InvestComics Hot Picks #348

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(Disclaimer: all comic recommendations are from a speculative vantage point. Not all comics are to guarantee a return on your investment. If you are here on the notion that you will make money ALL the time, you are in the wrong place. Please do not read this article. Although this article is used as a guide for investments, it’s more so for entertainment purposes. Any opinions or expression of investments in this article should be used at the sole discretion and judgment upon the investor, not InvestComics. So please use your own discretion when investing and have fun.)

What you are about to read is 100% authentic. This material is 100% original content from InvestComics and does not borrow from any article(s) or comic website(s) for its content. Anything you read regarding anything from here on any other site that seems similar probably and most likely originated from here.

InvestComics Hot Picks – New Release Comics on 12/3/14

Avengers_118_InvestComics Thanos_vs_Hulk_InvestComicsThere are those who are comic creators and then there are those who ARE comic creators. It’s not that often we come across a talent that gives us readers an entirely new spectrum on an already existing universe. Speaking on the big two here, one of the last creators to take on and create an entirely new boundless universe was Greg Pak. Yes there were plenty to add and subtract parts here and there, but Greg Pak was one of the last to truly create something that will become absolutely huge in years to come. If you do not know what I speak of, I have written on InvestComics along the way for years that other comic sites (late to the party as usual) have picked up on recently. Still plenty of time to get with that program if you’re lost, because InvestComics is telling you now to expect Greg Pak’s comic booth at a convention in a few years to become a very big ticket item. So why bring all of this up you ask?

Back many years ago (9 years) when InvestComics was telling collectors to buy Iron Man #55 because I knew there was going to be something very special about this Thanos character one day, it came to fruition. Jim Starlin was THAT guy too. Just like suggesting the Iron Man comic, I told you that Jim Starlin was A comic creator. A man that created an extension of an already vast but compacted universe. The Cosmo’s is about much of the Marvel universe today as it is in New York. Without Jim Starlin’s vision, the Marvel Cinema universe looks extremely different. What would Marvel Studios’ main focal point be if not for Thanos? Ever think that? Of course there are so many Angela_Variant_InvestComicscharacters to go with, but would we really rather see anyone else than Thanos at the helm here? Some would, not saying that Thanos is the be all end all, but this was a fantastic choice to go with no? And it is because of Jim Starlin that comic fans are being treated to the biggest movie extension cinema has ever seen in history. Every single movie is interlocking for essentially one reason right now; Thanos. Starlin is an important puzzle within the realm of the comic book lure that lots are taking for granted. Lots aren’t as well, hence the longer wait times at his comic booth at shows. Don’t forget about what I said about Greg Pak……his lines will be just as long in a few years to come. You read it here first, just like you read why Greg Pak is so important years ago on InvestComics as well. Be sure that when you read the information here to tell others that InvestComics’ hit you up on it, not anyone else or your own. We are leading, the others are reading and just following our lead.

So what’s with all of this Jim Starlin talk? Thanos vs. Hulk (2014) #1 is why. Is Jim Starlin really creating anything new here? Not really, but I’ll tell you what might happen next for comic readers. You see with positive sales showing signs of a sell out down the line, Mr. Starlin will probably bring back the verses comic books. This battle, Thanos vs. Hulk will only trigger fans craving more comics like this. Expect big creator names down the line to put their own stamp on a verses title. Imagine a Superman vs. Batman by Miller? A Spidey vs. Venom by McFarlane? A Batman vs. Joker by Capullo? And the list goes on. Every comic reader/collector loves a good old fashion fight. Imagine the 4 issue or 2 issue battles that would ignite the interest and debate along with the comic book fans. Jim Starlin may have ignited a fire and we all don’t know it yet. Just like the Cosmo’s he put together so long ago and so well. Side note: just in case you’re keeping score at home, Thanos and Hulk first appeared together in 1973; Avengers #118.

Birthright_3_InvestComics Planet_Gigantic_InvestComics Shaft_InvestComicsImages Comics continues their onslaught in delivering stellar stories, which in turn makes for sold out comics, which in turn sometimes makes good for aftermarket sales. Check out Birthright (2014 Image) #3, Tooth and Claw (2014 Image) #2 and Humans (2014 Image) #2. All are showing nice gains with fans and they are reciprocating by buying up the titles.

Angela; Asgards bad ass assassin, makes her Marvel solo comic book series debut in Angela Asgards Assassin (2014) #1. Look for a sold out comic here fans. Will it equate to aftermarket sales? Most likely the CBCS signature series variants. Like one of the covers shown here. Awesome cover by Phil Jimenez. A pricey $50 variant, but if the series heats up, so will your signed and graded variant. Followers of InvestComics’ know that there is in fact money to be made on variants if done accordingly. I have explained for many years that buying random expensive variants and sitting on them is a huge waste of money. Buying certain variants and handling them the way I instruct will usually amount to a return. Again, not all variants will pay in the aftermarket, but being a wise speculator and following each week on here will help you eliminate or cut your losses tremendously. For example. Buying a $20 Battlestar Galactica Death of Apollo (2014 Dynamite) #1 variant or a $20 Shaft (2014 Dynamite) #1 variant will probably put you in the red almost immediately. The only way to get onto the plus side (possibly) with either of these variants is Secret_Six_InvestComics Tooth_and_Claw_2_InvestComics this way. Well only one will maybe give returns. The Shaft variant; get a hold of Richard Roundtree. Get him to sign the variant, get it graded and then maybe you have something brewing. Even then you’ll need a market for it. Is there a Shaft market out there? Is there someone willing to pay a premium for a Ricahrd Roundtree Shaft variant comic? It does make for a nice collectors item for your personal stash though doesn’t it?! The Battlestar variant is a loss in the sense of value. The story is probably fantastic, but monetarily, the variant is a loss.

The amazing Gail Simone is back with a new story for us; Secret Six (2014 4th Series) #1. This looks like a great story and a great pick up. Look for a second printing in the near future.

Blue Beetle and Booster Gold are back together this week in Justice League 3000 (2013) #12. The Inhuman (2014 Marvel) #9 comic will explain what Ennilux Corporation is. Army of Darkness (2014 Dynamite) Volume 4 #1 is practically sold out already as is Planet Gigantic (2014 Action Lab) #2.

Fight_Like_A_Girl_InvestComics Quantum_and_Woody_InvestComicsWolf_Moon_InvestComicsFight Like A Girl (2014) #1 and Wolf Moon (2014 DC/Vertigo) #1 look very interesting. Definitely need to check those out. Wolf Moon; A new Vertigo mini by writer Cullen Bunn? Yes please.

And finally, Valiant gives Quantum and Woody fans a special treat; Valiant Sized Quantum And Woody (2014 Valiant) #1.

See you soon. Invest wisely.

Carpe Diem.

Jay Katz

Grant Morrison announces MULTIVERSITY for 2013. 1st story line includes the return/debut of a Ted Kord Blue Beetle

Fans attending MorrisonCon in Las Vegas this weekend were treated to a very special announcement this morning.

After years of speculation, anticipation and expectation, DC Entertainment is proud to confirm that Grant Morrison’s love letter to superhero comics, MULTIVERSITY, will be hitting stores in late 2013. Morrison, the comic book shaman and superstar author of ACTION COMICS and BATMAN, INCORPORATED has created a series that will not only define the Multiverse for DC COMICS-THE NEW 52, but will also provide a handful of new worlds, concepts, heroes and villains for comic fans to enjoy.

MULTIVERSITY is an 8-issue series comprising 6 one-shots and a two-part conclusion with each issue featuring a 38-page lead story followed by an 8-page backup. Each issue takes place on a different parallel world from the main DC Earth and functions as a number one issue. Each world in the Multiverse publishes comic books about the heroes on the OTHER worlds. Once the characters realize this, they then unite to respond to the villains!

