Pixx_L

I'd like to see a custom label for J. Scott Campell's next signing.

Sam Kieth

Jeff Smith

Julian Totino Tedesco

Alexander Lozano

Sozomaika

Jeff Dekal

Joshua Middleton

Joe Quesada

Hiroaki Samura (Blade of the Immortal, Die Wergelder) - this is a wish list right?
 

Double Cover of X-Factor #78 signed by cover artist Joe Quesada and Inker Jimmy Palmiotti on Both Covers!. Check out my complete ebay listings here.

• All books sold so far have shipped out within 24hrs of sale and are carefully and attentively packed.
• All CGC Cases are Mint and literally have not been removed from the return box from CGC aside from the pictures taken for the listings below. They are not being taken to trade shows etc - these are from my personal collection.
• Feel free to e-mail any questions. Thanks for looking!

Selling some CGC'd books from my personal collection - many signed. Check out my complete ebay listings here.

• All books sold so far have shipped out within 24hrs of sale and are carefully and attentively packed.
• All CGC Cases are Mint and literally have not been removed from the return box from CGC aside from the pictures taken for the listings below. I'm not a dealer. These are not being taken to trade shows etc - again these are from my personal collection.
• Feel free to e-mail any questions. Thanks for looking!
   

Image: 

Spawn #9 CGC 9.8 Signed by Todd McFarlane (SS)                                                                   Spawn #202 CGC 9.8 (SS) McFarlane (LOW Print)

Spawn #288 & #290 (Variants) CGC 9.8 Signed by Todd McFarlane (SS)            Spawn #50 CGC 9.4 SS by Todd McFarlane & Capullo  

Gunslinger Spawn #1 (1:50 Variant) CGC 9.8 Signed by Todd McFarlane (SS)                         

Witchblade #118 Fantastic Realm Virgin Sketch Cover CGC 9.8 Signed by Marc Silvestri (SS) Gen 13 #1 (Spider-man #1 Homage Variant) CGC 9.8

Bone #24 CGC 8.0 Signed by Jeff Smith w/Bone Sketch                                                             Bone #20 CGC 9.6  Signed by Jeff Smith w/Bone Sketch

Bone #2 CGC 9.8 Signed by Jeff Smith                                                                                        Bone #11 CGC 9.6 Signed by Jeff Smith w/Sketch  

Marvel:

Spider-Man #1 (Silver Poly-Pagged Edition) CGC 9.8 Signed by Todd McFarlane (SS)             

Amazing Spider-man #55 CGC 9.8 (1st Print)                                                                              ASM #72 (Heritage Variant) CGC 9.8 (SS) Inhyuk Lee

Amazing Spider-Man #14 CGC 9.8 SS Campbell.com Edition K Signed by J. Scott Campbell    Hulk #1 (FC Variant) CGC 9.8 Bjorn Barends (SS)                                

X-Factor #78 (Double Cover Misprint) 9.6/9.6 Signed x2 Quesada & Palmiotti both covers!     Spider-man 2099 #1 (@CGC for Rick Leonardi Signing)

Iron Man #12 CGC 9.8 (Rahzzah Variant)                                                                                     Sky Doll #2 (Sky Doll Spaceship) CGC 9.8

DC:

 Batman #50 1:100 Lee Sketch Variant (@CGC for Jim Lee Signing)

Harley Quinn #1 CGC 9.8 Amano Variant                                                                                    Superman Man of Steel #19 CGC 9.8

Batman: Shadow of the Bat #1 CGC 9.6 Signed by Brian Stelfreeze in Green Ink                      Green Lantern #22 (1963) Signed by GL Creator M.Nodell

Green Lantern #19 (1991) CGC 9.4 Signed by Late GL Creator Mart Nodell                              1991 DC Cosmic Card Signed by Late GL Creator M.Nodell

Valiant:

