Comic Books - Exploring Your Imagination

A comic book, or comics for short, is a magazine or book containing sequential art in the form of a narrative. Since the formulation of the comic book format in the 1930s, young and old alike have enjoyed comics. However, the comic industry lost some of its popularity when it came down with a crash in the mid 1990s.

To promote its popularity once again the comic book industry is producing films based on the comic book stories. This method proved successful for few stories like Sin City, X-men and Spiderman but it failed miserably for other titles that flopped at the box office. So far this approach seems unable to rejuvenate the comic book industry.

Research shows that the main cause of downfall of the comic industry is the removal of comic books from shops and stores. But this cannot be the sole cause since comic books are now easily available on the internet, in movies and animations.

Another question that comes to mind is why Japanese animation or "manga" is doing better then traditional comic books? The answer is simple. The Japanese write a better story line and their animated movies are made for a wider audience. Often, Japanese comic books are framed as graphic novels containing 70 to 220 pages for a mature audience. The manga holds a more important place in Japanese culture, and is both well respected as an art form and also as a form of popular literature. On the other hand, comic books in Western countries are generally geared towards young teenagers rather than adults. This approach has made it tough for the Western comic industry to attain its dominant position.

Common misconceptions regarding comic books turning readers into out-of-touch delinquents have also hurt sale. Many parents fear that comics will brainwash children into believing that supermans and batmans actually exist in the world. For this reason, many parents forbid their children from reading comic books as in their view they carry no ethical or moral values. These attitudes have contributed to the lack of interest in comics as well as its drop in publication.

The comic book price guide also sheds some light on why comics are no longer sold. The price guide reveals that the cost of comic books has soared up with the success of movies like Batman, Spiderman, and Superman etc. making it unaffordable to many. Plus when it comes to buying storybooks parents prefer to buy their children fables or novels that will help them build up their vocabulary and learn proper English.

But these parents fail to realize that without fantasy and imagination as found in comics, a child's creativity cannot develop. Comic books help break the monotony in children's lives and refresh these young minds to face the challenges of daily life.

 

Comic Books For Sale

Half the fun of collecting comic books is hunting for rare editions on sale. This can be pretty challenging if want to buy editions that are very rare and harder to locate. On the other hand, you may just want the newest editions of your favorite comics. Here are some tactics to get you started.

New comic books for sale

Your nearest neighborhood comic book store probably has all the recent comic book issues you want at regular prices. You can also get new comics at toy stores, bookstores and even some corner markets. But, it you want to buy comic books in large quantities and at wholesale prices, try going straight to the source - the publishers themselves.

Older comic books for sale

Finding older comic books can be difficult, but with some persistence (and a willingness to extend your budget), you can find rare comic books in no time at all.

You'll be surprised at the number of back issues comic bookstores carry - so don't be afraid to ask the sales attendant for help. The Internet is a good source. Go to auction sites and search f to find the comic book titles and editions that you are interested in.

You can also join comic book fairs where a lot of comic book enthusiasts buy, sell or exchange older comic books. Trade fairs are a great way to meet comic book fans, and you can eventually exchange, buy and sell with the folks you meet.

Anyone selling their rare collection of comic books has a hard time deciding whether to sell or not, but you sometimes have to do it in order to stock in order to enhance your collection.

If you are in a hurry, try offering your comic book to a comic book shop. Just remember that they need to make a profit, and they will never offer you what your comics are actually worth.

If you are willing to wait a little longer, you can sell your comic books on auction sites. Carefully study the payment and shipment rules to protect yourself from scam buyers.

Comics Books: Our Own Worst Enemy?

Like most comic publishers I spend quite a bit of time thinking about the state of the industry and how to make it better - well, truthfully, how to make my little corner of it better. After spending a lot of time thinking it over and discussing what everyone perceives to be the main elements leading to the downfall of comics (the distributor monopoly, for example), I realized what the biggest problem and killer really is: the industry.

I believe most of the problems that we encounter "in the industry" come from the industry itself. First off, comic companies tend to publish only for those who are already in the industry. Comic publishers usually target their marketing towards those who are already here and creators tend to create product only for those who are already well-versed in industry. Very rarely does the thought of bringing new readers in really ever pop up, which is insane. That would be like Hollywood only creating films for those who work in film and television. As wacky as it sounds, this seems to be the mentality of the industry at large.

Magazines like Cosmopolitan are fashion magazines, but their audience is the average woman (or girl) interested in fashion and not members of the industry itself. Their advertising stretches beyond fashion industry trade publications and into the mainstream itself, where its buyers reside. Why short sell your books only to the 50,000 or so members of the active comic community and not go for millions of people out there who enjoy action movies?

Comic publishers aren't the only ones to blame, either. Creators themselves are as big a deterrent to new readership as anything else. If you want to know why, take a look at a modern comic versus one from as late as even the mid eighties and you'll see one very big difference. No, I'm not talking about paper or printing processes. The art itself is the main problem with comics. Solid, clear storytelling has become a thing of the past. A new buyer will find most modern comics unreadable because the solid storytelling of days past (along with gutters - remember, full page bleeds on every page get confusing) is gone.

Do you know why a lot of new readers are picking up Manga titles? It's because they are easier to read than US ones. Even with the flipped format, most Manga has straight forward enough storytelling that even the most uninitiated reader can follow what is going on and which panel comes next. This can't be said about most US titles (indy or mainstream). The fact that the current trend in the US is for over rendered, poorly thought out computer coloring, doesn't help readability at all.

Comics and comic art have become so inbred the only ones who can stomach them are their sister-mothers. But it doesn't have to be that way.

The general public will read comics if you can get yourself out of the industry mindset and start creating comics for readers instead of for an industry more interested in John Byrne's latest social blunder than in buying your books.

Some places to consider for your books (depending on its target audience) are non-chain book stores, new age shops, record stores (Tower is starting to have a great selection of indy and small press 'zines), libraries, corner markets, magazines with a similar areas of interest, schools, local area mailer compilations (such as the little coupon books you get in the mail), area events (concerts are a great spot), swap meets, arcades or game stores. There is an endless list of places that might be willing to carry your work if you let them know it's out there. You might have to spend some money to advertise. Get used to it. The old adage, "you have to spend money to make money," is true for any business.

Here are some tips for making your books more accessible to general audiences:

1) Market your books outside of comic-specific areas. Figure out who might be interested in your book and pursue those outlets. There are tons of places out in the world that would be willing to sell your comic...but they have to know it exists first. I've had success at art festivals, flea markets, record stores, sci fi magazines and more. Get as creative with your marketing and sales as you do with actually producing your book. It's worth the extra effort.

2) Get rid of full page bleeds on every page. Don't be afraid of negative space around your pages. It will actually open up your pages and keep them from looking cramped.

3) Don't forget the gutters! Overlap panels are interesting from time to time, but gutters help to keep the art readable and from blending together. They're also great for pacing in your storytelling.

4) If you're going to color your books, don't go for the over-rendered look that most comics use. It's muddy and unclear. Look at animation or places like Disney Adventures for reference on coloring. Most "cartoony" books are well colored because they want to make sure the work is readily accessible to readers of all ages. Not every panel needs to be a fully digitally painted work of "art."

5) Think of storytelling. The most important thing in a comic is that you do not lose your audience. If at any point your readers get confused as to where to read next, then you've failed at your job as a storyteller. And, remember, "style" is no excuse for poor storytelling (or poor artwork in general, but that's a rant for another time)

6) Don't have large blocks of text or dialogue in each panel. There's an old unwritten rule in mainstream comics (and one that has been largely forgotten or ignored): never have more than 26 words in any balloon or caption box. Anything more than that and the words will run together, potentially causing readers to skip over sections of what is on the page.

7) This one is going to cause any comic collector to cringe: get rid of issue numbers. Or, if you just have to have them, place them in the indicia only. Issue numbers are one of the big obstacles for new readers, especially in periodical product like comic books. A reader needs to be able to come in on any issue and not have to worry about having to read 10 back issues to know what's going on. Sure you can let them know there are other stories they can read (and, which will be available in trade paperback), but don't make those stories required reading. Follow Cosmo's lead (or Playboy's) and just have the month and year on each cover. Comics should be entertainment first and foremost. Get out of the collectible mindset.

8) Forget the mantra, "comics aren't just for kids anymore." It's old, played out and is part of the death sentence of the industry. Creators have spent so much time trying to prove that comics can be for adults that they've forgotten to build the next generation of fans by only making comics for older fans who are already in comics. Without young readers there is no future in the industry. As a second part of this thought, just because your comic has adult language, nudity and graphic violence doesn't automatically make the book for adults. Vertigo and "Ultimate" writers take note.

9) Be prepared to get your hands dirty and do some work. Publishing is a business and, at first, you may find yourself putting in as much time marketing as you do creating. That's not a bad thing.

My heresy will end with this statement: the only way to save comics may be to let the comic industry, as it exists right now, shrivel up and die. It's on the road as it is, with everyone racing to tear whatever pieces they can get from its still (barely) living corpse. The industry isn't the heart of comics and didn't make them, so dare to be different. Put down the latest issue of the comic industry death watch, Wizard. Ignore the party line that an indy book will sell less than 250 copies - there is a world outside of the Geppi chokehold.

A bit of inspiration for you: Nifty's main title, the Cadre, sells over 5000 copies per issue and 90% of that is outside of the comic industry. Not bad for a black and white, mainstream style super hero comic.

The world is a big, beautiful place full of potential new readers. You just have to venture out and find them.

