Two of my best contcts are the co-owners of the largest, most succesful store in the country run by African-Americans.
And they BOTH HATE Christopher Priest’s writing lately.
Steel? Here are their exact words:
“Here you had this little Jewish woman who wrote him interestingly, who made him heroic, who made him basically a Black Superman.”
“Then Christopher Priest comes along and sudenly he’s afraid of the water?”
They also hated “Icon” and found it offensive for reasons I won’t go into.
Finally, “Black Panther” was so vague and “deconstructed”. They wanted the regal ruler!
And me, personally, I have always LOVED The Black Panther, but I pickes up an issue now and then, and had no idea what the hëll was going on.
So, Deano, sometimes “The Powers That Be” simply cancel series with “potential” because readers have dropped them.
And there’s usually areason for that.
Oversaturation is kind of a double-edged sword IMO. On the one hand, variety allows for multiple interpretations; if you don’t like what one writer is doing, you have alternatives. It’s not like in the 1970s when, as far as the X-Men were concerned, Chris Claremont’s word was law. It also allows the characters to branch out into multiple genres, ie: spy thrillers with “Mystique”, drama (some might say melodrama) with “Emma Frost”, etc.
On the other hand, Marvel spends so much money pushing more and more X-books regardless of their quality, and as a result they constantly kvetch about being unable to support titles that aren’t quite as successful (ie: Runaways, Sentinel, Spider-Girl, X-Statix).
Hey Jerome read the comments so I will respond.
1. Sorry ,i had no idea Micah wright was a liar,
and in particular if he lied about military service the man is scum and all his opinions just got flushed .My Dad retired from the Army after about 20 years when i was born,i have a brother who was a marine,and i have about 13 years of service from active duty and reserve time combined in the reserves so lying about that is most uncool.
2.The “too many X books” i was using them as an example of how some books are more hyped as opposed to others.Kinda like how Fox would bury Bernie Mac and Arrested Development but hype American idol til the end of time.
3.As far as Christopher Priest,I loved Powerman/Iron Fist,Quantum and Woody ,and Xero.I admit the early Steel issues were a lot better than his run.Towards the end of the Panther run it did become a bit all over the place for me .Panther was one of favorites and i enjoyed the early issues by Priest.The quality of his worked has declined as his recent Captain America /Falcon series was unreadable.Did he do Icon ??I thought that was someone else.
Back to the point ,whether by design of the writers or editors,Xero and Steel seemed to live almost totally apart from the DCU.At the time i felt Priest was on top of his game and didnt understand why more effort was not made to push the titles.Of course I only know Priest’s side of the story.By the way the Comic shop owners you mentioned , In think i may have known one of their Fathers ….small world huh?I live in Media know but grew up in southwest Philly so anything is possible.
Titles getting Axed I understand sometimes they just stink and certain expectations come with certain titles and it is reasonable to want certain revenue from a well marketed book.Its just in a perfect world the better quality book
would sell as opposed to the most popular.I guess that is thinking from the fan side and not the business side.
Again just my opinions ….i could be wrong,unlike Bladestar and a few others i admit i dont know everything and sometimes get short sighted in my beliefs and thoughts.
I would like to discuss why Icon was a “hated” title if you get time ,Was it stereotypes ,lack of originality???
Hope i answered the questions ,sometimes i ramble.By the way out of curiousity am the only person who is bored by chris claremont or am i just spoiled from Grant Morrison and his run on Xmen??
Regarding Chris Claremont’s return with Alan Davis to Uncanny X-Men, I actually very much enjoyed their first issue.
I thought Grant Morrison was a master at taking great ideas and executing them, but honestly, Morrison’s run overall didn’t work well for me. The tone Morrison set was one of creepy revisionism, taking the whole “Phoenix” angle and “Weapon Plus,” etc, and trying to make them work as a cohesive whole with his ideas, i.e. Cassandra Nova, the U-Men, Sublime, etc. Plus, I’m an old-school fanboy, and the whole “Scott-Emma” pairing kinda annoyed me. Yeah, I see the potential, but the idea that Jean as Phoenix needs Scott to embrace Emma to save the future…it didn’t wash with me.
