AKA Rick

Here's a solution... auto bill. What shop owners should do is, by giving customers discounts and guaranteed rights to books that subsequently sell out, have an agreement that every Wednesday, the comics pulled are then automatically charged to that customer's credit card on file. I've seen many friends who are somewhat ill-respectfully negligent customers, have books held for 3-6 months at a LCS, and brag about picking up books that are worth 10x the cover price and then proceed to grab their stacks as if the pull list was an option to buy, and put back comics they changed their mind on buying. To me, that's pretty lame customer behavior. I think, charging the credit card motivates the customer to come pick their stuff up, since it's paid for. Also, as part of the system, the store should be obligated to try their best to get the top condition comics, yet of course not guarantee anything since it's out of their control what they receive. I know at times, some fans want to pick their own comics... well if they want, just drop by the store on the Wed the comics comes in and they're automatically billed and pick the conditions they want if what was pulled for them isn't to their standards. It's not a negative option continuity, it's, to me perfectly straightforward. If a customer doesn't have a credit card, then they need to put down a cash reserve to draw against, it should be store policy, then they don't have to worry about delinquent customers and deadbeats.

Yup Prices on ebay bounce around on that one. I remember getting a $65 store credit for issues 1 - 4 of that back in the day. Is anything being done with Gen 13? I thought I heard Fairchild was part of the DC universe now. What about the rest? I always thought the original Gen 13, not the later creators interpretations, but the first run, up through when Ed Benes illustrated the book, were really fun good reads with interesting well developed characters.

This was an interesting incident. I went to the Los Angeles Comic Book and Science Fiction Convention this past weekend, where George Perez was attending, signing autographs. I was looking for a comic book to get signed, and always like the cover of Marvel Two-In-One #50. It's not an expensive book, you can find them on eBay right now, depending on the grade, some as low as $1.00, with most completed sales under $3 and at best around $10. So, I approach a dealer and he asks what I'm looking for and I tell him "Marvel Two In One #50" and he starts to hum and haw a bit, and then pays me a fake compliment of sort and comments "That's a key book, in fact the entire title run is worthless except for that book, which is about $40" and then proceeds to flip through his inventory to produce that book. Knowing what I know, luckily, I just told him, "at $40, it's out my price range" and left. That sort of left a bad taste in my mouth that a dealer would basically ask what someone wants, then proceed to gouge the price, by 10x, in hopes of selling it. It did make me curious after the incident to look up values in case I was missing something, and it still remains a book worth less than $5, and is not a key book, it's a cute book at best.

This is the mark of a true fan, removing economics from the equation and boiling it down to fandom regardless of bragging rights or economic windfall of owning a certain piece that's generally unobtainable. Kudos to Malvin !!! I'd agree, and would even qualify the question with the caveat handcuff disclaimer of, trading an entire collection for one piece which you could never ever monetize and sell, so the decision isn't based on trading up economically.

You wouldn't happen to know what Image comic Gen13 appeared on a wanted poster as Genx would you? Gen-X was a precursor to the Gen13 comic series. Inside Image #6 - IMO, their 1st appearance. That's it! Thanks! I agree... I had one and it was a flip book, so when I submitted it to CGC for grading (came back, I think a "6" and green label since I had Campbell sign it years ago), I instructed them to put the GEN X cover on the front of the slabbed case. That is original artwork, not republished nor reproduced in future books as a cover or story, so is the "prototype" to Gen-13 at minimum, but truly is Gen-13 due to just the legal issue with Marvel's "Generation X" title, at the 11th hour, Image decided to change the title rather than go into legal battle, from what I hear. It's by J. Scott Campbell back when he went by Jeffery Scott

I have a friend who has the original art for Runaways #6 (March 2009) Cover by Humberto Ramos which he said he'd asking $2,000 for.

