CBCS and Sun

The weather was a lot better in Florida than in Philadelphia. I was surrounded by comic books and those that enjoy collecting them. Even though things didn't begin as planned, the event went over very well. What should be stated first is that even though Steve Borock was an amazing host along with his team from CBCS, this couldn't have been done without Tony Starks, who at the last minute couldn't attend.

After we ate, Steve Borock held an impromptu Q&A session. There were a number of good questions. One was about the grading practices between eras. Another one was about the effect of cover miswraps and other manufacturing defects on final grades. The subject of the equipment being used and not properly maintained allowing pages to be torn rather than cut was also discussed.

Steve also talked about the beginning of CGC, if only very slightly. He mentioned grading guides and then said to forget all about them, unless you were an amateur. And according to the master himself, the best way to learn about grading is getting burned.

Steve answered question after question, then after the tables were cleaned off, he handed out a comic book to each table for some training. My greatest weakness, a square bound book, was the first comic book to grace the table I was at. Also making the rounds were Bronze Age X-Men and Captain America books, and Silver Age copies of Incredible Hulk and Fantastic Four.

We were told to grade them, but not share our answers to anyone. Normally when I'm next to my lil' bro, I ask him his opinion, much like Steve and West do when grading. This time I was made to judge by myself. 

I never did find out what the grades were. Nor did I discuss them with Steve. We were too busy talking amongst our new acquaintances. There were a few questions I wanted to ask, but I was too busy taking notes and even they weren't good enough. So what else happened? Was poetry recited? Were the Dirty Blues played? Was this enough to stop me from using CGC? Was it worth traveling from Philadelphia? 

More to come,

Thanks for Reading

From Near Mint to Good

I can imagine the year is 1962. It is a nice summer day outside and my parents hand me a dollar to leave the house and have a good time. I bolted from the front door, not realizing the $1 I was given was more of a bribe for some needed alone time between adults. I was ten and wouldn't realize until a full nine months later that it was either the best dollar they ever spent or I should have known better and held out for more like my older brother. I imagine going into the local shop and scarfing down some ice cream before heading to the movie house for a film. It was the last day Dr. No was playing. 

Once the movie was over, with money to spare, I headed back to the local malt shop and checked out the spinner rack. I looked at comic book after comic book wondering why there weren't any comic books like what I read in my older brother's collection. What happened to all those great, gory stories; the ones where my sister was freaked out by the pictures? I liked my copy of the Fantastic Four #1, and looked for more that were like it. I leafed through, looking for something that would impress my brother, when I finally spotted it. Amazing Fantasy #15 was sitting there towards the bottom. 

I didn't know it at the time, but it looked different; it looked life-changing. I took a single copy to the counter, leaving behind a handful more and parted with .15 cents. I couldn't believe that comics were no longer a dime. I purchased that and a Hershey bar. I rolled up the comic and placed it my back pocket, munched on the candy bar, and ran for home. It was late and I had to make it back before dinner.

At least that is how I imagine what buying an Amazing Fantasy #15 would have been like. Comic books today are made from paper, just like those over fifty years ago. But there have been so many technological advances to improve the look and feel of a comic book. (This does not include digital). As a recent experiment I decided to combine my two materialistic loves, Star Wars and comic books.

I purchased a few of the newest number ones since I knew what I was about to do was unthinkable to any collector. I intentionally purchased one that I graded at 9.6 and then treated it much like the Amazing Fantasy #15 that the ten year old described earlier might have. The only difference is the first appearance of Spider-Man had over fifty years to age and deteriorate. I was giving the Star Wars #1 just 24 hours.

I rolled it up into my back pocket. I dropped it. I laid it on water. I poured coffee over it. I placed it under my pillow as I slept...the last one, yea my fiancée only just found that tidbit out as she proof read this post. I wanted to see how good of a job I did in creating fifty year old conditions in just one day. I sent it to CBCS under the two day modern tier, which is something I recommend to anyone who wants their books graded right away. Before I wrapped it up, I gave it a quick once over. I just looked it over, front cover, back cover and leafed through the pages. My quick assessment was I knocked the book from a 9.6 to a 4. 

I checked my grade after getting an email telling me my books had been graded and encapsulated only two days after they were received. At first I wasn't going to look since I was planning on picking it up at a CBCS grading seminar. I am unsure if my grade would have been different if I had graded it like I knew they would have, or like I should have. The comic book will make its way to me after CBCS ships it, it never made it to the seminar.  I will have the graded comic back in my hands soon, after all I am looking forward to seeing what would happen if I "accidentally" drop it down a flight of stairs...or two; and then maybe I will be able to crack it again and see if I can get the grade a bit lower.