X-O Manowar #0 CGC 9.6 (Signed x3 by Quesada + Palmiotti + SS Bob Layton)                     Solar #29 CGC 9.4 SS (Signed x3 Quesada + Palmiotti + Layton)

Eternal Warrior #1 CGC 9.8 (Frank Miller Cover)                                                                        Archer & Armstrong #0 CGC 9.4

Dark Horse:

Ghost in the Shell 2 #7 CGC 9.6                                                                                                 Ghost in the Shell 2 #8 CGC 9.6

Blade of the Immortal #18 (Dreamsong 7of7) CGC 9.6                                                              Blade of the Immortal #131 CGC 9.6 (Final Issue LOW PRINT)

Blade of the Immortal #76 CGC 9.6                                                                                            Blade of the Immortal #101 CGC 9.8 (HTF)

Misc:
Vampirella #7 (1970) CGC 7.5 (Iconic Frank Frazetta 'Witch Woman' Cover)                          Sacred Six #5 (Virgin Variant) CGC 9.8 (SS) Derrick Chew w/Sketch

Lady Death Cataclysmic Majesty #1 CGC 9.8 (Cosplay Kickstarter Edition)                             Sacrificial Annihilation #1 CGC 9.8 (Cosplay Wrap-Around Cvr Kickstarter Ed.)

Lady Death: Blasphemy Anthem #2 CCGC 9.8 (SS) Kendrick 'Kunkka' Lim

Sacred Six #10 CGC 9.8 (Maine Virgin Variant)                                                                        Triggerman #1 CGC 9.8 (Fay Dalton HTF Pinup Art Variant)

Sold & Shipped:
 

Bump.

Happy Monday.

Bumping

Some Bad Girl CGC'd books from my collection - many signed. Check out my complete ebay listings here.

• All books sold so far have shipped out within 24hrs of sale and are carefully and attentively packed.
• All CGC Cases are Mint and literally have not been removed from the return box from CGC aside from the pictures taken for the listings below. They are not being taken to trade shows etc - these are from my personal collection.
• Feel free to e-mail any questions. Thanks for looking!

Witchblade #118 Fantastic Realm Virgin Sketch Cover CGC 9.8 Signed by Marc Silvestri        Vampirella #7 (1970) CGC 7.5 (Iconic Frank Frazetta 'Witch Woman' Cover)   

Lady Death: Blasphemy Anthem #2 CCGC 9.8 (SS) Kendrick 'Kunkka' Lim                             Sacred Six #5 (Virgin Variant) CGC 9.8 (SS) Derrick Chew w/Sketch

Lady Death Cataclysmic Majesty #1 CGC 9.8 (Cosplay Kickstarter Edition)                             Sacrificial Annihilation #1 CGC 9.8 (Cosplay Wrap-Around-Cover Kickstarter Ed.)

Sacred Six #10 CGC 9.8 (Maine Virgin Variant)                                                                        Triggerman #1 CGC 9.8 (Fay Dalton HTF Pinup Art Variant)

Ghost in the Shell 2 #7 CGC 9.6                                                                                                 Ghost in the Shell 2 #8 CGC 9.6

Bumping for the Holiday. Cheers everyone!

Updated with Placeholders for CGC signings.

Updated w/New Listings + Removed Sold Listings

R-rated to G-rated this week.

Kind of a wide spectrum in this batch.

On 9/12/2023 at 9:07 AM, the blob said:

Doesn't the venue and staffing the venue cost a tremendous amount? Both SD and NYCC are in high wage spots. 

Sure both SD and NYCC are high cost areas (though less so in San Diego). But when attendance for SDCC is pushing towards 150k the rationales of 'good for them for making as much as they can - they might be out of business' or 'these events shouldn't be for the poors' become absurd. The economy of scale allows for the event to both make money and be cheap to enter, especially since SDCC is in part subsidized as a de facto Hollywood red carpet event. Some may want to pretend otherwise but it's not an either or situation, and the example of Gamescom in Germany is a precedent for how SDCC or similarly large American conventions could function (and indeed did function for most of my childhood and teenage years). Having a low entry price also allows for more money to obviously be spent inside the walls of the convention rather than on the ticket price. Pretending a high entry price is a good filter to excluding people because they may not be the type to drop $500+ on a single grail comic book or w/e the rationale is self-defeatingly stupid. Vendors should aspire to have as much traffic and business as possible at various price points - not less.