How to Contact Comic Book Artists and Writers

The first annual New York Comic-con brought out Milla Jovovich and was so successful, organizers almost had to shut it down. The second annual New York Comic-con was organized much better, even bringing out Steven King and Stan Lee to meet fans.

Below are some more insider tips for contacting your favorite comic book artists and writers at various comic book conventions around the country...

Meeting in Person:

Although most comic book creators, artists, and writers will tell you where to send fan mail inside their publications, the comic book industry also takes great pains to make itself available to their fan base through conventions, expos, and fan events.

The general rule of thumb is if you wait a while, a comic convention (or "comic-con") is likely to be announced in your area, and the organizers will make all sorts of promises as to who will be there (most of whom won't show up). Buy your ticket anyway, and take a few hundred bucks and a good Sharpie pen -- because even if the people who show up aren't the people promised, they'll most likely be worth meeting.

Most comic conventions today go far beyond only comic books. They often feature actors, directors, television stars, set designers, comic artists, writers, and an assortment of retro names that will have you scratching your head trying to remember who they were. The show will usually charge around $25 for a ticket, but the attractions will last all day long, from rare film screenings to autograph sessions to bootleg comics for sale. Most conventions travel around the country so fans don't have to spend any money to travel.

What should you bring to get signed? Nothing really, unless you know someone is going to be there and you have some great piece of memorabilia sitting around relevant to that person. Usually there are plenty of items for sale at comic conventions you can purchase to have signed.

Prices at convention's vendor booths are usually not cheap, however you can pick up some really neat pieces of pop culture memorabilia if you look hard enough, and the chance to get that item signed by its creator can be something really special.

Comic book conventions and the comics themselves are a huge industry that gets bigger every year. Therefore, comic-cons are a great place to spot up and coming stars before their signatures becomes worth thousands of dollars when they really hit it big.

How do you find a comic convention I your area? It's pretty easy -- just visit the Comic Book Conventions Web site. This resource list all upcoming comic-cons, usually four or five per weekend, and it also announces changes to programming, cancellation, and contact information.

The better conventions come back the same time every year, such as the Mid-Ohio-Con, which takes places in Columbus, Ohio on Thanksgiving weekend. The 2004 Mid-Ohio-Con lineup included the Soup Nazi from Seinfeld and Noel Neill, the original TV Lois Lane, as well as numerous other comic industry names.

The Vancouver Comic-Con happens once every few months, while Dragon-Con takes place each September. Every corner of the country has some sort of gathering, but even if you have to get in the car and drive a few hours to a really good-size convention near you, the money spent in doing so can be gained back when you take that authentic John Byrne sketch and put it up for auction on eBay.

The big names of the comic convention business include the following:

San Diego Comic-Con International, P.O. Box 128458, San Diego, CA 92112-8458, 619-491-2475

The biggest and the best, Comic-Con has become a brand name in the business. Tens of thousands of enthusiasts gather every year, some flying in from across the country to listen to panels of experts, get autographs, buy memorabilia, watch special screenings of movies, and just hang out.

Dragon*Con, P.O. Box 16459, Atlanta, GA 30321-0459, 770-909-0115

A solid number two, Dragon*Con takes on more of a fantasy tilt--but it's not just for Dungeons and Dragons fanatics. D*C gets bigger every year, and as the collectors grow from obsessed teenagers to well-funded adult fans, the money going through the registers keeps increasing as well.

Big Apple Comic Convention, 75-34 Metropolitan Avenue, New York, NY 11379, 201-865-3288

This one is in New York City, so of course it's big. If you live in the northeast, the Big Apple Con is the one for you.

Mid-Obio-Con, P.O. Box 3831, Mansfield, OH 44907, 419-526-1427

The Midwest really knows how to put on a show, and M-O-C always has an interesting lineup of names. It's not the biggest comic-con around, but it's got a reputation as one of the best.

Mega-Con, P.O. Box 1097, Safety Harbor, FL 34695, 727-796-5725

New York Comic-con, Jacob Javiz Center, 655 West 34th Street, New York, NY 10001, 1-888-605-6059

Sending Fan Mail:

To write your favorite comic book artist, look for his or her fan mail address printed in the comic book. Or send your letter to the comic book publisher, whose address will also appear inside the book.

Visit Contact Any Celebrity for instant access to the best mailing address, agent, manager, publicist, production company, and charitable cause for your favorite comic book artists and writers.

Comic Book Collecting, Oh What An Enjoyable Past Time It Is!

Have you ever read a comic book before? I imagine just about everyone, at some time in their life, has read at least one comic book. But do your interests and enjoyment level go beyond that? You may have said to yourself, at sometime or another, I would like to start a comic book collection some day. Heck, you may even have several comic books lying
around that you have just never organized.

What do I do to start a comic book collection and what all do I need? Well, as I am sure
you realize, you need to start with a passion. You have a passion, you say, but you don't
want to be labeled a "comic book geek" and remain alone in your enjoyment. Well, my
suggestion to you is "Don't Sweat the Small Stuff" and believe me, you are not alone.
You would be amazed at the multitudes of individuals who have a passion for comic
books. And there are a plethora of related sites on the Web.

I couldn't get enough of these colorful action-packed little devils when I was young. But
like any supposedly responsible individual, I lay my passion aside when I got older and
when to college and got a good job. Well in the last several months, I have rekindled that
childhood passion and have spent a good share of my time researching and creating my
own comic book website. And what a rush it has been reintroducing myself to myself. I
am finding quite an avid interest in all the new comic book hero movies Hollywood is
cranking out. I have even started my own comic book hero DVD collection. And this is
big business, so I know there are throngs of people out there with my same interests and I
hope to connect with many of them through my website.

I ran into a major thrill the other day glancing through the want ads of my local
newspaper. Lo and behold, someone was selling a comic book collection. A quick call
and a meeting in the shopping mall parking lot and I was the proud owner of 189 comic
books kept in beautiful condition. And get this; it cost me $50.00 for the whole
collection. I have as yet to determine the actual worth of the collection, but it has got to
be substantially more than what I paid for it. As time goes on, I will be organizing all of
them in a spreadsheet and using my trusty copy of the Overstreet Comic Book Price
Guide to determine my new collection's total worth. As I do that, I will be reporting
results on my website.

Through all my research over the last many months, I have even created an ebook
product on how to start a comic book collection, which is filled with Internet resources. I
want to have an inexpensive resource available to help others, with the same passion I
have, to get started. If you care to see what the book is about, you can check it out at
http://www.comic-book-collection-made-easy.com/comic-book-collection.html and let
me know what you think.

When you start your collection, you will need to start thinking about sources to purchase
your comic books from. You will want to start learning about comic book supplies to
help preserve and organize your magazines. You will want to learn how the rest of the
industry goes about grading physical condition and what your individual comics are
worth. Personally though, I believe some of the greatest worth in a comic book is what it
means to you and the enjoyment you receive from owning these little pieces of art. You
may even what to find where all the great comic book conventions are and if there are
any close to you. All of this information is available on the Net and I am hoping to build
a central hub to all this other great info.

Want to start a collection? Come on over and visit me. Kick your shoes off and stay for a
while. I don't think you will be disappointed. You may even want to bookmark my site.
Have something of value you want me to add or a question that needs an answer? I am all
ears. So start scanning the want ads and I will see you at my site. Flame on! Or was that
"Up, Up and Away"?

Dave Gieber, a former rocket engineer, has decided to take up residency on the Internet.

Comic Book Industry Blunders

What has gone wrong within the industry and can it be fixed? The rape and pillage, in the eyes of
some, may have left the comic book industry gasping for life support. It seems that for an
industry that has seen so much success, the history of comic books, has apparently been
confounded by seemingly dumb mistakes.

The first could have very well been the coining of the name "comic books". The earliest versions
of the so-called half-tab (for half tabloid) reprints of the Sunday funnies (the comics) became
known as "comic books". This led to the thinking in general, that comic books contained comic
or funny material, which we all know, is a far stretch from reality. Comic books can be very
somber, dark or adventurous magazines. It has often been suggested that there should be another
term coined to better describe this literary package we all know as comic books. To date, no
other user-friend term has been suggested for use in the comic book industry.

A second misdirection came when magazine prices started to rise. Instead of increasing comic
book prices, like other successful magazines did, the comic book industry decided to cut pages to
keep the then current price tag of 10 cents. This brought on the impression that comic books
were "cheap" by definition, and neglected the fact that a dime was a lot of money at one time
(steak & eggs cost 35 cents). This presented the image that comic books were just for kids. It
also made the product increasingly less viable for retail merchants to stock. Why take up the
same shelf space, when a higher priced magazine would do more nicely. Again the perceived
value of the comic book was loosing credibility.

Then as the 1950s rolled around, an individual by the name of Dr. Frederick Wertham, published
a book entitled "Seduction of the Innocents". Through the use of unscientific research and
assumptions, he stated that all the nation's ills were directly related to kids reading comic books
(ah hmm, what?). Central to his thesis, was the misassumption that comic books were strictly for
kids. The more adult material, it was irrationally assumed, was aimed at our sweet, naïve
innocent children. Yes, we do have to protect our children, but it still bothers me to no end, that
certain self-righteous individuals believe their lot in life is to make the rest of the planet adhere
to their own personal beliefs. If this were the case, then our great country would have never been
founded.

