I know I had to write something about this great man who has done so much for this hobby, but I just don't feel very comfortable doing so. There are many people who knew Bruce better than I did, and will write the kind of tribute that he deserves to have written about him.

The one thing that I do know that I should tell everyone in our community is that without Bruce—forget the fact that he helped keep Disney comics around for today's kids (that's a whole other story)—there would probably not be a CGC.

Bruce believed in CGC when most people would not even consider "putting a book in plastic." When CGC first approached me, I didn't even believe in it. But Bruce, along with people like John Snyder, Steve Geppi, Stephen Fishler, and only a handful of others, knew that without certification, our hobby would stagnate. The only difference between Bruce and the rest is that he took the "point" and helped lead the charge for it, which, at the time, was a very revolutionary concept.

Now, not only is CGC certification accepted, most of the top collectors won't buy a comic book unless it has the safety of the CGC label and encapsulation.

So, Bruce, here's to you and all of the wonderful things you did for our hobby. We are so much better off for all that you did.

Steve Borock 7/5/05

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CGC Teams with Digital Webbing
CGC is proud to announce that it has been named the official grading service of Digital Webbing!

Digital Webbing is a star on the rise. Digital Webbing entered the publishing arena with an "Internet Collaborative" anthology showcasing aspiring and established talent. Digital Webbing Press published its first comic, Digital Webbing Presents #1, in December 2001. The comic book series ranks in the Diamond Distribution Top 300 best-selling comic lists. Now on issue #24, they have grown to include a new, never-before-seen, full color Teenage Mutant Ninja Turtles story. Their top sellers include fan favorites Blood Rayne and Sword of Dracula.

"We are very happy to add Digital Webbing to the list of publishers we are now the official grading service of," said Steve Borock, President and Primary Grader of CGC. "Not only are they publishing some great comics, but their industry Web site is growing by leaps and bounds."

DigitalWebbing.com was launched in December 1997 and has become THE source for finding out about comic book related Web sites. With close to 10,000 visitors per day, they deliver daily comic news content to help make Web surfing less time consuming. Digital Webbing has also expanded the service to include an extensive links database, comic book news, interviews, previews, and a very popular talent search area.

"I'm ecstatic to work with CGC," said Ed Dukeshire, owner of Digital Webbing. "I am a regular on eBay and I know how hard it is for our fans to find the best quality copies of our books. Working with the professionals at CGC, our fans will get the best as we add another strand to our Web."

"Working with Ed for the past couple of weeks has been great. Digital Webbing is a real class act." said Paul Litch, CGC Modern Age Specialist and Restoration Detection Expert. "I can't wait to see the new TMNT story in Digital Webbing Presents #24!"

For more information about Digital Webbing, visit their Web site at www.digitalwebbing.com. To submit your Digital Webbing comics, please CLICK HERE. To learn more about CGC, visit our Web site at www.CGCcomics.com.

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CGC High Grades Dominate Auction

Starting Date July 10th – through July 19th
Coming from four different collections, this auction represents the first part of one of the stronger 1950s Horror and Science Fiction collections in the country, a selection of important original comic artwork, an above average DC Silver Age collection, and important Fanzines and Monster Magazines from the early 1960s.

Working closely using the www.GPANALYSIS.com, Jerry Weist has submitted to CGC for their expert, impartial certification the higher-grade copies from two collections and received grades that many times represent the HIGHEST KNOWN GRADED COPY, or copies tied for the best grade!

Examples include:

SILVER AGE:

1. CGC THE X-MEN #8 (9.6) NEAR MINT+ , WHITE PAGES, confirmed as the finest graded copy offered in public auction. Estimate $700 to $1,000
2. CGC THE AMAZING SPIDER-MAN #56 (9.8), OFF-WHITE to WHITE PAGES, confirmed as the highest graded ever offered at auction. Estimate $600 to $900
3. CGC THE AMAZING SPIDER-MAN #49 (9.8), NEAR MINT/MINT, WHITE PAGES, the highest known graded copy offered for public sale. Estimate $1,000 to $2,000
4. CGC THE AMAZING SPIDER-MAN #34 (9.6) NEAR MINT+, WHITE PAGES, tied for the best known graded copy offered for sale. Estimate $2,000 to $3,000
5. CGC THE AMAZING SPIDER-MAN #40 (9.6) NEAR MINT+, WHITE PAGES, tied with three other copies as the best graded for sale. Estimate $2,500 to $3,500
6. CGC AMAZING ADVENTURES #1 (9.0) VF/NM, OFF-WHITE to WHITE PAGES, the highest GP Analysis Site recorded book offered for sale. Estimate $1,000 to $1,500

