sfcityduck

Personally, I think Tales of the Invisible 1 is clearly the book in question. The description is close enough, and Wertham was not infallible.

Registered for this book or this auction? Because if it is the auction, I'm not surprised in the least. We are in a pandemic.

Phone bidding is a thing.

Cat, I saw an item in the press about your wife's passing a week or so ago. I met you and your wife very briefly once at an SDCC, at Veryzyl's booth or some panel or other (not one she was on). But, I have read your casual references to her in many posts, and it is obvious that you had a very happy marriage. So my heart aches for you. Words are insufficient to offer any comfort. I am glad that you have supportive friends and you know that this board is always a place where you can turn for distraction, entertainment, and an escape. For the benefit of the board, I'm going to republish Publisher's Weekly's obituary for your wife. She was clearly a remarkable and accomplished person. I enjoy juvenile fiction (starting with Lloyd's Alexander's Prydain series when I was in fact a juvenile and then discovering series like the Hunger Games, etc. which are often quite an enjoyable escape) and, of course fantasy. So since I learned who you and your wife were years ago, I've had on my list to read one of your wife's books. Out of respect to you and your obvious great love of her, I'm bumping that up to the top of my list. I am sure that her work will be enjoyed and of influence for many many years. From Publisher's Weekly:

By far, the best and most creative artists at EC were Kurtzman, Krigstein, Williamson, and Frazetta, that order. Yeah, yeah, I know the horror fans have different faves, but I think Gaines had the right of it in viewing the horror books as the "bread and butter" workhorses that made money for the more aesthetically and politically appealing science fiction, war, and political books. The main artists on those horror books were craftsmen who did a fantastic job, but they did not reach the heights the above four at times reached. As for my least favorite EC artists: Harry Harrison without a doubt. Of the more regular artists, probably Jack Kamen (love his work for other publishers). Finally, someone up above complained about the text boxes on ECs and I think that's spot on. The best EC stories often were a rebellion against the rigid page designs and text boxes that certain EC editors sometimes over favored. Which is why I think when it comes to horror and science fiction Atlas gets short shrift as a worthy challenger to EC. It was. Atlas had fantastic artists, less text boxes, and good stories. And Atlas figured out how to work within the code and still make good stories.

I haven't listened to it yet, but I have a back up LP. The autographed LP looks to be in really nice shape. My guess is not many people would want to listen to it twice!

I am going to be stealing this joke.

The evidence is that one of the top GA dealers just told you that is the case. That is not a rumour that is testimony.

Agree we're derailing the thread. That list is not a measure of pop culture significance unless you equate that with merchandizing dollar totals starting in 1990, which I don't. But, you are right that TMNT has generated an impressive $14.6B in revenue (all but $1.4B of which is merchandizing) which is way more than I would have guessed. It not as lucrative as Transformers, but it is impressive. Still, it doesn't change my list of the top pop culturally significant comic originated characters because for me that significance is more about eyeballs and constant media and pop culture presence than toy revenues.

My list would definitely have a number of GA and SA comics (including AS 8, MC 1, CA 1, D38, FC 178/US 1, Pep 22, Avengers 1, and X-Men 1) higher than TMNT on that list, possibly also DK 1 as contemporary comic, and maybe some others from after the 1980s. After all, I have little doubt that single Avengers movies have made more money than the entire TMNT movie series, that both Archie and Wonder Woman has a sustained pop culture significance that dwarfs the highpoint for TMNT, that X-Men are a much stronger franchise, that Uncle Scrooge and Ducktales are far stronger in Europe, and that the Marvel brand, with CA in particular, blows away TMNT to a point where it is not even a comparison. To me TMNT is more like Transformers in its pop culture impact. The difference is that TMNT 1 only had a print run of 3K. And when it comes to that kind of "rarity," I'd much rather have other actually "rare" books (one of which you own).

I wear my old school colors proudly. But, you're right that I probably do not appreciate the full appeal of TMNT. I never thought it was all that popular a comic in the 1980s, thought the movies were not that good, and have never been tempted to watch more than a few glances at the cartoon. So I'm not the demographic. I have a long list of 80s comics that are more important to me than TMNT, cartoons from that era I prefer, and an infinite number of movies I find better than the TMNT series.

I am pretty sure that the guy who bought the two highest priced Action 1s had no interest in TMNT. Seems like two entirely different markets. I don't know what possesses someone to pay $90K (or even $55K) for the TMNT 1. But, there are a lot of things about copper and modern collecting that I find wholly perplexing. The modern/copper folks seem to be fixated on UPC symbols, manufactured collectibles, advertising inserts, and even reprint editions. There appears to be, at least to my outsiders eyes, a weird mix of OCD completism and speculation and fixation on 9.8 grades which drives prices for otherwise ordinary comics into the stratosphere. These are different impetuses than those that are driving GA prices at this point.

Pat, thanks for the likes. I've beein filling in the holes on my CBM collection and getting nice feedback from you is gratifying. I try to tell interesting stories or bring to light cool unknown things, as CBM's writers used to do.

That was a deal. The first "record price" I could find for an Action 1 when I was compiling a timeline of world record comic book prices was $250 in 1965. See this thread:

To me, this screams Sickles: But I can't prove it. It's just great art.

Let's be real. The rich are getting much richer this pandemic. I'm killing it on the stock market. IF you are depressed, love comics, and making money hand over fist due to low taxes and great stock returns, why not buy comics? Better than drinking.

Well ... I certainly love it! But, I understand others may not quite be as into a giveaway promotional comic on the atomic revolution whose art is b&w or single color. My love isn't hurt one bit that I've convinced myself that Noel Sickles or someone equally skilled is the actual artist of this thing (I think Sam Citron may have been more the editor). After all, look at this image! The hair, the rolled up sleeves, and the grass! This is a frigging masterclass on deep contrast art:

Ah! "The other high grade D27"!

So that makes two of us identifying the Allentown D27 as the first book over $50k. Its a quorum!

Nah. He was just proud of his physique back in the 70s (my eyes! my eyes! I can't unsee those ads!). My limited dealings with him were wonderful. He sold me a comic rack from the Tower Theater drug store in Sacramento, California that my mom probably bought comics off of when she was a kid. I also know that Catman Conrad has had good dealings with him. He and Mitch may be eccentric (and how many here aren't?), but my personal dealings give me no grounds to complain.

How nice?

Don't get me wrong. Teller was a ... less than thoughtful person. I'm on the Oppenheimer side of the debate.

I'm loving my Atomic Age comic book and record set. Really cool item with really great art:

General Dynamic's CEO's letter:

General Dynamics was sort of a trippy avant garde company for the 1950s. From the booklet that accompanies the comic book and record: