Action Comics #1, a bidding paradise

Bidding on SuperMan's first appearance 

Or

When a million dollars is not enough. 

Austin Powers had Dr. Evil hold the earth ransom for 1 million dollars. He was corrected by one of his henchmen, it wasn't enough. One of the greatest financial decisions you could make is when you finance a car or a house, but now you can add buying a comic book to the list. With 6 days left the highest graded copy of Action Comics #1 has already surpassed 1.75 million, $550,000 more than what I told my coworkers I bid. 

Of course, this is a book I could never afford, and I'm ok with that. I do find the quality of such an old book to be amazing. I can almost imagine Paul calling out to his peers, "Guys, you have to see this". 

The oohs and aahs would begin. Was it passed around, or was it limited to the rule if three. I even see upper management joining in the historic event, because grading a very fine to near mint book from 1938 is something worth bragging about, and CGC graded two. 

The issue is iconic. A book that, if never created, could have stunted the comic books we know and love today. The two oldest comic books I had the luxury of being so close to was while I was at CGC. And I will remember them, but the room did not jump in excitement, as much as I think they did with this one. As I mentioned, I will never own one, but I will get caught up in the excitement of knowing something this great is up for bid. Even Matt Nelson expressed his exuberance over it. He even mentions how it came across his desk which makes me wonder, was it pressed?

I'm guessing the book will hit 3.1 million. Which means I'm $3,099,999 shy. Of course I would love a Detective 27 to be found in the same grade, to give this Action Comics book a run for its money.

Thanks for Reading

The Cost of a Grade

Or Collecting CGC

I might have to start this article with what is CGC? For decades, collectors wanted to buy the best possible comic book. Originally comic book enthusiasts would clamor for a pedigree because they were of the highest quality. I found out about these sought after collectibles from a list published in my first Overstreet's Price Guide. At one point the OPG was the be all to end all of comic book price gathering amongst trends, recorded sales, and even speculation. Since then, other magazines have come and gone. Wizard and CBG are some examples. 

Now with the internet, an up to date price guide is only a few short clicks away. EBay started to change the comic book industry in September of 1995 by allowing others to bid on comic books. A copy of Amazing Fantasy #15 could be found without ever having to leave home and at the price one is willing to pay. In 1999 the industry would greatly change once more, eventually escalating prices. 

CGC is a subsidiary of Certified Collectibles Group, or CCG. Comics Guaranty Company also known as CGC was surrounded by sister companies NGC (1987), SGC (1998), and followed by its younger sibling PMG (2005). CGC officially opened in 2000, but was created in 1999 amongst criticism, after all comic books were meant to be read. If you ask a fan of Marvel Comics who was mainly responsible for the creation of the Marvel Universe, the answer would be a resounding Jack Kirby and Stan Lee. If you ask who was responsible for CGC, the answer might be a little more difficult to come by.

Mark Salzberg, owner of the Certified Collectibles Group deciding to add grading comic books to his repertoire scoured the industry and found in more than humbled whispers that Steve Borock was the man to talk to. Steve was a knowledgeable collector originally setting up booths as a kid at local conventions. Over the years he acquired an “eye” to attain the best comic book possible and owned many of them. His love for the hobby had him questioning Mark, thinking this venture was only a way to scam the less knowledgeable; he met up with him anyway. 

After a dinner, set up by Steven Fishler, Steve Borock was convinced that it wouldn't destroy the hobby he loved, but level the playing field. Joining CCG was simply meant to be, but he couldn't do it alone. Some names that also show up when researching the origin of the most controversial topic to come along in comics since Dr. Frederick Wertham, would be Mark Haspel, Paul Litch, and later on Chris Friesen.

Originally starting with three graders, there were many nights the couch became the sleeping spot of choice for Steve Borock rather than take the trip home; besides, it got very cold in Parsippany, NJ. For CGC to work, a standard had to be created. How many flaws could each grade have? What if the book was restored? Could all three graders agree? Would the industry accept a third party grading company? And could the slab be fixed? These were Steve Borock’s first burdens.

The “slab” was the first problem to overcome. Both holders for NGC and SGC were solidly constructed to not only keep the cards and coins safe, but resistant to tampering. Comic books were a whole different avenue and they were three dimensional opposed to the two dimensions of their collecting counterparts. The sonic vibrations causing the slab to seal were only able to be opened by brute force, such as with a hammer. This could hardly be useful with a comic book.

  

At the 1999 New York Comic Con, the initial submissions were returned after it was realized the first version of holders were just not good enough. The possibility of the comic book being damaged inside what was supposed to protect it was just too overwhelming. Steve Borock wanted something that could protect the item and yet still be opened, if the owner of the comic book decided to read it. Once he was satisfied with improvements of the holder, CGC opened their doors and began grading on January 4th, 2000 with "Walt Disney Comics and Stories #1".

CGC doesn't merely slap a numerical grade to it; they also look for hidden defects, color breaks, chips, cracks, and missing pages. They search for tears, ink markings, foxing, water damage, and clipped coupons. There is also married covers, cockling, spine roll, indents, spine creases and in my case, Lucky Charms marshmallow stains. This list is unsurprisingly long. Most of us forget CGC looks for restoration first. I believe a way to protect the average collector was originally the main objective of CGC.  Steve Borock once called the internet the Wild West since you never knew what you were going to get and many times I am sure that was true.

Was that Amazing Fantasy 15 you just purchased over the internet not as good of a deal? Did the seller accurately describe the item or lie? Was it held together by tape? Was a page missing? Are the staples newer than the book? In fact a comprehensive detailed check and analysis on each comic book is performed by CGC. Two preliminary graders look over a comic book, each entering data without the other's knowledge. Once this is finished a senior grader looks over the same comic book and assesses it. Once the final grade is entered, all three entries are visible. If the grades match, the book is passed on to be encapsulated. If it doesn't, the three graders then discuss the condition before the final process.

This of course is for a fee. CGC is a business after all, one with ten plus years under its belt and over two million comic books graded. The cost and time involved is dictated by the tier of service involved. For example, an older Silver Age comic book will cost more to grade than a book just purchased off the shelf. After grading is completed, the book is encapsulated with two layers of protection. The first, or inner layer, is a soft plastic called Barex. CGC considers this as “The Well”. Afterwards this is secured in a thick hard exterior. Archival paper is placed inside the comic book between the front and rear covers to help reduce the damage caused by time.

The degree of restoration, signature placement, damage and numerous other probabilities are just a small amount of what goes into segregating the comic books and clarifying what grade and label a comic book should receive. The most popular and widely used is the Universal Blue Label. A restored book gets purple, CGC witnessing a signature gets yellow, and a restored comic book with a witnessed signature gets a dual color label with purple and yellow. The last label is green for any qualified grades, which deserves an article all by itself. Once in a while a discontinued red label can be found.

In 2007, at Wizard World Philadelphia, I picked up my first two CGC graded comic books. I purchased them originally as a novelty. I first heard of third party grading years before and I thought the idea of encapsulating a comic book away from ever being read again was ludicrous. As I walked around the convention floor purchasing various Daredevil issues to complete a run, almost every dealer had CGC graded comic books adorning their "walls". My curiosity piqued. My thought process changed from “never” to “why not?”

By the end of the show my growing comic book collection now consisted of two universal graded comic books. The first one was a 9.8 copy of Secret War #2 that I procured for $25. The second, also acquired from the same forgotten dealer, was a copy of a Daredevil #90 graded a 9.0 for the same price.  I thought the two that I picked up would be the end of it, and it was, until I walked into a much smaller convention, the Philadelphia Comic Con. It was at this smaller convention my addiction began with the first issue of my favorite title in the coveted 9.8 grade. 

Today CGC is the number one third party grading company for comic books with over two million graded. I predict they will reach four million in less time than it took to reach the first two, especially with the Signature Series popularity constantly growing and auction sites reporting record high sales, but why use CGC? Why have a book graded? Why get it checked for restoration? Is it worth it? And what could it cost?

Steve Borock originally created an idea for an ad still published in the OPG. The advertisement asked if you would buy a house without certification, a diamond, or even a car. And then asks why buy a comic book without the same peace of mind. I believe he meant for older comic books from the Golden and Silver Age and not so much with the newer Copper or Modern age. A new car should be flawless, much like a fresh comic book taken off the shelf. The back issue bin might be a bit more difficult to find a premium looking comic book, especially from the seventies or older.

As much as a car drops in value once removed from the dealership, a comic book has a chance to return on the cost, creating speculation. The craze in the nineties had comic books selling over a million copies each, on a few select issues. No such comic book has revisited those numbers and not one of those highly publicized books has yet to pay for a child's college tuition.

As things change, a six month transition period in 2008 occurred, this allowed Mark Haspel to take over the reins, changing from Vice President, a position he had since day one, and becoming the President of CGC. Steve Borock left CGC after this time and is now Senior Consignment Director at Heritage Auctions. In the same press release that announced Steve leaving and Mark taking over, it also announces Paul Litch becoming Vice President and Modern Primary Grader. Steve left knowing that CGC would be in good hands with someone who was there at the beginning with him. In 2011 Mark Haspel left on an extended leave of absence. Paul Litch is still at CGC as Primary Grader.

In the fifties comic books were currency into the world of make believe. A good neighborhood had friends trading them quickly after being read. At ten cents apiece, sales were staggering. I imagine one out of a hundred hoarded them, but with burnings in the fifties sparked by the book “Seduction of the Innocent” of these treasured items, their value seems to be guaranteed, hence why a majority of EC comics sell for hundreds of dollars in the poorest condition. In 1952 an industry high of over a billion comic books sold, that's over fifteen million a week.

Today, comic books are a bit more expensive. Who wouldn't want to purchase the best condition for their comic book collection? Any new comic book placed on the rack of any specialty shop I consider to be "Off the rack Near Mint". Once purchased there should be no problems with it getting a 9.4 if bagged and boarded and sent to CGC. A 9.6 is a meticulously nice book, while a 9.8 is easily the most sought after. Do I dare even mention a Mint 9.9, or its pure perfection counterpart, a Gem Mint, historically marked with a numerical ten?

A CGC 9.8 copy of Harbinger #1 which sold for $2550 in March of 2008, was the first comic book from the nineties to sell for over a thousand dollars in that grade. I heard a Spawn #1 in a 9.9 did the same, but yet to find proof of that transaction. The most popular one now from the same decade is the first appearance of DeadPool. The New Mutants #98 has over 4000 graded (4373), one reaching an incredible 9.9 signed by Rob Liefeld and more recently an unprecedented universal gem mint ten. More keep coming in as one of the most popular books of the modern age, next to the previously mentioned Spawn #1 (3551) and The Walking Dead #1 (1762).

