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I threw up in my mouth reading about this exchange. Confronted on the convention floor, can you imagine his body language and facial expressions as this conversation is playing out. Gotta ask my brother, indeed.

Marvel Age issue 2.

So true! I'll throw some pieces in there, to highlight her skills at portraying action, movement, expression, and cuteness, of course!

I haven't asked her explicitly, but my understanding is that Sophia is her correct name. Sophie is the nickname she predominantly uses.

These would be photocopies of Tim's Batman story. There is no variation in the blacks, just look at the Joker page, so that tells me they aren't originals. Maybe 15 years ago he started working on a Batman story in an attempt to show them what he could do, artwise, with the character. A pitch, if you will. I don't think he's ever been published by DC, and he only worked on one Marvel issue, I believe. As he is notorious for holding onto his artwork, I doubt he's sold any of the Batman pages. But he's made copies for friends/fans in the past, he gave me 11x17 photocopies of the OA to a Faust issue 4 or 5 years before it was printed as a comic.

I don't recall seeing anything available. I don't see him often, we occasionally nod at each other in the produce section, but I'll ask. If you'll be in Toronto next month, he'll be appearing at the library.

C2E2 2017 - Chicago meet up? Hello All, I'm currently scheduled to be in Chicago for a bit of C2E2, and I was wondering if anyone was going to have an OA set up or if boardies made an effort to meet up at the show? I am able to bring some OA down, if people were going to do such a thing. A few years ago Albert Moy had a booth and was kind enough to allow a few of us to hang out there. I must pass on hosting or creating such an event, as my wife and I were invited by Diamond to give a couple of talks as part of the retailer component held prior to C2E2, then we will be heading back on Friday afternoon. Cheers, Robert

2:30 in

Last I knew, it was in a near-black hole collection. May be able to trade for it, but the trade chit would cost you double the FMV of the Lightle piece.

I'm sure you were being serious when you wrote this, but I have to ask: have you seen any pricing on any new artwork from any creator lately? Some new guy on a new, creator owned title would go for 65% of those values. This is Capullo on Batman we are talking about. Whether you like the work or not, there is such an appetite for the work that he'd be choosing to lose massive amounts of money at those prices. The secondary market would make more profit that Capullo himself, if your prices were his prices. At least double everything, then you would be closer to what the market would support. But that price would still be low.

I would say: 1) the grittier art, more detailed art 2) those early moments and character introductions were memorable; especially so in a hobby driven by nostalgia 3) the story was still good. Preacher began it's downward spiral after issue 24. I never finished reading the series because it became uninteresting and meandering. Sure, there were some moments, Starr's devolution into a 6 foot was occasionally cute; Mr. Work-the-Meat-nazi was really odd; Some people thought the zoophilia character was quirky. So, yeah, the standard reasons.

I can sort of see your point. But I prefer to look at it this way: lots of people would love a Walt Simonson Thor cover (or splash or page or anything), or some work by Terry Austin, or Jeff Smith, or Bill Watterson but all of these creators are notorious for not selling their artwork. You ask a creator to buy a piece of art from them and they say, 'No'. Case closed. No chance. You can be the jerk that emails them once a month to ask about it (though your email is likely going straight to spam at some point), but the artist wants to keep their artwork. This auction was a means to purchase the piece in question; but the artist just didn't want to sell it, so he bid against everyone to get it back. You still had a better chance than getting your hands on the Thor 337 cover, because it was an auction. In a way, it was Joey Q telling you 'No', but instead of saying 'No' he was raising his hand at the auction. But someone could have kept going, straight into McSpidey 328 territory if they had the stones. They could have won. But Joey Q did, because he wanted it back more. But people still had a chance. I've known lots of collectors who would do anything to get a piece, heard lots of stories and seen lots of behaviour. Joey Q bidding on his own piece would have zero impact on many, many collectors to get the thing they wanted.

yeah, it totally is. And it seems to me that Iron Mans right hand is attached to his left arm and his left hand is attached to his right arm.

I have #1000/1000. It's great. But holy moley did Diamond beat the heck out of it.

There was a very long gap between Winter #3 and #4, much speculation as to the reason. ASP was going through a lot of internal issues, with a splitting of the original founders, the past year. This book is a fabulous, one of a handful of recently released, truly successful genre-busting works (read: non-supes). Multiple Eisner wins, wholly justified. Further, David Petersen is one of the greatest inkers working today. The architecture and design, various textures and techniques: Petersen has brought inking back from the modern, sharp, photo-realism tech-pen inking style that has dominated the corporate comics world of superheroes.

Rhetorical: How does a guy who is 5 years behind on his commission work manage to receive a rating of 5 stars in each category? Answering nonetheless: Because the people are willing to wait until God has been tracked down and made accountable. Oh, that issue was published years ago? Huh. Well, then the answer is that people are willing to wait. It just doesn't matter. There have been a few artists with excellent reasons for being unable to execute a commission in a 5 year window, but if your guy has a rep now it might be time to ask a question or two. I'm sure you've phoned him once or twice over the years and it's not just a matter of relying on an annual SDCC meeting. The inevitable addendum to the original question is: does your fear of a subpar commission override your desire to put pressure on the artist to complete the art? (not specifically to MNSN.) There are so many different collectors involved in this hobby, and aspects of this hobby (such as: golden age, silver age, modern, covers, commissions, sketches, remarques), that the people who wander into the commission side of things pretty much know what they are getting into and waiting patiently is a big part of it. I'm not into commissions. The disappointment would be too much for me.

Well, I tried to buy yours last year, summer time, I think; alas it was gone. Her comic work is an odd size, no? I'd like to know the image size of the Fables pages, they don't look much larger than 8x10.

This piece isn't comic art and really as an artist Tara McPherson isn't a 'comic artist', though she has done about 14 covers for Vertigo and participated in 1001 Fables. By far the nicest piece in my collection: My Tara McPherson CAF room

You're very welcome Kev! Glad to do it for you, my friend.

This piece has been available from that seller for about 3 years. The price has come way down from his original $750 ask. The piece does not appear in the Crow series. It MAY appear in the soon-to-be-released* Director's Cut TPB of 'The Crow', along with a hundred or so unused pages. That's a decent grab, at that price. I tracked the auction because I knew someone would hit the BIN, and I wanted to see how long it would take. Not to go all Delos Santos** on you, it's a great piece but the back shot is always a tough buy for me. *a book that has been 'soon to be released' for about 5 years now. Maybe someday, but not soon. ** one who gives backhanded/left handed compliments, usually involving the phrase, 'I passed on this, but good to see it again/good to see it found a good home'.