Thanks for reading

Tnerb

A Shot of Reviews for 11-12-14

MPH #4

This book feels like a popcorn movie running on pure adrenaline. Mark Millar created this little world that has me enjoying the ride. 

Alex + Ada #10

Plain and simple, this is a love story. I looked all over for a Young Romance #181 and before turning it over to CGC for grading I read it. For the seventies it was exactly what a romance comic was meant to be. Alex + Ada is so much more. After ten issues I'm still hooked. 

Spider-Verse #1

I'm not sure if I like this one or not. The spider-verse story looks amazing, but this hodgepodge of pages seems nothing like what I've read before. I wish I would have passed on picking this one up. 

Superior Iron Man #1

Such a disappointment, but that's only because they should have waited until the AXIS storyline finished. Buy the book but wait until reading, at least until AXIS is over. 

AXIS #5

There were so many marvel crossovers throughout the years. This is the first one to me that is actually fun. 

Thor #2

If the first one was good, the second is better. Now that "she" has the hammer, what happens if she loses it?

All-New Captain America #1

I've been waiting for this and it does deliver. This issue is post AXIS and unlike the Superior Iron Man it won't ruin anything. It's only the first issue, but it has me looking forward to the second issue. 

Thanks for Reading

Tnerb 

A Sixth shot of Reviews (10-22-14)

As I collect comic books every week, both new and graded, I like to give you a quick review of what I bought.

The Wicked + The Divine #5

If you like the series, you'll continue to enjoy. Issue five might not give any answers but it will give you more questions. 

The Amazing Spider-Man #8

Ms. Marvel guest stars in Dan Slott's beginning of the end for Spiders everywhere. Do I dare say that he writes Ms. Marvel  better than G. Willow Wilson? After this issue I'm looking forward to issue nine, and Silk is officially in a costume. 

AXIS #3

I haven't seen so many villains band together since Marvel Super Heroes Secret Wars. It is refreshing. I hope Magneto becomes all he should be and if I were a betting man, my money is on Doom. What I love best is I can read this series without needing to read everything else.

Starlight #6

Is this the end? Is this the last issue? If it is, it ended admirably well, but I hope not. If you like Flash Gordon of old, BUY THIS COMIC BOOK. 

Lazarus #12

I purchased the earlier issues to try something new. And even though I might not be ecstatic about every issue, I'm enjoying the setting. I feel that I'm watching a lit fuse and I'm just waiting for the fireworks to go off. 

Avengers #37

I love it that Bobby Dacosta purchased A.I.M. And Steve's reaction is priceless. I have enjoyed Hickman's run month after month. I just wish Marvel would get on the same page with each title, may more *notes. All in all, a great popcorn read. 

A 5th shot of Reviews (15-Oct-14)

Edge of Spider-Verse #5:

This is the final issue before the story finally starts. I still remember Secret Wars where the lead up issue was a panel or two on the final page. These days there is always a prologue that can take months before the main event. If this was the morsel, I'm looking forward to the entree. 

Spider-Man 2099 #5:

Another Spider-Verse lead in. Peter David has been known to me for years. He was always good, but never great, not to me anyway. Issues 1-4 were entertaining, each cover has been beautiful, and now Peter is dabbling in Dan Slott's world and doing so quite marvelously. 

Justice League #35:

This title continues to be a roller coaster ride of fun, especially with Lex Luthor on the roster. 

Axis #2:

Another great issue. Not as good as the first but still exhilarating. I also love how all I have to read is this series. No side issues and no one shots. The art compliments each page. I can't wait until the next issue. 

Ms. Marvel #9:

A sleeper hit of the year? This title has also reached the hands of my girlfriend, a non-collector. The Inhumans were never one of my favorite creations. And with the terragin mists spread throughout the world, there are more Inhumans than ever before, next we will all find out mutants are Inhumans too. And after 9 issues, G. Willow Wilson still has my attention. 

Original Sin Annual #1:

I could have waited for this to be compiled in the trade. It wasn't bad, but it wasn't great either. 

Uncanny X-Men #27:

I still wish they never renumbered this series. The art is some of my favorite and Bendis keeps the characters going.

Daredevil #9:

I still enjoy the tales of Matt Murdock, but the artwork is lacking. The original Purple Man was created way back in Daredevil #4 and now we are dealing with his kids who emit some sort of hive mind, but after all this time I'm afraid I'm collecting just to say I have them all. 

Thanks for Reading

A 4th Shot of Reviews (11-Oct-14)

Amazing Spider-Man #7: 

Ms Marvel guest stars and reminds me a bit like when my lil bro met Stan Lee for the first time. Dan Slott continues to give me a comic title to enjoy month after month. 

AXIS #1: 

The first half of the book was better than the second half. I disliked only one thing. I wanted to see the Falcon as the new Captain America in his own series first. Rick Remender is starting this series off like a fight gone bad, like a kick to the groin. 

Thanos: A God up there is Listening #1

This is more about the son of Thanos than Thanos. If I would have skimmed through the comic before buying it, I would have passed. 

Imperial #3: 

I am truly loving this series. If there was a vote for best new series for 2014, this would be my pick. Bonus: no ads. 

Birthright #1: 

Please read full review...or better yet, buy the book. 

Avengers #36: 

There are so many confusing elements including Sunspot in charge of AIM, and telling Thor what to do. Not to mention Cannonball being a father. This comic book has fun written all over it. 

Sex Criminals #8: 

I can't say the issue slows down because it was a series that never picked up, it was always at a steady pace, like driving down the freeway at 65 mph. I have yet to read an issue I don't like. 

Black Science #9: 

This is a title I have to read twice. Cross dimensional travel can always be confusing much like living backwards. Black Science is one of those series that you have to start at the beginning with. Fortunately, the first issue is not expensive. 

Birthright #1: A Roundabout Review

Birthright #1

Produced by Image Comics 

Written by Joshua Williamson

Art by Andrei Bressan

Colors by Adriano Lucas

Nothing scares a father more than losing a child. A simple game of catch turns into what would be my worst fear. Aaron Rhodes loses his son in the park as his boy enters a heavily wooded area to fetch a ball gone long. In the first seven pages a year passes, effortlessly. The opening third of the book is dedicated to the father and the rest of Mikey's family, a family shown to be torn apart. 

The FBI  becomes involved when Mikey is found in a way no one could ever have imagined. Aaron, after being accused over and over again for murdering his son, was never charged. A body was never found. And we find out why in the middle of the comic book. 

So what happened to Mikey Rhodes after running for the ball? Where did the "hero" of our story disappear to when he was separated from his father during a simple game of catch? We find out the boy was transported to a far away land where time passed more rapidly, aging him. Once a missing boy, now returned, as a man. And this is where our true story begins. 

The cover alone is reminiscent of Art Adams mixed with Mike Mignola. Andrei Bressan draws phenomenally well, not just the everyday world, but a world of fantasy. And it is the story by Joshua Williamson that encourages me to read further. What brings it all together is the vibrant colors Adriano Lucas adds. 

Image keeps adding title after title to my pull list after I'm trying to cut back on titles I collect and I hope they don't stop. 

Thanks for Reading

4.5 out of 5 stars

A 2nd Shot of Reviews (9-24-14)

What did you pick up this week?

Amazing X-Men #11

When Nightcrawler returned, I was estatic, but the Amazing X-Men is anything but an ecstatic read. I decided to give this series an extended shot since it has the majority of the X-Men I grew up with, but I fear issue 12 might be my last for the series.

The Last Broadcast #5

My only Indie title. Issue 1 was enjoyable and I've been caught up in it ever since. The artwork is sketchy, but it works with the story. And at the end I'm wondering, what the???

Edge of Spider-Verse #3

In my first "Shot of Reviews" I mentioned how much I disliked issue #2. This issue was the opposite. I like it so much I wrote a full review on it. 

Guardians of the Galaxy #19

My first introduction to the Guardians was in the 90's. When I was first introduced to these "new" guardians, I passed until they starred in their own series; 18 issues later and I am still enjoying the ride. How could I complain with Thanos and the cosmic cube?

New Avengers #24

Jonathan Hickman has been doing an amazing job. This issue is no exception. The only qualms I have are, what do a bunch of villains care if the Earth is destroyed? I do understand if the Earth is Destroyed, so is the universe, but is that enough for these characters to do what Namor suggests? And what about the Sub-Mariner, why does he feel off? However, Hickman portrayed Doom as good as I have ever seen him. 