GOLDEN AGE:

1. CGC ACTION COMICS #12, May of 1939, (7.5) VERY FINE, with OFF-WHITE to WHITE PAGES, the second highest graded copy known to exist both in the GP Analysis site and the CGC Census Listing, extremely RARE with this paper! Estimate $2,000 to $3,000
2. CGC DETECTIVE COMICS #16 (6.0) FINE, with OFF-WHITE PAGES, noted by both GP Analysis and CGC Census as the 2nd best graded copy. Estimate $1,000 to $1,800
3. CGC DETECTIVE COMICS #38 (3.0) OFF-WHITE PAGES, a lower grade and not among the highest know copies, but above average paper. Estimate $3,000 to $5,000
4. CGC MORE FUN COMICS #31 (7.5) VERY FINE – with CREAM to OFF-WHITE PAGES, tied for the 2nd highest grade for this copy. Estimate $1,500 to $3,000
5. CGC DANGER TRAIL #3 (8.0) VERY FINE, with OFF-WHITE to WHITE PAGES, noted by both GP Analysis and CGC Census as the second highest grade ever offered for public sale, the RAREST of all DC titles. Estimate $800 to $1,200

COLLECTORS NOTE: This is just the tip of the iceberg for Marvel and DC Collectors. Many CGC'd 9.2, 9.4, 9.6, and 9.8 books await you in this auction. And as can be noted above, these comics came from an original owner collection, kept in the same dry basement, with no light, at an elevation of 5,000+ feet, never put into bags and stacked on metal shelving. High grade Marvels with WHITE PAGES abound in this auction! There are nearly 100 CGC certified books in this auction.

Lower grade copies of SPIDER-MAN #1, AMAZING FANTASY #15: higher grades on CGC certified copies of SHOWCASE (Early numbers), CHALLENGERS OF THE UNKNOWN #1, STRANGE ADVENTURES #s 1 and 117, MYSTERY IN SPACE #1, etc. are also to be found here.

1950s SCIENCE FICTION titles such as SPACE PATROL, CRUSADER FROM MARS, SPACE DETECTIVE, STRANGE ADVENTURES #1, CAPTAIN SCIENCE, CAPTAIN VIDEO (complete run) SPEED CARTER SPACEMAN, and many other 1950's SF and Horror titles are among the listings.

A strong run of SHADOW COMICS with the later Bob Powell covers and stories are included in high grades: a near complete run of THE SPIRIT, near complete run of BLACKHAWK, and near complete runs for MYSTERY IN SPACE and STRANGE ADVENTURES are also included.

ORIGINAL ARTWORK:

Highlights include:

1. JACK KIRBY/ DON HECK, original artwork for page 9 from TALES TO ASTONISH #44 (for the origin of the Wasp), in FINE condition. Estimate $1,000 to $2,000
2. JOHN ROMITA, original artwork for page 22 from THE AMAZING SPIDER-MAN #116, including strong Spider-Man panels. Estimate $2,500 to $3,500
3. JOHN ROMITA, original artwork for page 37 from THE AMAZING SPIDER-MAN #116. Estimate $2,000 to $2,500
4. JOHN BUSCEMA, original artwork for splash page from FANTASTIC FOUR ANNUAL #11, signed by the artist. Estimate $600 to $900
5. JOHN BUSCEMA, original artwork for the cover to CONAN THE BARBARIAN #95, 1978, with great fight scene with Dragon. Estimate $1,200 to $1,800
6. WALLY WOOD, original EC story to seven page story entitled "Ordeal", from ACES HIGH #5, in FINE condition. Estimate $3,000 to $4,000
7. DAVE SIM, original artwork for page 19 from CEREBUS THE AARDVARK #12, with zip-tones and black panels, Cerebus featured in many panels. Estimate $1,000 to $2,000

RARE FANZINES and MONSTER MAGAZINES:

Highlights will include XERO (where All In Color For a Dime first appeared), file copies for WITZEND, STAR STUDDED, SQUA TRONT, PROMEATHEAN ENTERPRISES (some CGC certified copies at 9.6), and other early 1960s RARE fanzines.

