mike sterling's progressive ruin

Monday, July 23, 2007


from Adventures into Darkness #14 (April 1954)

Someday I'd like to see a collection of all the space-filling short humor strips used to fill out comics back in the day. Also...was this Weird Watson's only appearance? How can you not love that guy?

What fresh hell is this? Weekly World News...shutting down? Bat Boy...homeless? Ed Anger...even angrier?

Weekly World News has had several connections to the comic book world, such as editors Paul Kupperburg and Bob Greenberger, writer Andy Mangels, and, of course, Peter Bagge's run of initial "Bat Boy" comic strips, among others.

The supermarket just won't be the same without Weekly World News staring back out at you at the checkout line. Another little piece of Americana slips away.

(First spotted via Metafilter.)

A couple more follow-up questions from the '90s bust discussion:
  • Commenter Phil asks

    "One thing I've started wondering about your memories of the speculative boom - how much cash would your average collector buying multiple copies for investment value actually have sent down the toilet, in terms of purchase price versus current value?"

    That's a hard question to answer. Well, maybe not...the general response would be "a lot," but it would depend really on what multiple copies they purchased (and assuming they kept them in sellable shape, which, as I noted Friday, was rarely the case).

    But even if they did end up investing in a boom-era comic book with some current demand and a reasonable aftermarket price -- say, for example, Spawn #1 -- is the 30% to 50% (if you're lucky) of that aftermarket price you're going to get by selling it to a dealer, or on eBay, worth the fifteen years you've stored them? And if you have a lot of them, you might run into the problem I mentioned here...you might be able to sell 5 or 10 or even 20 copies of Spawn #1 to the same buyer, but it's not likely you'll be able to sell a full case of a couple hundred copies to that buyer. At least, not without taking an enormous loss on them. I can use some Spawn #1s for the shop, but I'm not going to tie up a lot of money in 200 copes that might take me a decade or more to sell. If you want me to buy a full case of Spawn #1, it better be cheap.

    And if you've got something nobody wants, like, say, Brigade #1, you've gone from the "you may make a little bit of your money back" situation with Spawn to the "too bad it's not soft enough to use as toilet paper" side of things. Sure, the price guide might say it's worth cover price or so, but they're not actually selling for that. To anyone. Ever. They're not even selling in our bargain bins, much less at full price. Anyone who invested in Brigade will find themselves...well, I believe the technical term is "losing one's ass."

    Speaking of asses and the loss thereof...another thing to consider, when it comes to value of many of the boom books...some of you folks may remember that our shop was clearing out some backstock, selling about 100,000 units to somebody who needed comic books in bulk, regardless of title or publisher. We unloaded tons of '90s crash-era comics at the princely sum of one shiny nickel per funnybook. Alas, I doubt you'll see that pricing reflected in the listings of your favorite price guide ("SECOND LIFE OF DR. MIRAGE #1 - $0.05 in NM condition").

    So, anyway, to actually answer the question: while I'm sure there are some success stories, the vast majority of people who invested in multiple copies probably only realized pennies for each dollar spent, if even that.

  • Commenter Mathew has a question about something a little more recent:

    "Do you think 52 would have sold as well if DC published it as a monthly trade rather than a weekly pamphlet?"

    If they had gone the monthly paperback route, 52 would have been a drastically different creature. (For one, they would have called it 12.) It was designed as a weekly serial, with cliffhangers, and its impact (and novelty) would have been diminished had it been yet another monthly publication. Not saying there isn't room for DC to experiment with a superhero story serialized as a monthly trade paperback, but 52 was primarily designed to take advantage of the weekly new comic pamphlet release schedule, which contributed to its sale success.

Another good sequence from Adventures into Darkness #14:

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Sunday, July 22, 2007

More racial sensitivity in comic books, plus more '90s stuff. 

I don't normally buy current publications from Archie Comics, and when I do, it's almost always books that reprint their work from the '60s and earlier. Such was the case with last week's Archie Digest #236, which reprints Archie's first appearance from Pep #22, along with a full reprinting of Archie #1 from 1942.

One of the stories from Archie #1 has Archie involved in a series of mix-ups on a train with another passenger, and the poor railroad porter gets caught in the shenanigans as well. The porter looks and talks like this:

I realize it's no shock to anyone familiar with comic book history that racist caricatures of black people (and Asians, and Native Americans, and so on) were common in early stories (and this isn't even the worst example from this particular story, with other panels including dialogue like "I done thought..." and "Mus' be dat bump on yo' had!"). Not having an original Archie #1 lying around the house, I'm going to assume the porter has been recolored slightly for the reprint, even though all his stereotypical dialogue appears to have remained intact.

I'm not saying this shouldn't have been reprinted as is. If you're going to reprint your old material for historical purposes, it should be reprinted as it was, warts and all*. And that's what folks have been doing...a glance through your Shazam Archives and your Golden Age Wonder Woman Archives, among others, will show you examples of political incorrectness similar to that bit of business with the porter. But these are high end reprints, aimed at comic collectors, who are presumably familiar with the poor way minority groups were portrayed. Disclaimers aren't uncommon, noting the usage of such caricatures were typical of the time, and left unchanged for historical reference.

This Archie digest, however, is aimed at a young, general audience. It's one of the few modern comics actually sold in places where people who aren't comic fans shop. At my grocery store, they're right up there at the checkout line, next to the TV Guide and the Weekly World News. How will kids take the porter's portrayal -- how will the parents? -- particularly since there is no disclaimer that I can find noting the historical reasons for that portrayal.

I'm very curious as to the response Archie Comics will receive.

Okay, one last round of "Mike Remembers Barely Making It Through the 1990s:"

  • Commenter Stavner asks

    "Do you think we'll ever see comic books back in supermarkets and convenience stores?"

    It'd be nice, and in some cases apparently you can find comics in some convenience stores...but a widespread revival of this manner of distribution? Not unless 1) comics get a whole lot more popular, and 2) the profit potential for them is enough for store owners to risk valuable space on them.

    "Do you think Gemstone will keep publishing Disney comics for very long?"

    Hard to say...my gut feeling says "no," since their number of publications has declined, and their prices have gone up. Their last Don Rosa reprint book has sold very well for us, though, so maybe there's some life there yet.

  • H of the Comic Treadmill doth ask

    "There are those who insist that monthly super-hero comics will be dead sooner rather than later. Do you see a trend in that department? What's your take on the viability of our beloved monthlies?"

    I think if the price point of the standard comic book goes much higher, something is going to have to give. My guess is a regular comic book will eventually undergo some form of evolution, possibly into a much thicker publication with more stories, at a slightly higher price point (but giving a higher perceived value to the reader), and just loaded with ads to help subsidize the cost of the magazine.

    There are a lot of economic factors there that I'm overlooking (such as whether or not a comic book publication could attract enough ads, and get enough money from them). At the very least, I don't think monthly books will go away, but they'll have to become something new to give readers more perceived value for their money.

  • Commenter Roel asks

    "Where the hell did all these investors come from in the first place? I mean, why did everyone suddenly get the idea that these comics would be worth a lot of money? Comics had been around for decades and decades, and then -- all of a sudden, out of nowhere -- all these non-comic book fans start investing in them? Why? Was there some sort of triggering event? I don't get it."

    Apparently there was a large crash in the sports card market just prior, and it was just a lateral shift from collecting one thing to another...I don't have exact details, but it appeared to be common knowledge at the time. I can personally testify to the number of investor-types requesting "comic book Becketts" -- Beckett being the publisher of several sports card price guides -- so that lends credence to that theory.

    Also, the greater awareness of comics among the general populace, driven by movies and media-hyped events, combined with a possible economic downturn and plenty of newspaper stories dragging out the old "did you know old comics are worth money?" thing...that made comics a large, attractive target for investing, without all that "dealing with brokers" stuff.

    "Oh, another question -- why are you so remorseful about selling pogs? How is that any worse than selling, say, a trading card or an action figure? People wanted pogs, and they wanted to give you money in order to own them. What's the big crisis of conscience there?"

    Because I can see the value of a trading card or an action figure. Though technically, I realize, there's only a slight difference between a trading card and a POG, but least trading cards were numbered, sometimes had cardback text, and could be put into sets. They had something to them. POGs (or, rather, milkcaps) were, with some exceptions, just random pictures on bits of round cardboard, and just felt to me like it was worthless junk. The alleged "game" involving milkcaps was essentially jacks or marbles, without the skill....you threw a heavy disc down onto a pile of cardboard discs. and you kept the ones that turned over, or some damned thing.

    I understand this might just be bias on my part, since there are plenty of folks who think comics are worthless junk too, but even if customers were willing to part with their money for POGs, I felt like I was giving them nothing of value in return. I was essentially turning their money into crap. I know I should feel like this when I sell someone a copy of, say, Purgatori, but I don't.

    Yeah, cheap shot at Purgatori, sorry, but I can accept that someone might find entertainment value in that comic. Somehow. I just don't see that value in milkcaps.

* As far as story content goes, anyway...I realize the comics in question have been recolored and (it seems) relettered for clarity.

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Friday, July 20, 2007

More '90s retailing , a Licensable Bear™ cartoon, and links to Punisher studies. 

Okay, I'm gonna try to go through these a little more quickly...I've given you a lot to read this week, which means a lot of typing on my part, and a man's gotta get some sleep sometime. Plus, that Doctor Who Genesis of the Daleks DVD I got from Netflix ain't gonna watch itself.

So, here are a few more answers to questions posed to me about the comics market, the '90s, and, God help us all, POGs:

Cove West asks

"Did you as a retailer see any signs that comics were recovering in the late-'90s, or was it just a long period of malaise from the Bust until Quesada/Jemas at Marvel kicked off the Media Age?"

I think the simple departure of the investors meant a stabilization/correction of the market...unfortunately, that stabilization of the market also included the departure of fans who were present prior to the fad/boom, who left for a myriad of reasons (tired of the decline in quality, disgusted by the catering to investors, distracted by other hobbies, etc.).

At that point, there was no where to go but up, really, and with the shaking out of lesser books and a general increase in quality in what was left, you got the sense that a slightly healthier market was beginning to emerge. Retailers ordering more sanely, consumers showing a bit more discretion...we all went from "wild abandon" to "cautious penny-pinchers" right quick.

The Quesada/Jemas thing, if anything, probably stirred things up a bit more than the market was really ready to deal with at the time. It's like taking someone out dancing two days after they broke both their legs...a little more recovery time is probably required. I'm thinking the whole "upping comics schedules to every three weeks instead of monthly" shenanigans they tried, briefly, before discovering everyone hated it.

Commenter Bill asks

"I was wondering if your shop saw a lot of customers who, like me, didn't even notice the boom and bust."

Probably...we had a few folks wondering where all their Punisher titles went, for example, or noting that a lot of the comics they were following suddenly dried up, or came out less frequently. Whether some of them were aware of the changing marketplace as a whole, I don't know...I imagine some never really noticed. So long as we still had our doors open, still getting new comics every week for them to buy, then it was all Business As Usual.

The mighty and fearsome Ken Lowery asks

"Rare, sought-after book = high value. Did speculators not realize that companies printing 300k-500k copies of a new book, and everyone buying five copies apiece to store away, meant that these books were by definition not rare and therefore not valuable?"

You'd think. I did a lot of explaining to people trying to sell us comics during the lean years why their stacks of Image #1s weren't worth diddly squat.

On the other hand, there's a particular phenomenon I've noticed when I see collections from people who bought multiple copies in large quantities. The vast majority of these people did not keep their comics in new condition. Of those 500,000 copy print runs, chances are the copies that actually made it into customers' hands (and not just stored away in shop's backrooms) are not longer in mint shape, if they were even kept at all and not just tossed out once the faddish fever broke.

So, maybe, just maybe, that one person who bought fifty copies of Secret Weapons #1 and managed to keep them in mint shape actually may have something, there. Still not going to buy 'em, though.

Commenter P-TOR asks

"You wouldn't happen to have any packs of GHOST RIDER hero caps (aka; pogs) left over would ya?"

Nope, no more POGs. A year or two back I found one last cardboard box filled with POGs and associated paraphernalia still gathering dust in the back room, threw it as is on the eBay, and got about thirty bucks for it. Aside from maybe a POG promo or two in our card section, and that little tiny plastic POG case with a few caps in it that I use as both a paperweight and as a constant reminder of my retailing sins, POGs are no longer welcome in the store. Phooey, sez I.

FMguru has lotsa questions, so let's see what kind of answers I can give him:

"When the boom was going on, did you believe that the market was ascending to a new plateau (i.e. that a lot of the boom was actual long-term growth in the market) or did you think it was all hot air and candyfloss and likely to end in tears (or, more positively, a nice little bump in sales and cashflow before things settled back to normal)?"

My expectations was that it was a faddish increase, and that things would eventually normalize...but I figured it would normalize with some extra folks joining the comics scene as regular readers, so that as a whole the market would be slightly larger than before. Alas, what ended up happening, as I noted earlier in this post, was that the investors went away, the fad-followers went away, and a bunch of the regular fans went away, leaving us with a shell of an industry.

"Also, what was the most traumatic event of the boom, from a retailer's POV? What one thing (corporate decision, book delay, whatever) did the most damage to your business?"

I've discussed this in past posts of mine, trying to track down the book that killed the industry. In my mind, it's still Turok Dinosaur Hunter #1 from Valiant, which every retailer overordered, and ended up not selling anywhere close to expectations. It might just be me creating connections in hindsight, but it seemed to me that this was the book that triggered the realization that investing in comics, particularly comics that had larger print runs than the Bible, was a really stupid thing to be doing.

"What was the most ludicrous waste of money that was clearly going to be an enormous failure? I'm thinking Tekno Comics, here."

Tekno Comics is a good answer, featuring a lot of Big Famous Names on titles that they were only tangentially attached to, like, say, Isaac Asimov's I-Bots. Not saying they were bad books, but having "Isaac Asimov's" and "Neil Gaiman's" and "Mickey Spillane's" across the tops of the covers, and having someone else write the insides, was bound to disappoint somebody. Yeah, I know, what were they expecting, but still.

In general, though, I think the huge amounts of money spent to try to compete with Marvel and DC at their own shared-universe superhero game was a bad idea. And the whole "collect the trading cards to assemble the first issue of our series" idea for Defiant's Warriors of Plasm and, I think, Dark Dominion, seemed like a good way to dissuade people from trying your books.

"What role did the Magic: The Gathering boom of 95-96 have in helping keep your store afloat during the comic market implosion?"

Games in general helped keep us going...half the store was devoted to role-playing and tabletop gaming, and that kept bringing in the bacon when the comic half was in the doldrums. I knew something was up with Magic almost from the start, when we'd get calls like this:

"Hi, I'm in Los Angeles. Do you have any Magic packs?"

"Uh, yeah, I have a couple left here."


So, yeah, RPGs, Magic, Warhammer...all that stuff definitely helped.

Not a question, but an observation:

"One other good side effect of the boom was that it created a huge demand for writers and artists, and a whole bunch of people who otherwise wouldn't have broken into the industry got breaks."

True enough...I was going to touch on that, but I kept wanting to phrase it as "consumer confidence was undermined by the influx of not-ready-for-prime-time artists and writers hired primarily for their ability to fill a page with something, regardless of quality, as all those books being pumped out each month couldn't go out blank."

But you're right...the side effect of this was that, just by the sheer numbers involved, some of those people would actually turn out to be pretty good, and got their breaks during this creative influx. So that's a good thing, but too bad about the trials we all had to endure for this to happen.

"Finally, of all the dumb cover enhancements that came along in the 90s, which was your favorite? I really liked a Superman cover that was just a Metropolis cityscape with a slightly waxy coating - and it came with a sheet of ColorForms(tm) you could peel off and make your own cover with. Reusable!"

That is probably one of the best ones, but I still like the firework effects on this Adventures of Superman cover, and this enhancement may be the Greatest One Ever.

I'm kinda partial to glow-in-the-dark covers, too, like the Spectre ones. Or that elaborate Mighty Magnor pop-up cover by Sergio Aragones.

All in all, I didn't hate the idea of novelty comic covers, but there were just too many, too fast.

(FMguru has many other good observations that I'll eventually get around to discussing in a future post.)

Commenter Mark dares to ask

"You know, I still can't effin' understand how POGs are played. Is player? Are played with? I can't even get the prepositions right!"

It involves throwing a heavier POG, or a Slammer, at a stack of other caps, and whatever flipped over you got to keep, or something. Either that, or the point was to accumulate as many POGs as possible, so your mom will something to complain at you about leaving all over the floor of your room.

And Pal Nat notes

"About the black-and-white boom, it should be noted that some of those 'failures' were selling in numbers which would happily get them continued by a small black-and-white publisher today."

True enough...though a portion of those b&w titles were selling to retailers, and not necessarily getting into the hands of any customers. Shadow of the Groundhog sold great to that convention guy I told you about yesterday...he just couldn't sell 'em to anybody else!

But I get your point....lots of good b&w titles sold solid numbers, to actual readers...numbers that may have been sneered at by Marvel and DC at the time, but are probably looked at now as "pie in the sky hopes" dream numbers by the Big Two.

Speaking of Pal Nat, the (sniff) last issue of Licensable Bear™, #4, is now out in stores. Read more about the cutest little licensable bear ever at Licensablebeartm.com.

And here's a Licensable Bear™ video that I seemed to have accidentally skipped featuring on my site when it was released. So, please, enjoy a lesson in branding and marketing from the only expert you can trust...a bear wearing a shirt:

Tim O'Neil continues his in-depth examination of the rise and fall and rise again of the Punisher comic book, inspired, at least in part, by a post of mine briefly discussing the character's waning and waxing popularity. (Here's part one of Tim's Punisher posts.)

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Thursday, July 19, 2007

"Buy something you'd like to read, that way it'll always be worth something to you." 

So some of you folks had some good questions in response to this post of mine from yesterday...I'm mostly just answering direct questions today, but I'll probably get around to speaking about some of your more general observations soon.

If you have more questions or comments, feel free to lay them on me.

Commenter Allan asks

"I would be curious if you could think of any possible bright sides of the bust. Did anything good come out of it (besides the death of a ton of lousy titles) or was it just a great big pile of suck without any glimmering glints of gold peeking out from underneath the rubble?"

Well, there were a few good things, I think:

1. A refocusing by certain publishers on comics that were worth reading, rather than just being foil-covered, die-cut objects for magpies to gather. (Though this is slowly coming undone.)

2. Shaking out some of the retailers who jumped into the market just to exploit their customer base with "investments" and "collectibles."

3. And most importantly, teaching the surviving retailers a very important lesson about over-ordering, buying fads, and the transience of "investing" customers. You'll find a lot more retailers nowadays swearing by their cycle sheets and ordering a lot more conservatively, particularly if they weathered the '90s.

Commenter Larry E asks

"As a retailer, did you ever try to talk any customers out of buying multiple issues or otherwise contributing to the speculation bug? If you did, was it regular customers or just guys thinking they would cash in on the Death Of Superman or X-Men 1, etc?"

If someone came up to the register with multiple copies of a book, I wouldn't necessarily try to dissuade them, but I would at least ask them something along the lines of "Are you sure you want this many?" Even if they had just two copies of a book, I'd say "Hey, you had two copies of this comic in your pile...did you mean to do that?" But, if they were adults, and they wanted to have multiple copies...hey, it's their money.

Also, keep in mind we had ginormous distributor bills...we were raking in a ton of cash, but we were also doling out a lot of coin of the realm at the same time. If someone wanted to buy thirty copies of a book that otherwise was kind of sitting there, we weren't in a position to say "no," really. Multiple copy sales of that magnitude (or more, like full cases of books) rarely happened anyway, and it was usually as special-ordered wholesale items to people selling at swap meets, or via mail order, or what have you.

On the other hand, when customers asked me which comics would be a good investment, that's where I drew the line. Depending on my mood (and how well I knew the customer) I'd say "If I could tell the future, I'd be at the racetrack," or I'd just respond with a "Who can tell?" Or, more likely, I'd say "Buy something you'd like to read, that way it'll always be worth something to you." That particular mantra was repeated many a time.

At no time did I ever, ever, recommend a comic book as an investment. Aside from the fact that I'd prefer people read the books, the danger of that was, of course, recommending a book that turned out to be a turkey, and having the customer chase after me with a rusty clawhammer because I sold him four hundred copies of Team Youngblood #1.

Another thing that, hopefully, makes me look a little less bad was, at the time, I had set up a "RECOMMENDED READING" rack of good comics that I wanted to encourage people to actually read, as opposed to just dropping into a Mylar and waiting for the price to skyrocket. (That's how we ended up regularly selling about 5% of the print run of a Pirate Corp$ issue, to bring up one fond memory.)

Commenter Scratchie asks

"I've often wondered if Overstreet and the other pricing guides acknowledged the crash, or whether their 'market prices' for various issues just kept going up, and up..."

You know, that's a good question, and I think I probably have the magazines and guides at the shop to research it. But just as a hunch, I imagine it's like this:

Overstreet, on the whole, is pretty conservative with pricing, so aside from some fluctuation on, say, Valiant titles, it probably didn't alter its pricing too much, since they probably never acknowledged too much of the "hot title" pricing to begin with.

Wizard probably just dropped "hot" comics out of their price guide entirely as prices dropped, with "not enough interest in the title to justify using the space" as a reason.

And the other fly-by-night price guides all dried up before they could start running post-crash pricing.

I need to dig out some of the guides and take a look to see what they actually did. Watch this space!

Commenter Thelonious_Nick asks

"...Do you think there will ever be another time when comics are a mass medium, as they were from the 1940s-1990s? And if so, what changes in the comics industry and/or society will be necessary for that to happen?"

I think it was Dave Sim, of all people, who said that television is the only real mass medium, and everything else is a distant second. But, for a while there, comics were enormously popular, but I think the '90s may have been the last hurrah of that particular market situation (no matter how hard the publishers are trying to revive it with all their variant covers).

1. We had an enormously popular Batman movie that created a faddish interest in comics.

2. The sports card market collapsed, driving investor types into the comic market looking for more collectibles (a drive pushed by the Batman-created fad, most likely).

3. This may just be crazy talk, but I've had a half-baked opinion that comic sales seem to bump upward during times of economic depression, and maybe someday I'll get around to researching that a little more fully.

And I'm sure there are other reasons, but I think the main reason for the '90s market being the way it was could be attributed to the faddish nature of comics' popularity. There's no real telling what will create a fad like this, how big it'll get, or how long it'll last...and now that comics have had their big fad moment, it's unlikely it'll happen again in the near future. (How many big "pet rock" revivals have there been since the '70s, for example?*)

As it is, the comics market is improving slightly, as the focus moves ever so surely towards a trade paperback-based system. As awareness of comics increases, more people find things they like, and readership increases...and so long as the market grows naturally, and healthily, I don't care if it does reach the heights of the '90s. And frankly, the only way that would happen at this point is for another comics fad to hit, which I don't know any of us really want to see.

By the way, in some instances, comics are doing enormously well. How many best seller lists is the Naruto manga on, for example?

Commenter Matt asks

"...Was there one "eureka" moment for you when you knew the crash was coming? When you knew things were falling apart, or about to fall apart?

"For that matter, did you smell the crash at all?"

I think I've noted before that the crash was pretty sudden. We had a few weeks when sales dipped a bit, and we thought it was just one of those periodic sales adjustments, and things would be back up to normal shortly.

And then things just kept dipping, and we thought "Well, this is going on a little longer than normal, surely those customers will be back. We'd better keep ordering our regular numbers so that we'll have the back issues for them when they return."

And then the sales continued dipping, and then we, along with every retailer in America and abroad, went "Oh, shit."

The one thing that really made me think "Oh, this can't be good" was a certain issue of the Diamond Previews catalog. For one, it was much thicker than previous issues. I think it was even thicker than the current Previews. And two, it contained the debut of (or at least special-featured solicitations for) at least three different superhero shared universes from three different publishers (one may have been Dark Horse's Comics' Greatest World). I remember looking at that and thinking "We don't have the rack space to support this" and "How do they expect customers to afford to follow all these books?" I can still recall my very strong feeling of dread.

Commenter jimbo asks:

"I guess like Larry E, I'm interested in, for lack of a better word, the 'ethics' of the 90's speculator boom. Did you feel a certain responsibility to dissuade folks from being a bit too silly with their money (multiple issues, 'investing,' etc.), or is this sort of like asking a liquor store owner if he feels bad about taking money off a guy who buys a 30 pack?

"I know you to be a generally swell and ethical guy, but were there ever any moments in the 90's where you felt tested, or even points where you were like 'No, this is not why I got into this business at. all.'?"

I addressed this at least partially with my response to Larry E...I think my responsibility was in telling people who asked about comic book investing was that it wasn't a good idea. But, if people wanted to spend money on multiple issues, even after I asked them if they were sure...well, I'm not their mom, I'm not going to tell them what they can or can't spend their money on. And like I'd said...most of the time, it was just people buying doubles, which was no big deal.

Was that healthy for the comics industry in the long run? Probably not. But not even a Mikester in his early 20s' fightin' prime could save the industry by himself, refusing to sell multiple copies and extolling his customers to turn away, turn away I say, from those five different X-Men #1s, stop rubbing the blood on Bloodstrike #1, and buy only comics you'll enjoy reading! I did what I could to encourage reading and discourage investing, but the economic reality of it was that I had to accept the investors are part of the deal. Besides, if they didn't buy 'em here, they'd go to one of the other half-dozen stores that popped up in our immediate area and buy 'em there. ('Course, most of those stores dried up years ago.)

On the other hand, the kind of person who'd buy a case of any given issue at a time wasn't someone who was going to stick around as a reader anyway. He was in it for short term profit, not long term entertainment.

As far as the "not why I got into this business" part...it wasn't comics, but POGs what did the deed. I've written about this before, but POGs and their ilk are really the only thing I hated, hated selling. It honestly made me feel like a crook taking money from kids for POGs and POG supplies and POG sheets and slammers and what have you. I would have probably felt better about selling cigarettes to them, because then at least the kids would get cool menthol flavor, which is far more than they'd be getting from these stupid milkcaps. This was pretty much post-crash, however, and we were doing everything we could to get cash in the door and keeping the doors open. And, kids wanted POGs, we had no shortage of people wanting to wholesale POGs to us, and our will was weak.

When my time comes, I'll have a lot of explaining to do to God.

Commenter David C asks

"Were you around for the '80s 'Black and White' boom? If so, how was it similar and different?"

I was around as a reader and a fan for the black and white boom, but I wasn't on the retail end of things until shortly afterward. Our shop didn't fall for the b&w boom like some folks did...we may have carried Solson titles and assorted other small press titles cranked out to take advantage of the investors market created by the popularity of the Teenage Mutant Ninja Turtles, but never more copies than we thought we could sell. There was no investing in these b&w #1s in quantity, in the hopes a financial killing could be made (like the poor bastard I saw at a convention circa '91, with a whole long box of the notoriously terrible Shadow of the Groundhog).

I would say, in general terms, that the primary difference between the black and white boom and the late '80s/early '90s boom was that the former was more publisher driven, while the latter was consumer driven. When TMNT came out, it was a huge hit, with early issues commanding enormous prices. Suddenly everyone was a comic book publisher, cranking out their own black and white titles hoping for that same success. Not saying there weren't any good publishers that came out of that (like Slave Labor and Dark Horse), and that some titles didn't sell well, but there was a metric assload of terrible, terrible comics, number ones pumped out one after another, in the hopes that if you threw enough crap at a wall, some of it would stick...and very, very little of it did. (And then there are the tales of some publishers holding back cases of their own titles, attempting to manipulate the market and create their own "hot" books....)

And Comic Bob wants a more detailed timeline of the '90s, in regards to the rise and fall of the industry. I've sort of noted some of the things he mentions in past posts linked in yesterday's post, but perhaps a more thorough timeline would be in order. I'll see what I can cook up.

Related: Dick has been relating his history as a kid reading comics in the '90s beginning with this post, which may be of interest to people curious about what the market was like from a reader's point of view.

* A TRUE MIKESTER STORY: In grade school, we were given a project to create some kind of marketable product, along with its packaging, for...well, for some reason, I'm sure. Hey, it's been 30 years, give me a break. Anyway, the product I created was a Pet Rock knockoff called the "Pet Stick," a wooden stick packaged in a triangular tube I constructed (kind of like the priority mail tubes you get from the USPS). It came with a set of instructions that included games you could play with your Pet Stick, including "Fetch the Dog" -- you throw the stick, it'll attract a nearby dog, which will pick the stick up and bring it back to you. I'll still defend that as being a pretty good joke.

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Monday, September 19, 2005

As I've mentioned previously on this here weblog, one of my projects at the store lately has been going through dead stock in the back room. We have a buyer who just wants to buy a lot of comics in bulk, and doesn't care what they are...we're not getting much for 'em, but "a little" is better than "the nothing" we were getting for them before. Plus, we're freeing up lots of valuable store space, and that's the half-full cup I'm focusing on.

The vast majority of the bulk comics we're unloading are from the early '90s, that crazy period when comics were booming, recent back issues were selling like you wouldn't believe, money was coming in by the crateful, and these good times were never going to end, never! Well, they ended, all right, with promised blockbusters
not busting a darn thing, and the collectors/investors that were driving the inflated comics market bailing out and buying, I don't know, Beanie Babies or some darn thing instead.

One of those comic market bombs was the much-ballyhooed Image Comics/Valiant Comics mini-series Deathmate, which I mentioned briefly before. As I noted, a crossover between two red-hot companies was sure to be a sales success, and most stores ordered accordingly. However, it ended up tanking, whether it was due to its erratic shipping schedule, lack of the more popular Image characters (like Spawn), or just plain awfulness, it's hard to say. Actually, it's not hard to say...it was all three, surely.

At the time, I was still enjoying some of the Valiant books, and though I had little to no interest in the Image characters represented, I thought I'd give the series a try. No go...after the first two issues, I decided that it wasn't for me, and I hardly gave it another thought. Well, as a fan, I didn't give it another thought. As a comic store manager, I gave it plenty of thought..."well, crap, what am I going to do with this boatload of Deathmates?"

My plan for this weblog today was to gather together a full set of Deathmate, read the series from beginning to end, and do a (hopefully) light-hearted and fun review of the comics, and we could all have some fun reminiscing about this strange time in the comics industry.

That was the plan.

However, to pull the plan off, I would have to read the comics in question. And you know what? They're really, really bad. They're like the epitome of what early '90s "hot" comics were like...barely competent art, extremely sparse plots that still managed to turn into jumbled messes, laughable dialogue. I managed to give a full read to the first couple in the series, but could only manage to skim the rest.

The overarching "plot," as it were, of the series was that Solar (from the Valiant Universe), heart aching from the loss of his life-long love, flings himself into a some kind of interdimensional limbo and finds the WildC.A.T.s' Void (from the Image Universe). The two of them get down with some cosmic lovin', and as a result, the two Universes are merged, and the rest of the series is characters running around shouting at each other that something is wrong with reality.

The best part of Deathmate (and by "best" I mean "oh, look, the dog poop on my shoe isn't so thick by the heel") was probably the first story in the Prologue, which is at least is by Bob Layton and Barry Windsor-Smith (inked by Jim Lee), so it's at least competent. It is a nice companion piece to the generally excellent early issues of Valiant's Solar series, in which Solar's companion Gayle asks him to stop extending her life with his powers...to let her die. It's affecting, in its way, and kicks off the whole "Solar seeks companionship with ultra-powerful cosmic being" thing I mentioned earlier. It's a bit more complicated than that -- isn't it always? -- but that's the gist of it.

Now, as for the rest of the series...lemme explain first, for those of you blissfully ignorant of how this whole Deathmate thing worked. Instead of issue numbers, which would have made things easier, the issues are identified primarily (har har) by color. The Prologue and Epilogue issues have silver foil covers, and the other issues have blue, black, yellow, and red foil. There are also variant covers, of course, since this was the '90s, but I'll get to those later.

The foil cover on Deathmate Yellow is probably the worst of the bunch. Scanning it doesn't do it any justice...I tried, these guys tried, but nothing quite properly conveys the piercing, acidic yellow on this cover. Sunday at the store I was packing up a pile of these for the bulk sale, and that yellow actually started to make me physically ill. And no, it wasn't the thought that we dumped so much money into this comic...I was having an honest-to-God reaction to that horrible, horrible shade of yellow. I've no explanation.

Anyway, back to the actual contents...the majority of the stories in the Deathmate series are Valiant and Image characters fighting each other, but the first story in Yellow features Valiant characters Armstrong and the Eternal Warrior being "Jerked Through Time" (that's the title, I swear) to ancient Rome. As a result...quite possibly the finest use of a vomitorium in an intercompany comic book crossover:


And, yeah, that's pretty much the highlight of that book. In fairness, it's not a terrible story, given that Armstrong is so slovenly a character that he's usually fun to read.

Deathmate Black is notable for being the only issue of the series to have even the slightest aftermarket demand, primarily due to the brief appearance of the briefly-popular Gen 13. Also, this issue provides a good microcosm of the '90s comics market. Here's what about half the books from Image looked like:


And here's the other half:


The most infamous issue was, as I recall, the one that was the most delayed, Deathmate Red. I believe it was also returnable, at least partially, as well, making it the hardest to find. Though why you would want to find it is beyond me...it's Youngblood and Bloodshot, with Rob Liefeld at the helm for at least the first half, and you can glance at this cover for a taste of its greatness.

Aside from the core series, there were also variants and a "preview" issue. The preview is generally referred to as "Deathmate Pink," and you can see a pic of it here. It's simply a few pages from Yellow, with Shadowman sitting down and having a quiet cup of tea with Grifter. Oh, okay, not really, they're actually fighting. "Pink" was distributed with the Diamond Previews catalog, though, according to some of the signage I still had with our copies at the shop, copies may have also been distributed with boxes of Ultra Pro comic supplies.

The variants were simply gold foil editions of the books, which made the variants for Blue and Black stand out, but the gold variant of Yellow always used to make me look twice. It was just close enough to not be immediately obvious to me at the time, though looking at it now...well, the fact that the gold foil doesn't make me sick should be difference enough.

I should admit that, as I was processing the Deathmates for disposal, I thought I'd better check the back issue bins in case the Deathmate section needed restocking. Surprisingly, we needed Blue...though seeing as how this is probably the first time I've checked this section is, oh, a decade, who knows when it actually sold.

So anyway...so long, our backroom Deathmate stock...we barely knew ye, but I'm glad to see the back-end of you as you become someone else's problem.

Of course, with my luck, suddenly Deathmate will become red-hot again as soon as we unload all these turkeys. Though I shudder to think of a comics industry shift that would make Deathmate popular.

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Thursday, September 15, 2005

In which Mike is all over the map. 

Pal Dorian told me about this cover for the third printing of Supergirl #1. It's an homage to the introduction of the original* Supergirl, it's charming as all get out, and it's a darn shame it's the exact opposite of the godawful mess that's actually inside the book. Ah, well.

Hey, there's some kind of giant orange lizard creature on the cover of the new Marvel Knights: 4. I hope the Thing fights it inside.

YOUR EMBARRASSING STORY OF THE DAY: Several years ago, I had a customer who, as it happened, was blind in one eye, and was wearing a patch over said eye. He asked me if we had a particular item in stock. I told him that, no, we were out of that item at the moment. He asked if we could ever get it back in stock, and if so, if I could let him know when it does show up.

I told him that I'd keep an eye out for it.

Even as I was saying it, I was thinking "maybe this isn't the best way to say this to this particular customer," but too late...it was out of my mouth.

Luckily, he wasn't offended...and maybe I was worrying just a tad too much, but boy, to this day I can't believe I said that to him.

Congratulations to Will Pfeifer on hitting his weblog's one year mark! Go visit his site, and give him some well-wishing along with the Duke!

And vaya con pollos to weblogging mainstay Franklin Harris, who's putting an end to his site, for good this time. We'll miss ya, Mr. Harris!

Someone, somewhere, at this very moment, is having a heart attack over how Batman is portrayed in All Star Batman and Robin #2. But man, I couldn't stop laughing, not so much as to the actual content of the story, but to Frank Miller's hearty "screw you" to the fans who want their Batman deadly serious. (And yeah, I know Batman's behavior was, mostly, supposed to be an act to get reactions out of Dick Grayson. Still damned funny.)

Okay, just when you've thought you've heard the last of this...so, about the early '90s comic crash....

Now stop that groaning, this'll only take a minute or two.

Anyway, we were trying to pin down if Superman #75 (the dreaded "Death of Superman" issue) came out at the same time as Turok #1 (the dreaded "Death of the Comics Market for All Time" issue). Some folks said "yay," others, like commenter Gardner said "nay," and, lacking easy access to our invoices of the time, I sought an answer elsewhere.

And that elsewhere was Comiclist, which not only has current new releases, but new release lists dating back to '91, complete with a search engine. Looking there, Superman #75 was scheduled for release in mid-November 1992, and Turok #1 was due April of '93.

Now, there were a lot of #1s coming out at the same time as that Turok, but the only really big one was Marvel's Infinity Crusade. However, with Marvel having gone to that "Infinity" well a few too many times over too short a period, it didn't do so well. So, basically, Turok wasn't facing much competition from other titles that week. However, looking at these lists, I see quite a few things that most stores (including our own...we're not innocent in this) probably way overordered. Sigh...this much "nostalgia" isn't healthy, I'm sure.

On a (mostly) non-comic-related note, pal Scott (who is also secretly pal JP's brother) has had his book turned into a movie directed by Harold Ramis and starring John Cusack, Billy Bob Thornton, and freakin' Randy Quaid. Hey, pretty cool.

And in other movie news: "The Legend of Cabin Boy."

* Freudian slip alert: as I was typing this sentence, I was intending to type "original," but somehow I typed "real." I see what the deepest, darkest recesses of my fanboy brain is thinking....

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Tuesday, September 13, 2005

So my
insanely rambling post yesterday regarding the comic market crash, a couple commenters noted that Superman #75, the infamous "Death of Superman" issue, and Turok #1, the infamous "didn't sell like we were all expecting it to" issue, may have come out on the same day. That is very possible...I don't have my invoices handy to confirm, but it wouldn't be the only time one enormously red-hot comic's sales affected the sales of yet another allegedly-hot funnybook released at the same time. The first Aliens Vs. Predator comic, which seemed to have a lot of customers anticipating its release, came out at the same time as another "hot" comic (I believe it was Todd McFarlane's Spider-Man #1) and it just sat there, warming the shelf, looking at me with its sad, puppy-dog eyes, asking "why doesn't anybody wwwove me?" Of course, I seem to remember that green logo on an orange background cover not standing out at all on the comics rack.

Honestly, I don't know why that would be...why buying one "hot" comic would preclude buying another. I think in the two cases above it may be just due to the huge amount of real-world press one book got, over the limited fan-press coverage the other received...but who knows.

Commenters suggested some other books that may have contributed to the comics market crash...one in particular is Deathmate, which I'm surprised I forgot about. Well, maybe I was just trying to forget about it, since, yeah, it was another one of those books that seemed like it was going to sell like gangbusters, and ended up becoming bargain box fodder. It was a limited series, with the issues indicated by cover color rather than issue number, teaming up the Valiant Comics universe with the Image Comics universe. The two hottest comic companies, teaming up for a mini-series? How could this not sell well?

Well, first, people were disappointed that McFarlane's Spawn wasn't involved, Second, as noted in the Comics.org link, the Image-produced half of the series was enormously late (I believe that Rob Liefeld's Deathmate Red was the most infamously delayed), killing any momentum the series may have had. Third, it wasn't any damned good, though I realize that's hardly a detriment to many a popular comic book series. For a very brief period of time, back when people still cared about Image's Gen 13, people were looking for their appearance in Deathmate Black, but that demand dried up right quick.

Another popular choice was X-Men #1, which had five different covers, the first four forming one large image, and the fifth cover combining all four of the previous covers. The variants were released one a week for five weeks...it did sell enormously well, but many retailers ordered far too many, and it remains one of the most common comics of recent memory. If I remember correctly, we actually ordered pretty well on these and didn't get stuck with too many left over.

Commenter Jim notes that Pitt #1 was a contender. I know that some stores had far too many of this particular issue, but we actually did okay with it...we ordered a case of the things, and they blew out the door. Lots of multiple copy sales as well, though (and I think some of you are beginning to recognize that this is a common story from this period) investors started to see that a lot of the new comics they were buying were in no small supply, and thus had no "collectible" value.

Commenter Michael brings up the Spider-Man Clone Saga, which I always saw as mostly a Spider-Man killer rather than a comics market killer, though driving people away from the Spider-Man books surely wasn't good for the health of the industry as a whole (or, at least, for Marvel). As generally reviled as the Clone Saga was, what people tend to forget is that at first, the clone storyline sold enormously well. It was just when Marvel took a storyline that should have lasted six months, tops, and stretched it out for a couple years that the damage was done. And that damage stuck, crippling the Spider-books until Marvel finally shored up sales with the "stunt-casting" of J. Michael Straczynski as the Amazing Spider-Man writer. There's some small bit of irony in the fact that today's kids are fascinated with the Clone Saga issues, and snap 'em up like crazy. They also like the 300 different series starring Venom. Go figure.

Commenter Thorpe mentions Triumphant Comics, which I was actually talking to Kid Chris about on Sunday (though I think I kept referring to them as Chromium Comics, for some reason...they might as well have been). Each comic individually serial-numbered...as Mad Magazine used to say on their serial-numbered mags, "collect them all, kids!" I haven't actually cracked open a cover on one of these things in years, but I seem to recall that they were uniformly terrible, and that they didn't sell at all on the racks.

RobB brings up Wizard, which certainly encouraged the speculator mentality that drove the comics boom 'n' bust. I think my favorite part of the mag was when they'd list all the new #1 issues coming out for a certain month, with a notation that "first issues can sometimes go up in price" (or words to that effect). I think it was Gary Groth in an issue of The Comics Journal that described Wizard as a magazine that "tells you the price of everything, and the value of nothing," which I thought was a nice turn of phrase, there. (EDIT: I've since been informed that Groth was apparently paraphrasing Oscar Wilde. I probably should have known that. Ah, well.)

In other news:

You know, the earlier Valiant superhero comics were actually pretty good...the first ten issues of Solar still hold up, and Barry Windsor-Smith's run on Archer & Armstong is quirky fun. And, as far as company-wide crossovers go, Unity was fairly entertaining. You can read more about this company at the mindbogglingly-comprehensive Valiant Comics site.

Oh for pete's sake, if you're gonna cut 'n' paste a whole section of one of my posts, at least link back to my site! I mean, link back to my site in a way other than directly hotlinking my images. (At least the guy said he found it, rather than claiming he wrote it himself like some people have done.)


Monday, September 12, 2005

In which Mike goes on way too long about things that happened 12 years ago. 

So we purchased yet another comic collection the other day, and in this one was a copy of Adventures of Superman #500. "Oh, big deal," you're surely saying, "every comic book store has about a bazillion of those damn things." And, ordinarily, you'd be correct, but this is the platinum edition, friends. It's packaged in a black bag with a silver super-"S" on the front, and with the phrase "limited platinum edition" (or something like that) printed along the bottom.

Okay, now you can say "oh, big deal."

What amused me about this comic is that, like its non-platinum counterpart, it is sealed in the bag so that you can't see the comic inside without opening up the bag. And the comic inside is also some kind of variant as, unlike the regular edition, the letters of the Adventures of Superman logo are embossed and raised up from the cover.

Now, the sort of person who is interested in buying the limited "collector's" edition of the pre-bagged Adventures of Superman #500 wouldn't be terribly likely to open up the bag and, um, appreciate the variance of the cover inside, I'd imagine.

Maybe I'm wrong...perhaps whoever buys this will not care about maintaining full resale value, and oh so carefully trim open the top of the plastic bag in order to slip the book out. (And yeah, I believe that Overstreet Price Guide's official policy is that carefully opening a prepackaged-in-a-polybag comic doesn't affect the value, but as someone who sells these things for a living, it doesn't work like that in the wild.)