Additionally, each universe (which have been brewing in Morrison’s mind for years) will open up an endless series of worlds and realities for future writers and creators to use, expand upon and enjoy.

Below, take a first look at MULTIVERSITY by checking out a piece of art from PAX AMERICANA #1. Illustrated by the legendary Frank Quitely, PAX AMERICANA takes the original Charlton Comics characters and presents them in a way that’s both new and familiar at the same time.

Tony Bedard

*knock-knock* Special Delivery
Interview with DC’s Tony Bedard
by David Paul

From the depths of space an ominous shape approaches the Earth, seemingly on a collision course. We’re defenseless. But do not fear, citizens. For that ominous shape is now revealed to be emerald in color, and sparkling with justice it is none other than the Green Lantern who approaches. The Emerald One is on an important mission, we soon learn. As he lands before us we see he has been escorting an important figure.

All of you cowering knuckleheads behind me decide that since I am the closest non-super human I should be the unfortunate cur to approach. And I do, and I’m like not even scared. So there.

As I get closer I see that GL has brought for us DC’s own Tony Bedard. Actually, I don’t recognize him at all because I’m staring at the pretty green lights left behind in GL’s blast-stream from the super hero’s departure. Probably off to save us all from another unseen invasion.

“Go, Green Lantern! We love you!”

I turn to Tony Bedard, who’s standing there wondering what he’s doing in this narrative.

Oh, it’s you. Welcome back to Earth. I guess.

Thanks. I’m just here to do a few Facebook updates, then I’m off again to Sector Zero.

I’ve got some serious questions for you, Mr. Traveling-Around-With-The-
Green-Lantern…! But first a few back ground questions. And probably a few silly ones too.

*Suddenly, Barbara Walters and Oprah Winfrey yell out, “Make him cry, David. Make him cry!” To which I reply, “Shut up, girls! This is my interview! Gosh!”

Now then… Tony, you started many years ago with Valiant, but let’s go back a few years prior. What led you into writing for comics and how did you end up at Valiant?

I got into reading comics in high school and continued building my collection in college. I was trying to write and draw my own stuff when my girlfriend got invited to study dance in New York City, so we moved up together. I took night classes at the School for Visual Arts which led to an internship at Valiant. And once I’d hung around there long enough working for free, they decided to hire me. The suckers.

Seems you made the leap to being an editor at DC pretty early on in your career. How did that happen?

I became friends with Garth Ennis while I was at Valiant and after the Valiant implosion and my resultant layoff, Garth introduced me to his DC editor Dan Raspler, who hired me as his Associate Editor. It was a great learning experience, reading scripts as they came in from the likes of Garth, Grant Morrison, Brian Azzarello, Mark Waid and Warren Ellis. The three years I spent editing at DC and Vertigo were the best preparation for a writing career.

So juggling the two positions of writer and editor, how do you separate the two if you’re writing original material?

I think a good Writer leads the creative team, and so the editorial skills are very useful for a writer. For me, that was especially true at CrossGen, where I was working under the same roof with my whole creative team. Being able to manage our collaboration face to face, talk through creative differences, and keep everyone engaged made all the difference to books like NEGATION, ROUTE 666 and KISS KISS BANG BANG.

As a young editor what was it like to have to tell long time professional artists, “Hey, this arm is in the wrong place.”? Talk to us about those early challenges.

Yeah, I actually grew a beard back then so I wouldn’t seem too young to the veterans I edited. And I wasn’t shy about offering “notes.” But the funny thing about editing is that the better you are, the less you intervene. I think you really want to create an environment where your creators can indulge unexpected inspirations and experiment a bit. You don’t need to tweak every little thing. Do that, and for every creative decision you disagree with, your creators will give you two or three delightful surprises,

You had some pretty good success with Hellblazer in a time when that sort of title wasn’t something you would see. Not from the mainstream anyway. Obviously you could do some things at Vertigo that you couldn’t at DC.

Yeah, Azzarello was amazing on HELLBLAZER, as was Warren Ellis on TRANSMETROPOLITAN, which I also edited briefly. But I was never sure exactly how far we could go. The line gets kinda fuzzy at Vertigo. Then again, that line keeps shifting, no matter what publisher you work for.

Times were very different then for the industry. Did you feel any pressure that you had to stand on your own?


At Vertigo, it was important to develop new properties like Y THE LAST MAN or 100 BULLETS. I don’t think I ever came through with one, but I was only at Vertigo for a year.

So one day a business man approaches you and somehow convinces you to sign on exclusively with CrossGen. Talk us through that.

Actually, it was Mark Waid who convinced CrossGen’s Mark Alessi to hire me as a staff writer. I’m still not sure how Waid knew I could write, but I was determined to make the most of the opportunity. It was stressful, leaving New York City, selling our place in Brooklyn, and coming to Tampa where we knew not a soul outside the CrossGen staff. But I had a 2 year-old son and raising him in Florida seemed like a good move. New York is wonderful, but it can wear you out! And I figured we had about 2 years before CrossGen ran its course. Enough time to get some work out there and get my writing career in gear.

I have to admit that for my part I was caught up in all the excitement of CrossGen as well. My favorite title was Sojourn. You were a big part of helping make that company successful. It’s no secret that things at CrossGen were ran differently than elsewhere and there have been some nasty rumors that some artists and writers didn’t care for the way they were treated.

CrossGen remains my most creatively satisfying experience. It was a great place to work, with great people all learning from each other. Look at the people who got their start there like Steve McNiven, and the people who revitalized their careers there, like Steve Epting and Greg Land. It was a creative hot-house, where everybody checked out each other’s work and then raised their own creative bar. I miss being able to talk through plots with my penciler, inker and colorist, incorporating their suggestions so that everyone felt a sense of ownership in the resulting books.

One day I’m reading some great CrossGen titles and the next I’m walking into the comics shop and being told the company is kaput. As a fan I know what that’s like, but I have no idea what that must have been like for you. You had taken a risk in signing on exclusively and then suddenly you’re out of a job.

*Someone in the audience yells, “They took your job!” “Tuk yer der!”

I had already lived through the collapse of Valiant six years before, and I recognized that CrossGen was going the same way about a year before the company crashed and burned. Once I realized that Alessi wasn’t going to change course, I reached out to my contacts at Marvel and DC, trying to help line up work for all those talented people at CrossGen who would soon be out of a job. Clearly, Marvel seized upon the opportunity, and now McNiven and Jimmy Cheung and others are Marvel mainstays. The sad truth is that companies come and go in this business, and over the course of your career you’ll keep shifting from one publisher to another. I’ve found a great home at DC, and I’ll stay as long as they’ll have me, but a freelance creator always knows that no job is permanent.

Well, now that I’ve depressed everyone with all that sad news let’s move on to better days. CrossGen was over but then suddenly Mighty Marvel showed up to save the day.

Yeah, while Marvel was snapping up CrossGen artists, they offered me a chance to write EXILES. I’ve gotta confess, I was intimidated because the series had launched so strongly with Judd Winick and Mike McKone, but it turned out to be a dream assignment. Basically, I got to revisit all my favorite Marvel stories and give them a new twist. Plus, I got to reunite with my NEGATION penciler Paul Pelletier. Also got a chance to handle Spidey in SPIDER-MAN: BREAKOUT, which was great fun.

So let’s talk about the industry today.

*The lights dim. The Creeper from Creep Show appears but someone pulls him off.

Okay, so in the capacity of editor, what leads you to the decision to exclude inks? That’s become something of a big thing these days. Mainstream titles whose art excludes ink and goes straight from finished pencils to coloring.

