Uncanny Inhumans #11, First Appearance Of Mosaic, Already Gone To Second Print Ahead Of Wednesday’s Launch


A copy hasn’t even gone on sale yet.


But the release next Wednesday of Uncanny Inhumans #11, featuring the first appearance of new lead character Mosaic, has sold out at Diamond Comic Distributors. And Marvel EIC Axel Alonso has told CBR in a PR interview that it is already going to second print.



When TMNT Caused a Comic Book Bubble That Burst

The latest installment in the Teenage Mutant Ninja Turtles film franchise has arrived, and it’s been met with a resounding meh, earning much less in its opening weekend than its predecessor, and receiving critical jeers. That reception is a far cry from when the Turtles were first introduced to the world, back in 1984. Years before the cartoon, toy line, and movies turned them into a pop-culture phenomenon, the heroes in a half-shell debuted in an obscure, self-published black-and-white comic book that thrilled the comics market.

The success of their adventures in print sparked the establishment of a multitude of publishers looking to cash in on the TMNT craze with an array of bizarre imitators. Then, just as quickly as it began, the revolution went awry and a wide swath of the industry was eradicated almost overnight. The Turtles were inadvertently responsible for one of the most disastrous speculation bubbles in comics history: the so-called Black-and-White Boom and Bust of the mid-1980s.

It’s often forgotten that the Turtles were a comics property well before they became ubiquitous in other mediums (including, improbably, live musical performances). The characters were the brainchildren of two underemployed, New Hampshire–based art-school grads: Kevin Eastman and Peter Laird. During what Eastman would later call “late-night joking around,” he for no particular reason sketched out a turtle dressed up like a ninja. Laird countered with his own version. Then they co-drew a group shot featuring four such creatures. Icons were quietly born.

The two decided to take a leap of faith and do a full comic about these little doodle-dudes. It would be called Teenage Mutant Ninja Turtles, a title intended to parody comic-book trends of the day. “Teenage mutant” was a riff on the X-Men franchise (which starred teenaged mutants), “ninja” to poke fun at the martial-arts-filled work of writer Frank Miller on Daredevil and Ronin, and “turtles” to reference indie-comics darling Cerebus (which starred a talking aardvark).

But what made the book interesting — and its eventual appeal universal — was the fact that it wasn’t just parody. Teenage Mutant Ninja Turtles was also an action-packed, violent, and dark story, far removed from the Day-Glo silliness of later Turtles incarnations. Eastman and Laird couldn’t afford to release the comic in color, so they’d followed the lead of those other acclaimed indie comics by printing in black and white, which made it look more mature next to the childishly colorful titles from Marvel and DC Comics.

The creators pooled their cash and borrowed $1,300 from Eastman’s uncle to pay for a print run of 3,000 copies, then set up a deal with a distributor to ship them to comics shops. They also sent out about 180 press releases to niche and mainstream news outlets. There was something about the comic — perhaps its tapping of the Zeitgeist, perhaps its acrobatic action, perhaps its humor, most likely all three — that resonated with readers. Buyers scooped up the copies Eastman and Laird put out through comics shops and in individual sales at conventions. In three weeks, they were sold out. Word of mouth grew, and so did print runs and sales for subsequent issues. In that crazy whirlwind of enthusiasm for this newly arrived hit, the bubble began to form.

First came the consumers. The scarcity of that initial print run meant buyers lucky enough to have copies could sell them to collectors for as much as $100 in 1985 — a markup of more than 6,600 percent. Comics speculators seeking similar ground-floor investments started snapping up other comics that could appreciate in value, and even non-speculators became interested in reading more stuff like the adventures inTMNT.Thus, the demand for black-and-white, action-packed, somewhat-parodic series spiked.

It was a perfect recipe for quick wealth. Making something in black and white on flimsy paper was a cheap endeavor, so the potential profit margins were incredible. Publishers proliferated at a rate no one had seen in decades. According to industry trade Comic Buyer’s Guide, there were ten independent publishers in early 1984 and 170 by the end of 1987. Silverwolf Comics, Adventure Publications, Crystal Publications, ACE Comics, Solson Publications, Lodestone Comics, New Sirius Productions, the ironically titled Pied Piper Comics — the list went on and on. Naturally, retailers were happy to act as middlemen, buying up the new products from fly-by-night publishers and serving it up to the consumers who craved it.

Since TMNT had been a parody of popular comics that, itself, became popular, the new publishers often decided to make their own parodies ofthe Turtles. Just a few of the improbable rip-offs: Adult Thermonuclear Samurai Elephants, Mildy Microwaved Pre-Pubescent Kung Fu Gophers, Geriatric Gangrene Jujitsu Gerbils, Adolescent Radioactive Black Belt Hamsters, and my personal favorite, Pre-Teen Dirty-Gene Kung-Fu Kangaroos. There were more run-of-the-mill superhero and fantasy comics, too, most of them crudely drawn and poorly plotted. That low quality was to be expected, as some publishers were debuting as many as 19 titles at a time — an insane burden for a publisher with no capital to hire top talent.

