justafan

Sorry for butting into this convo between you and William-James88 but Angel of Death provided the key here. There are many reasons why it could have been rejected. Here are a few to consider: 1. Graders Notes are not always (often never) a true or complete assessment of all the defects on a book. There may be other defects not listed because they were just too obvious. It has been clarified on these boards that the notes are an artifact of the grading process and not required by graders to list every defect. They are primarily used by the graders to state the defects that help contribute to the overall determination of the grade and often omit the more obvious defects that set the upper grade limit. The act of CGC making the notes available is a courtesy and not a requirement of the grading submission. There are thousands 9.6 and lower books with "no graders notes" but it doesn't mean they are defect free. 2. Graders Notes language and lexicon uses terms like "light" and "small" liberally with no standard for size or severity. You simply can't trust that the notes imply anything about the pressability of the defect unless you confirm with your own eyes once you receive the book back. Here's my interpretation from years of comparing grader notes to the books when in hand. light finger bends on cover - often these can have hidden color breaks on dark covers when not pressed due to the angle of the finger bend but then reveal the color break when pressed. One way to see is if you shine a light on them at a shallow angle and rotate it around(do a 360 with an LED light). If you see any color break that will possibly appear once pressed. light spine stress lines to cover - again, they sometimes state "that breaks color" or "multiple" but I've got some 9.0-9.4 and even some 9.6 slabs that just says "light spine stress" as the only grader notes and indeed it does have 1 or 2 spine ticks that barely break color but often having multiples of them is the difference between a 9.2 and 9.6 or higher. "light spine stress lines" also doesn't indicate the size or severity of the spine stress. small bend right bottom of back cover - this one could be the most likely pressable but I've also recently seen this same text refer to a color breaking tiny corner crunch or corner bend. If that bend doesn't break color but the damage propagates through the cover to interior pages and does break color on those interior pages, that will affect the grade as well. small, light crease left bottom of back cover - creases usually indicate a sharp plastic deformation of the cover fibers and ink which often leaves a light color break on dark covers. Even on white covers, the crease won't truly disappear but it can be made less noticeable with a press. 3. ASM 300 has a notoriously unforgiving black back cover that often suffers from things that don't get put into graders notes. Anything from scuffs, to barely visible scratches, the severity of the production rippling defect on that back cover, or overall cover wear. 4. CCS is a totally different department than the CGC graders making notes while grading. Grading is subjective and can differ from person to person even within CGC's own grading room. The person evaluating the defects in CCS prescreen may have been doing so much more harshly than the person in the grading room and vice versa. Even if the lighting is different, the person in the pre-screen could have caught something that the grader didn't see. 5. CGC graders and their skills are always in flux and new hires are coming on board. I have books from periods of lax and strict grading that bares this out with 9.8's showing multiple color break spine ticks or stains on the back cover and 9.4's that are flawless except for 1 spin tick that I've resubbed and received a higher grade at a later time. I may also be lacking some context such as what was the assigned grade before submitting for pressing screening? How was the books submitted? Was it already a graded ASM 300 8.5-9.2 when you submitted it or did you have a specific minimum pre-screen grade that you were hoping to achieve? while some of those defects may be pressable, not all of them may be and even if they are, there may have been others that CCS thought would hold it back from the desired grade bump. I think the only thing you can really be upset about is that CCS didn't really cite any reasons or documentation on what defects they felt would hold it back. They usually do this for walk-throughs or books submitted for restoration removal so this may not be something they do regularly for thousands of regular pre-screens. My advice would be to reassess the book with your own eyes and a bright LED light,once it is back in your hands and if a follow up call to CCS doesn't bring forth more info, you can always crack it back out look through the interior of the book to check for tears, rips, writing, or other defects hidden from the outside and if none are found, you can send it over to Joey or any of the other pro pressers for a 2nd opinion or just request a press and resub it.

Yeah I've tracked recent gpa value $500- $1000 books for the entire CL auction that sat at less than $30 right up until the last day when it reached gpa prices but then blew past gpa in the last 30 seconds to 2-5x gpa. Granted this tends to be for the more under the radar stuff, low cgc census, or perfect cover wraps on books known to have cover issues that most bid lurkers hope to snipe or recent hot books that have 2 all in bidders going after. It all depends on what the market is for your books and if there are any recent gpa sales in the last 6-12months. Seems like they're top of census at 9.6, 9.8 so you have that going for you. I'd start to worry if the books haven't reached within 20% of gpa by the last hour of the end time for each of your books as thats when most lazy and serious bidders start setting their final bids. Most early bids are just tracking and wishful thinking bids. But like others have said, some books do really well while others can go for peanuts.