     

Between 1991 and now The New Mutants #98 became a key comic book much like The Incredible Hulk #181, from the seventies did. The other issues to arise with interest from the same eighties title in a 9.8 are #1 (681), #16 (140), and #87 (2042). Including the three mentioned, issue #98 is probably graded more than the rest of the title combined, including the annuals. Some of these issues have only two graded in a 9.8.  Issue #58 (9.6 SS) and Annual #4 (9.6 SS) do not even have a 9.8 copy on the census, yet. Any of the Non Key issues could be found in any dollar or blowout box, but once graded a 9.8 by CGC those same books could become upward to a hundred dollars; signed a little bit more.

Grading by CGC greatly increases the purchase price of a book, although it does not guaranty it is worth that cost. It only guaranties the grade. There are instances where a comic book not graded by CGC outsells a comic book that was graded by CGC. I personally had many comic books graded purely because what they are worth to me. My New Mutants series is a testament to that. This also begs to ask again why send a book to CGC? Is money the objective? Are you planning to flip the comic book? Is it the pride and joy of your collection? And what can it do for the buyer knowing the grade?

I like CGC because of the community I became part of, but it also allows the buyer to feel comfortable with what they are purchasing, akin to purchasing a pedigree before CGC was created. A gem mint copy of New Mutants #98 sold through ComicLink.com reaching $15,449, a comic book that originally guided in the OPG for $4 in 1999, the same year CGC was stepping into the waters (this was dismissed as a coincidence). The most this comic book could have cost to get graded was the $18 charge for grading, an additional $10 to fast track it, $5 for the invoice fee, and possibly an additional $5 to have them scan it. Add a minimum of $10 for shipping it back to you and you’re looking at $48. Spending that on a non-key comic book priced at $5 is clearly not worth the financial cost.

If you purchased Deadpool’s first appearance when it first came out at cover price the chance of attaining a gem mint, however small, would give you a small profit of over $15,000, if the last recorded price was matched. A 9.9 could gain an approximate $3000 dollar profit, a 9.8 about $300, while a 9.6 could get you $50. Anything less isn't worth the cost of the grade. 

The New Mutants #99, a cover tribute to X-Men #138, would be even less. GPA’s highest recorded price for this book with a signature series 9.8 signed by Rob Liefeld was $125 (Dec 2013). A universal 9.6 copy was significantly lower, selling for $14 (Jan 2013). This clearly is not worth the cost to grade if making money is your only goal. So what if you’re trying to grade “The Human Fly”, “Captain Carrot and his Amazing Zoo Crew”, or” On a Pale Horse”.  Is it worth it?

Starting in any hobby can become addicting, I've been collecting since I was twelve and reading comic books since I was five. I don't know who gave me my first comic book although I have a strong suspicion it was my Pop-pop. Over time comic books became a huge part of my life. Every week I go to my LCS. I purchase the new comic books to add to my collection. What can I say; I enjoy the story, even once asking my dad for $300 to purchase what looked to be a near mint copy of Daredevil #1. His reply was along the lines “What are you, nuts?”, and yet my addiction is still held in check by believing what it all comes down to, much like the cost of a comic book, it's the love of owning the book which makes it worth the cost of a grade.

Thanks for Reading

Is Superior Spider-Man, Superior?

I have to imagine when Amazing Spider-Man #700 was released, no one expected what happened at the end, myself included. I associate the final pages of this historic issue with page 271 of Star Wars: Vector Prime. What happened was so unexpected; so terrifying that it had to be read again. I couldn't believe what was on the printed page even after reading it the second time. The final pages of ASM #700 had me experience the feeling of What The...? once again. Dan Slott had me riveted with excitement, followed by dread. The impossible was possible, Peter Parker was no more.

Issue seven hundred ended a series beginning back in 1963. This changed to Volume Two with a new #1 right after issue #441 somewhere in the late nineties (Nov. 98') and reverted back to its original numbering with its milestone five hundred (Dec. 03') while becoming volume one, once again. And if that's not confusing enough, Marvel might start over again to make sure the readers aren't thoroughly confused. Oh wait, they did, this time however, instead of starting over in a brand new direction with Amazing Spider-Man #1 (or #701), they started over with something superior.

But is Superior, superior? A CGC copy of Amazing Spider-Man seven hundred in a 9.8 condition has sold anywhere between $18 and $2550 (with a universal label), variants included. To be fair, the $18 price tag had a broken slab; if you do not include that particular copy then $22 was the next cheapest sale price. If I include the signature series versions, the price tags become loftier. I could only imagine if one eventually turns up with Steve Ditko's signature on it. And if the last issue is fetching these prices, did speculation cause the first issue of Dan Slott's re-visioning of Stan and Steve's 1963 creation to be just as successful?

An encapsulated copy of Superior Spider-Man issue #1 sold for $13 while the highest cost was a variant by Joe Quesada (sketch cover) at $450, (once again, a universal label). This is nowhere near the famous issue where Peter Parker dies (?), which was released only a few months earlier. Covers might not make a comic superior, although it could make it somewhat more desirable, look at the recently released Forever Evil #1 lenticular 3D cover. Although the cover might be the reason to pick the comic book off the shelf, I feel it's the writer that keeps you coming back.

Dan Slott has completed almost two years with an exceptional title, I speak of Superior Spider-man and not the amazing title that preceded it. Even after death threats and hate mail (aplenty) he chugged away to tell a story. It might not be Peter Parker's story, but it is Spider-Man's story, which once again begs me to ask, is Superior Spider-Man superior? With the recent annual released, written by Christos N. Gage, I had the chance to find out. Ever since the first New Mutants Annual was published I always believed the extra issue added to the overall story. This favorite tale of mine, “The Cosmic Cannonball Caper” was written by X-Men scribe Chris Claremont, the same writer of the first fifty four issues; two more in the sixties, one in the eighties, and the first three annuals. Superior Spider-Man could not say the same. 