I reached a point in the X-titles lately where I’d read the book, see these characters I once knew like old friends, and I could hardly recognize them. Reading the first issue by Claremont and Davis, I knew these characters again. The smile of Nightcrawler, the kinship between Storm, Kurt, and Logan, the antagonism between Scott and Logan, plus seeing Dani Moonstar, Xi’an Coy Mahn, Rachel Summers aka Marvel Girl, and Bishop having fun, it was great fun. Time will tell if that bears out in future issues, but so far, so good.
Also, just a word on Priest: I loved his Black Panther run, but I’ll be the first person to admit that it could be inaccessible to a new reader. However, I didn’t start reading until Issue 26, the start of the “Sturm und Drang” arc, and I was able to follow what was going on, and it made me want to go back and find the back issues and fill myself in. I’m glad I did. That was a brilliant take on Black Panther, and I thoroughly recommend it. So far, Captain America and the Falcon is quite good as well, after having suffered through a few years of “relevant post-9/11 Captain America” at Marvel Knights. Mark Waid, why have you forsaken us?! Waid’s Captain America was the finest the character had been in 20 years, and I hated that he was driven off the book twice, once to make way for Liefeld/Loeb Heroes Reborn Cap, and again because of editorial interference. (I believe that the assistant editor pretty much re-wrote a brilliant issue #14 featuring the Red Skull, causing Waid to ask that his name be removed from the credits of the book, for example.)
You know, I’ve kind of chuckled when I’ve looked at the marketing blitz for Superman/Batman’s “Return of Kara” storyline. It was touted as the biggest event in comics right now, and yet, PAD did it (and better, from my “old-school fanboy” perspective) last year. Ah, well.
I’ve gotta say this…if PAD were still writing Supergirl or were even writing the current Superman/Batman storyline…there’s no waythat Kansas-farm-raised, ultra-protective cousin Clark would let her go out in public with a thong showing (sigh).
Truly, we are back in the ages of Image tittilation.
Re:Micheal cravens and claremont
I guess im just burned out on claremont,I liked
seeing the Xmen in different ways and actually liked Morrison’s attempt to execute all the new ideas.Its just i reached a point where I actually stopped reading the mutant books because it got way to involved with the multibook crossovers and storylines ,which i realize was at the feet of the editors more than the writers.Claremont and his writing began to bore me because of the (to me anyway)overuse of Captain Britain and Excalibur characters , i mean enough already.Also i felt there was a lack of change in the characters making them stale and that storylines were contrived to “shake up things”but then stuff went back to normal.
Priest did a good job on Panther but the stories worked better in arcs as opposed to one continous narrative.I was disappointed with the attempt to tie in some of the Kirby panther stories with King Solomons’frogs(Ugh)The Captain America /Falcon story was just to hard to follow
maybe it was the artwork but i just didnt feel the flow.
I will probably anger the hardcore xmen by saying this but i will just agree to disagree on whether or not Claremont and his return are a good thing.I loved the early Claremont/Byrne,stories pretty much around the silvestri days when the Longshot/Dazzler “Siege Perilous ” story was when i lost interest.Then i stopped reading comics for a while and it was too hard to jump back in.Morrison got me reading the
Xmen again so maybe its just my bias.
Its pretty much the point I am at with the Hulk ,I just dont find myself caring about Banner anymore.Not a bûŧŧkìššìņg session but it really went south after PAD left.
By the way Rob Liefeld should not be allowed within 500 feet of a comicbook til he goes to art school,has an original idea,and for god sakes learn to tell a story 🙂
Deano: Well, I think the biggest problem on Cap/Falcon by Priest has been the art. Bart Sears has a style that is great for some books, but I just don’t think this is one of them. Fortunately for the book, Sears is leaving the book within an issue or two, and Joe Bennett is coming on board as the new artist, and his style is much more in synch with Priest than Sears. Priest himself has commented to that effect on his blog, that when he received some of the finished pages drawn by Sears, he was a little confused with some of the artistic choices that Sears chose. That’s no bash of Sears, merely an example of a writer/artist/project teaming that was out of synch.