Anyway, the point of all this was that, of late, I'd been reflecting back on the big comics market crash of the early '90s. Specifically, which comic you could point at and say, "the market crash began with this very issue."

For several years, the comic I pointed at as being the turning point for the comics industry decline was Turok #1 from Valiant Comics. When Valiant first started their superhero line, their books were warming shelves coast-to-coast initially, but all of a sudden, a collector's frenzy (spurred on by the new price guide magazine Wizard, and an influx of collectors/investors from the then recently-collapsed sports card market*) sprung up around these books. Prices began to skyrocket on early Valiant issues, which were being ballyhooed as hot, rare, investable items. New #1s flew off the shelves, and sometimes we even had to tag the new books with "1 per customer" signs -- and, as I noted before, that tended to encourage further sales.

And then Turok #1 was announced for release in 1993. Comic fans (including me) had fond memories of the original Dell/Gold Key Turok Son of Stone series, and the investors who couldn't care less about comics industry were still excited about yet another Valiant Comics #1. Plus, it was going to have a shiny "chromium" cover, and people liked the chromium back in the day. Plus, Turok was introduced to the Valiant Universe in 1992's Magnus Robot Fighter #12, which was commanding some significant coin of the realm in the secondary market.

So, basically, perceived demand was high.

Retailers, who were getting the "high demand" vibes for the book, ordered massive numbers. Turok #1 was going to be like printing money, for certain!

Well, even if you weren't there for it at the time, I'm sure you see where this is going.

Since everyone ordered large numbers on Turok #1, there was plenty to be had. Racks were overflowing with Turok #1. Part of the collecting appeal of Valiant Comics was the apparent scarcity...Turok #1 was the exact opposite of "scarce." The investors who preordered dozens (or hundreds) of copies quickly realized that there was no way they were going to be able to turn them around into quick cash. And retailers realized that there was far more Turok out there than there was demand. Some people began blowing out copies of Turok for below cover, further damaging the perceived collectible value of Valiant Comics, and comics in general.

Plus, the chromium cover ended up being an embossed cover with a oversized chromium card glued to the front. It's not bad looking by any means, but people were expecting an actual full-chromium cover and not a glued-on card. It may be that's what was originally solicited, but it wasn't what people were expecting.

It's not as if the market immediately collapsed into nothingness following the release of Turok #1, but I think we all really began to realize that the glory days were over, and more and more collectors began trying to divest themselves of their investments over the following months...and years.

Another possible "death-knell" for the '90s comics boom was the aforementioned Adventures of Superman #500. If you remember the day Superman #75, the "Death of Superman" comic, came out, most comic shops were madhouses. Apparently a slow news week combined with increased media interest in comics resulted in a lot of news coverage of this particular storyline, and it seemed like everybody wanted to be in on it. On the day it came out, we had a line of people outside our store, stretched down the block waiting for us to open.

Now, keep in mind that we ordered Superman #75 a few months in advance, with absolutely no knowledge of what was to come. We did bump orders up to about four times what we normally received on our Superman books, which were okay sellers at the time, but nothing outstanding. So, seeing that line outside the store, we were forced to do the "1 per customer" thing, even posting signs in the window stating as such. Well, let me tell you, that pissed off some people something fierce, but if I had to choose between having someone mad at me because they one got one copy of Superman #75 and having everyone mad at me because they couldn't get any copies due to the first person in the door buying everything we had, well, it's not really much of a choice, is it?

And it was crazy even past that first day. I had huge waiting lists for fourth printings of Superman #75. That may seem like crazy talk, but I swear it's true.

So the "Death of Superman" story wraps up, the "Funeral for a Friend" storyline that follows wraps up, and the Superman books go on a very brief publishing hiatus.

And now, we have to order Adventures of Superman #500.

This isn't the issue where Superman comes back to life, but it is the kick-off for the long storyline that eventually would lead into the return of Big Blue. Demand is still huge for the Superman comics. People come by or call every day asking about what's up with Superman. "Is he back yet? Is he back yet?"

So, thinking about what we could have sold on the original, black-bagged, "collectors" edition of Superman #75 had we only known of the buying frenzy to follow, and considering the interest we were still getting in Superman, we place our orders for the white-bagged Adventures of Superman #500.

And so does most every other retailer.

You see where I'm going with this?

When Adventures of Superman #500 comes out, while it does sell relatively well, there's no attendant media push. The "Death of Superman" thing is old news, why should the media cover it again? Thus, there's no huge audience of "civilians" who otherwise couldn't care less about comic books lining up outside comic shops waiting to get their hands on the next new collectible. It's not a dog like Turok #1 was, but there's still plenty to be had, and for the investors that can drive collecting frenzies like the one for Superman #75, a lack of scarcity can only mean the bloom is off the investing rose (or, um, something like that). Coupled with the sudden realization that perhaps the black-bagged Superman #75 isn't worth the premium prices paid on the secondary market (at the time, I heard about someone selling them for $100!), this too surely was a contributor to the comics market crash.

Now this was just local market conditions...for all I know, someone in Wisconsin was selling Turok #1s and Adventures of Superman #500s like they had twenty-dollar bills stapled to the cover**, but it seemed to me that these two books did indeed mark the point where the comics market began its decline, as readers became disenchanted with event books and variant covers, as investors bailed out and starting buying toys and Beanie Babies instead, as comic stores started to shut down across the nation (we lost about seven or so in our tri-county area during that period)...wow, I'm bumming myself out, here. We were able to ride out that rough spot, but in some ways our store (and others, I'm sure) are still recovering from that huge crash.

It was a hard time, with some hard lessons learned regarding our own ordering habits...no one forced us to order that many Turoks, for example, but it sure seemed at the time like we wouldn't have any problem moving them! Of course, I'm moving them now...I'm blowing them out in our bargain boxes. I don't think I've had anyone pay cover price for a Turok #1 in years. Adventures of Superman #500 does still sell on occasion, but we have a pretty good clientele for Superman books, so that's not too surprising. We've still got plenty of 'em, though.

So, does anyone else have any likely culprits which, like Turok #1 or Adventures of Superman #500, seemed to trigger the '90s comic market crash?

* I could tell the new comic collectors fresh from the sports card market by the way they asked for "comic book Becketts."

** If they did have twenties stapled to the covers, you could be sure someone would complain "but, but...it's not mint!"

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