• Content Count

  • Joined

  • Last visited

Everything posted by PatrickG

  1. I saw the latest packs at Toys 'R Us as well.
  2. The new DC books are out. Lots of first issues of Rebirth arcs branded as #1s. Injustice became "Injustice: Harley Quinn." Justice League became "Batman and the Justice League". No Supersons yet. The display is now bigger and includes "Showcase Magazine", a magazine which reprints 5 DC books (almost at random, mostly Batman) for $9.99. Comes in 5 variant covers.
  3. The insides of the packs are newsstand returns. Sometimes marked or damaged.
  4. Well, it seems to have fallen off the charts since then. The information is incomplete because this is below the tracked totals, meaning you can say it sold at least one fewer copies than the #300 book, to the extent Comichron is accurate. It seems likely that this isn't in a category of book that would be overestimated. I know several large comic shops stocked 1 or fewer copies of this one and it's a 50/50 variant. That anecdotally puts it at least in company with America #2 Art Adams variant. (Among the 5 nearest shops including a prominent LCS, only Books-A-Million qualified for an Adams America #2. The LCS in question stopped stocking SD months ago and now has exactly one pull list customer who special orders it.) If it had a much larger run, as with Kickstarter books, it would be a case of Larsen bankrolling a larger run that he's sitting on to sell at shows. I can't say the exact rarity. But we can reasonably infer that it's no higher than the lowest selling book on Comichron minus 1, divided by 2 for the 50/50 variant cover.
  5. Isn't their policy with name creators that they don't need a witness on hand if the creator vouches for it when the witness picks it up? That was, I think, designed to be creator friendly.
  6. Strange thought but do you think it would be pretty collectible if, for example, DC reprinted Wonder Woman or Aquaman's first appearance with alternate cover art? I realize we're talking about a substantially delayed reprint there and a modern would have a fraction of the original's value but I do wonder if the Millenium editions were hindered by reusing the original covers, which didn't emphasize the important aspects of those issues.
  7. I generally agree but think a variant sub-1000 copies signed has some staying power. I'm just not sure that the difference between 500, 250, or 25 copies in a run is that meaningful. And the signature turns it into an art print with a high floor. I think there is a difference between 25-500, 750-1500, and 3000 in a run. Ideal would be significant issue, good eye appeal, signed, sub-1500 copy run. In that order.
  8. The key for me is I wouldn't try to put my $1000 into a single category of comic. And definitely look for stuff like 1sts of new Marvel cosmic characters or supporting characters or villains for Batman and Spider-man. I mentioned Damian and Duke Thomas but stuff like Professor Pyg or that flower themed bad guy Snyder created for Batman strike me as long term potential.
  9. Long term? The rarest variants possible of character first appearances and first ongoings of characters I see having media potential. I'd go with first Damian Wayne and Jon Kent, 1st Ms. Marvel, 1st Phylla-Vell Quasar, 1st Duke Thomas. Probably $500 worth of that. $250 into Image and maybe some Action Lab #1s. Saga. Black Science. Anything Millar you can get cheap. Happy! still seems like it could be a good buy still. Redneck. Go for variety here rather than bank breaking variants. Sub-$10 each. The last $250 I'd pump into whatever mix of variants I could find with print runs of 1000 or less. Focus on stuff with eye appeal. JSC store variants. Try to get this stuff signature series signed.
  10. Savage Dragon April Fools Variant I went to multiple comic shops looking for this, as I was collecting most of the Image April Fools variants and was thinking about having Scott Snyder and Jock sign this one for laughs. (The gag here is that they're announced as the new creative team with an April Fools disclaimer.) I went to several shops, one big, and realized nobody was stocking Savage Dragon. The biggest shop had one copy on a pull list and didn't even get the variant. Going by Comichron, Savage Dragon is off the bottom of the charts from the looks of it, making it less than 1000 copies a month and the variant from a run under 500. With Jock on cover and the Scott Snyder gag and the chance that the April Fools covers might have novelty value as a set even for non-SD readers, could this one be a hidden gem?
  11. Funny thought but what if a con was co-sponsored by dealers and you got a $25 credit to use on buying comics. Heck, that alone would police the spectacle problem if you made admission $100 a day with $100 in credit to be used buying comics. Booth fees could be paid in merch donation for exhibitors that way. It auto-polices the "problem" of non-buyers crowding the floor.
  12. Some of the now older conventions are what changed this. I'm from the Atlanta area. I go to SDCC more often than my friends largely for the professional/editorial networking, which remains better at SDCC than many other cons, until the last few years, anyway. Now I'd say Wondercon is probably the place for DC and NYCC for Marvel. Anyway, I have a ton of friends who have only done GenCon and Dragon*Con. Those are traditional cosplay venues along with Furry and Trek conventions. They're also cons which have traditionally sidelined comics. And they've grown alongside cosplay and gamer culture. When I bring a Dragon*Con friend to SDCC, they're always stunned by what a low percentage cosplay. Maybe 1 in 5 at SDCC cosplay? Dragon*Con has a smaller turnout but non-cosplayers are outnumbered by cosplayers there. I think the rise of TV, fantasy, and gamer fandom is what chokes out other stuff at cons. Those folks have always been cosplayers. The cosplay visibility is a symptom of poorly focused conventions, not a problem itself except when costumes block or slow down traffic. If you want a marketplace/trade show vibe, the solution