That depends. Sometimes it’s seen as a money-saving measure, especially when you’re talking about an independent comic. Sometimes it has to do with the type of work an artist does. Certain rendering and half-tones in pencil art don’t translate to inks, and so we just reproduce the pencils. Back in the day, you needed ink just to make the artwok reproduce at all on the printed page. But advances in scanning and printing give us a few more options these days.

And what about lettering? Letterists are all doing the same thing over and over, using the same fonts and styles, etc.. Can’t be that they are just doing what they’re being told to do. In the mainstream it honestly looks as if one or two guys are lettering all the title series.

True, but lettering is generally an invisible part of the process. The more your attention is drawn to it, the more you’re stepping out of the story. I’ve computer-lettered a bunch of books myself — it actually helped me as a writer, sharpening my balloon placement skills and giving me a good feel for how much space a given word balloon will occupy.

Onto DC’s New 52. Did the news just hit you about 52 or were you part of its inception and planning?

I knew about the possibility of a by relaunch for a long time before it happened, but it still needed to be approved and hammered into shape. There was some debate about how much of a reboot it would be, so it was an interesting process to say the least. In some ways, it’s still ongoing, as we fine-tune our new books and try to figure out what’s working and what needs improvement.

Before the New 52 project was drafted what were some of the ideas that were rejected?

I’m actually not sure how it went for other books — all I can really vouch for is GREEN LANTERN NEW GUARDIANS and BLUE BEETLE. On New Guardians, I tended to focus very much on Kyle and Ganthet, where my editor Pat McCallum was always pushing for me to flesh out the other members of Kyle’s team. I think the result was better than each of us anticipated, as NEW GUARDIANS has been filled with big moments and we have lots of new things to reveal about the various Corps in the upcoming issues. In fact, that “New” in “New Guardians” is something we always strive to play up in the series. As for BLUE BEETLE, the focus was to make Jaime’s relationship with his armor more adversarial. It’s a war of wills between Jaime and his alien armor, and the harder it is for him, the more drama and conflict we can get from his book.

As it stands now is the New 52 a permanent fixture?

Yeah, I think this is here to stay. It’s been a pretty big success, and I think the DCU is more interesting now than it’s been in over 20 years.

Ten years into the future what are things going to be like at DC?

That’s the magic question, but it’s also tied up in “what will comics be like in 10 years?” Will we be reading mostly digital comics? What’s going to happen to publishing in general? I know the DC heroes will be around in one form or another, but I don’t really know what the comics will be like. It’s both scary and thrilling.

*Suddenly a group of fanboys wearing GL t-shirts way too small for them rush me from behind. After a traumatizing moment I am precariously returned.

The GL fans will crucify me if I don’t ask the biggest question that’s on their minds: Why did the Green Lantern movie suck?

I honestly don’t think it sucked, but it didn’t succeed the way Nolan’s Batman movies did, either. I think it’s hard to understand how hard it is to get all the elements to come together on a hundred-million-dollar movie, much less on a comic book. And I wasn’t behind the scenes on the movie, so I don’t have any secret insights on it. Mostly, I think it was a learning experience and it set the stage for what would almost certainly be a better sequel. I think back to Star Trek the Motion Picture, and how Wrath of Khan was so much better once they’d gotten the kinks out on their maiden voyage. That’s my hope for Green Lantern — that a Sinestro-centric follow-up would kick galactic ass. And I thought Ryan Reynolds was great as Hal. Love to see him and Mark Strong return as Hal and Sinestro.

So if a future GL movie were left in your hands what would you do?

Eep. I guess I just answered that. Do the Sinestro Corps War. 90 minutes of cosmic warfare showcasing the wonderful multiplicity of both Corps.

Outside of the stellar work you’ve done with Green Lantern there are numerous titles you’ve given to us. You brought back The Wrath for Batman! But what are you doing now and what are we going to be seeing from you in the coming year?