AFAIK, You are not supposed to get to keep the comics if you are trying to collect insurance on them from postal insurance. You got lucky the first time. At least that's how it works with usps in the states. U try to claim insurance, the post manager at the po has to inspect and hold the comics and packing contents until a claim is decided. If decided in your favor, usps keeps the comics and if determined to still hold value, sends them to a regional warehouse where they are auctioned off to help offset the cost of the insurance payout. If they decide against you, you get to keep the comics.

I'll put it in a different perspective. I have passed up chances to buy 9.9s with a 1/16"- to 1/8" white strip miswrap to the front cover in favor of a perfectly centered and aligned 9.8 of the same book even when price was not an issue. I, also, finally found my cgc 9.8 copies of ASM 129 and 100 with the perfect wraps that I could live with.

Sorry for being your fool. Same here but i try to let them off easy when they are genuinely trying to be helpful. I was unaware of your expertise and genuinely trying to be helpful while at the same time trying to warn you and possibly others of the undertaking. And I think you've proven my point of just how deep and possibly contentious that rabbithole goes. Just trying to answer your questions to the best of my knowledge. Sorry that yours is far superior to mine in this regard and could add nothing of value. Please disregard everything I posted previously and I'll defer to the experts and evidence presented thereafter.

boy you are about to go down a huge rabbit hole of research on newsstands. I would recommend you dive into the numerous threads here on the CGC boards and websites dedicated to newsstands. Get ready for losing 2 days of your life. correction: death of superman was actually around the 1992 timeframe where millions were sold. Sources: All of the sources I could provide are documented second or third-hand accounts so even if I provided the source which you can and eventually will easily google and find, it is still basically the word of the person printing/writing/interpreting their sources which comes from a couple of the Marvel execs at the time including the VPs of marketing/distribution/sales at Marvel during a conference or interview with the writers of research articles, web blogs, and a book about Marvel Comics on one end and Chuck of Mile High comics meticulously cataloging the count of newsstands to direct editions among his massive warehouse of books over the last 30 years. Frankly I'm just too lazy to look them up again and I knew I shouldn't have even bothered throwing out those numbers because it is virtually impossible to isolate any one credible source but many will argue those sources are valid. I just wanted to give an idea of when the decline of the newsstands began to precipitate. The problem is that those are the ONLY sources that actually bothered to look into the declining newsstand numbers over the last 30-40 years. In absence of any actual credible source that disputes these numbers, I'm inclined to believe they are close if not ball park for the years. Up to you whether you find them valid or not. When? Which titles? again do your research. Use the comichron site. I once did a full search to hunt for what I believed to be the rarest of newsstands. there's a list out on the web I think. I've since long lost mine which was tailored for ASM. Comichron is spotty for the late 80's and early 90's years. Did those issues have newsstands? Yes, Newsstand editions for Marvel and DC exist for all regular (Cover Variants don't normally have a Newsstand edition) monthly issue titles for Marvel up until 2011 and only for some titles until 2013. DC persisted up to 1 year later before ending theirs. Newsstands were THE primary distribution method since the very beginning. The Direct Market only started in the mid 70's with the Whitman comic packs and grew until the mid 80's eventually over taking newsstands. The Direct Market was heavily favored by some execs at Marvel who saw a more reliable stream of purchases without the concern of returns which is what Newsstands were allowed to do for copies that didn't sell. By the mid 90's there were so many comic stores which received the direct market issues and Marvel had taken over its own distribution of comics it became the more profitable strategy. Even after the crash, it is reported that a specific Marvel exec wanted to kill the Newsstand model altogether and basically succeeded. Why? How scarce are they exactly? Because most non-key newsstand copies are considered just as common as their direct edition counterparts from VF/NM to Poor condition from 1980's to late 1990s. you can always find them in a box. In my hunts, I have never had a problem finding newsstand copies of each copy between those years. Now the one caveat here is if they are in super high grade NM/MT CGC 9.8. For that you may get a bump on a newsstand copy over direct edition just because folks know that there are fewer newsstands in general available than direct editions in those latter years. Scarcity is debatable but newsstands up to 1995 are not scarce. You can still find them in long boxes and dollar boxes. There are a few from 1996 to 2000 that are a bit tougher to find but still not scarce. Now trying to find ones from 2001 to 2013 is a different story. And trying to find them in NM/MT 9.8, is the real challenge. Newsstand price variants? Oh yes there are. Just check out this thread rabbit hole: Canadian Newsstand Editions: yes you're right. they are canadian editions but since they are so indistinguishable from the US copies, the ONLY way to distinguish them is via the price. What do those have to do with Newsstands? Nothing. they are just more rare to look out for. Pressman, JCPenny variants are more rare than the newsstands in the late 80's and 90s. They were promotional items that are highly sought after.