isn't to ban cosplayers. It's to make a convention that's focused and marketed effectively at the right niche. Cosplayers aren't a problem but they are a symptom of a con that targets fandom and gaming rather than vintage trade professionals and insiders. I would adore a con that gets publishers putting out B&W preview art and which has panels focused on things like accounting for autograph dealers, how to seek out business loans for store expansion, and tax preparation for commission artists. And I think it does need to be its own show now. Honestly? I'd start by not calling it a con. I'd go with something like Funny Book and Memorobelia Trade Exhibition. Something vintage sounding. Deliberately not snappy. Avoid the word "con" and avoid the word "comics" which refers to a sub-genre of movies and video games to a lot of people now. If you're going to have any flashy stuff, make it retro. You know, cocktail party and swing band. You might do well in Vegas or on a cruise ship, although the latter presents issues for some vintage merch.
  13. Which, again, isn't somebody using public signings, generally. I think it might be useful here to distinguish between flippers/scalpers and signature dealers.
  14. They're just somebody further down the supply chain, making a profit off of curating work that someone with more fame and more of a personal brand created. It's exactly the same scenario aside from whether they have a commercial physical address or not.
  15. I think the only real profit here is fluke-driven. You break even on 50 books (especially when accounting for time spent) and you get lucky on 1. It's basically like a lottery/raffle. Thing is, all anybody ever pays attention to are the success stories.
  16. One potential solution if you want to give copies away to kids: Raffle off pre-signed books. Free entry. Maybe tie it to a fun trivia question. This allows kids/casual fans to get autographs. Being pre-signed/unwitnessed, that rules out CGC verification. Being a raffle, that makes it less certain. Result: Resellers pay for your autograph. Little kids or non-speculators appreciate the book. Other solution: Autographs are half-price if personalized. In general, I agree with you. But I think if an artist has a particular aim here (like trying to recruit new readers), there are better ways to achieve it.
  17. Gwenpool is weird in that she's neither a Deadpool spinoff exactly nor is she a version of Gwen Stacy. She's literally someone named Gwen Poole. Her link to Deadpool is that she breaks the fourth wall comedically. Her link to Gwen Stacy is, uh, blonde hair. She's so far removed, though, that DC or Image could have debuted the character.
  18. For the record, I think those tend to be mis-listed. They are Mexican variants. As a rule: No. They're not worth just as much. However you probably can sell them at a profit if the condition is good just because some people are wary of international sales due to fraud or long shipping times. Autographed, SS, you might be able to get half the value of the original. Still nice. And they're cheap enough that you might be able to buy 5 raw copies and cross your fingers for a higher grade on one or two. International reprints DO tend to appreciate nicely long term, particularly autographed. I'd say, for instance, that a new German or Mexican classic key issue reprint with, say, a Stan Lee sig (assuming it's a reprint of something he worked on) has long term prospects in the $500-1000 range. Whereas getting him to sign a first printing of something he didn't work on or a Ravage 2099 issue won't be worth his signing fee more often than not. Without a sig, I'd say you might get up to $500 in the long term if it reprints something unattainable. With a sig, potentially up to $1000 if the wind blows the right way, probably long term. Short term, no sig? Maybe up to $150 at 9.8? That's foreign reprints in general. It's a bit different if it's a foreign market exclusive cover. I wouldn't bother importing foreign language books unless they're a reprint of a key issue or variant or a cover unique to that market with eye appeal.
  19. Copic + Sharpees for the color. Copics for the large areas.
  20. Interesting. I'd heard some pros claim they personally paid someone to stand beside them and act as a witness.
  21. I don't know if that's fair. If they're paying the CGC or hiring a witness, the higher fee makes sense to me. Some do seem to have an empathy deficit, however.
  22. Ideally, you just enforce a book limit. Even if someone is a blatant scalper, that might be the only way they can afford to attend cons. Back when Mattel exclusives were show-only at SDCC, that was how I paid back the cost of my plane ticket. I think there's a tendency to see scalpers and resellers like wealthy art dealers or Bond villains. They aren't necessarily the bad guy though. They're often people trying to turn a few extra bucks when laid off or in school. Or just break even. Maybe it's junior's braces. Maybe it's Mom's cancer bills. Maybe it's just respectable work that takes a good eye and a level head and some luck. My folks were never rich. But we paid for Christmas flipping Hallmark ornaments and collectible plates and Cabbage Patch Kids and Marvel trading cards. There are simple things from a weekend out of town to a nice Christmas dinner at home that Mom and Dad's paychecks wouldn't cover after bills but they made up the difference by figuring out what they could resell before it was hot and ordering some from a supplier or buying it at retail before it took off. If anything, I think it's often a bit greedy on the part of manufacturers to try to cut those people out. Their booth, their rules. But I can at least say I find those rules to be ugly and classist. The person hurt there is somebody who had to fly out on credit or who's trying to make up for a shift they gave up to attend the show. A professional reseller will just book a private signing anyway.
  23. I'll be at MegaCon in May. I may stop by the CGC with a couple of covers and the comics I've written if I don't hear back sooner.