thunsicker

Which is what I was saying. When @RedRaven started the first thread there was almost no interest for the book and it went for the same price as the issues around it. Shortly thereafter many people said it was an interesting book and just 5 years later there are threads talking about it reaching multi thousand dollar sales. There might have been outside forces pushing this book up in value as well, but this is the only place I saw any mention of the book before it really took off.

I'm not sure even the boards can pump a random comic like Concrete #6, as great as that series was. But I'd argue it moved the needle quite a bit on Spirou 1071/1072. You really want to move the needle on a book look for something older (say early 60's or earlier), somewhat culturally significant, and a first appearance and I'm pretty sure we could make money on it.

I'll reserve judgement until it drops. But my first reaction is that they saw the success of the MCU and that DCEU was having a problem catching on and said 'The problem with the DCEU is that it isn't dark and gritty enough'. We'll have to see if they are right.

Two of my three kids have an interest in my comics so they get to split them. The third will get something else to make up for it (or more money from the estate.)

Yeah, watching the trailer it could have been the next season of Riverdale.

While I agree that key is a spectrum and not a binary I disagree about if some of these books can be described as keys. Very very minor keys, but keys none the less. And despite the fact that first appearances are the keys in demand right now they aren't the only keys. Suspense 3, Fantastic 3, Detective 31, Startling 49. All are pretty big keys in my book and none are first appearances.

I thought Atlas/Seaboard artists/writers maintained rights to their creations. What properties are in this sale?

I think a bazooka is better. Yeah, but if you throw a bazooka into the hornets nest then you’ve got heavily armed hornets.

To be more specific I always use <searchTerm> site:www.cgccomics.com/boards

While CGC retains the right to regrade on a reholder it is very rare and only in cases where the damage to the slab would seem to have caused damage to the comic. It's not like they are regrading each reholder send in. You're making a mountain out of a molehill.

First four results from google search.

I would bet that BUTM spelled Steranko's name correctly and whoever did the typesetting/whatever made the spelling error. Neat article though- thanks for sharing. Want to make it clear, I wasn’t laughing at you, Blowie. It just reminded me of the Tony Stank line and brought a smile to my face. I think most of us here would be proud to be published at 11 and have it be about the comics we love.

I remember when those artists were the bomb. Nowadays, I think of the ones you mention only Neal Adams and Bernie Wrightson are considered "hot" artists whose work commands much of a premium. Oh and Jim Steanko.

Possible also that it is overspray. Though I thought most overspray was blue.

Don't get me wrong, I think both ideas generated in this thread are good ideas. 100 point scale and restored comics with two grades on them (appears and original or something like that). The first would make it easier to differentiate and would therefore settle pricing a bit, and the second would remove at least some of the stigma around purple labels and stop the need for restoration removal. I just don't see either happening because it would make the CGC graders jobs even harder. You think tat's are slow now, just wait until they have to spend the time to do a much more discriminating job grading.