With this wildly irrational attack on the comic book industry and many congressional leaders
jumping on the bandwagon, comic books were gaining a bad reputation. The comic book
industry publishers at this point, could have banded together and declared that comic books, like
movies, were not "just for kids". It should have been stated that the wide range of comic book
genres represented was target to as wide a range of readers. All but one of the publishers
(William Gaines, publisher of EC Comics) buckled under to this Congressional Investigation and
the Comic Code Authority was created. This governed the content of comic books and ensured
that for the next 15 years or so, the literary content would not rise much above that of pablum for
the mind. Therefore another slide into incredibility for the comic book industry took place.

Can the comic book industry be saved? Very possibly, but when the individuals in charge of the
saving are as eager as ever to make the same mistakes all over again, what will the outcome be?
They don't even appear to be cleaver enough to make new mistakes.

Dave Gieber, a former rocket engineer, has decided to take up residency on the Internet.

A "New System" for Publishing Comic Books?

I formed my own comic book company in 1994. Catfish Comics published 14 issues before fading from view. After a six-year hiatus, I've returned to the self-publishing game with SINNAMON: GRRL VS. WORLD #1.

A few people have asked why this comic is only available via ComiXpress. They ask because in the past, SINNAMON comics were available at comic book stores. Those fourteen issues were published through what I call the "traditional system".

Let me outline the basic steps behind the "traditional system":

1. Get the comic book listed in a distributor's catalogue. Since the late 1990s, the catalogue with the widest market penetration is Diamond Previews.

2. Take note of when the book will be listed in the catalogue. Normally, the book is listed three months before it's available for sale. For example, if SINNAMON #13 was coming out in December, it would be listed in the September Previews.

3. Wait for the orders to come in. Keeping with the example above, orders for SINNAMON #13 will arrive sometime in November

4. Send the comic off to the printers.

5. Sometime in January, receive payment from Diamond for the books.

Other than keeping track of various deadlines, the system isn't very complicated. All things considered, it's probably the only way a publisher can get his or her book out to comic shops all across North America. But is it effective for smaller publishers like yours truly? I would say not.

This isn't a diatribe against Diamond Distributing. There are small publishers who have complaints, but the reality is that the overwhelming bulk of Diamond's sales come from five or six publishers. There's going to be an obvious imbalance in the treatment of someone who might produce sales of 1,000 books compared to someone doing thirty or more times that amount.

I stayed in the publishing game until 1999. When I encountered problems getting SINNAMON SAGA #2 completed, I threw in the towel. I had been considering this for a while, because I had the gut feeling the "traditional system" was not in my best benefit. It took a few years away from the business to gain perspective and figure out why my gut was probably right all along.

Why? Let's look at what I consider to be the major weaknesses of this "traditional system".

Start with Diamond Previews. Each month's issue is the size of a small city's telephone book. How exactly do you make your book stand out from the many hundreds of books listed? You could advertise. How much money do you have set aside for advertising? Now if you're reading this article, odds are very good you have nowhere near the advertising budget of companies like DC, Marvel, or Image.

Fine, you say. You'll be creative and find other ways to get people to notice your book. Go for it! Every small publisher should embrace the principles of guerilla marketing.

Now you'll come up against the second major weakness.

Suppose you get your book noticed. Perhaps you get a favorable mention in a newspaper article, or become an Internet darling. Great! So now people want to buy your book.

Where will they buy it? Under this system, the only place is a comic shop. And how are books sold at a comic shop? The new comics come in on a Wednesday.

And that's it. Generally speaking, your book has one week on the main shelves. All your marketing must be targeted to get people in the shop that week. Otherwise, your book will be fighting for space among all the other back issues, assuming it hasn't sold out.

That's not the only fly in the ointment.

Remember my description of the "traditional method"? Remember the part where store owners do their ordering? That means your marketing must hit during that ordering period. You need to get shop owners to order your book. If they're not won over by your marketing, you need to get people to go comic shops and order the book.

Whoa. Stop.

Did you read that sentence carefully?

"You need to get people to go to comic shops and order the book." Any sales person will tell you that the key to sales is to place as few obstacles before the customer as possible.

What could be easier for a customer than clicking a link?

Let me outline each step of the "new system":

1. Produce your book and get it printed at a Print On Demand printer. I use ComiXpress. If there are other POD printers who do comic books, feel free to contact me with details.

2. Set up the online sale page. ComiXpress will set one up for you. They take a cut from each sale, but in exchange they are taking the orders and handling the shipping for you. ComiXpress accepts credit cards, which is another factor in making life easier for customers.

3. Promote your book.

That's it. Compare this to the "traditional system". Notice how this system is less complicated? You'll also notice the absence of any external deadlines. Your marketing no longer depends on getting word out by a specific date. Instead, your marketing only has to get the word out. It doesn't matter when word gets out, so long as every mention includes a link to the shop (or your web page). So if you get mentioned in a national newspaper or magazine, you don't have to worry that shops have sold out of your book.

Here's an example of how the "traditional system" fails small publishers. Ten years ago, I worked for a publisher on a book titled Bruiser. Much to our surprise, BRUISER #3 got a positive review in a comic book magazine (not Wizard). This was the kind of good news any publisher would want to receive. Did it help BRUISER #3?

It did not. The review appeared a few months after the book had hit the stands. Since the original solicitation had been very small, there was no way anyone could find a copy.

Ten years later, such an article could include a link to a site that provides more information about Bruiser. That wouldn't put any books on the store shelf, of course. However, the publisher could sell Bruiser from the web site. The onus would be on the publisher to have copies on hand. So after getting the order from Diamond, the publisher could have an extra box or two printed up.

An extra box or two is fine if you only ever publish one book. I put out fourteen issues of Sinnamon, and because initial orders were good, I overprinted four or five boxes per issue. In ten years, I've moved a fair number of back issues, but do the math. Right now, I have about twenty boxes of Sinnamon comics in the basement. It's a good thing I live in a house.

Personally, I rather like the idea of keeping ten or twenty copies of a book on hand, and let ComiXpress print out more books as they're needed. It definitely beats moving to a bigger place, especially in this housing market.

Although this "new system" makes life easier for the small publisher, it does not make success automatic. The only way to sell comic books is to work hard at marketing. Diamond Previews does get into every comic shop. The economics of this "new system" means you can't afford to sell your book through comic shops. Instead, you must focus all your marketing upon getting people to click on that link.

This is not a bad thing. Too many small publishers think that being in Previews is a marketing accomplishment in itself. Too many of them think a Previews listing automatically translates into sales. That is not the case. No matter what system you choose, marketing will be the key to your success. It is my belief that the "new system" will allow a small publisher to maximize the results of his or her marketing.

My belief gets put to the test with "Sinnamon: Grrl vs. World #1". If it works, expect to hear from me again!

Angelo Furlan is the writer and publisher behind Catfish Comics.

Comic Books Value

You might be sitting on a treasure chest without even knowing it. Almost everybody read comic when they were young, so you probably did, too. Some people have the foresight to keep those comics, and they are reaping the benefits now, because comic books value is always unpredictable, and the lucky ones find that they have ones which have extremely desirable comic books value.

There are many factors that decide a comic book's value. Let us take a look at a few.

1. Condition: The condition the comic book is in is important. This is classified under a lot of headings, from mint, which is the best condition the comic book can possibly be, to poor. Realistically, you can expect most comic books to be anywhere from good to fine, with fine being a grade higher than very good. However, keep in mind that even if the rest of the comic is in great condition, if the cover is missing, the book's value will come down considerably.

a. Is the cover still on the comic book, first, and if it is, is it on good condition? This is the single most important factor as far as the comic's condition is concerned.

b. Are there any creases? The less noticeable creases there are, the higher your comic book will be priced.

c. Is the spine in good condition? This is another important consideration. You will start wishing you had never folded it back when you were reading it!

d. Are the staples rusted or discoloured? This is another important factor that decides how your comic book will be priced.

e. Are there any stains? Any kind of stain will lower the price of your comic.

f. Is anything torn, especially the corners? Or are they bent? If they are, obviously the value will go down.

g. Comic books value also depend on whether there are any pages missing. In short, you cannot expect much if the books are almost falling apart.

2. Rarity: As common sense dictates, the rarer the comic is, the higher its value will be. However, here, again, you have to have the cover of the comic to get a good price for it.

3. Popularity: The popularity of the comic in general is a question here. A rare edition of a Batman comic, for example, will fetch a much better price than a comic that is not that popular. Here, again, though, the way you market your comic books can make a lot of difference. There are plenty of collectors who specifically want out of the way comics, so you have to find these buyers if you want a good price for these comics.

If after reading that list, you think you might have something, get a professional to set the comic books value, and you will be all set.

Robert Grazian is an accomplished niche website developer and author. To learn more about comic books value [http://www.comicbookcollectibles.info/comic-books-value] visit Comic Book Collectibles [http://www.comicbookcollectibles.info/] for current articles and discussions.

Your Comic Book Questions Answered

You probably took great care of the books and gradually built up your collection into something incredible. It does not matter if it was the Superman series, the Spider-man series or a smaller known series. Those books from years ago now have some significant punch behind them. Comic book collecting is a huge hobby. Even if you just enjoy reading the comics, it is a great way to reconnect to your childhood. If you are unfamiliar with comics, this article will help you out.

When did comic books originate?

There is a lot of debate as to when the first comic book was created. The most recent thought is that the first comic book was "The Adventures of Obadiah Oldbuck" and it was written in 1837 in Europe. Later in 1842 this comic book made its way to New York City. That early comic book would be more accurately described as a graphic novel.

