Comicscape - November 17, 2004

By: Tony Whitt
Date: Wednesday, November 17, 2004

It seems that the very mention of the word "reboot" was enough to rile many of you and for good reason though it seems that's not all you were worked up about this week. And speaking of being worked up about something in comics...isn't page four of IDENTITY CRISIS #6 one of the most moving and disturbing images you've seen in comics in a while? If you haven't looked yet, go check it out it'll haunt your dreams for a while...

But the reboot wasn't all you wrote in about. Dale W. Walker, for example, wrote in about what he calls "Chris Balda's outrageous letter[...]Though debating someone who didn't comprehend the first time is usually a beatdown. So perhaps this is just in your defense & doesn't warrant being posted to the site." Oh, sure it does, Dale, and thanks for writing it! Anyway, here's his response to Chris Balda:

"Your reasoning somehow

implies that comics and politics mix-because 'green arrow [sic]' has a character with AIDS?! Uhhh...the reason the writer added the character is not due to 'comsumer [sic] demand' (that would be a democracy) but rather 'his own career obsession with the issue' (this would be somewhat dictatorial). When would the 'consumer' ever demand a character with AIDS? It's the writer's job to push topics like that to the mainstream rack. If comics want to evolve like all great art, then some of them, not all of them, but some of them should mirror reality. And Chris claiming the recent ARROW plotline as Judd's 'career obsession' is ludicrous. He's written many, many comics over the last decade and the only other HIV plotline which comes to mind is PEDRO & ME - and Pedro was someone he knew personally and cared about, so where's the so-called 'obsession'?

[Chris also writes,] 'The comics industry in general is way down from where it was in the 90s ($$$) so I don't see any factual evidence that people are demanding more politics in their entertainment.' The comics industry is down because it oversaturated itself. There were 15 comic shops in my hometown in the 90s, and now there's one. Limited foil covers & Rob Liefield have more to do with comics being 'down' than political rants, not to pick on Rob...A good comic script should adhere to the same standards as any other medium. Some series should be as thought provoking & potent as Hollywood's finest or [anything from] the New York Times' Bestseller list. The fact Chris wants to omit a topic like HIV because he fears it furthers Winick's conspired agenda should shock me. But sadly, it does not, given the way our country has ignored a whole AIDS-ravaged continent. Writers shouldn't compel themselves to be put AIDS, war, and pollution back in the closet, because of the few people like Chris who think it's too heavy for the comic page." I tend to agree, Dale well, obviously! and having now read (and reviewed) the issue which deals with Mia's status directly, I can't see any problem with Winick using the storyline to make a point, apart from the fact that, being in a comic, it stands out very much as a comic meant to inform as well as entertain. That's perhaps because we simply don't get these issues all that often, and perhaps we should. There was similar outcry all those years ago when Hank and Janet Pym started having marital problems, and when Tony Stark made his first foray into the bottle: "these are real world problems," people said, "and these aren't real people." I don't know about those readers, but these characters are pretty damned real to me, or else images like the one I described at the beginning of this column would never have had the impact they've had. Thanks again, Dale!

James Ellis also had a late comment on the politics and comics question, and I suspect it refers to the Balda letter, too: "At least one of your respondents clearly failed to distinguish between political commentary and political advocacy. No-one wants to see blatant promotion of one candidate or platform in a comic. On the other hand, good comics are about issues, and these issues often have a political component that cannot be ignored. So long as spandex heroes are fighting for 'truth, justice and the
American way', the question of what is said truth, etc., is an important question, and not one that any column about comics should ignore. Hell, even if a comic did stoop to blatant political advocacy, this would be valid grist for a column about said comic." Agreed, James, and while I probably would not do as my hero Steven Grant does and devote a full third of my column to examining a political issue outside of comics, or promoting a particular candidate (which, indeed, even Grant does not do, as his latest column makes clear), I certainly wouldn't feel right about not saying something about the political content of a certain storyline if it was blatantly there. I keep coming back to the CAPTAIN AMERICA example, but it's the one that fits best: how can someone read that book and not see political commentary in it? Or give up on it simply because said content is there? Granted, I have stopped reading it, but that's because Kirkman has not been sending me. Maybe the reboot will help but before we get to that particular controversial notion...