I actually think with grading as subjective as it is, the "I'm not a professional grader" is not a cop out nor means to deceive. What I do think folks should do, which most don't, is provide accurate descriptions and detailed photos. Most sellers only tell 1/2 the story, showing only the front cover. They need to show the other 50% of the book, the back side. Also, eBay provides 12 photos to be shown, so use them! Get close ups of the book using 4 images to get granular in seeing the spines, staples, surface, edges, and corners. Be descriptive in pointing out any flaws, it does nobody good to have non-disclosure of defects, since in the world of eBay "the buyer is both king and queen" and should a buyer not like what they receive, a seller is usually defenseless and has to surrender the money back and go through the hassles. If a seller says "geez, that takes too much time and effort" - - then guess what... you really shouldn't be selling on eBay then, if you have the time to take someone's money, you have the time to ship properly and list accurately. I think people tend to over-grade and use this NM or better moniker, when a NM grade on a new book is often not what a lot are looking for, so just show the comic where a picture says a thousand words and don't use out of focus, poor lighting or far distant photos. The "it is what it is" demonstration through photos is better than giving an inaccurate (usually overgrading) evaluation. Also, the other pet peeve related to getting books in certain promised grades is when sellers package books on cardboard strapping it with tape where you run the risk of damaging the book trying to get the book off the board. Also, the fact that they use cardboard and "bubble wrap" (worthless!!! Rigid protection for comics, not bubble wrap which is idiotic, when used alone). Just box up the books or use multiple layers of cardboard and you, yourself as the seller try to bend the parcel, that's the true test of iron clad packaging. If it can bend, then you need to box it up or use more sturdy cardboard, not corrugated flimsy ones. If it costs more to ship, pass that cost to the buyer. If buyers balk and are too cheap to pay for good packaging, those customers you probably don't want anyway, at least for any book $10 or more, and especially high grade expensive books.

I'd say make an offer, don't negotiate and let it stand as is, but know the odds are a deal won't be made and you'll possibly faint by the counteroffer pricing they'll offer to you.

Our of curiosity, what characters are you looking for?

The smart strategy is to not be predictable with the sale and not have it as a tradition, then what happens is his Oct/Nov sales dip in anticipation of customers waiting for the sale in Dec. Also, it's like what Bed, Bath & Beyond has experienced, the negative repercussions of an anticipated benfit where they always over-coupon with either their $5 off or 20% discounts to the point where shoppers refuse to buy without the coupon, and they even accepted expired coupons. I think if Spencer just put on a sale with certain artists through the year, unannounced, it gets people visiting and revisiting the site with more frequency, in an expect the unexpected way.

Visit the website and you'll see: NOTE: The Artist's Choice will be closed until Wednesday, December 14, 2016 So, I'd imagine a sale may start on Monday, December 19 through the end of the year if I had to speculate. A pure guess on my part, as I've not heard anything personally. The only problem I see for repeat customers is that the website hasn't been updated with the same frequency it use to in the past, even last year's 2015 sale seemed to have the same inventory as featured in 2014, with very little added, and now in 2016, it's pretty much the same, so odds are, if you didn't find anything in 2014, there might not be much more in 2016, two years later that's been added that might be on sale... but it doesn't hurt to look and only costs you time to browse. Hopefully the % discounts may be higher on certain artists to motivate moving inventory and selling product that's been sitting a while to rotate 'em out into the hands of collectors.

Pound for Pound from a quality bang for the buck perspective, buying original published artwork seems to be a better buy both as a fan and as an investment compared to the remarks. Sure, a published cover starts at $5k, generally navigates the $6-8k range, and with the more popular characters can go for $10-15k+, but when you look at a "remark" with a simple head sketch, regardless of CGC grading, personally I'd rather have one quality cover over 10-20 quantity remarks, as a collector - - as well as from a long term perspective. He can crank out more and more sketches and remarks of varied detail and quality, but with published art it's iconic and recognizable with greater prestige as that one of a kind grail. So, in a way, when you look at the remarks and sketches, if they're truly selling for those $1-2k prices, his published artwork might indeed be the true steal of a deal today and could be underpriced in comparison, and maybe should be priced starting at least at $10k and averaging $20k

Where does original art from Yu Gi Oh, Pokemon, and Warcraft compare, since they are gaming cards the kids play and like?