It was 40 pages long and did not have the typical text bubble next to a character. The text was found at the bottom of the panel. The creator Rudolphe Topffer went on to create 7 more graphic novels in different languages. There were comic books that came after that but no one really knows what happened to them. The next one that there is proof of was called "The Yellow Kid."

What is the longest running series or character in a comic book?

Probably the longest running series or character in one would be evenly split between Popeye, Mutt and Jeff, and Little Nemo in Slumberland. Following these comics then it would be Dick Tracy, Flash Gordon, Tarzan and the Phantom. It is surprising that comics have been around for more than a hundred years. They have undergone many changes as society has changed. You can find them in just about any language and are adored worldwide. But two of the biggest selling countries in the comic book world are the United States and Japan.

How do you determine the value of comic books?

The value of comic books depends on several factors. The first is the year it was produced. The second is the storyline or main character. If it is a popular character like Superman, Batman, the Fantastic Four or Spiderman, it will be worth more money because there are more collectors of these popular story arcs. Another factor in the value of a comic book is how many were printed at the time.

If the market was flooded, the value comes down. The final factor is the condition of one. If it has been stored properly and has no marks, smudges or tears, it will be worth more than a copy that has been well read and thumbed through. It is why its collectors take their comic books so seriously. For them it is an investment and a love of the story.

Where can I sell my comic books?

Before you start selling off your comic books, you need to know how much they are worth. The Official Overstreet Comic Book Price Guide, 32nd Edition will be able to pinpoint what the values of your comic books are depending on their condition. Once you have an idea, you can then either sell them to a fellow comic book collector on Ebay or you can take them to a comic book store and place an ad on their bulletin board. Just remember that buyers will try to get them at the cheapest price they can so be prepared to handle different offers.

Christian Comic Books or Just Another Niche

Christian comic book, auto racing, skateboarding, soccer, math or "clothed female superheroes" can all be considered a comic book niche. I call them a comic book niche because these comic books would be made to appeal to or meet the needs to a certain group of people.

I would be very realistic with you. Everyone would not like what you have produced as a creator that is why it is impossible to create a comic book that everyone likes. People have different taste. With the number of comic book creators or aspiring creators only very few become what you can call successful. My belief is that more creators would be successful if they can create a comic book that relates to certain masses instead of trying to gratify everyone.

A Christian comic book is one of the best and easiest examples I could think of at the moment. Believe it or not there is a market for Christian comic books. People looking for a Christian comic book would most likely not be interested in a sexually oriented comic. At least let's hope not. But some creators and producers think that in order to make it as a comic book creator you have to come up with something that is erotic. We are all familiar with the common belief that sex sells, so the more barely clothed women and erotic material you put in the comic book the better your chances is suppose to be to get an audience. Many creators who created their comic book to fit this belief end up with a shock when they realize that there comic is still not getting readers. A sexually oriented comic book would most likely get some looks, and that is it. There would be no serious purchaser or reader because sexually oriented materials could be seen everywhere, but a good story is not as easy to come by.

My point is creators would most likely have a better chance at making it in the comic book world by creating comics that caters to certain people or needs rather than trying to compete with the big boys. For example, a Christian comic book would cater to a committed Christian, just like a comic book about evolution would appeal to a devoted evolutionist. I am not saying since there is a good market for a Christian comic book that creators should try to create a Christian comic book. Not at all, because if a Christian comic is not your interest, then please don't try it. But do find a comic book niche of interest to you and try to create a good storyline for it.

Know that to make a comic book for a specific need or people; you would be expanding your creativity because you would be forced to come up with new ideas relating to your comic book focus.

Comic Book and Strip Service

Courses and services to help the aspiring comic creator and seasoned comic creator make successful comics.

Check it out!

Comic Books Can Be For Professionals Too

The most recognizable and triumphant periods in the comic books era were: the Golden age, Silver age and the Bronze Age. We've all heard of the saying, "what goes up must come down." This seemed to apply to the comics industry as well because it didn't only come down in the mid 1990s, but it came down with a crash.

Lately the comic book industry has been trying to pick itself up through the aid of comic 2 films. This approach has proved to be helpful for titles like Spiderman, X-men, and Sin City in sales but it may have been hurtful for other titles that flopped in the Box office. That is why this is not enough to bring redemption to the industry. One of the problems that led to the downfall of the comics industry was said to be accessibility due to the removal of comics from stores and shops. This can no longer be true for the reason that comics are getting exposure through animations, movies, and the internet. Then why is this industry still struggling? I'll ask another question, why is anime doing so well? The simple answer is better storyline and the fact that it is made for a broader audience. Japanese comics are usually in the form of graphic novels 60 to 200 pages. As long as comics are seen as a kid thing, or for the unintelligent, it would be hard for major growth in the American industry.

In the past, there were a lot of criticisms about comics making the readers delinquent and depreciating their reading abilities. These criticisms resulted in drafting of the comic codes. Parents believed the claims and criticisms made toward comics and were not elated about their children reading these "picture books." I intentionally wrote "picture books" because picture books are related to little kids learning how to read.

Many of us read comics when we were kids, but when we hit fourteen we are feeling closer to adulthood. We're teenagers, young adults. This meant anything synonymous to children had to go, including our comics. The problem was, we knew we couldn't just stop reading comics or dispose of them, so some of us decided to read our comics in private. We even played the hide the comic book inside another schoolbook trick, going as far as to dis comic books in front of all our friends, to make sure that no one associated us with such "childish things".

Some of you may have experienced looking at comic books at a store ready to purchase, when one of your friends walk into the store. You are walking to the cashier and notice her walking towards you. You're now trying to hide the comic book behind your back and talk to her as calmly as possible, praying that she doesn't see this comic book you're hiding. You greet each other and chat a little. Unfortunately for you she notices the comic book behind you and asks, "What's that you're holding behind your back." You begin to sweat and all that runs through your mind is "Oh no!" You now begin to think of all the possible excuses you could give to explain why you're holding a super friends comic book in 2006. Bingo! You've got an idea, so you confidently begin to explain to her, "Oh this thing, my little brother likes to read this piece of trash." Fortunately for you she believed it and your reputation is safe.

Let's be real, if we saw anyone around the age of seventeen to fifty reading comics we would think to ourselves, "Isn't he to old for that?" This grown man may be a genius or even a great athlete, but if he picks up a comic book, he's just another unintelligent geek. The whole point I'm trying to make is comics and adults don't mix in our society. As I mentioned earlier, it is because of the perception created about comics. Theories like comic-books are picture books for little children or comics make readers delinquent and reduce their reading abilities helped build the perception. And neither has been proven.

If anything, comic books are helpful to readers because it is a form of story telling. The pictures only help one capture the story being told, leading to the creation of a visible scene. Movie makers, coaches, video game designers, Scientists, engineers, etc, all implement this method.

Top Five Tips For Collecting Silver Age Comic Books (1955 - Early 1970s)

The Silver Age of Comic Books ran from 1955 to 1970. It was a time period when superhero books become popular. There are several tips and techniques to collecting this period. But to understand these tips, you first need to know about the history of this imaginative art form.

Comic books in the United States first started appearing in the early 1930s. These early comic books were just collection of newspaper strips. Then, in the late 1930s, comic books started creating their own characters - most notably Superman, Batman, and Wonder Woman. By World War 2 (1939-1945) there were hundreds and hundreds of superhero comics. (Most of them forgotten to today's audience ). This time period was considered the Golden Age.

Superhero comics disappeared after the war. The public was more interested in crime, romance, and horror. For a variety of reasons, however, Superhero comics came back in the late 1950s. In 1956, DC brought back an old character - the Flash - but reinvented him. He was no longer the same person (or the same looking character) as the Golden Age Flash.

Showcase #4 - the first appearance of the Silver Age Flash - spawned a new generation of superhero comics. DC reinvented most of their popular characters. Marvel followed suit. And other publishers did the same. The Silver Age of Comic Books had begun!

If you are interested in collecting comic books from the Silver Age, here are my top 5 tips.

Tip #1 - Make sure that you have the proper size bag and board to protect your investment. Not all bags and boards are created equal. Basically, comic books have been shrinking since the 1930s. Golden Age books are the widest; Modern books are the skinniest. And Silver Age Comic Books are right in between. So make sure you buy the right bags and boards or you'll ruin your comics. (They should be labeled "silver age" bags and boards).

Tip #2 - A quick way to determine whether a comic book is from the Silver Age is to look at the original cover price. If the price is 12 to 15 cents, it is probably from the silver age. Ten cent comic books were generally from the Golden Age (pre 1950s) and 25 cent comics were from the Bronze Age (1970s).

Tip #3 - Quality is extremely important! If you look at a price guide for a specific comic - you might see that the price ranges from $6.00 to $600.00. The spread is a result of condition. If the book looks pretty beat up - as if 10 or 20 people have already read it - then it is probably going to be worth the $6.00. (And you might be able to find it at a convention or store for $1.00 or $2.00). If instead, the book is mint - as if nobody has every touched it before or read it - then the comic might be worth the $600. Condition is one of the main drivers of value. (The other two drivers are scarcity and popularity).

Tip #4 - The best place to get silver age comic books is usually at a convention or through the internet. There are fewer and fewer stores that sell books from this time period. Most stores make their money on new stuff and don't want to take up floor space with older items. So if you want to find the best deals on the internet, use a search engine to search for "silver age comic books" and see what you can find. Or look for comic book conventions in your area to buy your comics.