Tokyo Game Show is another counter example to the status quo of American Convention pricing. Over 200k people attend (a little less recently due to Covid). Is Tokyo not one of the most expensive cities in the world? Their ticket price this past year was 2,300 Yen or about $15 bucks. A better world for attendees of large conventions is certainly possible - even if unimaginable within the US.

On 7/20/2023 at 3:47 PM, Brock said:

Ironically, I actually bought a copy of this on Tuesday of this week. I'll admit that I am not a hardcore Spawn fan. I had never actually heard of it before, but I do feel that early Spawn rarities still have a lot of room for growth. If I were in your shoes, I would hold onto the book.

Nice. Just out of curiosity where do you think the grade range is for the copy you found? From what I've seen on ebay over time they're not really well cared for.

On 7/21/2023 at 6:47 PM, KingOfRulers said:

1) A non-profit organization is merely a government designation. Organizations have no goals. Just as a corporation cannot pay taxes. Only people can pay taxes, whether that person be a shareholder, employee, or customer. But it's always ultimately a person. The people that are in positions of power are the ones that have the goals. The culture of an organization changes as new people enter and old people exit, but the organization has no mind of its own with which to have goals. To say that because SDCC is a non-profit organization and therefore its administrators are not interested in financial self-interest, is in my personal opinion, naive.

Have you ever researched what percentage of monetary donations to various non-profit "charitable" organizations actually goes to the causes they ostensibly support? If you haven't, you'd likely be shocked at the percentage that goes to things other than the cause they support, and further shocked at the salaries that administrators of some non-profit organizations make. Non-profit in no way means that there aren't folks banking.

2) Artist alley tables are not pretending to do anything. It costs a lot of money to put on a convention. My conventions were regional-level conventions and each event would cost us roughly $600,000 to make happen, on average. I'm sure conventions such as SDCC and NYCC must cost a couple million dollars to put together. Conventions to showcase such artists would not exist if they operated at a loss. Not even SDCC.

3) People have the freedom to seek out art, if it strikes their fancy. With the popularity of Instagram and YouTube, I'd say it is easier than ever to make your art available to the world as it costs no money to do so. Convincing folks to care is the trick!

1) People create institutions that are greater than the individuals that participate in them. They are reflective of ideological missions - whether that be a current day not-for-profit organization, or corporation, or those of previous eras like the monarchy, or church. Institutions are more powerful and impactful in a society than any lone individual or group of individuals as a result. This is what people mean when they talk about systemic power. It's why billionaires invest millions into institutions that reflect their ideological priorities. Reducing the power of institutions to the attitudes and preferences of individuals is misleading, and incorrect.

Further, whether the legal definition of a non-profit organization can be subverted to undermine its stated purpose is irrelevant to the idea and importance of having non-profit oriented entities that serve a public good. Spoiler: there will always be bad actors and corruption that exists in any society. I don't see how acknowledging the existence of such bad actors or corruption justifies not caring to have/create institutions that serve a public good. Again pricing tickets for cultural events like SDCC at $100 does not serve a public good. Pricing a ticket at a broadly accessible $20-$30 (like Gamescon) does. That doesn't mean every large convention in the country has to be at the price point of Gamescon but to treat the current norm of large conventions being priced at nearly $100 for a ticket with not just indifference but applause is to me antithetical to wanting the culture to grow, be in good health or in anyway 'care about the art.' ¯\_(ツ)_/¯

2) Conventions do not need to 'operate at a loss' to make their artist tables financially accessible at better rates than the example I gave with the woman who self-published her own graphic novel. (They don't need operate at a loss to reduce their ticket prices either). They just need to adjust their priorities in what they choose to monetize and for how much as well as reconsider who they care to serve. Pretty simple.