Aside from the comic books, did the $200 cover everything? If so, could you pull cash out of other assets that are non-comic related? Did you find anything else of value aside from the comics? It sounded like a great deal nonetheless.

It wasn't apples to apples in that when offered on ComicLink it had a reserve, and at Heritage it had no reserve. Like anything else in life when comparing you need to test to get a comparison. So, I tested trying both auction houses. To be honest, I will say I one hundred 100% percent tout the great name of ComicLink for their customer care and client services, which is a huge x-factor for me to why ComicLink is my auction house of choice for consignments. They're able to attract the right bidders, especially for super-hero art from Silver Age to present. I'm also a big advocate for "no reserve" auctions when others ask my advice. I feel reserves inhibit the bidding process from the start. My personal attitude is to simply roll the dice knowing with confidence I'm comfortable that ComicLink can get me fair market value or more, trusting the piece I have, and also seeking their opinions and advice to what price a piece might be able to achieve. I'd say 95% I'd never do an auction with a reserve.

In the world of auctions, much like other business relationships, the evaluation of commission structures is so subjective and the actual numbers are often meaningless. You look at ComicLink VS Heritage, as an example In theory... If a piece sells NET (after any buyer commission premiums) to buyer for $100,000. So, it's the exact same out of pocket expense of $100k as the bottom line price a buyer pays. That means at ComicLink it sells for $100,000 since there's a 0% buyer's premium. And at Heritage with there is, I believe a 19.5% buyer's premium, so in actuality, the sales price is around $84,000 and then that 19.5% around $16,000 is the buyer's premium that culminates to that $100,000 total a buyer pays. So, then you look at it from the seller's perspective. If a buyer has a budget of $100,000, then if you can get a 10% commission at ComicLink, then you pay them $10,000 and net $90,000 But under that same scenario, if you are paying half that commission at Heritage, at 5%, you're getting that $84,000 sales price less $4,200, and netting $79,800 as what you'd receive as the seller. So, in this case, the lower 5% is not better than 10% as a commission, and in fact, even if Heritage was at 0% sellers commission, you'd still net more paying 10% commission off of the higher sales price achieved, as you can see by the simple math. The "x-factor" to the numbers is the ability of the auction house to bring in the bidders and extract the highest bids, of course. So, that's why I don't really read too much into commission fees as the steadfast rule for deciding who or where to sell.

I agree with this and the attitude or opinion that the artist is neither obligated nor anything owed to the person requesting the commission. At the point of agreement, it should be seen as a list, and the deadline is open ended, and even to the fact that it's a creative process, that list may or may not even be done sequentially if the artist isn't in the creative mood to render specific subject matter. In my experiences, and I've been on many artists "lists" without paying them anything in advance, I'm just appreciative I'm on the list and if it happens and the art is completed, I'm elated, but if it's not done ever, I'm mildly disappointed, but not at all angry nor upset. I take the stance that I've not paid anything, so am in theory not owed anything and have understanding compassion towards the situation if the art is never done. The problem with paying by credit cards to address another post is that the artists typically ask for more time over and over and over and over again for extensions to the point where it would become too late to request a chargeback to get a refund. And any of this talk about small claims court and suing takes time and sometimes money for filing as well, and is a battle rarely worth fighting if under $1,000. I've gotten rushed commissions back that looked lackluster for good money ($300+), but in a way I feel at times at least I got something rather than wait for a potential masterpiece that never gets done or after you're put through the wringers begging and pleaing for it to get done, by the time you receive it, the sight of the art may make you a bit jaded about the whole experience and you'll learn to be disgusted by it.

Kinda like when you go the Coollines booth at any convention... you see the same merchandise on display like an art gallery priced without the true intention to actually sell since the valuation tends to be overstated per the fair market value comparables. Pedigree runs the risk of spending overhead costs to operate an auction that will quickly get a bad reputation and have only like-minded sellers who overprice and have high reserves and alienating buyers who either won't care to look and bid or are skeptical of the legitimacy of the pieces and be too wary to bid. I barely look at Comic Connect's auctions mainly because their material has been lackluster for my focus and tastes. But, I've bought from them before and their reputation is legitimate. I always look at Heritage and Comic Link, since they're proven stable cornerstones in the industry, always coming up with great material, and most of which are no reserve auctions as well. In my general opinion, if you're going to put a reserve on a piece, maybe putting it up for auction isn't the right way to sell it. I'd probably opt first to consign it or post it up at a fixed price (and if you're willing to negotiate, put the "or best offer" disclaimer). I think that's one of the key failing points with Pedgree Auctions, too many auctions with reserves, and ones that clearly (based upon the volume not met) were overpriced.