Christos N. Gage started writing comics in 2004. Dan Slott started in the early 1990's as an intern at Marvel until his big break with his first monthly title, Ren and Stimpy. After his first successful title, of which number one was a scratch-N-Sniff polybagged issue (and yes I bought two), Dan cut and sharpened his teeth on many titles before landing the "big comic book". Although Christos has co-writing credits on a few Superior Spider-Man issues (11, 12, and 13), it was Dan's creativity that filled in the slot. (I am so sorry, I couldn't pass that up.)

With great power comes great responsibility was not only Ben Parker's greatest advice, it was also Peter's greatest crutch, which is what made him Amazing. Otto Octavius wasn't the first Superior Spider-Man. That credit goes to Kravenand J.M. DeMatteis. Otto isn't even what makes Spider-Man superior, as the unexciting annual that was recently released ascertains. 

I perused through the copy at Fat Jack's Comicrypt in Philadelphia and decided against its purchase. The money would be better off spent in other ways, but at least it helped me answer the question of "Is Superior Spider-Man, superior?" Yes it is, but only because of Dan Slott, much like the reason why Spider-Man was so amazing when it was written by Stan Lee.

Thanks for Reading

Wizard World: The People I Know

After collecting comic books for so many years one tends to meet new people and reacquaint with old friends. Although Keegan from Comics to Astonish sells at this event, it was a smaller event that I met him and since then he is one of the sellers I trust on price and quality. Being that he goes to other cons to set up and sell he is also the guy I choose first to get me signatures for CGC graded books. As you walk around the convention floor, I recommend stepping by his booth for a great selection at a great price

Then there is Ashleigh Arsenic. Another artist I didn’t meet at Wizard World, but a diner some two or three in the morning. She created and founded Pretty Poison Burlesque and I have read more Facebook status' at how hard she works but is thankful she loves it. I hope to stop by her booth and help her anyway I can, I hope you might do the same to show your support as well, and if you are a David Bowie fan, especially of his performance in Labyrinth, you might want to ask her to show you her tattoo.

The third I can't wait to see is Brad Guigar. At least this is a person I met at Wizard World but have followed him to other shows and purchased some of his original strips which he will have some at Wizard World Philadelphia 2013 along with his seven volumes of Evil Inc, a personal favorite of mine. He began doing webcomics over ten years ago and I was fortunate to find him syndicated through a local newspaper. And if any of the little bit of information I gave you was wrong, Evil Atom made me say it.

The last of those I know at follow are two friends of mine. One I have known before I was a teenager while the other one I met at a Halloween party hosted by my lifelong friend. John Iwasz and Sanj Surati would be the type to decide having a zombie as a pet would be pretty cool. They both started with small vignettes for YouTube with dear Zombie letters, along with Cocktails for zombies and Brewing for zombies. Both can be followed along and produce said cocktails or beer…with subtitles of course. Their pet project Zombie casserole is busy being edited and a trailer should be ready to be viewed at Wizard World.

Hopefully by this time next year I can add to the list of people I know, however I must give props to those that work at CGC making sure all the books are set to be witnessed and graded, but that is for a whole other time.

Thanks for reading.

Wizard World: The Just Listed Category

Wizard World, the Just listed category.

Although I was never into power rangers, I am a bit older, my son was at that age where it was all the rave to talk about, then again so was pogs. Now to be honest I am glad he never got into the Power Rangers because then he would want the toys, and the toys broke. Each week my friend/roommate kept buying these Bandai toys for his kid, each week they broke. Fortunately my son’s toys of choice were Star Wars, and I wonder where he got that from. But, let’s face it the Power Rangers were a reckoning force and I expect that with the recent announcement of Jason David Frank, or Tommy Oliver, and although he had a few different incarnations as a Ranger, it was the White Ranger I remember hearing my roommates son discuss to me at length why he is the best one.

The other is, in my opinion, even greater. Marvel will be sending over a representative, in the form of C.B. Cubulski. I wonder if he will be doing any signings. I like any con to have Marvel and DC there, not just the artists from those companies but the companies themselves. As Wizard World morphed and grew these two have been absent from this major event here in Philadelphia. I am hoping that this portfolio review and the two panels that were announce, Marvel: From NOW! To Infinity and Marvel: Breaking into comics the Marvel way re just the beginnings of this great company presenting once again at Wizard World. I will tell you more about these panels as long as I am able to attend.

(Looking forward to Bob Layton)

There will be lots to do at Philadelphia, whether you will look at back issue after back issue, get CGC to witness your signature for their signature series, or even get books graded for their Universal label, Wizard has a slew of events to keep you busy and as I mentioned earlier, bottled water, comfortable shoes, and prepare to have a good time.

Thanks for Reading

A Glorious Morning: A Roundabout Review

The long of it:

Image has been a small powerhouse originally taking a piece of the industrial pie from the major two, DC and Marvel. Of course when they were first created it was almost like they were a Marvel lite. Titles such as Spawn, Youngblood, and Wildcats were added to my subscription list. I was Well into my adult life when I had to stop collecting. Space became scarce and my purge of possessions ended with the majority of my comic books. After my reclamation to the comic market I picked up my favorites based on memory. Image was not part of that process. I never jumped on the Walking Dead band wagon and still haven't, mainly because I'm not a Zombie Fan. I even skipped a few other decent stories due to the lack of money but now that Comixology has specials every Monday for .99 I have found it to be a glorious Monday indeed.

