Conventions are stressful affairs, fraught with peril and, usually, good things. It’s getting there that’s the trick. I typically attend my local comic conventions, SpringCon and FallCon, which are very specifically comics-oriented. There’s a cosplay section and artist’s alley for people who don’t do sequential art, but it’s almost entirely comics. Bliss, for someone with my particular interests.
Naturally, my favorite writer and artist in the entire world, Don Rosa, wasn’t going to either of those: he was going to Minnesota Fan Fusion – a convention with comics, people who recreate cars and props from TV shows, panels about Szechuan Sauce, and meeting people you pay ten dollars plus the cost of popcorn to see play pretend on a big screen, all of whom should really be a lot taller than they are.
Obviously, I was going. I got my career as a writer started with an interview with him, which was published in the English reprint of The Pertwillaby Papers and later used as the basis of the Greek edition of the book’s special features. The Coin is one of the best comic book stories I’ve ever read. I bought an Artist’s Edition of his work, despite the cost, just to read and admire the linework of The Life and Times of Scrooge McDuck – knowing it would take two more volumes to complete the saga.
The plan was simple. I would look at the guest list, look at my trade paperback collection, find the stuff they’d done, and ask for a signature (and head sketch from artists, but we’ll get to that later). I’d leave the boxes over at my cousin’s booth, easy as pie. Christopher Priest’s run on Deadpool, even at ten issues, is superlative – the Tom Cruise storyline alone is worth the price of the omnibus. Peter David writes so much I’m not sure the man sleeps. And Don Rosa, well, I have every published piece of his work available in English at this time.
Last month was weird. Since my last Showing Off The Shelves, things avalanched. I mean, they avalanched personally, but so did my collection. Three different jobs landed in my lap, all of which can lead to a lot more. My initial acceptance letter to one of them, (before I re-drafted it) was “Wow, I’m happy to do that, but how the fuck did I trick you into saying yes?”
I’m going to start this post off by giving a special thanks to The Nostalgia Zone, the comic book store I frequent most (this is not the mob store I have mentioned in other posts, if you go in there to ask a question the owner won’t say “Who’s asking?”). Thanks to them, I was able to find some remarkable deals. Some of them were things I’d been looking for already, some of them on the edge of my radar, and one big ticket item that I never thought I’d get my hands on.
As it happens, they were having a sale on Groundhog Day. I know I said Don Rosa in Review was in hibernation, but while I won’t be digging into the story in that article, I will discuss what I found: The Don Rosa Artist’s Edition.
Comics have been a part of my life since I was young. I learned the proper way to read a Silver Age comic book (soap, hot water, dry your hands, find a clean space, don’t bend the cover back, dog-ear nothing, the grading system works like this and I only want you handling Fine Minus or less, and here’s how we keep reversible tape from getting on the cover…), I learned how to follow an ongoing plot from “Sonic the Hedgehog”, I learned what the concept of sarcasm was from “Garfield”, and that’s all before the age of eight.
The 90s weren’t a kind time for comics aimed at kids, at least not with the superhero material I liked to read. I busied myself with the DC and Marvel’s animated projects, anime, and my passion for television, but comics were always important to me. Discovering “Calvin and Hobbes” from trade paperbacks at a relative’s house was like drinking clean water for the first time.
But getting back in to comics over the last five years has been a godsend for me as a reader and a person, and a big part of why I’ve been able to do that is thanks to being pushed towards Disney comics. The stories and artists that I enjoyed most from Disney were collected in trade paperbacks, which were easier to find than scouring garage sales, conventions, eBay and Craigslist for back issues (though I do that too: I’m looking at you, Gladstone’s Disney comics. See you at FallCon!) When reading the forwards/making of sections, I could see the where the influence of specific writers and artists that I admired came from, and in turn, who they influenced.
Add to that my own love for superheroes, an impulse purchase or two, and the recommendations of friends, my collection grew from a Christmas present of “Batman: Year One” and a few “Knights of the Dinner Table” trades (not pictured, as the now 50+ volume collection is current stored in a box), to something that has my shelves bending from the weight. I’ve had more fun going back in to comics than I have with… well, just about anything I’ve done the past few years.
I’d like to share the five shelves of books I’ve managed to get a hold of as of 09/15/14, with the arrival of the last volumes of “Dragon Ball”, the first four “Knuckles the Echidna Archives”, and the Palmiotti/Conner run of “Power Girl.”
Naturally, this doesn’t properly represent the size of the books in question, as they’ve been pushed flush with the edge of the shelf for this post.
The disparate sizes in printing for newspaper comics astounds me: “Wednesday Comics” (not pictured above because it doesn’t even fit on the shelf) is my tallest vertical format book, while “Terry and the Pirates by George Wunder Volume One” is the largest horizontal format that I own. The source material being drawn and printed in a different size has a lot to do with it, but it’s just how different they are that baffles me. Just take a look:
The oversized editions of comic books, which you can see with the Absolute Edition of “Crisis on Infinite Earths” up above, are generally what I shoot for when I shop. They tend to have the most bonus materials, and allow you to see the detail of the art much more clearly – especially with someone as wonderful as Perez.
Incidentally, if you ever need a pick-me up, try and explain the plot to Crisis on Infinite Earths in depth to someone who has never read comics. Just watch their expression and you’ll get a real clear picture about why DC and Marvel have trouble finding new readers… and a good laugh in the process.
I am probably the bane of publishers when it comes to my shopping habits – bargains, deals and sales are what I shoot for virtually without exception, and since I’m on a budget, Amazon is my go-to for purchases. But if you’re willing to dig and be patient, you can find even better deals in person. I was able to obtain ten volumes of the out of print “The Spirit Archives” for 15 dollars apiece, so long as I bought them on the spot. It was Eisner’s post-war work and the books were in top-notch condition. How could I say no? (Mostly by ignoring the screams of my wallet)
But this brings me to a less rhetorical question. I have waited for the Fantagraphics Don Rosa box set before I continue Don Rosa in Review, so things have stalled a bit on that front until its publication. So looking at this collection, do you have a particular thought as to what I should take a look at in the meantime? Kindly leave a comment and let me know, and I’ll make that a priority.
And of course, any suggestions as to comics I should pick up are GREATLY appreciated! I know no matter how many comics I read, there will always be more to enjoy, but that’s half the fun.