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kilowatt

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Posts posted by kilowatt

  1. Got a quick question, I signed up with CGC about 4-5 months ago, and I remember reading somewhere that once you`re signed up, there`s no need to continually sign into the forum site every week. How can I avoid having to do this? Not really a BIG issue, but it kinda bothers me.

    Thanks!

  2. Thanks for your opinions. The condition on 80% of them are nice, NM or so. Old bags and boards, but present well when re-bagged. They span from around 1979 till the mid 90`s. I myself don`t really see the big deal. I understand the newsstand issues got handled more, so less books in nice condition,  but the UPC box to me is nothing. I think what I may do is keep the semi-key/keys that are newsstand, and dump the rest for a bit more on the back end. I just don`t want to be kicking myself down the line when I find out they blew up in price and I practically gave them away.

  3. Not new to collecting, but a quick question....I just purchased 16 long boxes, and 90% of the collection are newsstand issues. The value for them compared to Direct issues are a bit more, maybe $2.00 or less, but that`s about it. I plan on filtering out what I need/want and figured I`d sell the rest. Do any of you see a reason for me to hold onto them? I noticed for awhile now the newsstand issues are picking up. Titles include, Batman, Flash, Iron Man, Uncanny X-Men, Capt. America, GI Joe, mainly recognizable characters with a couple boxes of assorted titles. Your help is greatly appreciated. Thanks

  4.      I started collecting in 1976 and amassed a collection of nearly 46,000 books. Besides the drug stores of the past and local comic shops I hit flea markets, garage sales, estate sales and Craigslist to accumulate my collection. Now I`m getting up in age and frequently have conversations with my wife on what I plan to do with all my "stuff" as she likes to call it. She has no clue what I have in the collection and I know she`s overwhelmed just thinking about what to do with all of it. She often says I`ll just lock the door and that`s where they`ll sit. I have 2 adult girls, who when younger can tell you everything about the books and characters, but as they got older they lost interest in the hobby. I keep saying I`m going to downsize, but never do. My plan is to sell off multiple books and buy single pristine keys. Limit my collection to basically 100-150 books. They would be easier to sell in the future. My only problem is the collector in me is always on the hunt for that next great deal. Either way, I have to get moving because I`m not getting any younger. None of us are.     

  5. I`m pretty sure that`s who it`s supposed to portray. They had some great artists on that series. Adams, Wrightson, Steranko... It`s a shame it didn`t last

    Designed to compete with DC Comics' successful launches of House of Mystery and House of Secrets, Tower of Shadows, like its companion comic Chamber of Darkness, sold poorly despite the roster of artists featured. After its first few issues, the title, published bimonthly, began including reprints of "pre-superhero Marvel" monster stories and other SF/fantasy tales from Marvel's 1950s and early 1960s predecessor, Atlas Comics. After the ninth issue, the title changed to Creatures on the Loose, and the comic became a mix of reprints and occasional sword and sorcery/SF series.

    "At the Stroke of Midnight", writer-artist Jim Steranko's lead story in the premiere issue (Sept. 1969), won a 1969 Alley Award for Best Feature Story. Its creation had led to a rift between the celebrated Steranko and editor Lee that caused Steranko to stop freelancing for Marvel, the publisher that had showcased his highly influential work. Lee had rejected Steranko's cover, and the two clashed over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Marvel and freelancer Steranko parted ways. Lee phoned him about a month later, after the two had cooled down, and Steranko would return to produce several covers for Marvel from 1972 to 1973