Stuck on a slow day at work I decided to purchase Morning Glories #1 and Son of Merlin #1. The following issues of the Son of Merlin were subsequently higher in price so I passed, as much as I enjoyed the premiere. Morning Glories however had issues one through twenty five all below one dollar. I have picked this up in Fat Jack's, skimmed through it, and passed on purchasing the book. At ninety nine cents I vowed to only buy the first one, then I vowed I would only buy the first story line. I didn't abide by that either. After reading a full nine issues at work on my iPhone and another nine issues at home I plan on getting to the last issue I have. But, then what? Will I continue to collect at the full retail price or wait again for a sale?

The artwork is clear cut and easy on the eyes. The story is J.J. Abrams-esque by giving flashbacks with the characters mainly involved. Nick Spencer is spinning a tale that Joe Eisma articulates very well. The covers alone by Rodin Esquejo are tantalizing that purchasing copies graded by CGC are weighing heavily on my mind and I wonder why I didn't skip a cup of coffee or two just to purchase the book...ok I know why I didn't skip coffee.

I picked up another Image title dubbed Non-Humans to figure out if I want the actual comic book or just the digital rendition. My decision was once that series was over I would stick with a Comic book I could hold in my hand and only get the digital copy if it came free with the comic book (thank you Marvel, but please have Daredevil added back to that mix). However, at .99 cents how could I pass on getting the whole series available.

The short of it:

Get the series by trade, back issues, or digital, but buy this title to read.

Thanks for Reading

My Experiment with Pressing

Last year I went to the Baltimore Comic Con. I brought a few comic books with me for Matt Nelson formerly of Classics Incorporated and currently with Classics collectible services (CCS), a subdivision of Certified Guaranty Company (CGC). Was the talks if a transition even in place now. Was this a way for CGC to now add a purple restored label to pressed comic books or a way to start a new color label on this currently considered non-restorative technique.

I met Matt Nelson through Steven Ritter when they were partnered with WorldWide Comics. I have already been asking questions about this technique to improve upon a comic books condition, and yes it is also possible to decrease the condition. After questioning him the one day I decided to put my money where my mouth was. Was pressing the be all improvement on a books visual desirability or is it categorized incorrectly away from dreaded purple label of death.

I brought 14 books for him to look at, fourteen books to see if they could be improved with a pressing before passing them into CGC. As with algebra I needed a given, I needed an X. Out of the fourteen, some were raw, some were graded, others were regarded and dropped, while still others were regarded and stayed stationary. The books will be listed as follows. I will omit page color since it is irrelevant to the ordering procedure.

The first book I'll start with is the Walking Dead Chromium Edition. He told me there was no reason to give him thus book, it was easily a 9.8. This was turned over to Desert Winds at the NYCC For Robert Kirkman's autograph. It was just returned as a SS 9.6. Was Matt's estimation off? Did Desert Winds somehow damage the book? Will I write about this in further detail?

The other books were:

X-Men #42 grade: 7.0 screen :7.5
X-Men #52 grade: 9.0 screen: N/A
X-Men #142 grade: 9.2 screen: N/A

X-Men/Alpha Flight #2
Grade: 9.4 SS screen: 9.8 SS

X-Infernus #3
grade: 9.4 SS screen: N/A

Amazing Spider-Man #129
Grade: 9.4 SS screen: 9.6 SS

New Mutants Annual #4
Grade: 8.5 screen: 9.6

New Mutants Summer Special #1
Grade: 9.0 screen: N/A

New Mutants #58
Grade: 9.6 SS screen: N/A

Daredevil #48
Grade: RAW screen: 8.0

X-Men #132
Grade: RAW screen: 9.4

X-Men #101
Grade: RAW screen: 6.5
And finally

X-Men #99
Grade: RAW screen: 9.0

Right off the bat I want to say I like the honesty that Matt showed. On these particular books above, any books marked under screen as N/A were turned down because he felt a press wouldn't do well, even asking if he was sure, especially on the New Mutants #58, he looked it over again. He told me once again he didn't think a press would work and put them in the do not press pile.

Out of 14 books shown he took only eight. The six he omitted were taken home. My understanding a bit better. Everyone already knows what happened to my Amazing Spider-Man #129 but what about the next seven? Was it wirth it? Was he right? Was he wrong?

Thanks for Reading

Tnerb

Emerald City Comic Con: A Roundabout Review

My first ECCC

The Long if It.

I've heard on the past that CGC hasn't sold too well, this same person who frequents this event annually mentioned there were more graded books on display this year then the last three years combined. This defers widely with the east coast because there is an abundant amount of graded books at booth after booth.

There were also artists and writers plentiful in the masses. Gerry Conway being the main reason I decided I wanted to cover this event. The was also the legendary Neil Adams who I decided to purchase a book from with a character sketch (Pre-sketched) applied with a sticker and then personalized. I think I spent too much and wonder how strong that glue really is. I think I would have been more comfortable just buying the book with a personalization. Of course maybe twenty years from now I can say I met Neil Adams. Of course I can also say I met Gerry Conway,Rachel and Terry Dodson, Matt fraction, David Finch, Brad Guigar ,Skottie Young,Randy Stradley, Fiona Staples, Richard and Wendy Pini , Mike Dringenberg, Tim Vigil, Brian Pulido, David Finch, Chris Claremont and many others I didn't get to see, yes each of the above artists I have either had something signed by or a friend did, if not more.