Basically unless it is a key anything before 1996 is not going to be worth much above its direct edition counterpart. Maybe a dollar or 2 more but that doesn't stop folks from trying to get $5-10 or more if they aren't aware. Direct editions only really began to overtake newsstand distribution in 1986 albeit very slowly. Prior to 1985, i would actually pay more for a direct edition. By 1990 there is some data to suggest newsstands were far less distributed compared to direct editions but this was also during the run up of comic bubble so while the newsstand distribution may have only been around 25% or less of the overall market, we are talking about huge quantities of comics in the hundreds of thousands for some issues. 25% of a 400,000 print run for a single title is still 100,000 newsstand copies which dwarfs or equals the newsstand print runs of the 80s. 1994/1995 may have been the peak of print runs with the X-men #1, death of superman issues in the millions but after the comic market crash in the late 90s is also where you start to see not only the sharp decline in comics print runs but also distribution percentages in newsstands which fell to roughly 14% or less. Some issues only had print runs of 40,000 for a title. Outside of keys, the real value in newsstands is their scarcity from the year 2000 to 2013 when Marvel ended their newsstand distribution and some have different prices than the direct editions so they are considered price variants. Prior to that, look for the 75 cent and 95 cent Canadian price variants and mark jeweler, jc penny, and pressman variants.

Correct. Every state is different. If your state taxes income, you will need to look up the requirements for your state. Some states require a business license to itemize. Others don't. Federal has its own requirements. If you're filing in a state that taxes income don't forget to look into the requirements for both federal and state income tax as there may be other hoops to jump through on the state return. I'm going to try and itemize as a business for mine and review with my CPA and see what she thinks. For now I may have to jack up the prices on all my sales to account for a potential 21-24% hit next year.

I'm not a tax professional (if someone is please correct me) but technically any net income (not including expenses associated with the hobby) that results in a profit should be declared to the IRS no matter how small on Form 1040, Schedule D I think. The IRS may not have required ebay to file a 1099K form under that threshold of $20k and 200 or more sales. The big problem now is that if you weren't required before but are now due to Paypal's new requirement you will have to make a choice on whether to report the income as a hobby or a business. The kicker is that after 2017 and thanks to the new Trump tax reform bill that was passed, hobby expenses are no longer deductible. So you can't deduct any hobby related expenses to reduce the tax burden of your hobby sales. That includes any losses from sales or if you sold something for less than what you paid. On the other hand, if you are able to justify your sales as a business, you can still deduct any of the business related expenses to reduce the taxable income. However, you have to follow certain rules and prove that you're operating as a business in the eyes of the IRS. You'll need to talk to a tax advisor to see what those might be. Reporting of business net income goes on Schedule C where you tally your gross expenses and then subtract any business related expenses that are allowable to get your net income. Again, check with a tax advisor on what the allowable expenses are. I wonder if there will be an increase in all cash transactions for higher priced items.

LOL! First and foremost, I use bags on all my slabbed comics primarily to protect the case when they are in a graded CGC box, especially one that is nearly full as the friction of the inserting and removing tends to scratch the slabs. It also acts as a nice fingerprint barrier when showing to friends who aren't so much interested about the finer points of the grade and book structure and more so about just holding and looking at it. When I do display a book I take the bag off. I also have a reader copy of my graded books that allows me all the sensory benefits of the book. For anyone displaying a book, it should be done without direct exposure to sunlight or right under an older florescent light due to potential damage from UV. If you must, then try to use a case with UV protective glass and limit the time of exposure.