“Any potential profiteer who smelled a buck in comics crawled out from under the muck and started publishing like mad,” wrote the esteemed comics columnist Gary Groth in a 1987 post-mortem about the bubble. In his estimation, these thrown-together publishers greeted the market “with all the enthusiasm and integrity of purpose as a brothel greeting the debarkation of the 5th fleet.”

Although some shops were well-intentioned in their attempts to show off work from independent writers and artists, there were plenty of bad apples. In 1986, at the height of the craze, one businessman secretly financed four competing publishers. Sales numbers from that era are hard to find, but a commonly cited statistic says a typical indie publisher before the boom would print only about 10,000 copies of a comic. During the boom, the indie market was lucrative enough that a publisher could print up 100,000 to 200,000 copies of a given issue.

Those huge print runs, of course, should have been a red flag for anyone watching the industry. After all, what made TMNT successful was its uniqueness: artistically, it stood out because there was nothing else like it in the market, and the value of issues resulted from those tiny print runs. Once consumers were faced with hundreds of titles, each of them available in abundance, the idiosyncrasy and scarcity disappeared. “Americans are nothing if not bored easily,” Groth wrote. “At some point — my guess is around September or October of ‘86 — they got bored.”

In late 1986 and 1987, the bottom fell out. Hard. Collectors stopped paying top dollar for new number-one issues. Dissatisfied readers stopped buying the new wave of black-and-white comics. Retailers, who’d over-ordered copies of the stuff, felt the financial burden of a glut of unsold comics they couldn’t return. Publishers couldn’t convince retailers to get back onboard and they started going under. The shock to the market even hit the distributors who’d been handling all this new product for the past year or so, and one — Glenwood — went out of business. According to industry analyst John Jackson Miller, sales of books from the black-and-white publishing start-ups fell by half in 1988. The era of black-and-white excitement was over.

By that point, TMNT had started printing in color, and Eastman and Laird kept interest in their comic uniquely high because they’d snagged lucrative deals to adapt the characters into toys and animation. Marvel and DC had never really invested in the Black and White Boom, so their sales remained steady. But the crash reverberated in comics shops and reader conversations. Retailers, collectors, and publishers should have learned an important lesson about frenzied comics fads.

Unfortunately for the industry, they didn’t. Though the black-and-white sector of the industry never became a phenomenon again, the world of color soon saw its own catastrophe, one of much more epic proportions. In the early 1990s, comics from big superhero publishers like Marvel, DC, Image, and Valiant went through a similar collective insanity: massive print runs for purportedly “collectible” issues followed by a mid-decade crash that bankrupted Marvel and made the superhero an endangered species.

What salvaged the comics industry after that second boom-and-bust cycle? In many ways, it was the game-changing success of superhero movies like X-Men, Spider-Man, and Batman Begins. The box-office receipts they raked in underwrote Marvel and DC’s publishing efforts and led to the former being snatched up into the protective arms of Disney.

Movies adapted from comics have since become the financial pillars of not just comics publishing, but modern filmmaking. There are seven superhero movies out this year and at least seven superhero TV shows, all of them trying to ride the seemingly endless spandex wave. But the laws of gravity apply today as much as they did during the Black and White Boom.That market calamity is a reminder that even the best, most lucrative entertainment ideas can get diluted and bastardized to the point of irrelevance and financial disaster. Perhaps that’s something Paramount should keep in mind as it mulls additional chapters of the new Turtles franchise.


Thor: Ragnarok & Guardians of the Galaxy Vol. 2 Details!

A few weeks ago we got a hefty dose of info on the third solo outing for Thor with THOR: RAGNAROK with a number of casting announcements and a few sparse details that tease the story. Now, you’ll recall that we broke the casting news of Mark Ruffalo back in October of last year, which has obviously been confirmed since then. The other new additions announced last week are Cate Blanchett as Hela,Karl Urban as Skurge, Jeff Goldblum as The Grandmaster, and Tessa Thompson as Valkyrie (and yes, even Jaimie Alexander has assured us she’ll return as Sif).

Since our initial report of Ruffalo appearing as Hulk in the film we’ve heard rumors of how the story will play out and just how “Planet Hulk” the film will be. Well, here’s what we know: The film will definitely have the Planet Hulk element in it, operating as a kind of mash-up with the Ragnarok story. How Thor ends up on the planet in question is unclear, but he will definitely be involved in some gladiatorial games run by none other than Jeff Goldblum’s Grandmaster. In terms of Hulk’s appearance in this portion of the film, he will be rocking the one-shoulder armor as seen in the comics, so expect him to be decked out in the familiar Planet Hulk look.