Thanks for Reading

Imperial #2: A Roundabout Review

Imperial #2

By Image

Written by Steven T. Seagle

Art by Mark Dos Santos 

This will be the first time I reviewed back to back issues of the same title, whether that is a good or bad thing remains to be seen. Imperial #2 wasn't the first comic book I read out of my weekly haul, but it was the most anticipated. 

At the end of issue #1, a meteor fell from the sky. Certainly our future hero would be crushed if not for Imperial, but who is he? He wears tights, a cape, and a sentient crown. Unfortunately, Imperial doesn't like Mark very much and we only find out that Imperial didn't pick Mark to be his successor in between talking about the rings of Saturn and S'mores.

The issue starts right out of the gate on the interior cover. Imperial is on top of Mark, saving them from a meteorite, or is it meteor? By page four, we are introduced to Imperial's first major villain, Meterax. Four pages later, we realize he's not so major. The story continues with the same formula as issue one, much like Lethal Weapon II is to Lethal Weapon I, it's good but is it as good? 

In issue two, we learn a bit more about Imperial including that he is old.  He's been doing the superhero gig as Imperial for a long time, way longer than his comic book title from the thirties. And after the lesson in making s'mores, as a reader, we start to question Mark's sanity.

By the time I'm finished reading the book, I'm left with a feeling of satisfaction. The entire comic is advertisement free. The characters continue to develop and I wonder what will fall from the sky in issue three. This is also the first comicbook I have read that could also be a recipe book for s'mores. 

Four out of four S'mores

East of West #15: A Roundabout Review

East of West #15

By Image Comics

Written by Jonathan Hickman

Art by Nick Dragotta

Over 115 issues ago, the Walking Dead was published by Image Comics. This came out at the end of my non-collecting years, although if I were collecting, I would have passed. I am not a zombie fan. Years later, East of West arrived, and after trying Morning Glories, I figured I would give another Image title a shot. I picked up issue #1 of their news apocalyptical tale. 

The beginning of the story was very enjoyable. It was paced well, while introducing the characters of the story. It drove along between 40 to 60 mph, occasionally reaching 75-80 mph, that is if East of West could be compared to a car driving on the highway. Keeping with this theme, in the beginning of issue #15, it would be doing 80 and exceeding 100 MPH by the end.

Death has been looking for his son, the nations are at war, and the three remaining horsemen of the apocalypse plan on destroying the beast, who also happens to be Death's child. It's the three horsemen that catch up to the beast first. Conquest, or War, challenges him first and a fight ensues, one that could answer what is more powerful, the conflict that it creates, or the death that follows. Panel after panel of pure accelerated enjoyment has Conquest and Beast doing battle. It just so happens one has to lose.

If Jonathan Hickman can throttle a bit more, this series will only get better. The war between nations has only just begun, the four horsemen of the apocalypse roam the land, and the beast, Babylon is loose. May god help any in their way. 

4.5 out of 5 stars

Black Science #8: A Roundabout Review

Black Science #8

Produced by Image Comics

Written by Rick Remender

Art by Matteo Scalero

After six issues of a title, I knew if I would continue to collect or drop the title. As I grew older, I placed that limit to three. After eight issues, Black Science continues to impress. The story is never quick or slow. The art never overcomes or is underscored. The comic simply is that, a comic book. 

As a teen, I would look forward to the next month, almost not being able to wait the appointed time. I don't feel that way much in today's market and yet...dare I say, after reading issue 8, I can't wait until issue nine arrives at Fat Jack's, my LCS on Sansom Street. 

I don't know what's going to happen next. I can't predict it, which is enjoyable. Kadir, who sabotaged the project seems to be filled with remorse, Nate McKay, the son of Grant, is a bit more of a surprise as he defends his older sister, and the Shaman adds to the story. It seems his people didn't create the technology they use, they only adopted it into their culture. He explains it as Black Science.

The book has a mixed feel of Quantum Leap meets Space Family Robinson.  All in all, a really good book. 

4 out of 5 stars for the book

Action Comics #1: the Final Bid

What's a comic book worth anyway?

I think with today's prices and inflation we forget how much a million dollars actually is. As a young kid, my sister tried to teach me how much $1 million dollars actually was. The main difficulty she had teaching this to me was that I had no idea of the value of a single dollar, let alone one million of them. We were in the kitchen discussing the vastness of it. She explained to me over and over again, a million dollars in single dollar denominations would overflow the kitchen.  It seemed impossible, as impossible as a 1938 comic book selling for $3,207,852. That's Three Million Two Hundred Seven Thousand Eight Hundred Fifty-Two Dollars and Zero Cents. That is more pages than my entire comic book collection compiled together...ten times over.