I looked at the Pedigree auctions for OA, and noticed it felt like 80% of the pieces have a "reserve not met" status, which to me, doesn't bode well for an auction house, it feels like a glorified eBay "Fixed Price or Best Offer" type auction but worst, If Pedigree wants to attract buyers, they should have better consignments, otherwise it's pretty much a waste of time for everyone. Maybe the sellers are trying to figure out the "price discovery" value of their pieces or have pie in the sky expectations with reserves. I know some facts behind one of the pieces... As the former owner of this Phil Jimenez "Web of Spider-Man" #5 Variant Cover featuring Deadpool piece I acquired directly from Phil and subsequently years later, consigned through Comic Link. It sold for $889 in 2015 through ComicLink, and to me, was a fair market value price given what the piece actually is, being original art, yet not as glorious as the final published cover due to the use of stat elements and the art being on separate boards. I know it eventually went to Cool Lines since I saw it at their booth at a comic convention, I think they had priced it with an actual price tag on display for over 3x what it last sold for. Now it's reappeared on Pedigree... https://www.pedigreecomics.com/v2/auction/comic_art/056578 Only 2 bids Status: $2,600 reserve not met, not sold. I almost speculate the 2nd bid was either a shill to pump it up, or if it's that whole "next bid wins" model, then that's the price, still a whole lot more than it's last sale a year or so ago. Furthermore, if you notice on the bottom of the page it says "1 of 2", well, it's actually a cover done in 2 pieces, one with Deadpool's hand only the the other of Deadpool's head. The piece you see is a really nicely professionally crafted overlay, as fully disclosed by ComicLink where the Spider-Man figure and title are stats, meaning not original art, so the actual original art is simply Deadpool's head and Deadpool's hand, both on separate 11 x 17 art boards. ComicLink displayed all images of the artwork, and I feel make the best efforts to be honest and forthright. ComicLink does research on pieces as best they can and show accurate images and descriptions. It's very apparent and the fact that there's 2 pieces, it would be hard to not disclose that information, yet I don't think Coollines nor Pedigree ever addressed it. Sort of feels like buying a used car from an owner who knows about the condition of their car but fails to disclose it up front hoping the buyer won't notice, care or complain. It'll be interesting to see where this piece and the other pieces where "reserve not met" end up being re-solicited.

Collectors need to take off their fanboy hats and stop kowtowing to these artists as if they were put on a pedestal to be worshiped like a god. If some business treated you like this in any other situation, be it a restaurant, a retail store, a supermarket, your doctor, a mechanic, or anyone else, immediate action would be taken as it's basically a crime to promise services, charge for services and not deliver on the obligation. Many feel they need to walk on eggshells since an artist could just as well fall asleep at the wheel and just crank out a scribble sketch to get rid of the obligation. So, many fans afford extra patience in hopeful exchange for excellent work. I get that and can agree to a degree, it's semi-relationship based more so than a strict business transaction. However, once the false promises start occurring and your patience wears out, don't let it go to far. I think if you can't get a credit card chargeback and a refund, the only recourse is "public shaming" - - much like a Yelp review... a few bad reports and posts can spell disaster for a working professional, especially in the reputation based business like art commissions. It's sort of pathetic how many fans are seemingly apologetic to the artists for "bothering them" when reminding them of the art due, and many seem almost like their put in a position to grovel and beg for their art, but when the artist tells 'em to stand in the corner, it's almost done, they just accept it and retreat quietly. I do think that as a customer, you assume both the risk and reward. My personal stance is not to do cash in advance with unknown quality artists, who may take me for the long ride. If it's an artist I've done business with before or have had friends/peers conduct business with flawlessly without incident, I also don't mind cash in advance if that's their terms, but artists who have reputations for not fulfilling their obligations in a timely manner, I'd absolutely refuse to put myself through the wringer and no artwork is that important to have, and if it is, I'd opt to buy a published piece over a commission. That's why these msg boards are so important to provide information on the "who's who" of the industry almost like a review site, to help each other out.