Morrison…again, I loved his ability to think wildly and creatively, and it’s not that I think his grasp of the characters was off. I think he knew exactly who these characters were, but he just set a very “Morrisonian” tone, and its a heavy one that was followed by many of the other writers on the X-books for a few years there, like Joe Casey and Chuck Austen. Morrison’s work on any established title seems to set a tone, as it did on JLA and Animal Man, and other writers gladly followed that tone because they loved what he was doing. The X-Men have had a few great years with this particular tone, but I’m frankly ready to return to the “Claremont” tone, which is more traditional. In a way, it’s not hard to understand why I feel that way; I read the entirety of the Morrison run for the last three and a half years, and I’m ready to move on to something more traditional, something more fun and less heavy and philosophical. Time will tell if Claremont and Davis can do that, but so far, so good.
I’m sure in a few years, I’ll be itching to get back to the heavier tone. It seems that longtime readers like myself are always asking “What’s next?” and I suspect that’s why PAD was always trying to reinvent the books he’s worked on with a fresh tone and status quo every few years. On the Incredible Hulk, we went from the “gray Hulk” to Joe Fixit to the merged Hulk in the Pantheon, and forward to new permutations and new examinations of the fractured Banner psyche; with Supergirl, it was the Earthborn Angel saga to the “Search for Supergirl” to “Many Happy Returns.”
I think I tore a few ligaments in my stretching to bring this back to topic in that last paragraph. Ow. 🙂
Micheal Craven said ” i think i tore a few ligaments in my neck stretching to bring this back to topic”
Very funny and dont worry i have hurt my back and sprained an ankle jumping to conclusions and leaping from topic to topic.:)
Glad to hear i was not the only thrown off by Sears ‘artwork,maybe i will give it try again to see if i get it with a different artist.
“Sales climmbed exponentially, even though DC didn’t put a scintilla of promotion into it. Then they canceled it, took the same concept, did it in Superman/Batman with the full weight of the PR department behind it, and boom, the number one book.”
Sorry, PAD, as I stated earlier, I loved the story, but to constantly compare your Kara storyline and the promotion it received and “Superman/Batman’s” Return of Kara storyline is sour grapes at worst and disingenuous at best when you consider the following statements/facts:
1.) “Superman/Batman” didn’t “boom” become the number one book BECAUSE of the Kara storyline. The title DEBUTED at NUMBER THREE (behind Neil Gaiman’s 1602 and the still superhot Lee/Loeb “Batman” #618). It was one of the top-selling comics of the YEAR.
The book has been a consistent Top-Ten seller. In fact, “Superman/Batman” #6 and 7, the two issues immediately preceding their Return of Kara storyline, were NUMBER FOUR in term of sales.
It’s really not that far a climb from NUMBER FOUR to NUMBER ONE, is it?
Meanwhile, your “Supergirl” was out of the Top 100 when the storyline started. That’s a helluva climb to make.
In fact, it took the third issue of the storyline – which was the first where retailers were able to accurately order based on response to #75 – to even crack the Top 100. And it barely did so, as “Supergirl” #77 landed at NUMBER 98. Issue #78 landed at NUMBER 82.
2.) You, yourself, at the time, contributed the book’s demise to economics and even credited DC with giving you one last shot.
“I didn’t deliver the numbers”, you said then, “The Kara storyline was done specifically to save the book from being cancelled. I was hoping for a 25-50 percent increase in sales, but when the numbers for #75 came in, it was only up a disapointing 2,000 copies.
“I Immediately knew that was it for the book”, you continued, “I wish DC had waited to see the overall sales of the arc before making their decision, but the retailers are the one who realy missed the boat. They didnt get behind it.”
But retailers claimed there wasn’t enough of an incentive to significantly increase “Supergirl”‘s orders.
“Peter David has a very loyal following”, said Avrom Oliver, owner of Adventures in Comics and Games in Carmichael, California, “but the numbers for “Supergirl” used to do well and they definitely tapered off towards the end. It’s difficult to increase orders much with that in mind.”
3.) Many people are picking up “Superman/Batman” not primarily for the Kara storyline, but because of Michael Turner’s art.