Highlight will also include SOME OF THE HIGHEST GRADED CGC CERTIFIED FAMOUS MONSTERS ever offered in the marketplace.

Hallmarks of Jerry Weist's auctions are FAIR estimates, expert grading, VERY LOW reserves, (the STARTING PRICE is the reserve in my auctions, NO GAMES played), obsessive and overworked packing and shipping – and personal service. All from someone who is a comic historian, fan, collector, CGC charter member, professional dealer, and auction expert (having mounted Sotheby's auctions for over 10 years), and is willing to help the bidders on every level of their involvement.

You can contact Jerry Weist at his office (978) 283-1419, or via e-mail at jerryweist@adelphia.net.

REMEMBER that you can find his auction by looking for specific lots, going to his eBay store, or looking for jerryweist seller. Bookmark July 10th on your calendar, and remember that this auction is designed to function "around" the San Diego Comic-Con. You can bid before you leave and have three full days after the convention to keep up with the results and finish time.

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	Rural Home/Enwil Comics Michelle Nolan

During the comic book chaos of wartime paper restrictions and often shrinking page counts from 1944-45, a second-rate publisher emerged to produce a handful of the most primitive issues of the Golden Age.

Rural Home, also known as Enwil, Rewl and Croyden, published what today are curiosity pieces. They are often overpriced curiosity pieces to boot, but they are perfect for collectors of the obscure and unusual. We're talking about Blue Circle, Blazing, Red Band, Red Circle, Variety, Cannonball, Mask, Meteor, and Captain Wizard.

Despite the occasional L.B. Cole covers, Rural Home basically produced junk, so you really have to be careful when you buy any of these, unless you can find one for less than $10. Then it's "so bad it's good" from a collectible standpoint. In fact, the Captain Wizard one-shot, published circa 1946, is the ultimate in horrible, awful, pathetic junk. It's the "Plan Nine from Outer Space" of the Golden Age.

Rural Home's best were Blazing #1-5 (June 1944 - March 1945) and Blue Circle #1-5 (also June 1944 - March 1945). The covers to #6 of both titles have been found attached to various miscellaneous comics over the years, but there were no genuine issues of Blazing #6 and Blue Circle #6.

Blazing contained only one superhero, but he was the coolest character created for the company—The Green Turtle. The covers were genuine World War II artifacts. The character that appeared in five 9-page stories rarely showed his face. I've always thought The Green Turtle was the ultimate name when it came to surreal costume hero absurdity. The rest of Blazing's 52-page issues contained forgettable strips like Black Buccaneer, Red Hawk, Jun-Gal (yes, a jungle girl!), Tommy Paige, Mr. Ree/Mr. Lee and the satirical Super Drooper and Drip.

Blue Circle, on the other hand, contained the costumed likes of The Blue Circle, The Steel Fist, and Toreador. You get three of the most obscure costume heroes of all time in each issue, along with two humor strips plus the best strip in the book—the pulp-inspired Gail Porter, Girl Photographer.

Red Band #1-4 (November 1944-May 1945) was an amazing Golden Age oddity, featuring characters called The Bogey Man and Captain Wizard, plus the immortal Captain Milksop in the first two issues. Red Band #1-2 had the same cover; Red Band #3-4 had the same contents as well as the same cover! Don't even bother with these unless you really like bad comics. In addition, the interior of Red Band #2 also wound up being wrapped with a reprint of the cover to Blazing #1, but this inexplicable issue was dated April 1946.

Red Circle #1-3 (January-March 1945) contained The Prankster and The Judge in #1-2. For the best in non-super powered heroics, see Batman! For the worst, these are pretty good examples. There was a Red Band cover to #4 found wrapped around several later titles, much the same as the cover to Blazing #6 and Blue Circle #6.

Variety Comics #1-3, starring the super powered Captain Valiant in eight-page adventures, was an undated oddity with issues published in 1944, 1945, and 1946. Never have figured out where these came from.

Cannonball Comics #1-2 (February and March 1945) feature The Crash Kid and Thunderbrand, a couple of costumed heroes who never appeared anywhere else. Also starring the Crime Crusader (a detective) and Hardy of Hillsdale High, these are technically the best of the Rural Home bunch from the standpoint of art and story. They are definitely the most collectible comics to come from the company.

Mask #1 (February-March 1945) contains an odd blend of miscellaneous fiction and biographies of Harry Houdini and P.T. Barnum (to paraphrase Barnum, "There's a sucker born every minute, and a few of them bought Rural Home issues!"). Issue #2 (April-May 1945, with some issues existing with Fall superimposed in the indicia) has a fabulous L.B. Cole cover and three costumed characters: The Black Raider, Merlin the Boy Magician, and The Shroud, a Phantom Stranger-like narrator.

There were only single issues of Captain Wizard and Meteor Comics, which featured pretty much the same characters. I'm not sure whether the Captain Wizard stories in each issue are original or reprints. I'm definitely sure it doesn't really matter!

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Many of the CGC graders have a favorite "non-mainstream" comic genius whose original art covers and splash pages are framed and hanging in the CGC grader's room and the CGC hallways. Among these honorees is Rich Koslowski, the Eisner-nominated creator, writer, and artist of the graphic novel Three Fingers; the writer/artist of the Geeksville comic book; and the creator, writer, and artist of Three Geeks and How To Pick Up Girls If You're A Comic Geek comic books. If you have never read these gems, run, don't walk, to your nearest comic book store and buy them up! If they don't have any, go to www.milehighcomics.com. Mile High's owner and our friend Chuck Rozanski is as big of a fan of Rich's work as we are and always keeps some in stock.

Rich's newest graphic novel is called The King. The GN will encompass many issues including, in Rich's own words, "Sex, drugs, religious debate, mystery, and yes, Rock 'n Roll!"

"I have been waiting years for this graphic novel to come out!" said Steve Borock, CGC's president and primary grader. "If it's half as good as Three Fingers was, it is going to be the best graphic novel of the year!" The King will debut at the San Diego Comic-Con this week at the Top Shelf booth where you might also meet Rich when he is not over at his space in Artist Alley. When you stop by, tell him CGC sent ya!

For those of you not attending Comic-Con this year, go to www.topshelfcomix.com and order The King online or ask your local comic shop to order it for you.

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Since our inception in 2000, CGC has always tried to be involved with and give something back to the collecting community. Well, this year, we found a better way than ever!

CGC, with the help of our friend Tony Panaccio, has finalized a deal in which CGC will be sponsoring ACTOR's booth at the San Diego Comic-Con. CGC and ACTOR will be set up at one big island (Booth #901) at the Con this year and we could not be more excited!

ACTOR, A Commitment To Our Roots, is the first-ever federally chartered non-for-profit corporation dedicated strictly to helping comic book creators in need. ACTOR creates a financial safety net for yesterday's creators who may need emergency medical aid, financial support for essentials of life, and entrée back into paying work. ACTOR exists because many Golden Age or Silver Age creators toiled in comics' earlier days for low pay and with a nonexistent pension plan. Very often, writers would work for a penny a word, or artists for $5 a page with no chance of ownership and no pension. Today, many of these people who laid the groundwork for today's comic industry may be in financial need. Be it due to age, health, or just low salaries with no retirement plan, they may need a hand.

So when you stop by to drop off submissions at the CGC booth this year, you can learn more about ACTOR. You can also meet many of your favorite comic book writers and artists who support ACTOR by doing signings at the booth to raise donations for ACTOR. Those signatures, if submitted to CGC at the moment of signing to one of our representatives, will be eligible to garner the prestigious CGC Signature Series label, the hobby's only 100% guaranteed authentication of a real signature in a secondary market.

We hope to meet you there!

