aka Rick1

I actually like seeing “what I missed out on” as it shows me what I could have had, and especially like seeing the sale price. Agreed, I don’t like sifting through inventory, placing an inventory, only to find out items have been long since sold. I don’t complain about websites designed where new items have to be inquired or ordered, only to have someone else bet me to the piece with a confirmed reply, that’s just the nature of that design. In an ideal website, I would like to see a separate gallery of sold items and what they sold for. It provides me with the context of the dealer’s past inventory and pricing. There’s a lot of dealers who handle pretty epic pieces, or exclusively represent certain artists, and it’s nice to see what was once available. From a marketing standpoint, it is somewhat strategic showing what was available but sold, so it tells potential buyers they need to read the emailed announcements; updates; log on more often; and dont’t wait to long thinking, just buy it now before it gets sold. A lot of collectors talk about looking at Heritage’s database of past auction sales, as well as the lack of (or limited) that database aavailability on ComicLink, so this is similar information that can be useful.

The hobby is riddled by so many busy bodies who editorialize and offer unsolicited comments, the best thing to do is to block them, ignore them and don't even acknowledge them with any communication. If the harassment persists, yes, report them to send them the message that their editorials are unwelcomed.

I will give him a chance to reply to fulfill the order and if it falls to deaf ears or isn't fulfilled to a promised date, I'll do a chargeback. I have a friend in the payment processing industry, and he tells me chargebacks are the death of a company as are BBB (better business bureau) complaints, so, unfortunately it often takes those steps to get attention and service.

I ordered from ComicXposure back in July, some were pre-orders of comics yet to be released but have since been released in early August and it's now mid-September. I've not received my order nor a status update nor response to an emailed inquiry a week ago, so the next step is to give them a call and then in a worst case scenario call up my credit card company to file a chargeback to cancel my order and receive a refund. Is this a unique problem with ComicXposure whether it's dealing with pre-orders or any online orders? My fear is that they offer some comics on pre-order which end up being "hot" and issue refunds, not fulfilling orders, where I'd be then scrambling to get the issues I thought I had locked and loaded. My "spider-sense" is tingling a bit here, as I'm sort of wary of this company based on their non-communication.

I've made purchases from TDArt, and their packaging is top notch as well as speed of delivery. A new player to the art dealer / art rep game, but an experienced original art connoisseur who treats customers with the white glove service of a VIP. TDArt is very trustworthy with great integrity.

Mr NSN -- I basically sold a piece I had priced at $6,000 for $5,000 plus the page. I didn't pay $1,000 for the page, I gave $1,000 credit towards the $6k purchase, which when all said and done, I would have given him a cash discount for that page anyway, but he was short money, so offered up that (and other pages, but this was the only one I felt I could turn back into cash). So, he got what he wanted, didn't feel like he took a hit on the page he just bought, and I made a sale and got the cash I wanted with a discount I could afford to give. I hope that clarifies the transaction. I'm feeling a lynch mob mentality forming, so don't want to seem defensive addressing these questions and think I've provided enough information to address the original inquiry. At this point, whether anyone believes it or doesn't, I can't control nor will try to sway opinions. I love 98% of the CGC community, but know there's always that 2% or more that you will probably not sync up with but be mature enough to "agree to disagree" and move on.

Bronty, Thank You. I only replied to spell out what happened. Believe it or not, as possible or impossible as anyone wants to think. The page itself was returned as part of a negotiation for a bigger sale of part trade and part cash. I wasn't seeking to get that specific page back per se, but it was part of what he offered me in the deal and that's why I'm reselling it. I'm not here to be defensive nor be offended or get into a war of words by such the like as Claudio. All I can say is, please Claudio, do not bid on nor support any of my auctions, that's your choice. I'd rather have friends than enemies on this board, so never say a disparaging word about another member, especially where I can't substantiate any claims for accusation. With that, I'd again, prefer to co-exist, 'tho if you want to continue with a negative smear campaign against me, a person you've never met nor dealt with or even know, that's your option to exercise your freedom of speech, but please choose yours words wisely and try to be respectful if not professional.

The complete sets are nice, 'tho I wonder with all of the character manipulation / changes on the covers, what the actual original artwork looks like in terms of overlays / patches since many of the central characters remain the same in common where others change.

What happened was the person who won it, ended up contacting me through these CGC boards, as I was of course promoting the auction, shortly after he won it, and found out I had other pages and art, and basically said he'd give me the artwork plus $5,000 in cash for the other artwork as a trade/purchase, so I re-acquired the artwork all while selling off another piece, so it worked out well for me, as I turned a moderate sale on ComicLink into a bigger sale, in part really, thanks to the CGC boards (as well as CAF) here where the buyer was able to connect the dots and contact me knowing I had consigned the pieces and also had other artwork for sale. There was no shilling, as I didn't win my own artwork, if that was the question. I then figured put the piece up for sale on eBay at a fixed price or best offer rather than resubmit it as a consignment since it's already gone that route. 'nuff said?

I know that the Greg Land variant cover for Edge of Spider-Verse #2 with Spider-Gwen exists, sold by Fanfare-SE when the issue came out. That was inked by Jay Leistein and is original pencils and inks. I heard that the Robbie Rodriguez Spider-Gwen original cover art for Edge of Spider-Verse #2 existed, but was destroyed accidentally, so is not available in its original form. I know if you consider What If? #11 with Rick Houlberg art, featuring Jane Foster as Thor, that original art exists. If you're looking at the Russell Dauterman version, then he only rendered digitally and was selling 1/1 computer printouts with a fairly high price tag for what is basically an autographed signed and numbered print.

