Rick2you2

Right now, they are in individual top loaders and under a banker’s box. In about 2 weeks, I will check them, and probably flip them over for the same treatment. Depending on how they look after 2 more weeks, flip them again or stop, I have used a similar approach with comics.

If the dam’n things don’t flatten out, I expect to drink it.

Ordinarily, I am not a fan of gore. But, Howard had this piece for sale at one show, and when I saw that first panel, I grabbed it.

These were about $50-100 each. Sometimes, even I need a break from the caped guy. I gave them to my better half, who promptly had them framed for the bedroom.

I saw this on eBay a few months ago, and I thought I would save it as a warning to others. Someone got sick of all the eBay fakes and posted it. That signature looks pretty good to me:

I'll give it a shot this weekend when I fire up the old barbeque.

I was once able to flatten some comics which had become curved, but it took about 2 months to straighten out. I obviously hope you are wrong.

How NOT to mail art (inks by Victor Cifuentes, very nicely done, by the way). Any idea how long this will take to flatten out under a reasonably heavy Banker's Box?

I couldn’t give away my ex-wife if I tried.

Howard Chaykin uses an unusual process these days on his independent books. He draws the main figures on separate panels, generally having assistants do the backgrounds, and then assembles the panels as pages in Photoshop. My understanding is that he is not allowed to engage in panel assembly like this on his DC or Marvel book work. Frankly, I'm not thrilled with that process. He could be very creative in his panel designs, and using the Photoshop approach can severely limit this. I spoke to him about it, and he understood (he also seemed to miss adding them), but he pointed out that this method is quicker, and for artists, there are business considerations (time is money). He remains one of my favorites.

Not necessarily. Layoffs happen, and the law doesn’t allow one to create a change in circumstances and then rely on the change to get out of a commitment. It would have to be unforeseeable at the gitgo. Also, companies can be bound by the actions of prior executives. I question whether the promise was legally binding to begin with. Was it too vague to be enforceable, or did it lack any reciprocal action or inaction (also known as consideration) resulting in a bid and win?

Legally, it can be. One question is whether the statement was authorized or binding on DC. Another is whether a change in circumstances, allows DC to get off the hook.

Add in an echo price at roughly double my estimate of the market price? Uh-uh.

This one was an overseas auction. I didn’t like the “echo” bid pattern I was seeing, or where the final echo ended up on a pretty obscure piece.

But, if you really, really wanted it, you would have gone a little higher, right? And if not, no great loss. If it is something I really want, no realistic price becomes an impediment (unless I sense bid manipulation, which happened once).

A business transaction is not art (although some may suggest it is an art form). How many beautiful pieces of jewelry, or antiquities, have been melted down for their gold and gemstones? How many archeological sites have been ruined by grave robbers? Business is business; success does not make it right. Leveraged buyouts are a different matter. While “ unlocking value”, they have often left the remaining company with too much debt, no cushion, and an eventual Chapter 11 or 7 Bankruptcy filing. Sometimes, the damage doesn’t show up for years, but from what I have read, it generally seems to do just that.

You get to include cheese?

I can’t generate tears for the attempted flip of a charity auction piece.

The issue, though, is about splitting up books— making things worse, not getting the best which is available. And let me add that the absence of word balloons is something I hate.

Why? I like my alcohol, even in a cape. There is also a lot of classic art I don’t like, although, I will pass on Dogs Playing Poker.

I expect I will go. Curious about the dealers who are attending.

“Moronic”? That’s kind of harsh. Ideally, we would all buy complete stories, and enjoy the full aspects of the “sequential” in sequential art, but that would price a lot of people out of this hobby who can find other aspects to enjoy. What would a full issue of a Kirby FF cost, if it exists? Besides, there are other ways to enjoy specific pages. I get a kick out of comparing different styles by different artists for the same character. It would be better if I could also buy the whole books, and pick out pages for temporary comparison, while later returning them to where they belong, but that’s not in my budget. Some people buy commissions for the same reason. There has been a huge run on eBay by someone who is selling off his Batman on gargoyle commissions (I assume it is the same person). That is even more focused than I am, and they do look cool. Whoever it is, he/she also likes the static/comparative aspect of comic art. There is no “point” to my hobby, other than a pleasurable break from work which is not consumed by other chores, responsibilities or sleep. So while I disagree with the OP, and his sense of “excitement” at the impending destruction of a complete piece of work, moronic is going too far a bridge for me to cross.

I have now confirmed that this is technologically possible. The problem is practical. It would take a lot of time and effort to do, and it is only worth doing if there is an audience for it. It certainly is not within my skill set. So, anyone have any good practical ideas how to build an audience? I’m getting a “Field of Dreams” image here.

Well, no. There is a reason OA is called sequential art, not static art. The art is designed to compliment a story and that means following the flow and rhythm of the whole thing. By buying single pages, a practical choice, we lose the ability to see how the panels interact between pages— like the speech balloon of a character off page who shows up the next page, maybe in a half splash, or the ebb and flow of time between story arcs. The hobby has ignored the beauty of that aspect of their creation, which must be attributed to the writer’s decisions as well as the artist. We similarly value the full page splash, and rarely give much thought to sophisticated panel layouts in a page. Doing so between pages is even worse, in a sense, because it never even comes up as a subject. The reason is simply that buying the whole stories is expensive. I am no saint; I am equally impressed by a full splash; but I make the effort to see past the splashy effects. I just bought my first story (actually, a half story continued in the next issue). I am looking forward to to absorbing the whole layout. So no, it won’t be broken up.

In the 1970’s, we had pretty low standards.