For the eGerber Mylars I just use normal 3M Magic scotch or duck brand translucent tape. The really clear kind tend to leave a residue on the mylar if you're pealing and resealing the tape or often become so bonded to the mylar that it tears the tape. I also hate the very opaque tape for the same reasons. Though I haven't tried the 3M Removable tape (light blue packaging vs green) but might give that a try. I also use the fold-over tab method with the magic scotch or duck tape. This is where you fold one end of the piece of tape about 1/4" onto itself such that you fold 1/4" of the sticky side onto the same sticky side. This leaves a tab that is not sticky facing the same direction as the sticky side that allows you to easily unseal the tape when attached to the mylar. I usually affix the tape to the folded mylar tab with the non-sticky end of the tape on top with only a 1/4" of the sticky side on the mylar tab and the rest (1/2") on the mylar back that the mylar tab is folded onto. That was probably a terrible description of what I'm trying to explain but many boardies use this method when sealing their comics to prevent mishaps with tape such as tape pulls and making removing the tape so much easier. I'll look for a photo to post later to show what I mean.

yep, this. the way CGC ships is similar to getting a CGC/magazine storage box (usually holds 30 slabbed comics) and line the bottom and sides (especially the front and back) so the slabs sit securely. Place cardboard on either end like book ends and ensure they are snug against the slabs. you may want to also insert cardboard in between every slab or at least every 3 slabs to help prevent them from rubbing against each other too much. Then slip on the cover with bubble wrap or padding on top and tape it down. Then find a bigger box that has at least 1" or more of clearance around all dimensions. You're going to want to line that with padding (bubblewrap or foam) and set the sealed CGC storage box inside and put padding on top and seal the box. That is pretty equivalent to what CGC sends except the side padding is a 1" thick cardboard buffer. When I've ordered stuff from ComicLink they've sent a combination of what CGC sends and large boxes filled with packing peanuts and up to 3 groups of 4-5 slabbed comics in large white bubble mailers in that large box.

The only way reading should be enjoyed. First I slip on my silk and satin burgundy paisley smoking jacket, walk to my absurdly cherry wood paneled and book cased, high ceiling library filled with unknown tomes I've never read (nor intend on) and fill a cherry and black wooden curved pipe with sweet tobacco but never light it. Then I set that pipe down on my salvaged mahogany wood end table and fill a low ball tumbler with some Four Roses poured on the rocks from a pretentiously ornate crystal decanter hidden in a globe and set that down next to the seemingly superfluous pipe on the end table. I call out for Alexa to play Tchaikovsky's 1812 Overture or something from Hans Zimmer on my dolby atmos HiFi. I then sink comfortably into my magenta leather brass nail tufted high wing-back chair and ottoman in front of a low lit Gothic fireplace of grotesque proportions. I carefully select the latest high grade issue in the run of Silver age ASM I'm currently on (#20 or was it #24?) from the shortbox at the foot of the ottoman and deftly remove it from the crisp Gerber mylites2 w/fullback and settle in for a nice read under the soft white yellowish glow of the end table lamp perched just below the pallid bust of Poe. I take a couple of sips from the low ball glass, set it down, wipe the condensation on my jacket, delicately grasp and open the supple comic cover as the nostalgic scent of recycled newsprint gently assaults my olfactory sensors and slowly allow myself to become submerged into the panels and dialogue of the Ditko art. There's simply no other way.

This is why I only do drop offs at conventions. also to save on shipping to CGC but mainly to remove possibly the most dangerous link in the submission chain. COVID has kept me from doing any subs this year. Maybe next year but TATs are going to be crazy like 1 month for a walk through, 6 months for Fast Track, and 5 years for economy.

Not sure I'll ever go back to finish watching the last 2 seasons of TWD or even any of the newer spin offs. The show began to follow the writing style from Lost, felt derivative and just became a big tease with no real substance. I wanted to watch a show about zombies, survival WITH and AGAINST zombies, fighting off the zombie hoards, uncovering the origins of the zombie disease, searching for a cure or vaccine for the zombie transformation, or even a better rationalization and suspense of disbelief on how emaciated rotting corpses with no connective tissue and major dental abscess can bite through thick clothing let alone move at all. By the introduction of Negan, the zombies became more of a background nuisance, less of a focus, and often shoe-horned in a gratuitous zombie or zombie kill in most later episodes. If we wanted a show about a warring tribal factions in a post apocalyptic era then the NBC show Revolutions wouldn't have been cancelled in it's 2nd season and would be well into it's 8th season this year. Of course, it didn't help that 3-4 of the most heavily audience invested characters get killed off. I agree, that if the shows writing wasn't going in any major direction the audience wanted in the future, at the very least, this is one area the show should have deviated from the comics by not having the some of the major characters killed off. I probably won't bother with any TWD movie either unless it's a complete reboot and has a deep emphasis in the Zombie origins.