Mike O'Neill has quite a bit to say on the idea of comics as "escapist literature": "I keep on reading people writing into your column, insisting that comics are pure escapism and nothing more. Personally I couldn't disagree more. I believe that from their very beginnings, comics have been about more than simply escaping from the troubles of every day life. True, there is an element of escapism in many super hero comics; however if one is to take a closer look at many of our favorite heroes, we can find many examples of how they are responses to real world situations, perhaps even responses to how their creators feel about those situations.

"Being mostly a Marvel guy, I

can only make good arguments for Marvel characters. I guess I'll start with one of my favorites, which is DAREDEVIL. I have always found the concept of the character interesting, that we have a blind lawyer who takes to the street at night to punish criminals, ensuring that law is upheld, even if it sometimes law gets in its own ways. On top of that, let's not forget that our title character is blind, or as some might believe, handicapped. We may not think too much of the issue now, but if I remember correctly, there was once an issue on whether handicapped people should be able to do the things that people without handicaps do every single day. Just think of all the money that it would cost business to make their facilities accessible to the handicapped; in that sense DAREDEVIL has been an advocate of the rights of the handicapped ever since the 60's.

"Next I will bring up one of the characters that is one of the most beloved of all comic characters, and one which everyone knows the morals of, SPIDER-MAN. I read in your last column that J. Michael Stracynski does not let his own politics get into his writing (I'm not even going to bring up the latest issue of RISING STARS). (Obviously the reader in question hadn't seen that issue, James or any of JMS's other work, for that matter. TBW) I see all kinds of politics in [the recent issues]. Of course there is always the issue of power and responsibility, which everyone always thinks only applies to the individual. Might I suggest that being Americans we take this theme and apply it on a national level? We are the Spider-Man of Nations, we have great powers and the responsibility to use them well, which I personally believe we have not been doing recently, as reflected by world opinion of us and our actions. However, if you want to look at it from the other side, Spider-Man never lets the negative things about him in the Bugle determine his actions; why should we? Now on to more recent political story arcs. The one that comes to mind is the last Ezekiel story. Here we have Spider-Man, who was picked by the cosmic forces to gain the power of the spider, and we have Ezekiel, who was not chosen, but instead has stolen his powers. I don't know about you, but I think that kind of sounds like the 2000 presidential election. I could go on and on about this (in fact, I think I might write a book), but I will leave you with these two examples." On that last point, James, just let me say whew! I would never have seen that parallel until you brought it up, and while I'm sure that an equal but opposite parallel could probably be drawn by those who disagree, it's interesting that the political content is there in some form or fashion, if we choose to look for it. It always has been.

Now, about those pesky relaunches... Brodie Williams writes, "I've never liked the idea of relaunches. It seems to me that starting over admits a failure. A book like JOURNEY INTO MYSTERY, which turned into THOR, should never have been cancelled. The only reason a book featuring long running, iconic characters should cancelled is if the company plans to put the character on ice for a while. You mentioned The Hulk and Thor. Whether you are revamping a character or not, these books should retain their numbering sequence. A high number exemplifies a character or book's endurance. Again, back to failure. If the character is not popular, why beat the public over the head with him or her? Why start with another #1 just you can con the kids into thinking this is something new? Is it new or is just repackaged? I guess you could call it good marketing from a profit standpoint, but it's a real bear on collectors who respect continuity.

"You and I are big Legion fans. This is a special situation. There have been points in the Legion's history

where starting over was needed. Giffen's V4 of the Legion could have continued in issue #64 of the direct market V3. In retrospect, the relaunch after ZERO HOUR was acceptable. This new Legion is still a mystery." Oh, I hear you, Brodie... Even after having read that special issue that sets up the aftermath of the Teen Titans' visit to the future and how it appears to have affected the very way the Legion is perceived by the rest of the U.P., I have to wonder why on Earth DC felt the need to reboot that book in such a major way and in such a relatively short time since the last major reboot the team has endured. It's frustrating what, we're on Volume Six now? And that's not including LEGION LOST and LEGION WORLDS? Salvador Dali on a drumstick, that's a hell of a lot of reboots! Granted, I have to wonder why no one ever thought to present the Legion in the way this new series will do but didn't Giffen's series also present them as somewhat outside the law? Grrrr...

