GeeksAreMyPeeps

Sandman wasn't initially a Vertigo book (the imprint didn't exist then), and if you're going to make an argument that the imprint exists because of the book, then the same argument could probably be made for Moore's Swamp Thing, which predates it

I thought there were no politics on the board

I understand the criteria is that a book has no variants, but if we're looking for examples where the common version of the book has that value (but variants still exist), there are probably a number of examples of that as well that don't fit into the original list. Edge of Spider-verse 2 is the obvious example. Quantum & Woody #1 has sold for over $500 as well, and both versions were available as order-alls. (Those results might be due to so few on the census though, but there are more now).

One big difference in the Cable/Gambit vs Venom/Deadpool scenario is that the latter pair started as antagonists. They couldn't really show up every month, as that would require their constant defeat, which would have lessened the characters. So they didn't get worn out.

Omega Red is a big character?

Maybe. But his smartarseness wasn't all that different from Spider-man's to begin with, I'd say. The breaking of the 4th wall is what made it different enough. (And yes, Byrne did that well before with She-Hulk, but people were too busy with the latest hot artist to care much at that time)

People need a reminder that the credit for Deadpool becoming insanely popular doesn't go to Liefeld.

Thanks. Only examined an extra copy through the bag so far, but there's nothing obviously knocking it down yet

Is there a common defect on Wolverine 35 that keeps the 9.8 results down?

Well, it's true that their talent did boost sales, but that only matters if it's a good read. I think we're basically on the same page, but the character doesn't matter so much as the writer. A good writer can write an interesting book about a character that everyone previously thought was , and a bad writer can write unreadable books about beloved characters. The initial problem with Image is that they didn't try to pair with decent writers, but also that they didn't have decent editorial guidance pushing them to work out the kinks in their books and keep their deadlines. Lateness more than anything else killed the hype. People can't read books that are never published.

I have to credit Bogdanove for one thing; for me, his Warlock is the definitive Warlock. But agreed that the rest of the characters could have been better

I just realized that "every issue of every title" suggests they're making Legends of the Geomancer available in another format other than the incentives for the first time.

I wish they'd do silver bags and boards as an option

If you posted this on ebay, you'd probably end up with enough to buy the digital collection.

1. There's not a whole lot of wiggle room in interpreting what was said. 2. You have sales numbers from an alternate universe from the books he would have otherwise appeared in? I'd love to see that info. Otherwise, the sales numbers of books have no connection with the reasons why Venom did not appear in other books, if his use was being held back.

It's not *my* alternate reason, it's the reason presented by someone who created the books. And you've presented no evidence that invalidates that reason. Maybe find an interview with Salicrup that contradicts it? That would seem to be the one thing that could do it.

So what happens when USB goes away? You can't read any more, I guess?

I don't remember exactly when Cable took off, but I do remember that I went out and picked up more copies of New Mutants 86 because the art seemed to have a similar quality to McFarlane's and all of his issues were increasing in value. In only have my one copy of 87, but I still have a few 86s. That's one thing that's really important in this whole conversation; at the time, back issue values were being driven by hot artists far more so than character appearance. (Yes, random appearances of hot characters were important too — Punisher War Journal 6 & 7 are great examples of this — but as I remember it, the books with McFarlane, Lee, Liefeld, etc.'s work were the books to have for a few years.

A valid example of the appeal to authority fallacy would be if I claimed "Erik Larsen was the worst artist on Venom. See, Micheline says that his style is too cartoony." That's an opinion. That's not what I'm offering up here, so you're incorrect to dismiss what I presented with that fallacy. The reason I brought up the Michelinie interview was to establish that there was an alternate valid reason you didn't see Venom in guest appearances all over the place other than "he wasn't that popular." I agree with the idea that we shouldn't take every aspect of the recollection decades after the fact as gospel, but I think the larger ideas are still valid. I doubt that the reason for Venom's limited use is a complete fabrication. The idea that this was done despite the sales data, maybe that's a detail he would be sketchy on. Certainly during his tenure as writer, Venom started selling a lot more books (leading to the transition to a heroic character with his own book).

If Cry for Dawn was released just a month later it would probably be a contender

I've got to think that that can't last. The market is silly

Granted not all copies go for 500+, but there have been some that have

Uncanny X-Men 266

Sorry that the primary source evidence of those that worked on the books isn't enough for you

Ummmm… This is speculation.