I've backed several kickstarters for pop-up art shows, downtown murals, public sculptures etc. Maybe the people running conventions that think they need to charge $100 a ticket to be financial solvent just have a lack of imagination in how they fund what they do.

3) I agree with you. I think the comic-con culture in the US I grew up with has largely become irrelevant and stagnant for all the reasons and preferences you outlined above.

Anyways I rarely post on these forums and I'm not finding any value in this engagement at this point with you from the positive interest I had when it started, so I'm just going to exercise this little button I found called 'ignore.'

Cheers.

On 7/21/2023 at 12:46 PM, KingOfRulers said:

Comparing SDCC to any other pop-culture comparison is indeed NOT apples to apples. SDCC is its own comic con category, apart from essentially all other U.S. comic conventions. SDCC is not set apart from other conventions due to size/attendance (as there are other comic cons that are just as large), but for two other reasons: 

1) SDCC is a non-profit organization. As a non-profit, the way that it does business and its goals are different than other comic cons. SDCC isn't an event that can be sold to some larger entity one day, like every other comic con can be. Instead of gaining value as a company, SDCC's administrator's become the beneficiaries of the financial success the organization achieves and they do this through massive salaries. SDCC administrators are not incentivized to manage the organization in the same way that for-profit companies are.

2) SDCC is widely accepted as a PR opportunity for Hollywood. SDCC doesn't pay for TV and movie stars to appear at the event. I'm sure they end up being on the hook for some travel accommodations, per diem, and minor expenses, but they aren't paying appearance fees or guarantees. As SDCC is a PR opportunity for TV and movie studios, the stars from the hot shows and movies of the day appear at SDCC for no charge. All other comic cons hire celebrities to attend their events; for all events other than SDCC, it is a paid appearance deal. For SDCC, celebrities attend for free as it is part of their PR obligation to the studios for whom they've done work for.

As a pure PR opportunity for studios, celebs aren't contractually bound to the strict terms that they are in other comic convention personal appearances. At SDCC they'll do the all-important panel and then maybe sign posters for fans for an hour or so, and then they're done. At all other comic cons, the appearing celebs are guaranteed a certain amount of money for a very specific scope and length of work; they are to participate in a panel for X minutes, they are to participate in autograph signings for X minutes, and are to participate in photo-ops for X minutes.

As far as ticket prices...why wouldn't SDCC charge $100/day? They sell out of tickets every year at that price, and still have mobs of people willing to purchase. It makes no sense for them to sell tickets for $30/day and sell out when they can sell them at $100/day and still sell out. Being that they have a huge waiting list every year, wouldn't the law of supply and demand suggest that they probably need to raise their price?

And when it comes to conventions being accessible to unknown artists; as far as I can tell the convention world already is as accessible as can be. Pretty much every convention has an artist alley section where artists can show off their work. At my conventions, we usually had around 120 artist alley tables. We made the tables available to all types of illustrators. It all comes down to if the varying types of artists wanted to attend...if they applied, chances are I'd accept them!

But you are right in that the only thing the average, common denominator of a person cares about is mass marketed, corporate properties. That's what most people like for whatever reason. If I had to make a bet, I'd bet that the unknown artist selling Spider-Man art will likely garner more interest than the unknown artist selling Japanese woodblock carvings of bonsai trees. As I mentioned previously, most people don't even care about the legendary (to us) artists that brought all of our favorite, popular characters to life within comic books for decades. I can guarantee that even fewer people care about the comparatively unknown artists. The average dum-dum doesn't care about art at all. Maybe an event like Art Basel is what you're looking for. I'd imagine a greater percentage of attendees care about the arts there. But maybe not even there. I guess that narrows it down to the folks on these boards...this is the last holdout of people that actually care about the art.