Steve Rivers feels much the way we do, as he writes in a letter with the appropriately-titled subject line "F@#$ing re-launches" (I'm going to retain his original capitalization rather than converting it all to italics because, well, this subject really does inspire shouting: "Boy am I glad you brought this up! I have been venting my anger and frustration at Marvel for yet again re-launching books. WHAT THE HELL WAS THE POINT RETURNING THE AVENGERS TO ITS ORIGINAL NUMBERING(#500) IF YOU WERE GOING TO RESTART THE SERIES OVER AGAIN TWO MONTHS LATER???? WHAT THE HELL ARE THEY THINKING?? I am so fed up with Marvel and their stupid relaunches. When Marvel started returning books to their original numbering one by one, I had thought that they had realized that restarting just about every title they published was a mistake. Nope, guess not: now they go and do something stupid like this. HOW MANY RELAUNCHES DOES ONE TITLE NEED?? How many is this for Captain America. 4th or 5th? Hasn't he had at least 2 in the past couple years alone? WHAT THE HELL IS THE POINT OF ALL THIS? Do they really think this increases readership? I have given up all hope on Marvel ever getting their @#$% together. I for one was really disappointed in the late 90's when Marvel started this whole re-launch fiasco. To me they were throwing away all this great history in their pioneer titles. They should have been proud of their books reaching 400 and 500 issues and not use it as an excuse as poor sales. I was kinda insulted when they stated high issue numbers scare off readers. If this was the case, I never would have started collecting comics at all. In fact, if I was a new reader, I would want a book to collect with a good number of issues behind it to show me it's been around a while with a good following and in no danger of being cancelled anytime soon. Good writing, good art, and good characters sell comics, not how low the issue number is.

"I have a few friends that have completely dropped Marvel titles because of all this crap. What or who determines when an issue number is too high. Is 50 too high? 100, 200? What is the magic number?? And why re-launch a title every time a new creative team takes over? It is all a bunch of crap to try and sucker readers into thinking that they are getting something special with a new issue #1. Well, like I said earlier, how many #1 issues does a title need? I thank God every day that DC did not do this with their oldest flagship titles. Marvel should have been proud of the longevity and rich history of their titles; instead they have turned them all into a re-launched joke. Marvel seems like a very disorganized and confused company that lacks direction and does not know what to do with their books. Their answer to everything is RE-LAUNCH!"

Well, admittedly, Steve, DC isn't completely innocent of the whole relaunch thing even though they kept numbering ACTION COMICS the same way after CRISIS, they did perform that weird transmogrification that now allows ADVENTURES OF SUPERMAN to have a higher numbering than the title actually called SUPERMAN. (If I'm getting the facts wrong on this one, folks, please let me know the Superman Family of titles has confused me ever since all that went down.) And while I agree with you about everything else especially that feeling of being insulted by the notion that high numbers scare readers off here's a question to throw into the mix: if DC were ever to bring back, say, ADVENTURE COMICS, which had reached the 500 mark before it got canceled, should they bring it back with a number in the 500s or should it come back with a new issue #1? About the only series I can think of right now that would desperately, seriously need a reboot to the first issue is CAPTAIN MARVEL (which probably had more than its share of first issues than any other in contemporary times, except for AQUAMAN), and that's only because the last volume ended on such a note that picking up where Peter David left off, with the same numbering, would simply not work. But I agree about the rest. X-STATIX? Nah, never needed to go back to number one, despite the name change. (That seems only to have happened because so many people whined that the group wasn't really like the X-FORCE they knew and wanted and thank god for that...) MUTANT ACADEMY? Had NEW MUTANTS been around that long to begin with? It does seem, given examples like this, that relaunch fever especially at Marvel has gone out of control...

And on a side note: just where the hell are we supposed to put something like AVENGERS FINALE? Yes, it's a one-shot, I know that, but doesn't it sort of directly tie to Volume Whatever that ended the previous series? Oh, my head...

Anyway. "Mike" has this to say: "Few things in comics piss me off more than going to the comic shop and suddenly getting a 'spectacular new #1 edition' of whatever, when just two weeks ago we were on issue whatever. I guess it's because I, like most militant comic readers, lived through the 90s where every trip to the comic store brought limited editions, variant covers, and row after row of new number issue one comics. While some need to market and make your book stand out against the crowd was involved with this 'Age of the Variant #1 Super Chrome Edition', mostly it stuck in my craw as a cheap ploy. While the times have changed and this kind of pandering practically does not exist anymore, the stigma of the reboot has stuck. I'd much rather have a few words thrown on the cover like 'the saga begins anew' or something else equally as cheesy, than have a new numbering system shoved down my throat. So in the end I wish Marvel and DC would just stick to hyping their new writers and new direction of the book instead of a new number one collector's edition." Sadly, Mike, I think both companies consider the new numbering as a vital part of the hype and that's sad, really. It does what Steve was implying above in his letter: it pisses all over the history of a book just in order to make bigger sales or to give a book a sense of occasion. Mind you and here's a controversial statement to make I think that AVENGERS really does necessitate a reboot, but only because of the conditions that Brian Michael Bendis has laid upon the team. What I wonder, though, is why it had to be done in just that way in the first place... Could the story have continued in the old series numbering? We've seen the team hit hard times before was it necessary to hit them so hard that a new numbering just had to happen?

Anyway, I'm sure we're not at the end of what could be said about that problem, but let's introduce a new topic: Alan Kercinik writes, "Having just finished IDENTITY CRISIS #6, I wonder over your thoughts about a recent trend that seems to be growing in popularity.

"Namely, that the hero did it.

"It might not have started with

this, but we've had Hal's break down and evolution into Parallax, then the Spirit and back again to GL. Now we've got Scarlet Witch trashing the Avengers and a miniature assassin in the Atom. (Granted, there's still time for a mind control revelation in Issue 7...) Supershock cracked over in POWERS, but that seemed [to have less of an impact] because we were only introduced to that character in that arc. And while she's not a hero per se, we just found out that Gwen gave it up to Norman Osborn.

"I'm all for making heroes live in a more 'realistic' setting. (I don't necessarily equate that with gritty or depressing. But plausible, true to character stories, I can buy and truly enjoy.) But it makes me wonder about the motivation and the statement being made. Because if you look at all these things together, you could walk away with the feeling that:

"1) Villains really don't pose much of a threat to heroes, but heroes do 2) Current creators don't have much respect for old characters (excluding Mark Waid and Geoff Johns, of course)

"It's one thing to build to these revelations over time (I'm thinking of Superman taking on another identity after killing the Phantom Zone villains a few years back) as an evolution of character. But sudden, major changes like this seem little more than gimmicks. This isn't really much of a question, I guess. Just wanted to share the thought and wonder if you had any in reaction."

Funny you should mention this, Alan, as I recently wrote a column for another venue about that very issue. It ended up being more of an extended question than an answer, but some of the reasons I mooted had to do with our cynicism at the idea that anyone would want to be a hero a notion which IDENTITY CRISIS itself seems to be critiquing. If you're out saving the world but your personal life is falling apart as is the case with most of the folks you've listed above why wouldn't you go over to the Dark Side if the chance presented itself? But there are any number of possibilities for the emergence of this trend as well as the complimentary trend of villains reforming into heroes, which doesn't seem to be nearly as rewarding for them as their criminal lives were and I'm interested in hearing your ideas about why this trend has taken such a hold in comics. E-mail your thoughts to me (on this or on the reboot issue) via the web site contact address here or e-mail me directly by midnight, Saturday, November 20. Please use CAPS when giving the title of a series you want to mention. And as always, don't forget our discussion boards! In the meantime, here's this week's listings:

THIS WEEK:

Gotta love that the kids (and you) can pick up the MARVEL AGE: FANTASTIC FOUR VOL 2 digest trade paperback, collecting what, four issues or something? - for the low price of $5.99. That's worth ignoring the odd anime-style art for, surely. There's also MARVEL AGE: SPIDER-MAN #16, still at $2.25 but featuring the return of the Green Goblin and the Human Torch; and MARVEL AGE: SPIDER-MAN TEAM UP #3, featuring Kitty Pryde and priced at the quite sensible $1.75. Even a kid would think that's a bargain!

And while POWERPUFF GIRLS #56 may be $2.95...it's the Powerpuff Girls! How could you or your kids say no?

Shocking betrayals? In a miniseries written by Alan Moore (with Peter Hogan)? The Hell you say! But it's true ABC's TERRA OBSCURA VOL 2 #4 (OF 6, $2.95) offers precisely that. Hard to credit, isn't it?

Clark deals with two, count 'em, two power-sapping parasites in ADVENTURES OF SUPERMAN #634 ($2.50), and amazingly, they're not George W. Bush and Dick Cheney. (Oh, hush. You won, didn't you?)

What? AVENGERS: EARTH'S MIGHTIEST HEROES #2 (Of 8, $3.50) is out already, even though the first issue was just out a few weeks ago? Yes, it's no error it's a biweekly series, designed to drain your wallet in four-dollar increments that much faster. As I've said before, they don't call it the House of Ideas for nuthin'...

In the Bat-Titles this week, the Bat faces off against Freeze and nearly goes cold for good in BATMAN: GOTHAM KNIGHTS #59 ($2.50); major changes await our favorite gaggle of super-powered girls in BIRDS OF PREY #76 ($2.50); things have gotten way more difficult for Selina in the East End in CATWOMAN #37 ($2.50); and in the first part of a Robin/Batgirl crossover, Tim finds unlikely solace for his pain with the girl who's all about pain in ROBIN #132 ($2.25).

Everyone's trying to de-power Cable (yay!) in CABLE/DEADPOOL #9 ($2.99). Maybe that'll bring that X-FORCE miniseries to an end that much quicker, too...

The bad news:

Cap has been rebooted, again with CAPTAIN AMERICA #1 ($2.99). The good news? Ed Brubaker's writing it. Sure, he's included the Red Skull in this outing, but what's a Cap series without the Red Skull? That's like having a Catwoman without the whip.

Great stuff from Dark Horse this week, including CONAN #10 ($2.99); FREAKS OF THE HEARTLAND #6 (Of 6, $2.99); GRENDEL: DEVIL'S REIGN #6 (Of 7, $3.50); and the STAR WARS: CLONE WARS ADVENTURES VOL 2 trade paperback for $6.95. Doesn't it just make you want to take out a second mortgage on your house to buy it all?

Galactus. Six-part story. Starting in FANTASTIC FOUR #520 ($2.99). Written by Mark Waid. Whew.

Will the Cajun-blackened pain never end? Guess not, since GAMBIT #4 is also out this week for $2.99. Guess that Frappucino is not so far out of reach after all...

Can Carter and Kendra stop the hideous Manticore, without their costumes and wings, in HAWKMAN #34 ($2.50)? Come to think of it, can Carter and Kendra do anything without their costumes and wings?

Get out your hankies, folks, because another really good title is about to bite the dust: H-E-R-O #22 ($2.50) features the final battle over the H-device, and the final issue of the series. Oh, DC, why hast thou forsaken us?

Apart from being French and looking like Tintin, the latest Humanoids graphic novel BY THE NUMBERS VOL 1: THE ROAD TO CAO BANG for $14.95 has an identity all its own. And speaking of identities (Lord, what a forced segue)...

Guess there were loads of people that still didn't get IDENTITY CRISIS #1, as it's now out in a 3rd printing for the same relatively low price of $3.95. No gold foil covers, either. Marvel, take heed.

And look at all the stuff from

Image this week! There's BATTLE OF THE PLANETS: PRINCESS #2 (Of 6, $2.99); the CREASED graphic novel for $9.95; DETONATOR #1 ($2.50); MASTERS OF THE UNIVERSE VOL 3 #7 ($2.95); PVP #11 ($2.95); TALES OF TELLOS #2 (Of 3, $3.50); ULTRA #4 (Of 8, $2.95); WALKING DEAD #13 ($2.95); and WANTED DEATH ROW ED #4 ($2.99). Now, how much of it is worth reading? Couldn't tell ya. Guess I need to go get some of it and find out...

And speaking of series still not worth reading...INVADERS #4 is out this week for $2.99. Just remember that a Frappucino from Starbucks costs much the same, and you'll enjoy it more. And unlike this issue, there are no vampires in a Frappucino, unless you request one, of course.

The Crime Syndicate's back, and Busiek's got 'em in JLA #108 ($2.25). Wow. This series might actually be getting good again...

Cyborg zombies. Yes, you heard me cyborg zombies. No, it's not a rerun of BUFFY, it's JSA: STRANGE ADVENTURES #4 (Of 6, $3.50). If Kevin J. Anderson weren't writing this, I'd be worried.

By the way, does anyone count the days until the latest issue of KINETIC, as I do? Honestly, if this were the only book DC Focus ever produced, it would have been worth starting the new imprint. Issue #8 is out this week for $2.50, and it's money well-spent. Skip that Frappucino after all this series is better than chocolate or caffeine.

The eponymous character is beside himself no, literally in MADROX #3 (Of 5, $2.99), as he continues to investigate the death of one of his other selves.