Tip #5 - The most expensive Silver Age books are from DC and Marvel and tend to be superhero books. This is due to the fact that DC and Marvel have been publishing continually until the present day and have thus developed a large fan base for their characters (Batman, Superman, X-Men, Iron Man, Avengers, Hulk, Wonder Woman, etc). However, if you want to start your collection without paying an arm and a leg, you might try collecting other publishers besides Marvel and DC (Harvey, Dell, Gold Key, Charlton Comics) or try other genres besides superhero comics (Horror, Crime, Romance).

Mick Davin has been collecting comics since he was 10 years old. He used to own a comic book store but closed it recently. He now sells at conventions. Mick also runs a resource website devoted to Silver Age Comics.

 

Comic Book Collecting - 10 Brutal Truths About Making Money From Your Comic Book Collection

You can make money from your comic book collection. However, it's not as easy as you think. Too many casual comic collectors have charged gung ho into investing in comics without thinking about the risks involved. From my experience, here are the 10 brutal truths you need to know if your goal is to make money by investing in your comic collection.

1. If you want to make money from your comics, you first have to find a buyer. Comics are not currency. You cannot spend or eat a comic. A particular comic is worth only what someone is willing to pay for it, not what you think or what the price guide says.

2. For some comic books, it may take months or even years to find a buyer who will give you the price you want. Obviously, you don't want to tie cash you to live on to buy comic books.

3. You must take care of your comics in order to make money from them. Collectible comics require careful handling and careful storage. That $500 Batman comic you have can become worthless if damaged by heat, humidity, pests, or your own carelessness.

4. Make sure you are buying the real thing. Unscrupulous comic dealers of all kinds have taken advantage of the huge demand for comic collectibles to hawk their own illegal fakes and cleverly restored items.

5. If no one wants it, the comic book is valueless. Demand is far more important than supply in determining price increases and decreases. Of course, high demand or low supply books will make prices increase even more rapidly.

6. Comic prices and demand are tied to the whims of collectors. No one has a crystal ball to predict how the tastes of comic collectors may change. When a new movie comes out (X-Men, Spidey, Iron Man for example) prices can skyrocket for key issues of that comic character, but in some cases the prices can drop just as fast after the movie ages.

7. Although prices for comics in general have risen steadily, individual items may still decrease in value from year and year. Know the history of your particular comic before your buy it to resell. Don't assume that every item will go along with the general trend of increases for comics.

8. Be patient when buying old comics. If you buy an comic for $100 from a dealer. If you take the same book back in the very next day, he'll give you only $50 for it. You're going to have to wait until the book is worth at least $200 retail before you can sell it for $l00 wholesale and recoup your initial investment.

9. Be realistic when buying new comics. Today's comics are published in enormous quantities. A typical issue of The Amazing Spider Man will have a print run between 300,000 and 500,000 copies. With that many copies of an issue available in the marketplace, for most of these comics, you'll have to wait a long time before the price increases...if ever.

10. Watch the hype. Comic book stores often stockpile crates of 'collectible' issues in their store rooms, flooding the market with their overstock the second that the book rises in value. X-Men #1, the first issue of a new X-Men spin-off series published in the late 80's, had a print run of 5,000,000 copies. Today, despite speculator hopes, that same X-Men #1 book is often sold for less than its cover price.

If you keep these 10 brutal truths in mind, you can succeed and you can make money from your comic collection. If you need additional information, a great resource for you to use is "47 Ways To Sell Your Comic Books and Get Paid...Starting Today!" To get your FREE copy go to: http://www.ComicsToCash.com

Comic Book Conventions - A Survivor Guide

Whether you are a experienced or novice collector, "The Convention" is the time to shop and mingle with other collectors, talk with comic book dealers about the hottest news, or meet comic and entertainment guests. Its enough to make your eyes and brain explode!

When I first attending my first convention my mind went every where, along with my eyes, there was so much I wanted to buy, talk about, and do that my brain was swimming, by the time I left the convention I was broke and exhausted from all the information I received.

While I had a great time it was just overwhelming, so here is a small Survival Guide To Comic Book Conventions that can be helpful to the new comic collector.

Budget

Conventions And Comic Book Budget - Remember to factor your spending at a convention with your regular comic book buying during the month, remember you want to have money to buy your regular purchases from your comic book store, or have enough to buy your subscriptions at the end of the month.

Its a good idea to start saving at least a month or at least two weeks before the convention to ensure that you can pay for both convention books and your store books.

Spending - Before going to a convention determine how much money you want to spend, check the price guides for prices and also check with the convention website to see if their is an admission fee, also factor in food and drinks, many conventions and/or convention centers will offer food, these are usually not cheap so put that in your convention budget as well

if possible leave your bank debit card behind, this could be a temptation to use and it could put you over budget, if you can not leave it at home give it to a friend or family member to keep it safe.

Shop Around

Be sure to make a couple of rounds of the convention room first, checkout what dealers are there and look at the prices of the books you are looking for, never buy the first book you see on your list, take your time and get a feel for the convention, if this is your first convention look at the $1.00 and 1/2 boxes you could find some bargains there.

Admission

Before going to the convention find out if the convention has admission, if there is a fee be sure to factor that into your convention budget, look for online coupons located on the convention website.

Guest Attendance - If you are going to a convention to meet media and comic book guests be sure to check the convention website first, make sure there are guests you want to meet, and also check and see if guests have canceled their appearance

Dealer Attendance - Also see how many dealers will be attending you do not want to arrive with a low dealer turn out, this could not only be a waste of your time but also money.

As always look for those FREE admission conventions!

The Art Of Haggling

Don't be afraid to haggle or bargain with comic book dealers, they understand that customers are working on a budget and are willing to work with customers on making deals.

Preparing To Haggle - Before leaving for a convention make a list of books that you are searching for, next to the title write a price, this will help kin keep track of cost but it will also give you a reference of what books are going for, and also helps the comic book dealer know what you are willing to spend.

Make A Offer - Don't be afraid to make a offer especially if you have more than one issue, the worst a dealer can say is "No" most times he will work with you, however don't walk away right away if the dealer does reject your offer, see if he will work worth you or ask "What is the best price he can offer?"

Take Time And Think - If you need time to think about a book, you can ask a dealer to put the book behind the table, but you should always return to the comic book dealer even if you purchased the book elsewhere, remember that the dealer did this as a courtesy for you.

if you do not return to inform the dealer you do not want the issue, the dealer stands a good chance of loosing money. If you do not return it could strain the relationship between you and the dealer in the future and they may be unwilling to haggle or hold books for you in the future.

If you do ask for a dealer to hold the book, its best to return with in 15 to 20 minutes, this is plenty of time too look around and compare prices and think about the purchase.

Guest Lines

Some conventions have comic book and media guests, these lines can get long and boring, to avoid this make time to get in line early, I would give yourself at least 10 to 15 minutes to get to the signing area or booth, also be sure to check the schedule.

Guest Tickets - Sometimes tickets are provided for a guest line, so be sure to get those early or conventions will provide a "Speed or Express" pass, these allow you to be first in line.

Signings - If you have materials to be signed be sure to have them prepared, this helps the guest sign the materials quicker, and keeps the line moving, and be sure to speak to the guest during and/or after all they want to talk to you and hear what you think about the subject.

Artwork And Sketches - Want a artist to draw something? Always ask in advance if they are doing artwork, and ask about cost, however some artists will do a quick sketch for free or very little money depending on the line.

Bring Your Books - If you want comics signed be sure to bring copies with you, while most dealers will have hot books to get signed, the books on many occasions will be over priced, again get updates from the convention website to see who will be there and start shopping for the books you want to have signed.

Guest Cancellations - Guests can cancel or leave early, if this occurs without your knowledge or you are not notified by the convention staff, then you may ask for your money back if you came for the sole purpose to see that guest, in a few instances I have seen refunds but do not expect a refund often.

Making Contacts

When visiting with comic dealers like myself, always talk to the dealer pick their brains and get their insight on books and what to be to watch for in the future, also even if you do not buy anything from the dealer get their business card, this way if you need anything you will have a recourse to dealers to contact, and when you need that hard to find book you will have the advantage.

Comic Book Conventions And People With Disabilities

If you are a person with disabilities and attending a comic book convention, this can be a little more nerve racking for you, because of the crowds and chaos going on, being a person with disabilities I thought these tips could help.

Convention Access

If you are attending a convention in town always call the location to make sure they have handicapped parking, ramps and bathroom facilities, while thing have changed over the years its still a good idea to inquire about disability access.

Money Storage

Conventions are crowded and lines around a table or booth can quickly grow, be sure to have your money ready and if you can invest in a nice fanny pouch or something to carry your cash and other things.

Assistance

If you can, bring a friend or relative with you if you need help carrying your purchases, or if you can get a nice and sturdy tote bag to put your stuff in.

Convention Staff Help - Conventions may provide you with an attendant to help you, you may want to contact the convention promoter prior to going or ask the head of convention security or convention staff, this is still a new concept in conventions so do not be disappointed if it does not exist at the convention you are attending.

Communicating With Dealers

Ask For Help From Dealers - Comic Book Dealers are some of the most attentive people in the world, comic book dealers will assist you and aide you the best that they can, in many cases you can hand them your list and they will go through boxes for you or let you know immediately if they have the issue.

However you will need to ask for assistance on occasion, so be sure to speak up, the dealer will be happy to assist you in your searches.

Conventions can become very busy, if a table or booth looks crowded make a few rounds around the dealer room and come back to the dealer.