I watched the bidding, almost from the beginning. The first bid I was able to see was 1.6 million dollars and although it started at .99 cents, it was just two hours later that the bidding was already way past what I could afford. From there, I continued to watch and estimated that the finished price would be 3.1 million. When the CGC graded comic reached over 2 million and paused, I worried I was going to be wrong. Then on the final day, it reached 2,402,000 and with slightly over a minute left, it jumped to 2.6, and then 2.7 million just before it's final bid. At this point, not only was it about who wanted it more, it was also about who could afford it, pre-authorization or not.

Was the second bidder fumbling with the keyboard? Was he rushing to enter 3.5 million? Did the winner acquire a sudden sense of buyers remorse? And at $2.83 an hour, why was my pre-authorization request denied? 

Facebook and Instagram, the two social media outlets I follow most, lit up with multiple comic book news feeds, all with the same story: Record Setting comic book sells for $3,207,852. I almost wish the .38 cents would have accompanied the final bid, as it had lingered on earlier in the bidding.

After 48 bids, the book was sold and I still had two hours left at work to compile my thoughts. I thought about being the first one to write an article and post it seconds after the bidding was over. I was going to have it written days before, so that the only thing I would need to finish was the final bid. Instead, I waited. I wanted it to sink in. 

I think of all the stories I hear from my older customers about all the comic books they threw away, because they were never going to be worth anything anyway. However, if they didn't throw them away, and if the US government didn't have paper drives, or if the comic book burnings brought about by the senate hearings caused by Frederick Wertham's "Seduction of the Innocent" had never occurred, then many mothers and grandmothers would have been right about them not being worth anything.

This book, however, definitely was.

Thanks for Reading

Tnerb 

In the Beginning

The first comic book I can remember having was given to me when I was five. One rainy day it was sitting on the floor of my Grandfather's car waiting for me. I say Grandfather, but I mean my Pop-Pop. This man, this incredibly kind man gave me something that I never realized until much later on in life, when I was slightly over forty. It was not only a treasury sized edition of Star Wars that he gave me as a kid, it was the passion that I felt for this materialistic item of fancy artwork and words. 

I have purchased comic books many times before, but those were pulled from the three for a dollar rack. They mostly consisted of Richie Rich, Casper, and the occasional super hero comic book. This begs me to answer, what's the difference between the first comic books I ever owned and the first comic book of my collection? A collection consists of more than one, normally this needs a beginning, and this was my beginning.

My first comic books never had me going back for more month after month. They were purchased whenever I was close to a newsstand or comic book shop, including a shop that I frequented when I was ten. Then one day at my local 7-11, when I was twelve, a recent remodel moved the magazine rack to the front of the store. This marketing ploy stopped me from entering the candy aisle; it was also the first time I bought a comic book with my allowance. 

New Mutants #15 was in the front, its cover by Tom Mandrake drew me over. The inside, by Sal Buscema and Chris Claremont, is what made me want to pick up the next issue, I didn’t realize I had to wait a month and headed back to the store the next day where my understanding of the Marvel Universe expanded.  I left with five or six new titles. It was a long time later that I attributed issue #15 as the beginning of my dirty little secret and as I got older I hid them away, only confiding with my closest friends. 

My comics were with me as I started dating, when I moved out, and became a father. These bound papers traversed through my twenties, thirties and entered into my forties. I continued on with these four color books being part of my life's experiences. Comic books have been a part of me for as long as I can remember, especially that treasury sized edition of Star Wars that I hurried to pick up off the floor of the car while my feet dripped from the rain outside. I tossed it to the left, buckled my seatbelt, and picked it back up ready to begin an adventure. The comic book has long since been lost to the trials of life, but I transferred the love that I have always had for my Pop-Pop to the little stapled stories I buy every week, and every week I still go on an adventure. 

Thanks for Reading

Imperial #1: A Roundabout Review

Published by Image Comics 

Written by Steven T. Seagle

Art by Mark Dos Santos 

Is this the best comic I've read all year?

The cover drew me in. I felt like a fish on a hook. The detailed simplicity reminded me of a Norman Rockwell painting. And after skimming through it, I placed it back on the shelf, picked up the rest of my weekly haul, and after realizing it was a light week, I went back and picked the best copy my LCS had off the shelf. 