I think the winner will be a speculative investor (maybe some would call a gambler) who plans to hold it and hopefully resell it, over it being bought by a fan or collector with deep pockets who "must have" the piece, so, in that way, a bidding war between 2 or more gamblers will or could push it to $35k + is my guess, basibally making the "all-in" (buyer's premium, taxes and shipping) at around $50k total.

It would be interesting if SDCC allocated their tickets via varied ways to see if they could get the tickets into the hands of a diverse range of attendees instead of this perception of the same ol' folks always getting in and leaving newbies out in the cold. The whole grandfathering of prior attendees to get priority to buy the next year should be thrown out the window. The advance pre-sale is a joke since it's only a partial allocation, and it's clear that days don't truly "sell out" as they allocate tickets for exhibitors, vendors, press, etc. to attend those days and also through their general ticket sales later on. Here's my suggestions for the convention: 1) Hold a Dutch Auction and let the highest bidders get what they want. This could inject solid profits into Comic Con that would stave off admission ticket hikes for the balance of the tickets they sell, and let the people with deep pockets get their admission tickets without having to go through back door methods of scalpers who circumvent the system. 2) Allow people to submit their request for tickets (choosing 1, 2, 3, 4, or 5 day tickets and whether 1, 2 or 3 guests) and allocating based on the submission, whether random or with any priority and get rid of the whole song and dance of this pre-sale log on wasting everyone's time with the illusion of fairness and organization. Send an email confirmation to those who get approved for tickets and give them 48 hrs to purchase the tickets. 3) Don't allow exhibitors / artists / celebrity guests more than 4 tickets to hook up friends and associates. I hear so many folks nearly brag about their "hook-ups" to get in through the back-door. 4) Hold the convention almost like a music festival, where it's held throughout the city at varied convention centers at different hotels depending on the interests, to let the comic art fans stay in one area, the coplayers, the comic books, the anime/manga, the video games, the toys, the multi-media, etc. - - the offer a premium all-access pass. But for fans of old comic books, which is diminishing, they're not shut out, and can have their own area. I'd actually like to see it similar to some of the music festivals, held across two sessions, consecutive weekends, but I know that would be tough for dealers/exhibitors to staff for 10+ days. 5) When selling tickets, immediately offer hotel options. Nothing is more frustrating than jumping through two small hoops. First, the challenge of getting tickets. Then waiting, and cringing at the next hoop, months down the road, trying to get a hotel room. I'd say, reverting back to an earlier suggestion, just have attendees submit their "wants/needs" for the number of tickets, the days, and if they want a hotel (and which one), then the computer will approve or deny it quickly without all of the delay and drama.

Never, Ever... try to "help" customer save on shipping by getting "cheaper" way to ship if it means sacrificing quality packaging. You'll learn if not already know, the CGC case does not protect the comic book and the buyer only wants the comic book inside the case. The case itself is so important not to have any chips or cracks, and the cost of reslabbing is expensive that you'd be foolish to jeopardize risking damages in the name of cost savings. If your intent is altruistic, then maybe offer "Free Shipping" or subsidize the shipping fees by offering a reduced rate and paying for the balance out of pocket and profits, but don't just use the flimsy USPS cheap cardboard boxes that the CGC case will crack upon any dropping or impact with. You need bubble wrap and sturdy cardboard.

EXPECT... No DEMAND... Most Certainly Not INQUIRE BY ASKING POLITELY... Sure Pointing out price differentials without any tact can easily come across as classless, rude and insulting. It can result in a retort "Then why don't you go ahead and buy that over there then?" as, if communicated poorly (as many poeple do lack social graces at times, being awkwardly tactless), it can come across as accusing the dealer/seller of overpricing or price gauging. Many offer comparisons of online vs in-person don't factor in a) true grading comparisons b) shipping or sales tax fees the buyer would endure buying online c) immediacy of ownership d) accuracy in description vs ability to inspect in-person e) legitimacy of the transaction. i.e., I would feel more comfortable buying an Amazing Fantasy #15 or a $1,000 priced book in person VS rolling the dice for potential mail fraud or a bad experience. Never discuss and point out a person's perceived profit margins and overhead savings or expenses, as rationale for negotiating a discount, it always comes across like a busy body / knit picking a55hole. The only aspect of this that is commonplace is the cash vs credit card payment discounts which is acceptable.

Here's my ranking, and I base it on the popularity of the characters, the "house of ideas" in terms of innovation, artists, writers, properties viability for licensing, production schedules, and overall marketing efforts: Marvel DC (Incl. Vertigo and Wildstorm) Image (Not incl. off shoots like Top Cow, Aspen, etc where it was a distribution deal) IDW Publishing Dark Horse Valiant Dynamite Boom Black Mask Zenescope Archie Comics Bongo Comics Aspen - Yes, Riverdale is a better universe than what Michael Turner created, as is the Simpsons and Futurama. Top Cow - Witchblade, The Darkness, Magdalena might have an edge over Fathom, Soulfire, Cannon and the other barely memorable characters Coffin Comics - Lady Death Devil's Due - Mercy Sparxx