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Heritage Comics Auctions (HCA) will offer one of the finest existing copies of the landmark comic book The Amazing Spider-Man #1, CGC-graded NM+ 9.6 with off-white pages, in their upcoming Signature Auction, to be held August 12-13, 2005, in Dallas, Texas.
 
"This is, without a doubt, one of the most significant comic books to be published in the last 50 years," said Ed Jaster, Director of Acquisitions for HCA.  Read More

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Don Rosa, artist extraordinaire, and Steve Wyatt of Super Con Comics have brought Don's lifelong collection to CGC to be pedigreed, certified, and encapsulated in time for some of it to debut at San Diego Comic-Con this week.

For those of you who do not know of Don Rosa (shame on you!), here is a quick and inadequate brief history:

Don Rosa is recognized as one of the best Disney comics creators and certainly the greatest Duck artist since Carl Barks. His first work of Disney characters was Son of the Sun, published by Gladstone in July 1987, which was nominated for a Harvey Award.

His most celebrated work to date is The Life and Times of $crooge McDuck, first released in series by Danish Publisher Egmont from 1991-1993, for which he won an Eisner Award. Don Rosa is more widely celebrated in Europe where Disney Duck comics are perennial bestsellers, than in his native United States. Nonetheless, here and abroad, legions of devotees seek to uncover the source of his drawings' exacting details and subtle references to other artists and his favorite works of fiction. Don is also considered one of our hobby's most respected historians.

So stop by the Super Con booth #1302 this weekend, say hello to Steve Wyatt, and check out the many CGC certified comic books in the Don Rosa collection.

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The much anticipated first issue of IDW's new smash, Shaun of the Dead, will get the exclusive and prestigious CGC Signature Series label at this year's San Diego Comic-Con International. CGC is proud to present the full creative team behind IDW's Shaun of the Dead, signing at the CGC booth, Friday, July 15th between 12 noon and 1 pm. A CGC deputy will be on hand to witness the signings. The signed comics can be submitted that day to CGC for encapsulation, grading and the prestigious CGC Signature Series label. Copies of Shaun of the Dead will be available at the IDW booth.

"What a great movie! What a great comic!" said Shawn Caffrey, CGC Modern Age Specialist. "I got to meet Chris Ryall at Wizard World LA. I can't wait to meet the rest of the team! IDW rules!"

Make sure to visit the CGC booth at the San Diego Comic-Con International and get your copy of Shaun of the Dead signed for the prestigious CGC Signature Series!

Signing: Friday, July 15th - 12:00-1:00

• Chris Ryall (writer)
• Zach Howard (artist)
• Thompson Knox (colorist)

For more information about IDW or Shaun of the Dead, visit www.idwpublishing.com

For more information about CGC and the prestigious CGC Signature Series, visit www.cgccomics.com

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Epilogue: 1978

It's a Friday night. I pour butter into a pan and then some popcorn—(I didn't have a microwave yet). I shiver in anticipation as I hear the host of my favorite weekly show called Creature Feature, which showcases horror movies from the classics in the 1930s up to B-type thrillers in the 1970s.

My fascination with horror and mystery origins can be found in some of these late night movie romps. This interest led from movies into magazines about horror movies (Warren comes to mind) and eventually comic books. Even my superhero books had mystery themes, especially in the 1970s, such as one of Batman's nemesis, The Spook.

My main interest during my younger years primarily consisted of DC Bronze Age horror—which included Ghosts, Secrets of Haunted House, Unexpected, House of Mystery, and Weird War Tales. These tales of macabre and mystery kept me reading into the long hours of the night. I especially liked Luis Dominguez covers, as they were dominant during this time frame.

By the time my collecting focus waned in 1984, I quietly tucked away my books, where they would travel with me for over 20 years, waiting for their time to be rediscovered. One spring day in 2001, my son Nathan asked to see the comics I had stashed away in the closet. I fell in love with comics again, and this time, things were different.

During my childhood, finding back issues was challenging. Now, it has become child's play with the boon of the Internet and online comic stores that can make purchasing a mere click away. eBay has made it very easy to locate and find issues, but I was more or less disappointed with the grades I would receive. Enter CGC.