Guest lines

If you want materials signed again be sure to be in line early and have your materials ready to be signed, but if you speak with the convention staff or someone affiliated with the artist in most cases they will allow you to come to the front, this helps you and keeps the line moving smoothly.

If you have more than one guest on your list be sure to inform the convention staff of all the guests so that they can help you schedule your visits.

Always thank the the guest and the staff for their help, and be sure to talk with both parties, this will help them to remember you in the future.

Asking For Help

This is a touchy subject for some people, but we all need help, if you find yourself in a situation like needing a bottle, can or bag opened ask for help, there is no need to go thirsty or hungry at a convention, so grab a friendly face and just ask you will be pleasantly surprised.

Patience is the key

Because of the crowds, the noise and lets face it you may encounter a little bit of bumping and their are always those few rude people, just take a deep breath and be patient, if you feel that its a bit too crowded go out of the convention room and get some air, if you use a walking device ask the staff for a chair or a place to sit, if your in a wheelchair device go park, and then go back in.

Just be as patient with yourself and the crowds as you can, and remember to have fun.

These are just a few tips for convention goers, if you are new you will get the feel for it in no time, but until then listen and learn and watch your budget.

The Whole Marvelous Super Ultra Cosmic Magical Comic Book Universe

The forge of creativity & business that was Marvel Comics was a synchronic chord sounded by Stan Lee and Jack Kirby and Steve Ditko and all the authors and artists and inkers and colorists who worked there. It all started during the early 1960's when the Fantastic Four and Spider-man and the X-men (The Uncanny X-Men) were formed from the imagination of Stan Lee and Jack Kirby.

X-men was a box office smash last summer. I'm sure you also remember the highly successful Hulk TV show.

The earliest X-men consisted of Jean (Marvel Girl) Grey (who later became the extremely popular Phoenix), Professor X (Xavier), Cyclops (Scott Summers), the intelligent Beast (Hank McCoy), and Iceman (Bobbie). Mutants born with special "super-mutant" abilities.

Later came the New Mutants with younger characters possessing mutant powers that sometimes seemed to possess them (the only type of comic book story I don't like).

These characters from X-men including (Nightcrawler, Wolverine, Storm, Banshee, Kitty) evolved with the advent of the creativity of John Byrne (starting in issue #108 of X-men) and Chris Claremont (Giant Sized X-men #1 and Uncanny X-men #94 now valued at $500. up in "mint" condition. The most popular character was the main star in the X-men film--Wolverine. There is sure to be a sequel for this box office smash.

X-men Comics taught kids that prejudice is evil. People who live in fear and thus greed try to destroy that which they don't understand.

Interesting that both the most recent Star Wars film and X-men film took a hard look at politicians (Congress). If power corrupts absolutely is it possible our system is absolutely corrupt? The Senator in the X-men film learned his lesson a little late.

Spider-man--the new Marvel film in the works--is about a kid who with usual teenage angst (bullies beating him up, not getting any babes, acne and so forth is mild stuff compared to today's school experiences--such as not getting shot & killed while going to or attending school or being seduced by a deadly drug or infected by a killer disease) is merely bitten by a radioactive spider (radical stuff for the early 1960's).

This gives Peter Parker super powers--insect powers--if amplified a man could lift a truck and carry it 20 miles as ants do. (Don't get me started talking about Henry Pym the Antman who became Giant Man in the Marvel's Avengers ((Capt. America, Thor the Thunder God etc.))). Add to that Peter Parker was also a brilliant student who was able to invent a web shooter and other great inventions. And Spider-man was born as a bi-product of the bi-product known as radioactive material (which Science still doesn't know how to get rid of). (Try telling that to the Bush administration). Everything is energy! Remember Tesla coils.

But Marvel was not the only place parading superpowered characters.

D.C. Comics (Time Warner), too, utilized mythology and stories of Biblical proportions to entrain, energize and excite generations of teenagers, kids and adults from the 1940's to present.

Some characters such as Superman, Atom, Flash, Batman, Green Lantern, JLA and others & even D.C.'s version of Capt. Marvel may have been inspired by spiritual literature which told of Hindu Gods and Goddesses and even Biblical personages who could stand in fire etc.

Scripts & Wit

Super Heroes: originating through human imagination and from literature, mythology, religion.

Though probably comic creators just made up their wondrous stories.

Once when I interviewed Gerry Conway for the Comics Journal he admitted to me that he had researched some of the comics he wrote. Conway's friend partner Roy Thomas no doubt researched Conan and Thor and other material while writer & editor at Marvel. They worked together on the great animated Fire and Ice film. (Ralph Bakshi/Frank Frazetta).

And initially Thomas got the Conan property over to Marvel from Edgar Rice Burroughs in Tarzana, CA. (Tarzana--Tarzan...get it? Yep, it too is a comic.)

Older folk know and love the countless Films and TV shows and serials featuring these and other favorite colorful characters: Buck Rogers, Flash Gordon, Commander Cody (which may have inspired the Rocketeer comic and film).

COMIC BOOKS -- Born by the sheer exhurberance of the Universe itself through the vehicle of the Human Being!

The Comic Industry is a metaphor for life. A cosmic drama unfolding. But not to put old wine into new bottles: Many times in the past Marvel and D.C. have teamed to do specials that benefits the play of creativity. I first met Stan Lee while I was the manager of a Comic Book Store in Studio City, California in the 1970's.

Or, more accurately, I met him through his works at Marvel Comics -- his extraordinary scripts & wit in 1961.

Very clever interaction with the fans through clubs and letter columns in the good old days made one feel as though one was a part of something. With Merry Marvel "we belonged."

Stan Lee's stories contained real life character's, complete with dilemmas and the germ of great new ideas and principles for living a good life.

As when Spider-man didn't stop a Burglar -- the same Burglar who later killed his kind Uncle--Peter Parker (Spider-man) got the message -- serve mankind. With great power comes responsibility.

And responsibility is the ability to respond.

Exciting fictional stories full of adventure and excitement with morals. Illustrated profusely.

Marvel Super characters were at first looked on by society as bad guys. Even after saving human butt thousands of times.

J. Jonah Jameson (cheap Editor of the Daily Bugle newspaper) has hated Spider-man for over 30 years. Jameson actually tried to destroy Spider-man by becoming a super villain.

Daredevil (blind Attorney yet Batman-esque in abilities & physical strength and agility--but with heightened senses) the Man without fear was often branded a villain too at first.

As was the ever popular Incredible Hulk -- first immortalized as a comic book during the 1960's. Who ranged from dull and stupid to near genius depending on the decade in which this enduring character is read.

What we fear we often regard as evil.

Comics have tried to teach us that the means are as important as the ends they produce.

What we do along the way determines the end result we will get. Comics are published because a word sounds good to the publisher. But some of these new young independent publishers need to know more about the meaning within these words (and so do their customers). But more power to these enterprising youngsters.

What is Yoga, Meditation, Tai Chi, Mantra? What is Zen? (One young upstart publisher of "Zen -- intergalactic Ninja" had never heard of Alan Watts -- great promoter of Zen until I told him Alan Watts was a famous and popular theologian turned beatnik Philosopher & Author (one of many) responsible for introducing Eastern Religions to the spiritually starved West--often heard on KPFK radio. Alan Watts is possibly the foremost promoter of Zen. Watts' book " The Wisdom of Insecurity," mentions, of all things, Comic Books. What are Chakras? The Tao means what? When kids grow up and learn about Meditation will they be tainted by our stupidity and greed?

Buzz words usually lower consciousness and cause confusion. Of course when I use to publish stuff as a youngster I made up names that sounded good but had little or no meaning such as: Beyond Infinity, Eon the Magazine of Graphic Illusions. I know less now than I did then. What is craft, art, Love, Truth?

I held several autograph parties with Stan Lee and Jack Kirby in the 1970's and 1980's. I threw over 50 successful autograph parties with many wonderful comic book artists and writers. I'd host the event, provide refreshments, do all the advertising, graphic art, press releases, etc. It was an exhilarating experience. It was fun to interact with pros and fans. I gave away a lot of free promo stuff.

Ninth Nebula's first autograph party was held with Stan Lee, publisher of Marvel Comics. For ten years my shop endured in North Hollywood, CA next door to the world's oldest Science Fiction Club (a built in audience of friends and fans and computer fiends).

The Stan Lee event evoked long lines of Comic Book fans of all ages drooling for Stan's signature on the splash page of their old and new comics. Nowadays professionals sign comics on the cover of their title en mass which I don't approve of. (But who listens to me).

Comics forms are often abused by aspiring young publishers who use several unnecessary full page splashes when the effect could be achieved in a tiny panel -- waste of money, ink and paper if you ask me. Unlike the good old days when Steve Ditko gave us our money's worth in the form of about 6 panels per page -- he in his way was like a Zen Master -- the precision of his work rivaled the art of Chinese Calligraphy (see his unique style in old Atlas Comics from the 1950's). Some of the recent experimentation's by Frank Miller & other talents have all done exceptionally creative work too.

Stan Lee's arrival in a Limosine exemplified the style and pizzazz in which he lived his life. He was the spokesperson, promoter and Publisher of Marvel Comics at the time.

Stan has more energy than many men half his age. Did you catch the Hitchcock-like cameo in the awesome recent excellent X-men film where he was a Hot Dog vendor (on the beach).

Ninth Nebula was a context for many things but few know it was my 2nd book shop. My first store was opened in 1978 in the Santa Monica area and was called Beyond Illusion: New Age Book and Comic Shop. But comic books paid the rent even back then.