Certainly. Manara isn't even on the same level as JSC when it comes to fan following. I think that the Spider-Woman controversy was what led Marvel to stop hiring him after a number of successful & relatively popular variants. But the blow-back on that one was big enough mixed with Manara not really drawing in significant numbers of fans on his art alone to make his variants super sought-after, led Marvel to cutting ties at least for a few years until the crazy train forgets about that incident. On the flip side, JSC's popularity & draw, mixed with the relatively tame blow-back on this in comparison & the fact that it wasn't a Marvel variant, but a store variant and a little bit of both parties love of money for dessert, will lead Marvel to pretty much ignoring this one. I'd say Milo Manara has his own following and it's hard to compare versus J. Scott Campbell, as Manara is seen as a legend within his European erotica niche, and is often seen as "an artist's artist" where professional artists admire his work (much like with Jordi Benet). J. Scott Campbell is more like a Top 40 pop music type, a bonafide mainstream hit-maker. Where Manara isn't, mainly because of the subject matter more so than his style. J. Scott Campbell is like Maxim Magazine, where Manara isn't even Playboy, he's more like Hustler or Penthouse or even a bit more deviant in just how graphic he illustrates. J. Scott Campbell draws "fun" pin-ups, rarely do they ever offend or conjure controversy. He's had work published for Disney and tows a PG to PG-13 line. This recent drama regarding the Iron Man cover seems blown way out of proportion with naysayers simply stirring the pot for the sake of wanting to create something that isn't. If you look at any fashion magazine, look at the marketing advertisements for teen clothes, etc. it's not as if you don't see how as bad as it may sound, the "sexy (not sex) sells" aspect is all over the place. You look at the Disney Channel actors, musicians, music videos, and pop culture in general. It's a shame for folks to even attempt to put J. Scott into any undeserved negative light. There are far worst offenders of what he's being accursed of, and just at face value, if you look at the artwork, there's nothing exploitative nor offensive about it, especially since you're talking about a FICTIONAL character.

The laws of supply and demand will always keep New Mutants 98 as valued and desired, regardless of the print run. I would rather have a NM 98 over any of these so called rare variants released today with their sizzle to their steak only being a popular named artist, sexy pin-up cover and supposedly low print run, but otherwise no substance to the contents of the book itself. Deadpool is a popular former tier 2 supporting character who is now a feature headliner, being a Top 10 popular character in all of comics today. I doubt if the character will fall into obscurity. He may get to that "jumping the shark" oversaturation, or fall slightly off the charts, but will never go away.

So, is the consensus opinion generally, in the world of auctions the good guys who are trustworthy, reliable and honorable are: ComicLink Heritage Comic Connect Then, caveat emptor with eBay since it's independent sellers. And Pedigree is as sketchy as Craig's List, and barely worth bothering to look at or into? I just heard of their auctions, but was wondering about 'em since these msg boards were pretty silent where with ComicLink and Heritage, usually there's threads of positive hype and general anticipation and excitement. It would be good to know if either Pedigree is a waste of time, or worst yet, if they're shady in any way to not even apply/register to bid and give them any credit card info, personal data, etc.

I'd honestly say you need to "name names" or maybe not so directly, let it be known by showing the artwork, so at the end of the day all of this can help the community and the artist (gain accountability to increase odds it never happens again).

How is the Black Mask Studios title "BLACK" doing? I know there was a lot of pre-release hype, and it was released last week, so am not sure if it lived up to expectations and what the general marketplace feels about the title's sustainability. Is it a short term play where people step in and flip it to step out based on the flash in the pan popularity, or does it look like it has legs to be truly investment quality for the long haul?