You know, I have to admit that I honestly just read everything on such a back-logged schedule, that I just go around and grab whatever looks interesting while I'm at the comic shop. This may be the first time in all my years of reading comic books that I have no idea what I'm continuing with or what I'm dropping.
Recently, I have gone toward dropping titles that I want in trade form. I have dropped monthly purchases of Deadly Class, Low, Astro City, and come to think of it, almost all Image titles. I'm thinking of going there with Dark Horse's Black Hammer, but not ready to pull the trigger on that one until I get caught up on my monthlies.
It's funny; it's the non-biweekly DCs that are more likely to try my patience. Flash, Superman, Action, Detective, Wonder Woman, and Batman are always on the top of the pile. I dropped Titans and Deathstroke (pretty much exactly when it went monthly), and Supergirl, Hellblazer, Aquaman, and Super Sons have all failed to grab me. Super Sons, in particular, seems most salient - it's written by Tomasi, who also writes Superman, and stars characters I read in other titles. But after two or three issues, *poof!* it was gone. Same thing for the monthly Trinity. Well done each time, but never could quite kickstart my attention. Whereas by the time the next issue of the biweeklies are out, I'm still engaged and curious.
I recently dropped Deathstroke myself Rob. I really wanted to like this series, as I loved Christopher Priest's series, but there is juts something about this series that is missing, and I can't quite place my finger on it. I tried the first couple of issues of the new direction, and that didn't grab me, so I have officially bailed.
After only two issues, I've decided to drop Image's Gasolina (Although I'm still on the hook for two more issues). It seems like there are pages or panels missing each issue. Like they want to get to a certain point in the series, so they want to hurry through what they are telling us. Which makes me feel weird as deconstructed story telling kills me, but this series could actually take a moment to slow down.
Finally, not too long ago I also dropped Horizon from Image as well. Honestly, I got more out of the "Previously" blurb on the front cover than I ever did out of reading the actual comics. Which means there is a serious problem with how the story is told. Which is sad I as I was really stoked with the premise.
I'll probably return to Deathstroke at some point, Trav; I like Priest (am really psyched for him to write Justice League!) and was enjoying the book. But it's SO complex that monthly just wouldn't be compressed enough for me to enjoy it* -- and frankly, I thought the artist who came with the new direction wasn't up to the book's standard. I'll probably pick the latest issues up for a buck apiece on Comixology during some future sale, or get back to it some other way.
*In this case, every two weeks was a little too spread out, too -- on rereads, I found that I was missing a lot of nuance and setup, since the cast wasn't as familiar to me as say, Superman's. Things fell through the cracks of my memory.
I haven't been reading Deathstroke,but I have seen some scans. I think the issue is that he main character isn't nearly as interesting as his family and associates. I kind of think that the series would be much better if they took the titular character out.
This isn't really on the chopping block, since I'd never committed to buying these series, but I gave both Kid Lobotomy and Black Crown Quarterly a try, and neither did anything for me. Kid Lobotomy, by Peter Milligan and Tess Fowler, felt very old-school Vertigo, but not the Vertigo books that have stayed with me...more like the ones I read in the 90s that never quite connected with me even then. Quarterly was a $6.99 book where about a third of its page count are previews of the other books in the line... including pages I already read in Kid Lobotomy. There's a decent lead story (about 10-12 pages long), and a cool final page that's a 9-panel explanation on how to do a certain skateboard move (apparently each issue will have a different expert in some field explaining something), but for the most part it just seemed like a book full of filler. Both books seem very, very concerned with being cool, in such a thirsty way that they just aren't. Or hell, maybe they are and I'm just old. Either way, that's all I'm spending on this imprint until I read some knockout reviews from reviewers I trust.
One of the reasons Mark Waid's Daredevil was so compelling was that it wasn't just a rehash of everything Frank Miller ever did--Bullseye, Kingpin, Elektra, the Hand--he actually plumbed Daredevils' past and came up with some reasonable and well-told stories with some good characterization as well. Sure, he didn't igonre those characters, but it wasn't the same trap that almost every Daredevil writer has fallen into since Miller started doing other things.
When I heard that Charles Soule was taking over the title, I was actually excited. Not only had I read a fair amount of his work and considered it to be quality, here was an actual lawyer writing Matt Murdock. This had all the potential to be really, really good.
Instead, it's been really, really mediocre. There have been some interesting thoughts and ideas, but for the most part it's been pretty much the same old tired stuff Daredevil fans have seen over and over again through the years. Worse, the spirit of Soule's other work seems to be missing here.
I'm not someone who necessarily wants something original all the time--in fact, I think there's an art in telling the same story over and over again in interesting ways. However, I read the first issue of the "Kingpin is Mayor" story arc and I could predict every single twist and turn of the plot.--amnd not in a fun way, either. Hence, I'm dropping Daredevil.
Luckily, I didn't try BCQ, because after reading KL, I felt much the same way you did, Rob. I had such high hopes!
Rob Staeger (Grodd Mod) said:
This isn't really on the chopping block, since I'd never committed to buying these series, but I gave both Kid Lobotomy and Black Crown Quarterly a try, and neither did anything for me. Kid Lobotomy, by Peter Milligan and Tess Fowler, felt very old-school Vertigo, but not the Vertigo books that have stayed with me...
On the other hand, I got an ashcan for Berger Books from Dark Horse yesterday, and even in two-page previews, those books -- Hungry Ghosts, Incognegro, Mata Hari, and Seeds -- all look more interesting to me!
You made it further than I did, Randy, into Soule's run. From what I read it was okay, but just very average.
He is just one of those guys, that for me, I enjoy his work away from the Big 2, than I do their mainstream work. Like, Robert Venditti
I've been planing to dig into Soule's run on Daredevil through Marvel Unlimited. It's possible it'll work better in a binge -- a reading experience like that tends to flatten out some flaws that get exacerbated as you wait a month for the next issue. (Also: in practical terms, free. That doesn't hurt either.)
I'm okay with Charles Soule's Daredevil work, although I liked what he did with She-Hulk a lot better.
I agree that the magic of Mark Waid was that he didn't give us warmed-over Frank Millerisms. With Daredevil, and previously with Captain America and with the Fantastic Four, Waid charts his own path, and makes it easy for you to ignore the stories you didn't like from his predecessors -- not because he pretends they didn't happen, but that he doesn't wallow in them.