Then there were the movie/television stars that filled a full floor if their own. Patrick Stewart, Wil Wheaton, Walter Koenig, among a slew of others I don't follow too well. At other conventions it always seems one part of a convention overrides another. This location, this convention, this time seemed perfect . Yes the floor was crowded and at times it felt like standing still was all you were going to do, but even at those times there was something else to look at.

I saw Darth Maul play the bagpipes on stilts. I watched Darth Vader ride on a unicycle in a kilt. There was Lego's galore from Star Trek to Star Wars and everything in between. This convention had a little bit if everything and was worth traveling over 3000 miles for it. As much as I went to experience a west coast con and compete it with an east coast con, it was CGC that I loved the most.

The ECCC was everything it was hyped to be and more. My line was much shorter than everyone else's, but with a friend in line I stood with him after retrieving my pass. After all how can I experience the convention without being a fan and going through what they do. Seattle wasn't as rainy as I expected which was good because for one city block we were escorted outside. I wonder what they would have had us do if it was raining. The good thing is if that's the only negative thing I could see how are they going to improve next year.

The short of it

ECCC wasn't just an event, it was the event that all others have to follow. Make sure to attend in 2014

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ECCC: A Roundabout (P)Review

So here I am sitting in my humble abode wondering what I can bring with me across the country to this wonderful and beautiful comic con I have heard so much about in the past. I have comic after comic that I want to have signed and graded, but signed by who you ask. You can hurry now and visit their website to see all the illustrious creators they have. First and foremost for me is Gerry Conway to add his scrawl next to Stan Lee's and John Romita's on my Amazing Spider-Man #129.  And the likes of Denny O’Neil and Neal Adams will also be making their way there along with one half the creative team of the New Mutants, Chris Claremont. Should I mention the joy of an Epic Elfquest run reprinted by Marvel, maybe an issue #1 to be signed by Richard and Wendy Pini.

I was thinking of having my Marvels book signed, but then I wanted to have the only book of X-Infernus I don’t have in a 9.8 signed and graded, but for the life of me I can’t figure out where that book is. I will continue looking up to the day of my departure but what is this, these beautiful copies of the Spider Man and Black Cat story by Kevin Smith and Terry and Rachel Dodson, do I dare, can I dare? I printed out an invoice for those for CGC, the worst that could happen is my decision not to have them signed by the artists and graded by CGC.

But why, yes WHY am I going across country to a convention so far away from home when I can just wait until Wizard World arrives here in Philadelphia? Because it is the ECCC and as the time draws near I get more and more excited. This isn't just a comic-con, this is a chance to meet friends. A dinner is to be held for the “Boardies”, a bunch of us that love the idea of encapsulating a comic by CGC and placing them in a set on the registry of possibly the best comic book, recently I have fallen in love with the idea of getting the worst possible too.

I never thought in my wildest dreams I would be sitting at a dinner table with others just like me. Comic collectors, aficionados, geeks, nerds, dweebs, and any other assorted names that were given to what makes “The Big Bang Theory” such a big hit. I will be talking about the convention for weeks to come. I must imagine that if I am this excited before the event, by the time the event is done, I fear I will only be looking forward to go gain in 2014.

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The New Valiant: A Roundabout Review

Well here it is, book seven and Archer and Armstrong continues to impress. Valiant keeps producing book after book that entertains me for my dollar. It doesn't seem to matter if it’s Bloodshot, Harbinger, or their flagship title X-O Manowar. Valiant in the nineties was the pinnacle new comic book company. Magnus Robot Fighter, Solar, and Harbinger were already out a few months before I became enraptured. Solar #10 was the first “gimmick” book with an all black cover which had comic book stores scrambling for more copies to sell. Valiant answered the demand with a second printing.   This is when I took notice and my addictive nature had me looking to pick up every back issue that I missed.

In today’s market of third party grading, mostly by industry leader CGC, many collector’s want the best possible, myself included. In the case of Harbinger #1 this means getting one graded a 9.8 with white pages. If I'm not mistaken this was the first book from the nineties graded a 9.8 by CGC to sell for over $1000. In March of 2008 it reached its ceiling price of $2550.  Recently it has been steady at twenty percent that price. This is nowhere near the same for an Archer and Armstrong #1 in a 9.8, which hasn't broke the $100 mark. 

Jim Shooter had his first major story at Valiant with “Unity”.  To this day it is my favorite cross-over event. Archer and Armstrong #1 made its debut with this story line (not including Zero) becoming my second favorite Valiant title behind Harbinger. Archer and Armstrong are fighting secret sects and it seems The Null is the biggest one of them. Their goal is unlike Pinky and the Brain’s, they don’t want to take over the Earth; they want to end it. I never understood those organizations, and Archer who once was a member of the sect through selective training comes to light by meeting the “devil” himself, Armstrong.

The action really started to heat up when a Geomancer was killed. Its Armstrong’s brother, the sworn protector of those that speak with the Earth, Gilad, or the Eternal Warrior as he is known to the reader, that plans to avenge the death by killing who he holds responsible, Archer.   How he could think it would be anything other than the Sect is somewhat close minded on his part, but then again Archer was a member of that same group until his "parents" tried to kill him. I guess being best friends with ones brother does not give a free pass.

The summer of 12' brought these great Valiant titles to the newsstand again in a day and age where the two major companies feel the only way to garnish new readers is to start with a new number one. And yes, Valiant did indeed start with a number one, but let’s face it they only just started publishing again. I could have easily ended with number two as I have with other titles, but between the art and story Valiant seems to be creating something I love to read, Comics Books.