So prior to switching to MPS, does the FVF still cap at $750 for either #1 or #2? what about for non-store subscribers?

meh, I was expecting this to be one of those that dragged on with no updates for 20 pages and then just died off. Pleasantly surprised this got resolved so fast. Honestly, I got carried away with the curiosity of how much each of those individual components of a slab weighed in order to come to the actual shipped weight. It still amazes me that a USPS box in a box with bubblewrap makes up less than 1lb of weight to get to the minimal shipping weight of 2lbs since the slabbed comic weighs just over 1lb. Oh well nothing else to see here I suppose. carry on.

So is there any back story to how it was relocated, by comicconnect and whether they bought it from the OO that Gil Kane sold it to or simply secured the auction rights to it?

The weight of the return package is your proof. My apologies if someone has already determined this. <Information is dangerous in the wrong hands. Removed the details of this post to prevent abuse of the info. by request of a board member> Is it possible the comic cracked enroute, sure. I've received USPS box in a box with full bubblewrap slabs that have been cracked in transit only 2x in 10 years but it is possible. Could the buyer have cracked it after he received it, sure. but there's no proof that he did it. However, what there is proof of is that there is no way a slab with a comic and inner well were in that return package with that weight.

Not always so. I doubt if production defects are allowed in a 10.0. In a 9.8 sure. Lots of production defects in comics: ink streaks, coloration, smudges, miswraps (allowed in 9.9 and below), gripper holes/tears/bends/creases, spine and edge ripples from where the folding press wrinkled cover when coming right off the press. And then there's plenty of shipping defects that knock grades way down. No, folks have pulled pristine books that came back as 9.9's and 10's out short/long boxes at comic conventions or LCS that are decades old. It really just takes a good experienced eye to weed out the best ones and then have the patience to carefully examine the book thoroughly before submitting, then pack it well for shipping, and a whole lot of luck to have been at the right place at the right time to spot it, have it shipped to CGC without it getting damaged or lost, and have it make it past receiving and through up to 3 graders handling it without any accidents along the way. "Hey look, this ASM 129 is a perfect Ten point O-OOPS!" (Grader picks the book up off the floor) "Um...nevermind" The only defects (though there may be more) I've ever seen allowed in a CGC 9.9 are: Off-white to white pages up to 1/8" miswrap full spine length to the Front cover (spine showing the whiteness from the back cover on the front cover) (this might be one of the reasons a technical 9.8 book may get the 9.9 grade if the 1 or 2 minuscule spine defects are hidden on the white spine border sufficiently that they are overlooked by the graders) The only hidden defects I've actually observed in some of the 9.9's I own: 1 or 2 barely visible non-color breaking shallow spine bump/indent up to 1/16" that is only visible under angled light. Of the 10's I've seen they all had: White pages Perfect page wraps, alignment of the front and back cover and centering sharp corners, no bindery tears, no staple misalignments No spine wear of any form, no edge wear of any form. Here's my advice for submitting a surefire 9.9 or 10.0: just submit lots of modern Zenescope Grimm Fairy Tales books and any books with lenticular covers. The ratio of 9.9's and 10.0's to anything else is almost 50/50.

Have you ever received a fresh batch of books from diamond and as you look through each one you get that sinking feeling and then after looking at all of them just know that there isn't a single 9.9 or 10 (even with a press) in the order possibly due to a shipping issue?

Ah yes the staple indents is a good one. Great points about the certain way the characteristics of the staples on the centerfold and cover may look. I may need to go over a few copies to get a sense of the consistent traits. Thanks Joey and JJJ for the additional insight and perspectives.

Always trying to improve my grading and restoration detection. Before I send in some older comics (copper age and below and below) is there a way to determine if the comic has previously been disassembled and re-assmbled for things such as center fold replacement, Marvel stamp wrap replacement, spine re-alignment, tattooz/Mark Jeweler insert swaps, etc? I'd like to do my own pre-screen if I can to determine whether to bother sending books in for grading or if I spot something suspicious to send it in for a more professional pre-screen to avoid getting a Qualified label. Not looking for detection of staple replacement although I suspect some of the same methods for detection hold true. I realize if a rusty staple has been replaced with a clean one telltale sign is the presence of rust transfer on the cover or interior pages but the staples are rust free. I'm more interested on whether I can tell if the same staples were removed and then put back. If the staples were simply removed and then reapplied using the same staples what should I look for? Will there be distortions in the pages or staple holes? Is there a specific appearance of the bend or folding of the staple tines that are only present when they were originally done via the machine vs by hand? A more arched bend vs a flat bend? Did the staple ends being folded appear different across different ages of comics (GA vs SA vs BA, vs CA)? Should I examine the staples under magnification looking for any abrasion or marks or scratches on the staples themselves indicating the use of a pry tool to open the staples or remove them? Will there be any noticeable wear, stress marks or changes to the elbow or elbow pit of the staple itself (where it bends) that would indicate it having been flexed or unflexed a few times? Anything else I should look for on the staples themselves? Or will things be more apparent from the swapped pages and inserts? Aside from the obvious items such as difference in page quality/tone/feel, difference in page wrap alignment or attached insert with the other pages, orientation, length is there anything specific to look out for? Thanks for any advice or comments.