And speaking of appearances, expect a major change in the look of The God of Thunder himself for this part of the film as he will be sporting a shaved head (but not completely bald) for at least a portion of the film. Also, expect a very different look for Tessa Thompson’s Valkyrie, who is traditionally a blonde-haired warrior type in the comics. For RAGNAROK she’ll be wearing war paint on her face, much like a Native American warrior, which should be an interesting take on this variation of the character.

In terms of story, there’s still much in the air, but the gist of Thor’s mission in the film is that he needs to find the ultimate weapon to stop Ragnarok and reset the universe. What is that weapon and how does he gets set on that path? Your guess is as good as ours, but the whole thing just sounds like a big ball of awesome already, so we’re on board with whatever direction they go. With the official cast details released last week and now more on the look and feel of the film, THOR: RAGNAROK is sounding more and more like a solid event film more so than another solo outing. Sound familiar? I’m pretty sure the solo Marvel films will only remain as such for the first outing with each new sequel being more of an ensemble piece going forward. Expect to see that across the board and we’ve already seen it trickling into the comic book films of DC and Fox’s X-Men films. It’s the new shit, so settle in.

Now, on top of the Thor scoopage, we also have some tidbits on GUARDIANS OF THE GALAXY VOL. 2, although these are more confirmations than brand new scoopage, so adjust your expectations accordingly.

Director James Gunn is hip deep in production on GUARDIANS OF THE GALAXY VOL. 2 and thus far we don’t know too much about what he has in store for the next iteration of Marvel’s space-set franchise. But, just to get caught up before I put out this latest bit of info, here’s what we know so far.

Now, outside of Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, and Vin Diesel returning to their respective roles in the film, we also have some new players in town, including Pom Klementieff as Mantis, Chris Sullivan as Taserface, Tommy Flanagan as Tullk, and three other actors in mysterious, unknown roles, including Sylvester Stallone and Kurt Russell, with one of them presumably being Star-Lord’s long-lost father, although that’s not something I can confirm at all. Just my own speculation.

However, there’s one other star that we don’t know of yet and that’s Elizabeth Debicki, who you may know from THE MAN FROM U.N.C.L.E., THE GREAT GATSBY, and The Night Manager. Now, although we can’t confirm that she’s playing this specific role, we can confirm who the main villain of GUARDIANS 2 is…and it fits Debicki quite well.

The villain is none other than Ayesha aka Her aka Kismet aka Paragon. Yes, she’s gone by many names and had quite a few forms in the comics, but almost always as a blonde goddess-like being.Comic Book Movie broke this back in March, so credit where it’s due, but we can confirm from our own independent sources that the villain in the film is, in fact, Ayesha.

Now, the significance of Ayesha in GUARDIANS 2 and the greater MCU is rather huge, especially when you consider that she was created by The Enclave, a group of scientists dedicated to taking control of the world, starting with the creation of the perfect genetic beings, made to restart humanity. Their first version of this, called HIM, would later evolve into the character known as Adam Warlock, who escaped The Enclave. However, The Enclave made a second being, which became HER aka Ayesha, who also escapes and goes looking for HIM, who she considers to be her perfect mate to start a new perfect race.

How much of that origin factors into GUARDIANS 2 we can’t say, but we know that Ayesha is the main antagonist for our fun-loving space criminals/superheroes and it certainly teases at some broader strokes into the cosmic realm of the MCU.

In addition to confirming Ayesha as the main villain, we can also confirm that Guardians of the Galaxy will most definitely be teaming up with The Avengers for the upcoming AVENGERS: INFINITY WAR films. How much or how little they’ll appear is unclear, but expect the team-up that The Russo Bros. have been tap dancing around in the press rounds for Civil War.

And that wraps up this little Marvel scoop. Again, nothing major or hugely spoilerish, just some fun elaborations on already announced information that should help get you excited for things to come.

THOR: RAGNAROK is scheduled to hit theaters on November 3rd, 2017 and GUARDIANS OF THE GALAXY VOL. 2 is set to hit play on May 5th, 2017.




Collector’s Comics Stolen At Megacon, The Hunt For The Thief Is On

13266033_10207777839818994_696473846970156752_nComic book collector Carlos Rosaly had 10 to 12 of his high value books stolen at Megacon over the weekend. It happened outside the show, as he put his Ghostbusters proton pack on before entering the show.

They include:

  • Amazing Spider-Man #1 (Has the name Carolyn written on the cover)
  • Amazing Spider-Man #14 VG
  • Amazing Spider-Man #15 CGC 5.5
  • Avengers #1 CGC 3.0 (Avengers title was traced on the cover in pen)
  • Daredevil #1 (green overspray on the spine)
  • New Mutants #98 CGC 9.8
  • Secret Wars #8 CGC 9.8
  • Marvel Premiere #12 VF
  • Batman #251 VF+
  • Journey Into Mystery #103 VG

13321630_1235131726499507_2651822360066874717_n13263792_10207780187877694_5033831431576752172_n (1)

A Giant Size X-Men #1 High Grade was also stolen and sold to a dealer who returned it after seeing evidence of Carlos’ ownership.

The thief is described as “a man in his 50s, with a greyish mustache, very round with slick back greyish hair. He wore a military hat.”

Ring any bells?


Captain America Writer Nick Spencer Gets Death Threats On Social Media


So who got death threats yesterday? Oh that’s right, Nick Spencer, for writing a Captain America comic book that they didn’t like (though with art from Jesus Saiz, how could they not??)


Nick Spencer ‎@nickspencer

I can’t respond to 9000 tweets per second, but if I could, I would say I admire your passion

9:44 AM – 25 May 2016

It’s at this point that I’d like to reiterate that Captain America is a fictional character. Marvel Comics is invested in Captain America. Wherever the story will end up, Steve Rogers will probably not actually be a Nazi. And no matter how much you don’t like his story (especially if you didn’t actually read the thing) sending him a death threat on social media is even less like Captain America isn’t it?


Xdnefuck ‎@Iapinoir

.@nickspencer die rat die rat die rat die rat die rat die rat die rat die rat die rat die rat die rat,

5:11 PM – 25 May 2016


iole #걸어 ‎@dayyook

kirby and simon didn’t die so you could ruin their legacy and then laugh about it @nickspencer #SayNOToHydraCap

12:29 PM – 25 May 2016

clodia metelli stan™ ‎@lucreciaborjas

@nickspencer why are you telling me that captain america hates me


clodia metelli stan™ ‎@lucreciaborjas

@nickspencer why are you telling me that captain america wants all of my people to die

1:30 PM – 25 May 2016


Nick Spencer ‎@nickspencer

@brubaker thanks for nothing ed



@nickspencer die

2:07 PM – 25 May 2016



B With Wifi ‎@Olicityx

@nickspencer You’re disgusting for turning a character by Jewish people to be an anti-Nazi symbol into a Nazi. Bravo. 🙄

9:50 AM – 25 May 2016



bella ‎@durinfunerals

@nickspencer i have passion for how much i hate what you’ve done

75 years of a character that you’ve just defaced, it’s repulsive

9:54 AM – 25 May 2016


Dareen ‎@neymarsbey

Kill.your.self https://twitter.com/nickspencer/status/735491281951043584 …

12:48 PM – 25 May 2016



sam ✩‧₊˚ ‎@poedameorn

@nickspencer pic.twitter.com/xEG7Caxfq8

9:54 AM – 25 May 2016
View image on Twitter

.@nickspencer die

— bucket (@beefybarnes) May 25, 2016



Lonewolf ‎@Flea_Bitten_Wol

@nickspencer I admire you right now. it takes a type of person to tell so many people who want to kill you that you admire their passion

6:51 PM – 25 May 2016




@nickspencer you made an anti nazi soldier originally created by jewish writers a nazi sympathiser. can you not see how disgusting that is

10:04 AM – 25 May 2016



jia ‎@oikawatoruu

@nickspencer congratulations on destroying 75 years worth of characterization

10:06 AM – 25 May 2016



Daisy ‎@xavierlehnsher

@nickspencer pic.twitter.com/zJZFimUVAV

10:23 AM – 25 May 2016
View image on Twitter

Entertainment Weekly

#Marvel‘s new ‘#CaptainAmerica: Steve Rogers #1′ comic ends with a shocking revelation: http://share.ew.com/OHUBixS pic.twitter.com/emt1KrjMsQ


Kara ‎@KaraDiDomizio

@EW @Marvel yeah, no. Considering that the original authors were Jewish men writing against Nazi oppression this makes no sense at all.

11:00 AM – 25 May 2016

Entertainment Weekly

#Marvel‘s new ‘#CaptainAmerica: Steve Rogers #1′ comic ends with a shocking revelation: http://share.ew.com/OHUBixS pic.twitter.com/emt1KrjMsQ


Dani Carr ‎@elleine35

.@EW @Marvel this is the stupidest fucking gimmick I have ever seen. You fucked up on this one, Marvel.

11:01 AM – 25 May 2016

Though as David Harper says,


David Harper ‎@slicedfriedgold

You think Nick Spencer was mean to Captain America, you should read Morning Glories. Those poor children…

7:01 PM – 25 May 2016

Look for the rationale in a month…




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