theflashunc

Three votes for Eltingville? I'll never cease to be amazed. Congrats to all who shared, participated, won, placed, showed, trifecta'd and everything else in between.

Pretty thin year for me, but man, some amazing pages as always.

To get pedantic if we're going with what a black hole means and how it might apply in this scenario, we can "see" black holes across the cosmos. Hawking's theory about them emitting radiation into the universe, and therefore being detectable, is true. It tends to align with my idea of a black hole collection. You may not know what's there, but you know it exists and may have an inkling of what's gone in, but for all practical purposes you can't be sure what exactly is in there. So I'd include pieces that are shown on CAF and elsewhere, even if the owner has no intention of ever parting with them. Consider that the emitted radioactive particle proving the black hole's existing.

HeroesCon was crazy again, as usual. Weekend seemed to fly by. Picked up these three pages from Evan Dorkin at the show from the Eltingville Club's probably most notable story, the Head of Boba Fett.

So....why not just, yanno, set a reserve? The more that comes out on this, the less this makes sense, at least to my mind.

Can you really put a price on that much quality Man-Wolf?

Panel page from the Eltingville Finale. The club is at an end and Boba Fett will not be joined together again. Just a quick photo from unpacking last night, I'll add a better shot to CAF once I get organized.

Picked up a couple pieces from Evan Dorkin at HeroesCon this year:

My personal order: 1) Simonson' Thor. 2) Mazzuchelli's Born Again. The issue break pages in Braille are inspired. 3) Kirby's New Gods. Not everyone's cup of tea, but at the size it is, its incredible. 4) Kubert's Tarzan. My dad was bowled over by this as a gift.

As someone unaware of the back story of this faked death, I'd say I wouldn't believe it. Then I read back the last few pages...

As others have mentioned some artists do pencils only that are sent to the colorist. My FF page from Dale Eaglesham's run on the book with Hickman is pencils-only. Mounts did the coloring directly from Dale's pencils, which are really tight.

+1. I think it all depends on how many doors have been opened for you by folks knowing about your goal. Picked up pages you might otherwise have not found if others didn't know about your plans to re-assemble the issue? That all goes into the cost-benefit analysis on your approach.

Just picked up this splash page from Evan Dorkin's recent Eltingville Fan Club #1. Given the book's sometimes painful examination of the worst parts of comic fandom, I'm jazzed about this fantastic homage to Kirby and the FF. I also picked up a one page Milk & Cheese strip that I love because its a full self-contained story. Well, as much of a full story as sociopathic, alcoholic, anthropomorphic milk and cheese have.

Way things are going right now, I'd have to think you'd see some premium, but not multiples of where the splash is right now. How much upside is there really at this point when a splash is pushing $20k?

Evan Dorkin was auctioning some bits off this past week. Managed to snag this Milk and Cheese pin-up. Very excited for obvious reasons.

A couple additions from HeroesCon over the weekend: Mind MGMT page from issue 21: And a Galactus sketch from Roger Langridge:

I've always been a sucker for Pollock's work and can completely understand the prices his work pulls. Stunning stuff to see in person.

After some USPS hurdles, managed to get this today from a fellow boardie.

Great series. Love that cover.

I'm obviously at a far different end of the market, but I think that my personal stewpot of bits that go into what we buy and don't buy is in in line with where Gene's head is at. Not that aesthetics and the execution of the art don't play a role, but I'm more drawn to pages that either tell an interesting compelling story in their own right, or stuff that I have some nostalgic connection to. Isn't that storytelling component -- either purely through visuals or a combination of words and images -- part of what makes sequential comic art unique? I love splashes and covers as much as the next guy, but the allure of a really well-done panel page is pretty strong for me. When I try to break it down though, I struggle with what I appreciate in nostalgia vs. aesthetics. Does the execution of the art influence the impact that comic issue or particular page had on me the first time I read it? Or do I like the art simply because of a nostalgia factor from the comic as a whole and that first time reading it? It becomes a bit of a chicken and egg question once I start to break it down that granularly. I guess the short version is the heart wants what the heart wants...

Couldn't it also cut the other way? You get folks who aren't in the running for that 180 page, but think some of the bigger fish in the pond will be waiting for that one, and decide to get a bit more active on some pieces between now and then? Or at that end of the market maybe it all comes out in the wash anyways.

That's my reaction as well. The sky's probably the limit on this page.

I really like Eaglesham's work and I'm surprised he doesn't get more attention. Terrific pickup. Thanks! I have a deep and probably unhealthy love for Hickman's run on FF, but for me far and away the strongest bit of it was the early work with Eaglesham. He brought a lot to the table and the book lost a bit of something when he left.

Just got my Artists' Choice annual sale request in the mail and I'm over the moon for it. Eaglesham splash page from Hickman's FF run, when Earth-616 Reed is introduced to the Council of Reed Richards. Loved the page in print and love the raw pencils.