When I finally picked up Imperial to read, I was only paying a portion of my attention to it. After I was done, I was in awe. The book was nothing short of phenomenal. I reviewed another Marvel title for The Next Issue Outpost and even though I felt that was a 4 out of 5, I was disappointed I didn't review this comic, because not only would I have graded it a 5 out of 5, I now feel it would be a grave disservice to pass on this title. 

In the nineties, I collected Image because I was afraid I might miss the next best thing. Now I collect Image because of the diversity. East of West, Black Science, Alex + Ada, along with Morning Glories and Ten Grand continue to entertain me month after month. My boxes are beginning to fill with great title after great title, alternating from the usual. And after deciding to not get caught up in a new series, I failed. Imperial #1 is the best new book out there. 

Thanks for Reading.

When a Variant Hurts

I can not say I have never bought a variant. In the nineties I was guilty of wanting the gold variants from Valiant. However, when it came to the first variant I can remember buying, it was the Amazing Spider-Man Annual #21. I picked my favorite  between the two covers available. This is something I still do, with a few exceptions. If a variant is priced higher than the cover price, case in point 1:200, I tend to pick the cover price, after all I want to read it.

I am reminded of the saying you can not judge a book by its cover. And some of these comics have amazing covers. With all the variants that are flooding the market, it makes the nineties look like a drop in the bucket. Most recently I purchased a 3-D Sandman, and Hacktivist which both were graded by CGC as a 9.9. One was purchased off the internet, the other off of a dealer at a convention in New York.

At these conventions I love to purchase the harder to find commodity, but I have been able to get deals on these variants, which is the only reason I have bought them. However, if push came to shove and I had a choice between getting a 1:200 book with an asking price of $200; even with an awesome cover by the artist of the week, I think I would rather choose a marvel premiere #1, Action Comics #411, and/or a Ghost Stories #32. I need conventions to find these older books since my choice of LCS's do not have a quick turn around time on back issues.

Over the years Wizard World has changed from a Comic Book convention to a Pop Culture Media Event. What does this mean? It means that I have become disappointed at my home convention in Philadelphia which had the Major Comic Book Companies along with retailers that sold their books promote themselves elsewhere. As WW added more actors and actresses along with other pop culture personalities the convention changed. The change that bothered me the most was the convention hosted a lot less dealers.

If CGC wasn't at Philadelphia Wizard World for on-site grading I wouldn't have attended. The other conventions I have travelled to over the past few years are ECCC, MegaCon, Baltimore Comic Con, NYCC, NYSE, and the small local Philadelphia Comic Con. I have made it my mission to visit a few different conventions outside my home state, and of course the SDCC is one of those that I hope one day to attend.

Mile High Comics, meaning Chuck Rozanski has recently claimed, this will be the last year he attends. At a $10,000 loss I couldn't imagine him wanting to be back and quietly wonder, would Philadelphia Wizard World be better if he set up booths there? The claim that Chuck has made is that the variants take a big part of the convention goers extra pocket money. Many of these variants are sold exclusively through the company never giving the retailers the chance to sell their own product. 

The Alex Ross sketch variant of ASM #1 was selling for over $250. I even heard one dealer say to a prospective buyer "it was the book to buy". The customer asked if it would retain the value, he was told most assuredly. I shuddered. I walked away after hearing this, I couldn't stomach the speculation of a book voiced as fact. 

I remember thinking my W.I.L.D. Cats gold embossed cover would never drop in value. I purchased it for two reasons, one it would be worth thousands when I'm older and it was a really cool cover. One out if two is still true. We the fans make the market, even if speculators try to lead the way. As an example, prices recently on Strange Tales #110 are beginning to spike. So if I buy a variant it is because I enjoy the cover. But, the various variants have changed not only by cover but by the stores that offering them. Now comic books shops like Comics To Astonish, Midtown Comics, or Mile High Comics have their own "must buy here copies". How did the variant market get so hot that even LCS's needed their own covers?

So why is Chuck upset that variants are taking a chunk of his profits when his company has his own variant? Is this just a case of sour grapes or will the comic market implode once again as it did twenty years ago? And how will comic book conventions survive if the dealers decided to stop selling at them?

Thanks for Reading

Ps. Update: Mile High Comics has decided to go to SDCC 2015 after all. There is still hope. 