1) "Why wouldn't SDCC charge $100day?" You answered your own question - if they are a non-profit then the goal is not to make profit but service a collective, social or public benefit. They exist to serve a public good. I don't see how a $100 a day ticket is a public good. The better question is if someone is so devoted to 'caring about the art' of comics why wouldn't they want one of the largest pop-culture/comics-related events (or just more conventions in general) to be as affordable and as accessible as possible to as many people as possible? Obviously Gamescon in Europe with its $20-$30 tickets embody this. The conventions I attended in my youth embodied this. I see no reason more conventions in the US currently couldn't as well, besides a certain corporate mindset that sees everything as a profit maximizing endeavor. The philosophy of taxing everyone's wallets at every opportunity didn't lead to a healthy comics market by the end of the 90s - I don't see why that example would reach a different outcome for geek culture and conventions the way they're going.

2) This side steps the issue of accessibly for artists at conventions. Whether you have 120 artists at a convention or not really says nothing about how accessible those tables are given their price. Obviously, my example was not of an artist making 'japanese woodblock carvings of Bonsai Trees,' (that definitely would fit the bill for Art Basel) but rather a working class woman who normally works as an illustrator with an ad firm (by day) who was moonlighting in comics with a graphic novel she had made in her free time along with prints of various illustration work she had done. Given the cost of that table for her, she was finding it pointless financially to go to conventions. But I totally get why it would benefit conventions to sell tables to more than just one type of vendor while pretending to do a service for the artists. There's a similar dynamic at work for most film festivals here in the US that charge the same price for a short film (overwhelmingly submitted by students and unknowns) to be entered and reviewed for acceptance as they do a full-length feature film. I have never been to a US film festival where the organizers didn't come out and grandstand as providing a great resource and service to filmmakers. By contrast most European film festivals have no charge to review short films for acceptance - an actual service to filmmakers.

3) As far as what people care about and why - this is ground someone like Robert McChesney covers extensively. The short answer is if people have few opportunities for one thing and more for another popular tastes become reflective of what is more dominant. You can't just blame the people themselves for this result but those that are restricting the options available to them.

On 7/18/2023 at 10:50 AM, KingOfRulers said:

I could write a book on the comic con business. In short, comic book collectors are not a large enough fanbase to support a large-scale comic convention. I say this having experienced both sides of the coin. It's evident by merely looking at the landscape for comic conventions. The largest comic-centric convention in the U.S. is Heroes Con, with what Google tells me has a record attendance of 40,000 set in 2016. After Heroes Con, what other comic centric convention comes remotely close to Heroes? I can't think of any comic-centric event that is anywhere close to those attendance numbers. Comic-centric events are plentiful all around the U.S., but the attendance is usually in the 500-1,500 attendee range. I can't think of a single comic-centric event that even touches 5,000 attendees, other than Heroes.

If you look at the convention landscape for comic cons that are really "pop-culture" and nerd-culture conventions, then you'll find tons of events that hit 40,000 attendees and more. Plenty of 5,000, 10,000, 50,000, 75,000 attendees and more conventions that are in every major U.S. city, often times with multiple events within the same city drawing those numbers. These are often events that have only been around for 10 years and get these numbers, whereas it took Heroes Con 35 years to get to 40k.

As a convention goer, I would not have attended the conventions I owned as I don't like the hassle that comes with huge crowds. The admission price to my conventions would've been too high. The number of comic book dealers we had would've appeared too few in number. I much prefer going to smaller shows where a high percentage of the vendors are comic book dealers, the crowds are small, the parking is easy, and the admission is relatively low.

As a convention owner, in my experience, hardcore comic book collectors (such as myself) are perhaps the worst group to cater to. The demographic is small in number, unwilling to spend on admission (often don't pay as they are well connected and get free dealer passes), expensive customers to acquire, and tend to complain more than anyone else. Why bother going through the effort and investment to attract them? I can tell you that in large part, it was pure emotion and respect for the world of comics that led us to continue the effort. We didn't want to be "sellouts" to the term "comic con". As hardcore comic guys ourselves, we genuinely care about the longevity of comics. But from a business standpoint, I regret to inform you that comic collectors are the worst and are money losers for comic cons.