Still on NEW GUARDIANS and BLUE BEETLE for the time being, but I’m discussing other projects with the folks at DC Editorial. It’s too soon to say if that will man any changes or additions to my workload. Mostly, I’m thrilled to be part of the DC family at this time. And if Geoff ever gets tired of writing Aquaman, that’s an assignment I’d love to tackle!

*The music of AC/DC’s “Back in Black” is coming from my pocket. I answer my cell. There’s a long pause, then I say, “You tell Mr. Trump he will get interviewed when I am good and ready.”

Sorry, Tony. I’m gonna have to take this call. Celebrities! Oh, and thanks for the interview and the many years of happiness you’ve brought to us all.

**Be sure to check out GREEN LANTERN NEW GUARDIANS #4 coming out this week from writer Tony Bedard!


DC #1s for the SUPER-family, SUICIDE SQUAD, and BLUE BEETLE.

DC has announced some more #1s (are there any more? I dunno) Including the SUPERMAN family books,  with two decidedly different takes on the Man of Steel by Perez and Morrison/Morales, A new SUICIDE SQUAD with some decidedly different takes on KING SHARK, DEADHSOT, and HARLEY QUINN, and a one title that has this IC reporter in a quandry…I LOVE Tony Bedard’s writing (and he’s a good guy), but we all know I’m a TED KORD guy. Well, Tony Bedard is writing the new BLUE BEETLE ongoing…and it’s Jaime Reyes as Beetle. Now, when I expressed my mixed feelings on facebook, Tony graciously thanked me for my compliments to him, and simply asked that I “…give Jaime a chance.”

So, we’ll see. But I still miss you, Ted!


A new era of DC Comics begins as the longest-running monthly comic of all time releases its first issue #1 since 1938.

This September, New York Times bestselling writer Grant Morrison (ALL-STAR SUPERMAN) joins with sensational artist Rags Morales to bring you tales of The Man of Tomorrow unlike any you’ve ever read before in ACTION COMICS #1. This momentous first issue will set in motion the history of the DC Universe as Superman defends a world that doesn’t trust their first Super Hero.

The first Action Comics #1 is now the most sought-after comic book of all time. This September, one of comics’ most imaginative storytellers will make history again in Grant Morrison and Rags Morales’ ACTION COMICS #1.

Superman #1: The Man of Tomorrow, Today


What is Superman’s startling new status quo? How does it affect his friends, loved ones and his job at The Daily Planet? Find out in SUPERMAN #1, written by legendary comics creator George Perez (CRISIS ON INFINITE EARTHS, NEW TEEN TITANS and WONDER WOMAN) and illustrated by Jesus Merino.

Supergirl #1 and Superboy #1: The New Superman Family


Supergirl’s got the unpredictable behavior of a teenager, the same powers as Superman and none of his affection for the people of Earth. Writers Michael Green and Mike Johnson (Smallville, SUPERMAN/BATMAN) will team up with artist Mahmud Asrar to give a new take on the teenager from Krypton in SUPERGIRL #1.


They thought he was just a failed experiment, grown from a combination of Kryptonian and human DNA. But when the scope of his stunning powers was revealed, he became a deadly weapon. SUPERBOY #1 will be written by Scott Lobdell with art by R.B. Silva and Rob Lean.


It’s not easy being Jaime Reyes. He has to deal with high school, family and all the drama that comes with being a teenager. Also, he’s linked to a powerful scarab created by an alien race who seek to subjugate planets – or annihilate them. It’s up to one teen hero to turn this instrument of destruction into a force for good in BLUE BEETLE #1, written by Tony Bedard (GREEN LANTERN CORPS) and illustrated by Ig Guara (FLASHPOINT: GRODD OF WAR) and Ruy Jose.


Harley Quinn! Deadshot! King Shark! They’re a team of death-row super villains recruited by the government to take on missions so dangerous – they’re sheer suicide! Who will be the first to crack under the pressure? Find out in SUICIDE SQUAD #1, written by Adam Glass (FLASHPOINT: LEGION OF DOOM) with art by Marco Rudy (THE SHIELD).