I would try both but someone on here already stated to start with the one at your local PO (make sure it's the main PO in your city and not just a dinky annex) and see if they reach out to the post master down there or initiate a trace. If that fails, as a last resort I would also try calling the USPS customer service line and yes, it'll be a bit of a run around with long hold times but you will eventually find someone willing to help and start a trace on the package. You sent it certified but was it also priority mail, Express, or parcel select? You're probably SOL if you shipped it Media Mail. While I considered using private insurance for insuring packages, Registered Mail is a must for anything over 5k for me. Not saying its perfect but it does mean that the USPS has skin in the game to find your package since they're on the hook if it gets lost or damaged for the full claim amount. Once you file a claim they will move heaven and earth to find your package rather than pay out the claim but they may also drag their feet on declaring it lost to avoid/delay paying the claim until it becomes all but certain that it is lost or was stolen. Sadly, this may be another knock against CIS. If they have approved your claim and are processing your claim, slowly, and plan to pay it out but just being slow about it then that might just be how they are right now (possibly due to a bunch of other clients with lost USPS packages) but at least you'll get your money. However, if they're sandbagging you or have not yet approved your claim due to insufficient evidence, you may need to get an official statement from the post office of it as declared lost and/or threaten CIS exposure on social media if they are just flat out refusing your claim. From what I've read on here from past customers of CIS, one drawback on getting a claim payout from CIS is it may be a one and done then drop you as a customer. Not to give false hope but I suspect it's just stuck/misplaced/delayed at one of the facilities, got misrouted, or had the label sufficiently damaged that it couldn't be processed yet and might turn up with a trace or after a few weeks possibly after the election.

Great point Bob. These are the kinds of insight and discussions a "council" of experienced and seasoned graders/dealers should argue to come to a consensus that benefits the hobby but also allows for educated and well thought out agreement on where those defects should fall. In this example, one extreme opinion is considering that a pressable/cleanable defect be assigned a grade at it's post-manipulated perceived grade. I disagree and I feel most would as that is just not how grading should work and it would further complicate the grading process. The defect is present regardless if the potential for removal exists. the value may change for the potential upgradability over one that has non-pressable defects but that can be negotiated by the buyer and seller. On the other hand, the other extreme, but current, opinion is that pressable/cleanable defects should continue to be treated as they have always been even graded below other more permanent defects of equal size or of smaller size but greater accumulation. Prior to the broad acceptance (undetectibility) of "expert" pressing and cleaning (despite the 2 having been used for decades) and the reinforced stigma of restoration color touch vs tear seals, all those defects had a level playing field. However, with CGC purple vs blue labels and offering its own pressing service, the playing field has dramatically shifted. There's even a different market and levels for restoration removal of color touch (A and B grades being potentially removable with C being the more permanent). Why should it be any different for pressable/cleanable defects? In the grading guide a full book length non-color breaking vertical bend is first observed in a FN- 5.5 example of a comic with a similar accumulation of defects allowed in higher grades despite book length bends not actually referenced in the grade description allowed defects reference page for FN-. However, in the same guide you can have books with defects such as oxidation shadows along 2 full edges in FN 6.0 or animal chew on 2 corners affecting 1/4" of the cover and some interior pages in FN+ with a similar accumulation of defects as the comic with book length non-color break bend in the lower grade. Oxidation shadows and animal chews are permanent and removal/repair would be detectable as restoration and receive a purple label whereas a press of the book length bend would not. I suspect the needle on where a book length non-color breaking bend may grade may fall might need to be moved to somewhere in between those 2 extremes. But that is what I would expect the group of experts to debate and hash out. For now, I have to keep grading it as the current opinion but perhaps making note of it's potential for upgrade but this is one area where I can see a change in consensus.