I didn't mean to imply a convention should only be comics, but rather (pulling from the example of my teenage years in the 90s) that I'd like to see conventions more focused on keeping the admission price down. Mega-con (at that time) was a big event with comics (obviously), anime screenings of upcoming state side releases, vast rooms of Lan-party computer gaming setups, artists, seminars on various topics, dealers of comics, toys, bootleg movies/anime, pulp and pop culture oddities etc etc, I think a magic tournament as well - on and on. It just didn't cost much to attend. There also wasn't a roster of A-list TV & Movie celebrity guests at that time either though. Whatever the costs of 25 artists I can't imagine the costs of the increasingly bloated lists of TV & movie stars I see at the top of the marketing for every (even mid-sized) convention advertised these days.

I've never been to SDCC but what does a day pass cost? $100-ish? I would guess a few hundred for a 3 or 4day pass. It might not be an apples to apples comparison content-wise but Gamescom in Europe is of a similarly massive scale to SDCC with a huge number of attendees and the price per day is under $30 ($20 if you're a retiree or student). That's a price point that won't simply gather the people already into the culture but is low enough to add a more casual audience as well. That is the kind of pricing I'd like to see SDCC or any equally big show aiming for (obviously I'll probably move to Europe before that happens though).

On a side note: one thing I'd like to see conventions doing (and I have no idea how easy it might already be) is to make conventions very accessible for unknown artists to get tables. And by artists I mean of any visual medium not simply comics, and not people that are just doing doodles of superheroes they put up for sale but people that actually have an artistic voice, style, project, something of real interest etc. I can remember backing a Kickstarter some 10yrs ago for a woman that came from advertising and animation who in her free time worked on a graphic novel she wanted to publish. She raised a little over 10k on Kickstarter and got it published and then around the time she got the books out to her backers, she went to a few conventions to try to promote extra copies she had on hand. It was purely coincidental I ended up seeing her at a convention near me but I can remember talking to her a bit and hearing how she was getting beat up on the costs of travel, hotels, and then renting tables at shows for not much if any benefit. She was the type of person, with the type of project and work (she was selling some amazing prints of her illustration work in addition to her graphic novel) that should have been lifted up by attending the events she was at. It's a real shame she wasn't and a real disappointment if nerd culture/conventions have gotten to a point where the most corporate/mass market/advertised thing is what people are salivating to go to them for or show the majority of their interest in.

On 6/29/2023 at 1:54 PM, KingOfRulers said:

I view Avengers: Endgame as our peak. We've been fortunate to experience the golden age of the superhero. 2008-2019 was the heyday for the MCU, but I'd say ever since X-Men came out in 2000, our once sub-culture has become mass appeal, popular culture. 2008-2019 was an amazing run. Not every movie was a winner, but even so, it was what so many of us dreamed about for years. At this point, we're four years beyond Avengers: Endgame (it's hard to believe it's been that long). I think the average person who isn't a comic book fan, but got loved going to see all the Marvel movies over the years, is possibly burned out. Been there, done that at this point.

As to what this means for SDCC...probably nothing for quite a while. I think SDCC is large and high profile enough to bring in full capacity numbers for quite a while, even if general interest in fandom declines.

I owned and operated several large comic conventions from 2010-2021. None as big as SDCC, but at the 40,000-50,000 attendee level. Towards the end of our run, we were very nervous about general public's comic con fatigue. Another, "been there, done that" situation. But in our case, not towards interest in Marvel movies and nerd culture, but instead interest in comic conventions. I think the nerd culture boom that we've had the last 15 years was fueled by popularity of Marvel movies, Star Wars movies, Walking Dead, Game of Thrones and the general prevalence of properties that were closely associated with events such as comic conventions. It's one reason why so many comic conventions (including my own) sprouted up everywhere and grew so large. At this moment in time, I see the general public as bored with the MCU, Star Wars etc, and I see that boredom as a threat to the viability of regional-level comic conventions. While SDCC isn't immune in the longterm, I see it as pretty resistant to that fatigue.