From 1985 through most of 1986 I threw over 19 successful mini Comic book Conventions (the San Fernando Valley Comic Book Convention). This show allowed me to open Ninth Nebula--the Complete Comic Book Store. Small in size, yet packed with all the best stuff.

Jack Kirby appeared at one of my autograph events too. Kirby was Lee's partner on all the important Marvel titles in the early 1960's when they were formed such as Fantastic Four, (Strange Tales) Nick Fury Agent of S.H.I.E.L.D., Hulk, X-men, Daredevil, Avengers, Journey Into Mystery) Thor, (Tales to Astonish) Ant-Man, (Tales of Suspense) Iron-man, Capt. America, etc.

Around 1961 Amazing Fantasy #15 was issued which is the first appearance of Amazing Spider-man and if in perfect shape could fetch $20,000 or more. Check your price guides.

Comics were serious business until the Death of Superman (and then it exploded further) which created new problems and opportunities as the comic industry began new birth pangs in 1993.

I gave 100% service & attention to all my customers at all times. I had to become innovative since often the store became overflowing and I could not mention all the new titles. I'd push a button on my tape recorder when people said "what is new." Then the many fans and readers would get an audible list of every last detail of the new comics that had just come in. I was busy ringing sales with other customers so this made it possible for me to sell more comics. When shipments were bumped due to mail I'd say put my comics in some coffins -- I need 'em now (Capital City never did). When I lived on the premises I had a buzzer so I was the first 24 hour comic store that I know of.

As a kid I'm proud to have collected and owned several complete mint sets of every Marvel Comic Book (1961 to present).

In fact I feel the Lee, the Ditko and the Kirby are three awards the Comic Industry should create (I said this loudly prior to 1984). Though as often as I try to turn him into one of his characters (such as Doctor Strange the occult master of mystic arts) Stan remains a human being -- a man, down to Earth -- courageous and kind. But I'm sure it was Stan's business savvy that made and kept Marvel such a colossal success for many years.

Long may Vishnu (Hindu God of preservation) bless the best that the "Comics Industry" has brought forth in creative inspiration down through the decades.

With comics you get to read and enjoy them over and over again and someday they will be worth something. Sure the overproduced over hyped stuff may be valueless, but if you buy what you enjoy you can't lose.

Comics have proven themselves over the last 60 years as a legitimate American art form. Comic Book audiences are growing faster than in any other hobby form including electronic games & virtual reality. It isn't over yet. In fact, one could say we are at the beginning.

("He who knows, knows, they who say they know, don't." --Lao Tsu). Like Meditation, you won't know what it is unless you try it.

There are many Star Trek and Star Wars Comics from Marvel and D.C. that have been issued and I collected in the past all of which are very popular. These use to be issued by Gold Key in the 1960's. Shatner co-created TEK comics. Spielberg and Lucas were influenced by the Comic Book genre. Roger Corman is cashing in with his Cosmic Comics. Even Leonard Nimoy has a successful Comic out. Other comics sport logos from deceased Isaac Asimov & Gene Roddenberry.

In the 1960's, Underground Comix & Fanzines made the scene. One could say this was the beginning of the Independent line of comics. Vaughn Bode' (Cheech Wizard) kids have emulated this sadistic character through their Graphitti on the walls of washes in the past for years) Rick Griffin, George Metzger are but a few of dozens of innovative Philosopher/Artists whose work not only represents the 1960's but whose originality rivals the Will Eisner's (The Spirit), Harvey Kurtzman's (MAD ), Milton Canniff (Steve Canyon), AL Capp (Lil Abner) of their day. Though sex and drugs were the order of the day, during the 1960's, Underground's did not and do not represent mainstream comics--which are clean and not usually politically or spiritually sophisticated. Though political cartoonist Ron Cobb punched the unrightous right wing in their gut when necessary during the 1960's.

If you know where to look one can find incredible literary treasures in this unique American art form--The Comic Book, now worldwide in acceptance, popular in every country (indeed, as a teaching tool one could learn other languages).

Fanzines and Underground's contain some of the earliest and most bizarre art by today's seriously great Comic Creators.

A successful new film has been released a few years ago about the life of Robert Crumb creator of Fritz the Cat. Robert Crumb also created Zap and Mr. Natural (I've seen original Mr. Natural artwork prominently displayed framed on my best friend's Fathers' wall. (A Psychiatrist by profession in the early 1970's).

Gerber's four volume Photo Journal Guide To Comics is a masterpiece chronicling comics history with full color photos of the covers of old back issue comics from the 1940's--1970's loved by many generations of people who wished their mother hadn't thrown them away so they could retire in style today. I explain it is never too late to begin again as gems are published weekly and the selection is enormous.

Many Doctors, Lawyers, Film People, Teachers, Musicians, Computer Experts, Politicians, Artists & Authors people from all walks of life still all read comics & or collect them. I've sold comics to Clint Eastwood and his son. Robin Williams once roller skated into my first Comic Store in 1978 and bought Art Books & material related to the Comic Book genre. My friend reminds me that when I threw a mini comic con Leo DiCapprio worked for me briefly (I bought Underground comics from his Dad George).

Social Relevance

Comics indeed, teach art and story writing skills by their very nature. And are used by storyboard artists in making films, doing animation and more.

At my suggestion Marvel and D.C. issued Hunger Awareness comics in the late 1970's with proceeds going to charity. Various talents offered their artistic skills as a donation. Marvel and D.C. have done other promotional activities for charities protecting wildlife, anti-drug campaigns etc.

Other social issues Marvel has utilized in their Comics: Scientist/Inventor Tony Stark wrestled with his own inner demons as an alcoholic with heart problems who is kept alive by his suit as Iron Man (see the new film coming up).

The blind Daredevil fought the (Kingpin) Mafia & Crime with his supersenses. Radioactivity and a spider created Spider-man.

A nuclear test created the Hulk.

As I read Dr. Strange (one witnesses a 30 year battle with Dr. Strange that sadly and finally ends as the villain Baron Mordo dies of Cancer--fully forgiven by Dr. Strange all the evil rendered unto him.

World War two vet Nick Fury (Secret Agent) dies just after his creator Jack Kirby passes away.

I discovered new worlds in micro dimensions and negative zones in the Fantastic Four (Human Torch lives) back in the early 1960's.

Marvel Lee/Kirby even created the Black Panther at the same time as Black Panther's were active in America--and this tie in with history and comics is not an unusual thing. This version of the Black Panther was a Chief from Africa with super powers of a sort.

In the 1980's Aids Awareness comics were issued (Ninja high School). And a major character also died from Aids in Marvel's (Canadian Mutants) Alpha Flight.

Some Comic Books teach Science or even other languages. Ms. Mystic by Neal Adams and Green Arrow by Mike Grell and Hawkmistress by yours truly (ask to see the script) often tackled environmental issues. Am I preaching to the converted.

Kids like to read & try their hand at creating comics. Classes (including Distance Learning internet classes on comics and other themes are available around the nation. In other words people can get credit and training without leaving their homes.

Comics are a safe addiction for the whole family.

Big Little Books (short thick early one page comics, every other page just text--hardbound, from the beginning of this century) are a form of early comic books.

Violence in any form is wrong (physical, emotional etc. or against Nature). Scape-goat-ism / facism of an economic, political, militaristic, religious, talk show, judicial, prison or from any source is wrong.

Other comics explored the murders of JFK, Robert Kennedy and Martin Luther King. Most comics are not humorous. And History can effortlessly be learned, through the enjoyment of comics.

Capt. America and the Human Torch fought Hitler & fascism in Captain America comics during the 1940's, for example.

Comics can be better than film or TV when done right. Though few have translated to the screen all that well so far except for X-men and a sleeper called Unbreakable (as of June/July 2001 it's extremely hot at the video stores). (A great film! But it seems the comic industry is attacking itself? with this sort of material.)

There are comic books as high in vibrational quality as classical music. E.C. comics Weird Fantasy, Incredible Science Fiction, Weird Science & Weird Science Fantasy & others from the 1950's (regarding art and story) & certain comics from Marvel & D.C. and other companies may sometimes be likened unto the much higher vibration of John Lennon or Vivaldi (quality wise). (See Dreyfus in Mr. Holland's Opus to understand what I am saying or even Finding Forester with Sean Connery). Because of the level of story and rendering of art back in the 1950's when issued. These were projects of love and survival.

The new way to sell comics is Ebay, Amazon.Com and Yahoo auctions. Among others. Ebay is the most successful so far.

Keeping track of your collection is a full time job. There is now inventory software for organizing Comic Collections.

I've enjoyed watching a few good "Electronic" or internet Comics at DC, stanlee.net and elsewhere. But animation is still better (as far as I am concerned). Beast Wars is a really well done 3-D cartoon originating from talents in Canada. Beast Wars is probably the best animation being produced these days.

Store owners didn't mind the plethora of first issues until around 1996 when new people took over at Marvel and elsewhere. Comics are a viable art form no one should take advantage of. But retailers and fans feel they have been used. And we resent it.

One funny footnote, Frederick Wertham, the much hated Psychiatrist blamed for the demise of E.C. Comics and other companies during the 1950's paranoid Senate subcommittee hearings where he testified against the "violence in Horror & Crime" Comics actually found something in Comics of value a little later in his life and began publishing Comic Book Fanzines. Yes Wertham got into Comics Fanzines and self publishing!: Wertham complemented Fanzines as a good that came out of Comics.