Fuse #1

Every week I go to the comic shop. If I'm delayed, it is only by a day. I have my choices picked before I even traverse the twenty some mile distance to my LCS, which is about 15X further than the one closer to where I live. As I walk around the store, grabbing for my weekly addiction, I will try something new once in a while. And Image Comics really wants me to try something new from them this week between the pages of The Fuse #1.

The comic book is fast paced and reads like a good television show feels. I was never one for Mysteries or whodunit shows. I wasn't a fan of Murder She Wrote or Sherlock Holmes, but I remember reading five minute mystery stories in elementary school that had me guessing. To say that The Fuse reminded me of those short stories would be a disservice to Anthony Johnston, it's more like the feeling of reading a mystery and trying to figure it out before the ending reveals all. 

It's only the first issue and some where 36000 km (22,469.362 miles) above the Earth there are some questions that need to be answered, predominantly that enigma that craves to be answered first is why Detective Dietrich decided to relocate to "The Fuse", second who's killing Cabler's, The Fuse's version of homeless, and third do I really have to wait a month for issue #2?

The Fuse was an interesting read, one that I only picked up because Image has continued to impress. This was no exception. I rate this a Very Fine/Near Mint out of a Near Mint.


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

Is it Worth Ten Grand? A Roundabout Review

The Long of it:

I am trying to keep an open mind. I want to be able to try new things. I want to be captured and enthralled within the time it takes to read approximately 22 pages. I never picked up the Walking Dead by Robert Kirkman when it first came out because I wasn't into Zombies nor did I like black and white comic books. I never picked up Morning Glories either. This time I didn't have the Zombie black and white comic excuse either.  It was because I was biased against Image. I remembered how much they let me down in the nineties.

DC rebooted and I wanted to try many different titles but I chose two and am now at three. Marvel began their Marvel Now program, which as they say is not a reboot, but a perfect opportunity for New Readers. Marvel captures the majority of my comic book budget.  Image’s Whilce Portacio’s work on Non-Humans gave me the opportunity to purchase a digital comic book. Although this book is in print, this was the title I decided to purchase only digitally. Being that it was touted as a limited series I was only in it for four issues.

It didn't help that Comixology.com has sales every Monday. Other than certain Marvel issues being .99 they also occasionally have the same price for a three day sales event; allowing me to finally try issue #1 of Morning Glories, then issues two, but decided I would stop at issue three.

After purchasing all twenty five issues I figured I would stop and wait for the rest to be sold digitally and for .99. I figure I would have to wait until issue 50. Image surprised me by publishing issue 26 for only $1 and its digital counterpart for the sale price of one cent less. They conspired against me because how can you not pick two formats on a brand new comic book for the cost of a cup of coffee. Twenty seven was back at full price, and now Morning Glories is one of my monthly books to purchase.

 With more of an open mind East of West was picked up on the date of its release. Currently, issue three is waiting to be read, but Ten Grand captured me. I picked issue one up and looked through it. I put it back. There was enough for me today and Wizard World Philadelphia just had their convention this first weekend of June and garnished a good amount of my funds. I checked to make sure I had all the books I wanted, and the book called out to me again. The original reason I picked up the book because the title itself, the way it was written looked like it read Neil Gaiman. Maybe it was an omen.

I looked at the book again, this time issue two and the art by Ben Templesmith reminds me of Bill Sienkiewicz, an artist I hated when he first took over the New Mutants. Since I have aged, I have grown and learned to truly appreciate what a grand scope of an artist he is. The thought of not giving Bill a chance all those years ago and only buying it because of the Story Chris Claremont weaved, could I do no less for this tale from J. Michael Straczynski. Ironically enough, cover B of Ten Grand is from Bill Sienkiewicz, and what was even better at the end of issue one; there is a notation by Tom Mandrake for a future book called SideKick. At the end of issue two I get to see the original artwork I fell in love with splashed on the pages of my favorite hobby again.

I couldn't wait to get home. I read one other book first and made my way into Ten Grand. I was on the second issue before I knew it and began to conspire what to write. I sent out a picture on Instagram immediately to tell anyone paying attention that issue one and two are worth picking up. The scope of the story feels like the waves of the ocean as it flows up the beach; knowing the vastness beyond with the glimmer of the sunrise over the open sea are just pieces of what’s to come.

 OK Image, you have my attention, what are you going to do with it?

The short of it: WOW!!!

 Thanks for Reading