I think the biggest threat to Comic-cons these days as someone that is mostly selling off my collection on ebay but still interested in what goes on in comics (at a reading/creative level) is the entry price for most shows. I grew up in Florida going to local conventions that were $5 bucks to enter and Mega-con which they did two of at the time (a smaller one in Tampa and the yearly larger one in Orlando). Given the scale of Mega-Con then for the ticket price it was an easy 'yes' price even factoring in a hotel stay for a night. Nowadays (being in Ohio) the admission fee alone for a day pass is just too high (for the shows around me) relative to what I may actually think is exciting or valuable  to see. I don't really care about Movie and TV show celebrities if that's the justification for bumping ticket prices to $50 a day or more. CXC in Columbus is probably the only show I'm interested in traveling to and it's focused squarely on comic creators. Admission is free leaving me more money to put in the hands of the creators trying to scratch out a living versus whatever corporate entity now took over the previous corporate entity of Wizard World.

On 7/17/2023 at 8:44 PM, valiantman said:

It could be much worse... I think you got a great outcome.  You could have gotten a green qualified label with the official notation being a generic "Name written on cover".  You got a blue label with "MART NODELL" on the notation. 

Yeah I agree. A lot of my original submissions to CGC were all signed books and back then if they could read the name they typically wrote "X name written on cover." If it's legible they really should have the exact name noted on the label as some sort of compromise since they don't verify signatures like this. I'm guessing they changed it for legal reasons to be unambiguous that they take no responsibility for verifying anything written on a book including even noting the name itself.

On 7/11/2020 at 5:18 PM, Varanis said:

I had a discussion with a few friends recently about the value of rare misprint comics, and I thought it would be an interesting question to pose to this forum. Many misprints, errors, and recalls have enough copies in circulation that a critical threshold of public sales exist to determine a market. Whether it's the Secret Wars #1 blue Galactus misprint, a double cover, or the infamous first printing of Batman: Damned, each has a fairly defined market.

But what if the misprint is so rare that there are only a few or maybe even only 1 copy that exists? The question came up due to the Hawkman Zaffino variant cover issue below. The full color cover is the intended variant cover. However, there are 2 copies that have been found in the wild of the black, white, and blue cover and one copy of the pink cover. These "variant variants" were not solicited and clearly appear to be misprints. How would one go about ascribing value to this misprints?

I have my thoughts, but felt it would be an interesting example to bring up here. What do you think?

 

Given seemingly every book nowadays has a 1:100 or 1:250 variant or given the popularity of Newsstand Editions (which to me takes the prize for most boring variant one could possible pay a premium for) - I don't see how anyone could convincingly argue that misprints shouldn't have a premium attached to them. The premium depends on the popularity of the book or character and how cool the spectacle of the misprint is in relation to the look of the cover or book. If there was a Todd McFarlane Spider-man #1 with a B&W double cover misprint I doubt anyone would be arguing it's not worth much because there's a million+ other copies of the book.

Below is a Mr. Sinister Quesada X-Factor Double cover misprint I have signed by both Joe Quesada and Jimmy Palmiotti on both covers (from back in the day when Jimmy was Quesada's inker). (I literally had this book signed when I was maybe 13yrs old). I've had the book listed for sale for some time and it hasn't moved at the price I want (no doubt because the issue is not particularly valuable in and of itself) but I really don't care because it's just too cool an artifact by one of my favorite artists and it still excites me to have it more than there is a desire for me to drop the price to the lowest common denominator simply to get rid of it. ¯\_(ツ)_/¯