Fanzines are of many types from Science Fiction to Comic Book from art-zines to zines that specialize exclusively in one genre: Dr. Who, Star Trek, mainstream Science Fiction books etc. There are pro-zines (published by professionals in the comic industry) and zines that are "self published" by fans.

Censorship is wrong unless it is self imposed.

D.C.'s Elseworld's stories are extremely creative and good and take comics to the next level. Putting Superman or Batman in a unique setting in time and space isn't a new idea but the way DC executes these tales with details is usually innovative and exciting.

Where does one classify the classic Cerebus the Aardvark by Dave Sim, Reed Fleming Milkman, Teenage Mutant Ninja Turtles or Hate Comics?

Classics Illustrated (classic literature illustrated) helped many people with time constraints pass a book report.

Black & white Warren Magazines (Vampirella, Creepy, Eerie) from the 1960's often contained some of the best art & story for any time. Some fans are reeling still from the talent of Richard Corben (Den, Nevermore), Mike Ploog (Frankenstein), Jim Starlin (Warlock, Dreadstar), P. Craig Russell (Night Music, Elric.) Great work hidden in Tower Comics (Wally Wood) and Charleton Comics (Ditko) too.

The unacknowledged older audience pray that Marvel and D.C. maintain as high a standard of quality as possible.

New talent should not copy from other people's work. Draw from life and photos. Regardless of what misinformation you may get.

Stan and Marvel literally saved the Comic Industry from extinction during the last 35 years I feel.

Eventually fans may focus on Silver Age and Golden Age comics from the 1940's--1960's. Or the E.C.'s from the 1950's as I did at age 15 after acquiring every Marvel and D.C. issued during the 1960's. But one really can't outgrow comics. Once it is in your blood it will always be in your blood. New or now-agers would say I'm "too attached" to my possessions (comics). Possibly so. But a really well written nicely illustrated comic is better than watching Disney's Fantasia/Fantasia 2000 in an Isolation float tank isn't it.

Remember when I said one felt part of something with Marvel in the early days -- "The Merry Marvel marching Society" etc. This is very true. People want to participate in an active way in their lives. This is one reason costuming is so successful at Comic and Science Fiction conventions. And one reason why Toys and Magic the Gathering and the internet comics, where you get to direct the outcome of the adventure, are so viable as hobbies. Because instead of watching TV one gets to enter in and play to be active and to participate.

Good art and stories are essential. Stan use to say "put it out there and see if someone salutes."

When we were kids, of course, comics cost just.10 cents to.12 cents each. The first.02 cent raise meant we had to cut back a certain number of comics. Today Action Comics #1 (where Superman first appeared in 1938) goes for $175,000 in near mint in auctions but was onJy $400.00 when I was a 15 years old kid.

I was selling Joe Kubert original Hawkman art to people on Military bases back then and then buying more comics with the profits. (See how Comics taught business, indirectly).

When comics were released I was the kid waiting to cut the plastic strip off the piles of new D.C. and Marvel comics before the manager got around to it back in 1961 at Thrifties so I could get the newest releases before anyone & pull out the most pristine "mint" issue each and every Tues. and Thurs. year after year.

Actually I was just trying to get the next issue to read and collect as soon as it was issued. Then in 1986 when I started Ninth Nebula I started air freighting the new comics to my shop and had 500 regular weekly customers. I also gave generous discounts.

We grew up, married, had kids, started our own comic stores.

More & more "readers and collectors" abhor this wanton greed and unfairness in the comic book marketplace to their pocketbooks and sense of right. They want quality not just quantity.

In a way this is where OLD Marvel really succeeded. Marvel taught its readers to think for themselves.

Most real long term retailers find nothing wrong with investors investing in Comics or Marvel Stock, and everyone made short term money with D.C.'s two first editions of the Death of Superman. Retailers made out quite well on Superman's Death--especially the Black Bagged version. As did Newsstands who bought them from retailers and resold them at higher amounts. Copies sell at around $25.00 now for the "black bagged edition." The day this issue was released copies sold from $5.00-- $50.00 each. Reports went as high as $250.00 for a single issue. But there are so many titles produced that since comics are not returnable to the distributor the amount of left over inventory with any "real store" will be immense and costly. Profits for shops are not as high as you may think.

Another super successful comic, Astro City by the author of Death of Superman and the Painted Marvel's, Kurt Busiek, was published by Image Comics. Demand rivals that of the D.C.'s acclaimed winner The Watchmen (a story of some out of shape Super Heroes who try to prevent New York and the world from getting blown up, written by English Author Alan Moore). My favorite comic lately is the Spectre which began in the 1940's. I also love various issues of Hellblazer and Swamp Thing. Tastes vary and so do types of comics. When one says Archie or Casper or Disney or Richie Rich that might be the only frame of reference a novice has about what is available. Great or unique art draws me into reading the comic. Quality matters.

At Ninth Nebula our customers were 30-50 years old and spent $30.00 or more each week all year long. They'd get 30 comics all totally different from all publishers. Most customers still focus on Marvel and D.C. but Independent publishers are here to stay.

Mad Magazine was originally a smaller size E.C. Comic. At issue #24 Mad became an entirely black and white magazine in a larger format. The ever popular talented humorous generous Sergio Aragones has been on TV's Bloopers and Practical Jokes and other shows and is co-creator of Groo the Wanderer (with writer Mark Evanier) started with Mad many years ago. Their Groo the Wanderer at Marvel literally had me laughing hysterically on the floor after I fell off my chair.

If you are just exploring comics for the first time be sure to check out stores that carry old and new issues.

Direct Market is strange now because there is only one real main stream distributor of comics today. Diamond. If you want to start a shop don't order randomly--find out what your customers will buy. Use their order form. There are small publishers too from whom you might be able to order directly and internet subscription services.

Other material to check out when you get into Comics reading and collecting: Comics Values Monthly (think it still exists in some form), Wizard, The Comics Buyer's Guide and The Comics Journal (Published by Fantagraphics. Opinionated Gary Groth is the editor). And of course the price guide Overstreet. Which should be used as a guide but not as the bible. My famous saying remains: "Buy what you enjoy--if it goes up that is an added bonus."

This "industry" will endure for all those with faith who work hard and make wise choices in ordering: Marvels, D.C.'s and Independents.

New is no longer so sacred a word. But together we can make it so when it again deserves it. We are moving in the correct direction. Thanks Stan, you helped give the "Comic Book Generation" the ability to think, better than schools ever could. And the desire to keep on learning.

Remember we've moved from a you or me world to a you and me world. These aren't just words but lifestyles millions of people adhere to now. And we are not the "fringe."

I share this Truth as a service to the Comics Industry: "Wider is not better." (Except for the car & luxury industry). Give us quality and we will give you our money, time and attention.

As King Arthur and Stan Lee might say: "Excelsior! " Or as I might say: "Where's my Digel."

--Robert Gustaveson

 

The Silver Age of Comic Books

The Silver Age of comic books was a period that lasted roughly a decade and a half from 1956-1970. This period was notable for the drastic increase in popularity of comic books during that time. That increase in popularity came from several sources and the Silver Age of comics paved the way for comics for decades, still influencing comic books from today.

The Silver Age of comics stands out for its dramatically improved artwork. Finer detail was used and brighter colors were also used to make the characters and the action stand out better. The comics were action filled and the action jumped off the page. Even the format and story telling of the comics themselves were evolving to better portray emotion, story lines and action or dialogue scenes.

The biggest change from its preceding era, the Golden Age, was that in the Silver Age of comic books the focus was firmly on superheroes. Superheroes and the villains they battled were essentially the sole focus of comic books during this time period. Additionally, these superheroes were being made more human. The tales of how they became superheroes typically involved science fiction story lines, dramatic emotional and personal problems or both. This change in the plots, stories and characters of comics was spurred on by the Comics Code.

The Comics Code Authority was formed in 1954 in an effort to standardize and improve comic books for younger generations, after receiving national attention and criticism from politicians. The decree was to make comics less violent, less gory and less sexual. Therefore there had to be a change in the direction comics were moving, and that change focused all efforts onto the superhero genre.

By making the superheroes have dramatic events shaping their personalities or science fiction mishaps giving them extra abilities and powers, they made the characters more human. This gave the comic book characters more life, personality and background, and made it easier for people to become invested in them.

Some of the most popular comic book superheroes in the Silver Age were rehashed characters from decades past. They were revamped via the new Comics Code and the new artistic, creative and design capabilities of artists and writers. Characters such as Batman and Superman were remade in this method and would go on of course to extreme new heights of popularity and reach. Other superheroes and characters from the Silver Age are also still overwhelmingly popular. These include Spiderman, the Hulk, the Flash, Iron Man and the X-Men, among many other notables.

The exact time period engulfing the Silver Age is debated. It is largely conceded that the 1956 re-introduction of the Flash started the beginning of the period. The end of the period is demarked over several years, including the retirements and departures of several prominent producers and editors in 1970, the changing of rules by the Comics Code Authority in 1971 and the departure of Stan Lee from Marvel Comics in 1972.

As with all good things that must come to an end, the Silver Age of Comic Books did, but not until it reshaped how we view comics today. That time period alone is responsible for the superheroes young boys and girls look up to today.

Jay Villaverde is the owner of Comic Book Superheroes [http://www.comicbooksuperheroes.net] A site dedicated to kids of all ages, as well as collectors. Carrying everything from rare Marvel comic books [http://www.comicbooksuperheroes.net] to classic Superhero comics, you'll find something of interest at Comic Book Superheroes.