I created a plan to start collecting DC Bronze Age horror of all of my favorites, with my key focus being House of Mystery. This title was my absolute favorite due to the great artists and stories and for its consistent quality.

Most of my early titles were purchased from Pacific Coast comics. The PC copies are truly remarkable, and showcase these books in a light I've rarely seen with vivid colors and perfect registration. Among my favorite PC copies include the Neal Adams cover on #177 (but to be honest, I love them all). Some of these early copies are still relatively difficult to find in 9.4 or higher, although copies graded 9.0 or lower are usually not too hard to find.

In terms of the best story and art, I would have to vote for #186. With a Neal Adams cover cover and interior art by both Wrightson and Adams, it's easily one of the classic issues in the series.

Another highlight of the series for me is the 100-pagers, which consists of #224-#229. Although these stories contained many reprints from the earlier House of Mystery issues, finding these in high grade can be challenging and fun. I love the Cain cover on #226, illustrated by Dominguez. In addition to the 100 pagers, I find the Dollar Comics in the series #251-#259 difficult to find in high grade due to the bindery defects on the spine of these bulky books.

Bernie Wrightson produced many great covers in the series. Issue #236 stands out as my personal favorite. Thanks to Greg Loey (CGC boards/ebay: greggy), I've been able to acquire this book in high grade.

Although late in the title, the "I, Vampire" series provided a monthly dose of vampire drama that proved to be very interesting. Unfortunately, the death of the series also marked the death of the title. I miss it so.

A thread on the CGC boards was started so fellow collectors can discuss Bronze Age horror. You can join the fray by clicking here. You can also receive some resources on some of the most popular Bronze Age horror comics by visiting shiverbone's Web site www.shiverbones.com.

Thanks to everyone on the boards who has helped to complete my collection and most of all to my wife Rebecca who has remained patient during my second childhood.

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That Damn Nation Shawn Caffrey

I had literally just walked in the door to my house when I felt compelled to write the newest installment of Caffrey's Chronicles. You see, my wife and I had just come back from the movies, having seen Spielberg's War of the Worlds, and my comic "geek-ness" had taken control. War of the Worlds was, for the most part, a character-driven film set in an apocalyptic invasion of aliens as a backdrop. In comics for the past few years now, apocalyptic stories seem to be the "in" thing, thanks to the revival of horror in comics. But out of all of them there was one particular title that came to mind that I felt shared the film's more surreal side, using undertones of current events as a form of horror, along with the enriched character development.

Damn Nation #1, published by Dark Horse Comics, is written by Andrew Cosby with painted illustrations by Jason Alexander. The story begins with the discovery of a Russian ship in the port of Miami Florida. There, we are first introduced to Special Agent Childs, a government agent, followed by Dr. Lansing, a scientist genius. Lansing comes to find out from Childs that the ship left its port in Russia, possibly smuggling illegal Soviet arms, and now, 16 years after it left its port, turns up in Miami with all of its crew members dead. All 300 crew members are believed to have been killed by some form of pathogen, possibly man-made. But, as the clean-up crew bags each body aboard the ship, they come to a grisly discovery that these bodies have more life in them than they presumed. Jump to five years later, where the reader comes to find that the United States has since become overrun by a vampiric-type virus that has claimed the lives of millions of Americans. Here, we are introduced to the beginning of the story, with a military expedition led by characters Lieutenant Riley and Cole. Leaving much for the reader to discover about the fate of the past five years, the expedition takes both soldiers, along with a small crew, through the now post-apocalyptic nation to discover a cure to this widespread epidemic.

Considering all that is going on in the world today, Damn Nation is a true work of horror. Not only horror in a sense of hordes of the blood-thirsty undead, but horror in the realm of reality, with threats of terrorism and the use of bio-chemical warfare. In a sense, quite similar to the events that unfolded in War of the Worlds that reminded people about the impact of terrorism. Andrew Cosby masters the characters so well that the book itself is more about their journey than the battle with fictitious monsters. That, added with Jason Alexander's dark, disturbing, yet beautiful use of illustration, creates an awe-inspiring effort at keeping the horror genre of comics alive.

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