Honestly, PAD. You had an 80-issue run on the title. DC kept publishing the title even after it had it’s sales sunk to abysmal levels. They gave you one last shot and despite the improvement it wasn’t enough. Then they gave you another book, “Fallen Angel”, immediately thereafter which is decidedly non-commercial and which they have kept publishing for a year despite sales that would have gotten many series the ax by now.
Can’t you be happy about that?
PAD,
Hope that last post doesn’t come off as a bìŧçh session. I still love most of your work.
However, rereading some of these posts, made me think of something.
When Chris Claremont and Marvel announced he was deciding to write the X-Men again, he said in an interview, “I saw an e-mail where somebody said, “I can’t wait to read this new guy, Chris Claremont. Which just shows you always have the chance to introduce yourself to somebody new!”
Do you ever think it might be wise, once in a while, to try your hand at the high-profile “icons”? Imagine if you were part of the recent Superman title “recharge” with Azzarello, Lee and all the rest. I would LOVE to see your creativity with Supes! And the themes you could play with on “Truth, Justice and the American Way!”
I would love to see you get inside Batman’s head, or do something Waidesque with the “FF”. And a lot of fans of your work were realy hoping you’d get “Avengers”.
And i can’t stand Paul Jenkis on “Spectacular Spider-Man”. You AND JMS on Spidey? Nirvana!
I know you prefer making overlooked, lower-profile characters cool. You can play with them more and get less editorial interference.
But the problem, as I see it, is you’ve been doing low-profile books for so long – like Aquaman and Supergirl – that there are thousands of readers who simply aren’t familiar with your stuff. They don’t know who you are.
Movie stars do this al the time. Tom Cruise knows if he wants to get fans and funding for “Magnolia” and “Eyes Wide Shut”, he has to do a “Mission Impossible” movie once in a while.
In closing, let me say I think it’s cool and almost admirable the way you constantly challenge yourself with low-profile characters and projects. But it might be beneficial for you to go the other way for just a little bit.
Thanks.
Deano,
Kind of have mixed feelings about Claremont. They are, in a way, his “babies”. At the same time, I feel he has lost his “fastball”, so to speak.
But the best thing about the X books today is that they are so different. You have the much villified (unfairly, IMO)Chuck Austen (LOVE his “Action”). You have the Ultimate version, you have a new writer making his mark in New Mutants/New X-Men: Mutant Academy. You have Wolverine, which is very up and down in terms of quality, depending on the writer. You have Emma Frost, which is great for young and old readers (and those greg Horn covers! Wow!). And you have Mystique, which is a cool as hëll spy and espionage book.
Oh, and there’s a little book by somebody named Joss Whedon!
As far as crossovers, they can be both good and bad. bad if they’re completely gratuitous. But in the case of the “Batman” titles, for example, a crossover like “Bruce Wayne: Murderer/Fugitive” can help “sister” books like “Nightwing”, “Robin”, “Birds of Prey” and “Batgirl” reach new readers.
“I would love to see you get inside Batman’s head,”
Hang on. Who’s doing Batgirl once Dylan Horrocks leaves?
Alan:
>Hang on. Who’s doing Batgirl once Dylan Horrocks leaves?
Hold your horses, man. She’s underage. 🙂
Alan:
>Hang on. Who’s doing Batgirl once Dylan Horrocks leaves?
Is there any possible way that this statement can be rephrased? 🙂
1.) “Superman/Batman” didn’t “boom” become the number one book BECAUSE of the Kara storyline.”
WRONG. You’re not taking into account that S/B stars not one, but DC’s TOP TWO FRANCHISE properties. The book was practically GUARRANTEED to be a Top Ten book, just by the marquee BRAND NAME VALUE alone. Now add all those DISENFRANCHISED Supergirl fans who’ve been angry and waiting NEARLY A YEAR for DC to kick that useless ‘Un-Supergirl’ Cir-El to the curb. So if anything, this “Return of NuKara” storyarc has been a PREMEDITATED ‘success’ by DC ALL ALONG (and one need only look at all the ALTERNATIVE COVERS they’re tossing out for #8, #10 and #13 to further see the evidence).