The title character is working with a tech criminal turned informant in MANHUNTER #4 ($2.50). Nice to see she's keeping her moral compass and everything, huh?

You missed OUTSIDERS #s 8-15, right? Well, of course you did who wants to read some stupid series about Nightwing leading a team he doesn't even think of as a family? Tsk. Anyway, the OUTSIDERS: SUM OF ALL EVIL trade paperback collects these issues for $14.95, so if you're at all interested in this or seeing a hero get her lungs flash-fried from within, or another get her face burned off, which still rank up there as two of the most shocking moments this year then pick it up.

Now we know why Marvel's reprinting all those issues of SECRET WAR (as described below): it's because the events there affect events in THE PULSE #6 ($2.99). Not that you weren't buying both series all along anyway, of course, whenever you could find them...

Frank Castle's still back in the U.S.S.R. (actually, he's not, it's just Russia now, but I wanted the Beatles reference) in THE PUNISHER #14 ($2.99).

Yes, amazingly, there are Marvel reprints! SECRET WAR BOOK ONE (OF FIVE) is in its 3rd printing for $3.50, while SECRET WAR BOOK TWO (OF FIVE) is in its 2nd printing for $3.50. And no gold foil covers in sight! We're so proud of you, Marvel!

Another reason to be proud of Marvel: they're still solidly behind SHE-HULK, a title matched only by DC's PLASTIC MAN in terms of sheer fun. Issue #9 is out this week for $2.99. OK, guess it's time to finally give up on that Frappucino once and for all...

Hmm, a serious take on Space Ghost... Nope, sorry, still can't get Zorak and Brak out of my head long enough to go with it. But I'll still check out SPACE GHOST #1 (Of 6, $2.95), and perhaps you should, too.

Golly, golly,

Spidey goes Bali! It's all in SPIDER-MAN: INDIA #1 ($2.99), which is so crazy an idea that, by Krishna, it just might work.

Yes, the STARJAMMERS miniseries is finally over with #6 (Of 6, $2.99). Now you can afford all those other books, whether you get your caffeine fix or not.

I'm assuming that SUPERMAN FOR ALL SEASONS #1 ($4.95) is a reprinting of the acclaimed miniseries that got Jeph Loeb noticed by the WB, but despite my best efforts I haven't been able to find out. Either way, you know you want it.

Johnny Storm and Peter Parker are still working out their problems after Johnny's enrollment at Peter's school in ULTIMATE SPIDER-MAN #69 ($2.25), while there's some serious kissy-kissy going on (judging from the cover) in ULTIMATE X-MEN #53 ($2.25). The fact that it's Rogue, of all people, doing the kissing should be enough to make you pick this one up! (She's not supposed to do that, you know.)

Meanwhile, from Vertigo comes BOOKS OF MAGICK: LIFE DURING WARTIME #5 ($2.50), which I haven't heard a lot of good about, oddly but this one's got Zatanna in it, so how bad can it be? There's also the HELLBLAZER: HAUNTED trade paperback for $12.95; HUMAN TARGET #16 ($2.95), featuring the end of Chance's messianic machinations; the LOSERS: DOUBLE DOWN trade paperback for $12.95; LUCIFER #56 ($2.50), starting a two-part storyline; the PREACHER VOL 3: PROUD AMERICANS trade paperback for $14.95; and the Y: THE LAST MAN VOL 4: SAFEWORD trade paperback for $12.95. Damn, and I just paid off the last loan I had to take out for all my Vertigo stuff...

A new storyline begins in Wildstorm's now ongoing series EX MACHINA #6 ($2.95), featuring the story behind the NSA's role in the Great Machine's career. Again, color me surprised. There's also the WILDSTORM WINTER SPECIAL, written by Bruce Jones, Will Pfeifer, Tom Peyer, and Alan Warner, and drawn by Carlos D'Anda, Josh Middleton, and Cary Nord, all for the reasonable price of $4.95. Might just make a nice stocking stuffer, especially since all the damned X-Mas stuff is already in the stores...

And finally, in the X-titles this week, there's (you guessed it) WOLVERINE #22 ($2.25); X-FORCE #4($2.99), which appears to have only two issues left and which features (you guessed it) Wolverine; and X-MEN #164 ($2.25), which features Wolverine on the cover. Oh, well, it's not as bad as having him in every single Marvel title published in a given month but there's still a week left in the month, y'know...

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Comicscape is our weekly Comics column.