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Battling for my Dollars: a Roundabout Review

Where do your hard earned dollars go? I mean the ones you still have after paying bills, taxes, and other daily expenses that continue your life perpetually forward. The extra that should be left over, what nectar of life do they purchase? Is it a new wardrobe, a good meal, or maybe a few drinks with friends on the days off that seem to be too few in life? If you're reading this I either got lucky you are here or like me you spend the remainder of what's left every week on comic books.

Comic books are a lot more expensive compared to when I started to collect. A$3.99 cover price today is up about 565% from the days when my allowance bought me my weekly drug. I never thought about the politics of publishing a comic book, I bought what I liked, I still do, but I don't have to speculate what sells and what doesn't. I don't need to figure out which variant cover should be cost optimized by quantity purchased or if I send a book into CGC for grading then my profits will catapult towards my rent being paid by one book. My pleasures are a bit simpler. Is the comic book good?

DC and Marvel are the big two and have been so since the silver age. My first LCS was set up in four sections, Marvel, DC, Back Issues, and everything else. As I grew up independent publishers started clambering for more shelf space. Dark Horse and Image come to mind predominantly but First, Innovation, and Valiant are others that were always competing with Spider-Man and Superman. The market expanded, constricted and exploded again.

DC tried something, something that has been tried before, but never on such a scale. They took one final moment, one Flashpoint, and started over. Marvel waited and finally felt after the success of DC had they should start their own revolution and instead of leading, followed suit, creating their new world negating years and years of story continuity.  The problem is my dollars have not expanded or have grown exponentially, in fact they remain stagnant. The new number ones were supposed to be a fresh beginning, a beginning to allow readers to jump on and not be lost, or as with some titles, it gave me the chance to jump off.

Marvel began again but so has Valiant, three companies are battling for my dollar and as I tighten my purse strings I realize it's Marvel that has the most to lose because that is the majority of what I collect. I gave Iron Man the first story arc but fear it might go. Cable and X-Force couldn't get past to #2 and Morbius sat on the rack as I walked on past.  Give me a collected universe with ten books a month with story and art and you'll have my money, but if things keep progressing the way they have I fear I might just continue to go to my LCS and buy some books from the silver, bronze, and copper age.

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Cable and X-Force #1: A Roundabout Review

Cable and X-force #1: A Roundabout Review

I am pretty sure with my first X-Force book I was sitting down eating my Lucky Charms while debating which book should stay bagged and which one should be opened. When the team first emerged from the pages of The New Mutants I didn't know what to expect, but I did know my favorite book was cancelled and I wasn't happy about it.  Since then there have been different variations of the team, most recently one led by Wolverine.  

Liefeld created the first mutant assault team, their primary goal then was to destroy the M.L F., led by Stryfe.  I’m not sure if they succeeded, I was forced to stop collecting certain titles, and X-Force was one of them.  Marvel is continuing their "Marvel Now" campaign wanting their readers to “Join the Revolution”. Titles such as Iron Man, Indestructible Hulk, and All-New X-Men are now joined by Dennis Hopeless' version in what could be titled "the Brotherhood of Evil Mutants”.

Let’s get the format out of the way. For the cover price of $3.99 I am glad it has only two ads, both on the back cover.  This does not include the eight in house ads mentioning their upcoming releases. However, if bringing back more ads would cut the price of the book by a dollar I would be for it.  Since a price reduction looks to be a huge improbability I would like to see the bar code be realigned slightly, you now somewhere on the rear cover. There is a full twenty pages of artwork including a two page spread on pages two and three.

SPOILERS AHEAD

Those same two pages have four of the team side by side after a pointless four panel first page. Colossus tears through a wall, Domino carries a smoking pistol, and the fourth has Dr. Nemesis kneeling over a body. All are better than the third panel wasting space with Cable's feet.

We skip ahead to a “few days earlier” via a “Wayne’s World” flashback on page seven. Hope talks to a therapist while Cable ease drops outside whatever mysterious building she is in.  And, with all the hoopla that Captain America had in taking her someplace safe before the Phoenix Force arrived you find out he enrolled her in High School.

Forge makes an appearance being the weapon's maker he is. How he didn't build a company to rival Stark Enterprises I don't know.  Other than being there to play Doctor for Nate’s prosthesis, what is their history together? How did they join each other and why are they hiding out in an airplane grave yard? Note the whole comic book looks like if takes place at night. The team’s lighter colored clothing looks symbolic of the good guys wear white. Domino's outfit, normally a black on black ensemble looks gray. Was this intentional? Is this the art style of Salvadore Larroca and Frank O'armata or did the printer mess up? As I’m reading the book, more and more questions come to mind.

How did Colossus join the team? The last we saw him he wanted his little Snowflake killed. Now, he is a member of a team wanted for um, well, I really have no idea. How did Domino change right in front of an elevator with no one noticing? Once again I'm thrown into #1 with no idea what's going on. After reading the Avengers I am eager to read #2 even with the plot holes. With X-Force, after it’s over the story doesn't even catch up to the beginning. Domino takes on A.I.M. And somehow Hope Summers knows exactly where she is. Cable recruits Dr. Nemesis, who has no problem joining Cable after having a gun pointed at him. And do you know how Colossus gets recruited? Well, I don’t either.

I don't mind the tearful reunion between Hope and Cable, nor Nathan's "every damn day" comment, which actually works for the character, but the team doesn't feel like a team. Why are they together? It took thirteen issues for Cable to form X-Force the first time in the pages of The New Mutants. It was a slow build up with action along the way. The future members had to be groomed or recruited. I'd rather the book continue forward rather than be setup with answers later. The question this time isn't about getting this book graded by CGC or if I plan to read the book over but, will I really wait around for issue two? 