“The book has been a consistent Top-Ten seller. In fact, “Superman/Batman” #6 and 7, the two issues immediately preceding their Return of Kara storyline, were NUMBER FOUR in term of sales.
It’s really not that far a climb from NUMBER FOUR to NUMBER ONE, is it?”
Sure, but keep in mind that when this ‘event’ went to #1, it was during a SOFT MONTH for comics in general.
“Meanwhile, your “Supergirl” was out of the Top 100 when the storyline started. That’s a helluva climb to make.
In fact, it took the third issue of the storyline – which was the first where retailers were able to accurately order based on response to #75 – to even crack the Top 100.”
Yeah, but WHOSE FAULT is that? The author is NOT RESPONSIBLE for INSUFFICIENT PROMOTION by the publisher; he’s just supposed to WRITE THE STORY.
“But retailers claimed there wasn’t enough of an incentive to significantly increase “Supergirl”‘s orders.”
Uh-huh….the return of a beloved character that hasn’t been around for TWENTY YEARS wasn’t incentive enough? And the addition of a NEW ARTIST TEAM wasn’t sufficient enough, either? Tell us another one, oh, ‘mighty defender of mediocrity’; Benes and Lei seem to be doing VERY WELL over on BIRDS OF PREY….
“3.) Many people are picking up “Superman/Batman” not primarily for the Kara storyline, but because of Michael Turner’s art.”
WRONG again. While some of Turner’s ‘cult of personality’ have been responding, it’s mostly been fans of DC’s TOP FRANCHISE CHARACTERS who have been buying these issues. And as for the “sell-outs” of S/B being perpetrated by DC’s hyperbole department, it’s due to RETAILERS OVERBUYING these issues in heady bouts of SPECULATIVE fury. The REAL TRUTH is that one can EASILY find ANY of these issues; even first printings of S/B #8 are still WIDELY AVAILABLE at shops, conventions and on eBay.
KET
KET,
Geez, man, settle down, will you? “Mighty defender of mediocrity”? Sheesh! Did I even say I LIKED the book?
I don’t think so. It isn’t terrible, but not earth-shattering either.
But since you seem to be making arguments, let me respond in kind:
1.) “Superman/Batman” stars not one but two of DC’s top commercial properties. So if THAT’s the reason it’s so popular, it kind of shoots down your argument, since PAD’s storyline had neither on a constant basis, and Supes only intermittently, and besides…
It’s not like a Bat or Superman title is a GUARANTEED blockbuster. Batman’s flagship title does OK when there’s top talent working on it, like Loeb and Lee, which is pretty often these days.
But “Detective” hardly does as well, and only comes close when there’s a huge crossover like “Murderer/Fugitive”.
And “Shadow of the Bat”/”Gothan Knights” always trail far behind those two?
“Superman”? Name me one time before the recent Azzarello/Lee issues that this title was in the Top 10. Or Top 20 for that matter. Even the “marketing” push by DC last year with “The Ten-Cent Adventure” did not help. Could it be because the story, in which the “lame Supergirl” was introduced failed to excite fans enough.
Fact is, if it wasn’t for the licensing and the NEED to have books out there, Supes titles may well have been cancelled a while back. He was sinking for yeard, Loeb kind of helped, but even he could only do so much.
For much of the past decade, Supes’ books have hovered (or been mired) in the low 40s on the sales charts and more often than not been in the 50s and even 60s.
And “Man of Steel” was cancelled and the last figures for “Batman:Legends of the Dark Knight” show it placing at # 97.
So, obviously these TWO TOP FRANCHISE PROPERTIES don’t automatically sell because of their “status” and name recognition.
And if the BRAND NAME VALUE of the characters was enough by itself to support a book, let alone make a best-seller, well, “World’s Finest” would never have gotten the ax, now, would it? Or DC would have revisited the concept long before now.
2.) It was a soft month for comics in general? Sure, and it just happened to be #4 during “hard” months for no reason?
Actually, saying it was a “soft” month kind of weakens your argument that it was the “credit/blame” of DC’s marketing that got it to #1.
Soft month. Okay. Got it.
3.) Who says it has to be ANY ONE ENTITY OR PERSON”S FAULT?
Every book can’t gey a two-page spread in Diamond.
So do we blame the readers for not buying it? I know a retailer who pushed both “Supergirl” and “Spider-Girl” ferociously, but has had limited success with each.
Do we BLAME the retailers for not ordering enough? Sorry, it’s a lot to ask of retailers to optimistically order a book that wasn’t even in the Top 100. No matter how BELOVED you feel the character was, it’s not like she was a proven sales draw in her previous incarnations. They obviously guessed wrong, but can hardly be villified for it.
Do we BLAME PAD for not doing more “commercial” stories, or something?
No. It’s his book. He can write whatever stories he dámņ well pleases.
Can we blame DC “for not marketing it enough”? Sure. But can we also give them credit for keeping the title going even when sales went in the toilet, for giving the book one last chance with the Kara storyline, and for at least allowing him to FINISH the book on his terms?
I think we should. Marvel cancelled a “Blade” series a while back right in the middle of a story, and Dark Horse did the same thing with a “Xena” series a few years ago, because they were simply losing too much money on the book to allow the creative team to finish what they started.
And certain writers today, like Bendis, sure can sell a book. And the fact that Loeb had a well-received run on “Superman” both critically and saleswise and then a superhot run on “Batman” (a character he had made his mark on in well-received limited-series and one-shots beforehand) immediately preceding “Superman/Batman” certainly had quite a bit to do with fan anticipation for the book.
Heck, his run on “Fantastic Four”, for example, didn’t set cash registers smoking, but since he had shown he could do these characters and do them well, well the combination was lethal, especially with the art, which brings me to…
3.) If you don’t think Turner’s art has played a large part in the book’s blockbuster sales, when he made “Fathom” a #1 book by the strength of his name, if you don’t think fanboys aren’t lapping up his renditions of Supergirl and Wonder Woman, you’re out of your mind.
Again, I loved “Many Happy Returns”. PAD certainly deserves his award. But many, many worthy books have gotten the ax through the years. I have seen books I truly loved, like “Rom”, “New Warriors” (Fabian’s crew), “Silver Surfer”, “Moon Knight” (almost ruined by Terry Kavanagh), “Power Man/ Iron Fist” and countless others bite the dust. It always hurts.
But for every title cancelled, there can be a new, fresh title to take it’s place.
I mean if “Supergirl” was still here, we wouldn’t have “Fallen Angel”. “Captain Marvel” is ending, but now we have “MadroX” and PAD’s “Hulk” mini to look forward to.
“Supergirl” had a helluva run and was a lot of fun, and ended with a bang. That’s more than a lot of books can say, and more than a lot of creators can hope for.
That’s all.
I would like to see PAD on a high profile book.
Or even a medium profile book.There are many characters out there that i would like to see his take on.One of my personal favorites who is getting a miniseries soon THE QUESTION.ok hes more low profile but i gotta admit i always had a thing for more low profile characters ,especially the highly skilled normal.So forget what i said…No
really it would be interesting to see PAD on more big time books.
Jerome ,gotta admit i like your taste in books
MOON KNIGHT?!Holy smoke, i thought i was the only person who remembered him.
As far as who does Batgirl now…thats sick man,just sick:)Seriously i would like to see Gail
Simone(Birds of Prey), Terry Moore (strangers in paradise )or Greg Rucka.
Big Plug for JMS and Gary Frank on Supreme Power.If you read and enjoyed the Wildcards books ,Watchmen,or Morrison on the JLA.Check out this book!!!!!!
“Hold your horses, man. She’s underage. :)”
Smart-ášš! ^_^
Let’s just say it would be an interesting conversation… :p
“Is there any possible way that this statement can be rephrased? :)”
Who’s WRITING Batgirl once Dylan Horrocks leaves?
re:Micheal Cravens
I went back and read Priest’s Captain america /Falcon story again.The storyline is good though i feel he repeats the whole “naval intelligence,superfreak with a purpose “line too much .The artwork is killing me.Its too hard too follow some of the action sequences and to be able to tell characters apart.Bart Sears does not work on this title for me.Will see what the new artists bring