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Avengers #1: A roundabout Review

Recently, with all things in my life, it's a pretty sure bet I either have coffee or a comic book nearby.  At times I have both. Empty creamers and sugar packets or plastic bags, boards, and tape at one time or another have littered a table I occupied. Occasionally, when I drink my coffee I remember my youth, but even after entering my fourth decade of life, every so often after closing a comic book, I transport myself into the imaginary world I was just reading.

Every week I buy comic books, it’s a more religious experience than some people’s church outings.  Finances being the way they are I try to escape my "must have" attitude and limit my purchases to what I like aesthetically, this is not only for the appeal of my eyes but the landscape of my mind. At an average of four dollars a book I want my money's worth. I won't get into the price of a good cup of coffee, nor the ten percent the church asks for.

Most recently Marvel Comics is revamping their line with "Marvel Now"; a byproduct of the success DC has had with their new “52”. A red banner across the bottom of the book along with the tagline “Join the Revolution” could subconsciously scream "LOOK AT ME". I whole heartily disagree with a comic publisher’s mentality that the reader, which I am one of will lose interest among the higher number books, so instead of reading Avenger's six hundred and two I'm reading issue #1…again.

SPOILERS AHEAD

I was disappointed right away because it was the Avengers from the 2012 blockbuster hit and not the latest incarnation from the comic book. After looking forward to this book when I first saw the advertisement had my favorite character barreling to the front lines, I couldn't wait to see Cannonball as an Avenger. He wasn't in it, not till the end, in almost the same pose he displayed on the cover. The future tales of Sam Guthrie, Cable’s first soldier, had to wait.

Iron Man, Black Widow, Hawkeye, Thor, Bruce Banner, and Captain America think they are arriving at the red planet with no one the wiser.  They were wrong.  Continuity speaking, when does this happen? Being a number one I would have hoped to have been able to roll along and know everything. Isn't that what these number ones are all about?  Continuity never seemed to be a problem amid the comics I grew up with. To its credit Avengers volume 5 #1 felt like one big blockbuster in itself. I must admit Jonathan Hickman has succeeded in grabbing my attention.
               

Page one looks like it could be from a comic version of the Bible. The second page is a list of the Avengers followed by a three page panel describing when it all "could" have begun. 

Page four was more of a tease with the "Iron Wars?" 

 Page six was a great rendition by Jerome Opena, a single panel of Mister Fantastic, The Sub Mariner, Black Bolt, and The Black Panther. I am drawn in, no pun intended.

               
On Mars, the Avengers are bested by Abyss, Aleph, and Ex Nihilo by means of an “in your face” beat down.  Captain America is knocked to the ground but still refuses to yield. 

They pick him, quite possibly due to his enduring spirit, to send Earth a message “We’ll send him home to write a warning in the heavens”.

I don’t think the trio thinks the message would be a call to arms. Steve’s body heals enough in only three days to "Wake the World". 

The second to last page has Rogers suiting up in what closely resembles the outfit Chris Evans wore in the movie. The code “Assemble at Dawn” is answered, with force. I recognize the majority of the members and look forward to the next issue.  I question the beginning and the ending of the book because it reads that the Earth has changed.  The biospheres of the first two impact zones, by the first two bombs, seemed so catastrophic they would have mentioned it in every one of their books.  Could the reasoning of picking two be slightly symbolic of World War Two? But, why mention the “first” two bombs? Wouldn't that beg to answer how many others were sent? One was fired as the Avengers were in inner planet travel.  They destroy it.

They arrive in a heroes fashion, but how did these heroes survive the change of the Biosphere, were they hidden, were they outside the range of the first two bombs, and don’t we have only one biosphere? This thought alone could probably destroy the last panel of the Earth’s Mightiest Heroes standing before an unaffected city? Wouldn't it have been much more story driven if the building were grown over with moss? The last page is of Captain America with possibly the best Avengers team yet, if not the largest, so much for Peter Gyrich’s limit of six.

After 21 pages of art, four pages of “titles”, five “AR” markers, two advertisements for two more “Marvel Now” titles, a paid ad for Max Payne 3, a back cover for the NBA and a Modern day Stan’s Soapbox fill the pages for $3.99. Before I forget there is also a page dedicated to the Marvel Augmented Reality App (AR) which is on the same page as the sticker covered code for a free Digital Copy. I must admit I enjoyed the book. Yes I picked it apart, but when it comes down to it the only question is do I get the book graded by CGC to preserve the grade I purchased the book in or do I recall my youth in one other way, and read it over and over again.

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An Evening Chill

There is a chill in the house that won't go away. I wonder is this age that creeps up on me or the daunting task of living within a budget. Is it inexplicable to think how much easier things could be if I decided I no longer needed the car or the insurance that goes with it? 

Could I rely on faith and good eating habits to quantify my savings by canceling my health insurance, and would it be so odd to dispose of the leash that tethers me everywhere I go by relinquishing my phone? These few items alone would relieve me of the burden with this workload I carry to make what I need to not only survive, but thrive. But, what if by releasing the tension these requirements make with the sustainable minimal amount I earn, that without I might flourish, an idea I have been toying with.

Then what? Do I buy more comics? Do I try to find that diamond in the rough? Do I use the excuse of lack of funds to keep me inside for hours and hours to type words? And are those words any good strung together?

The chill lingers, the portable heater drums on, and I gaze at my comic collection. Each box filled with books attached to memories, some more potent than others. Each cover, each story silently crying out to me to read again. And I question if I give in to that silent voice, where should I begin?

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