Foil Covers and Multiple Issues Blues:
The Adventures of Modern Comic Book Collecting
I remember the first comic I ever saw, GI-JOE #8. I was eight. It is that kind of nostalgia that motivates a collector and, in my case, a comic collector. I recently returned to my comic book addiction after taking a ten-year hiatus. I have to admit I rather missed it. I am now thirty-two years old and see with an adult’s eye the varied offerings the world of comics has to offer. I remember the multi-covered, number one issue, foil covers from when I was younger, but now they are gone. Those things, which are now missing, drove me away. I feel like I won by outlasting the perverse marketing frauds and swindles of the comic book “business.” I left the comics collecting racket because I thought the product was less than sub-par. The business of comics in those days focused mostly on getting out the first ”Issue” of whatever crap they could come up with that day and stamping a “collector’s edition” on the cover. I thought I was going to make one million bucks so, of course, I bought ten. After a few years, my wallet was empty and I had boxes (and boxes) of comics quickly reaching the roof. I gave up on comic collecting. I hope now to show the difference between a collector who collects for the love of good art and stories, and the collector future monetary return. To frame the difference, I will start by giving a brief overview of the history of comics.
The comics industry is old compared to other pop-culture, dating back to the late 1800’s (Australian), and amazingly is fractioned into a series of Ages. Each age represented a certain theme and/or started with an important event that happened within the comic book world. These events have been described by Australian Magazine as being:
1. The Platinum Age (1897 – 1932): Mickey Mouse Book, 1930; Bibo & Lang (first Disney Licensed book); Thimble Theatre Starring Popeye 1931 (first Popeye book).
2. The Pre-Golden Age (1933 – May 1938): More Fun Comics No. 14 (first Superman prototype and first in color); Detective Comics No.1 (first issue of title that launched Batman).
3. Golden Age (June 1938 – 1945): Action Comics No. 1 (first Superman and Lois Lane). Atom Age (1946 – 1956): Superman No. 100 (Landmark Issue); Batman No. 100 (Landmark Issue); Mad No. 1 (first satire comic); Casper No. 1 (first Baby Huey); Four color No. 178 (first Uncle Scrooge).
4. Silver Age (Sept 1956 – 1969): Fantastic Four No.1; Amazing Spider-Man No.1; Avengers No.1; X-men No.1.
5. The Bronze Age (1970-1979): Tomb of Dracula No.1.
6. The Modern Age (1980 – Present): X-men No.1 (first comic to reach print run of 8 million copies); Superman No.75 (The Death of Superman, huge media coverage) (Australian).
Collectors around the world will pay big money for the books listed above. Some of the most important books written are equally the hardest to find, in their pure form, or “mint shape.” For instance, Action comics No.1 (The first appearance of “Superman,” and widely considered by some to be the dawning of the golden age of comics) in “Mint Shape” can garner over $350,000. There are known to be three in existence. All other descriptions would use the words “near mint” or “good.” However, “mint” is what most serious collectors seek. William Kates of the associated press has this to offer, “There are many factors that affect value. Quality – including condition, color, vibrancy, gloss are one. Others include quantity of existing books and the issues content, such as when a new character or villain appears” (Kates).
When you want to maintain the “mint” aspect of the comic, there are a few basic steps to follow. Starting with the spine of the book, no crease or pinches can occur: “A comic book in near-mint condition is generally worth at least seven times more than the same one that is creased or discolored” (Fenner). The comic must be flat when laid down and look like it was printed only yesterday. No creases can be seen in the cover or on the pages. The Glossy sheen must be like the sun, breaking the dark hollows of the night. The best way to protect your investment is simply called “bag and board.” The bag is a plastic outer shield to protect from the elements and the board is a firm, yet soft, spine to protect your comic from day-to-day life. You then put the comic in the bag with the board and tape the bag shut. A long box can keep your collection protected for decades.
Collecting started with the advent of the comic book shop (Kates). Still in its infancy, it has its roots in the mid-seventies when the comic specialty shop opened its doors. It was a direct market approach to the media. Once on the shelves on your common newsstands, Safeway’s or 7-11’s, the books migrated over to the stores: “A renaissance, of sorts, began during the mid-seventies. Evolving in part from head shops, stores devoted solely to the selling of comic books and comic-related ancillaries began popping up all over North America” (Anderson). Comic book shops are firmly established in today’s markets.
I recently interviewed an owner of a comic shop, Kelly Dowd of Red Skull comics and collectibles. Kelly has been in the business for twelve years and had a few things to say about comics and collecting. Kelly responded to a couple of questions about collecting: “Most collectors follow their favorite character, regardless of title. They collect out of love for them and to some extent a certain amount of nostalgia. In terms of collecting, I find that most collectors like to hunt down the rare comics. They are completists and the thrill of finding that certain issue stuffed in the back of a long-box in some store is thrilling to them.” Kelly went on about how modern collecting has influenced his business, especially in regards to having back issues for collectors to browse: “That is something I have been debating recently. A couple years ago, I would have said yes. Now I would say, no. There are not enough collectors right now for it to be a viable part of the business” (Dowd).
Comic book collecting in the 1990’s showed that collectors were willing to buy anything, even if the comics were not too good. Whereas modern collectors, outside of the big money comics, show us a different view. Kelly adds, “They are critical to a point. I mean that they are loyal to a point. Most modern collectors collect out of the pure entertainment value that the comics offer. If the comics fail to offer that entertainment, they will move on or even drop away. Like what happened in the nineties.” Kelly goes on and gives a couple of reasons that the ‘nineties crash happened,” First of all, variant covers were a major problem. People spent too much money with no return. Secondly, Marvel Comics tried to cut out the intermediary and distribute right to the storeowners. That caused lots of confusion. Thirdly, Superman No. 75 was also a major factor. The Superman comic caused many people to take advantage of people. I think a week after they came out, they were selling it for hundred dollars on mall kiosks. When people found out the comics were worthless, they were scared away” (Dowd).
During the early to mid-nineties, someone said you could make money collecting comics. After that, the comics world exploded in a cavalcade of comics superstars and poorly devised conceptions. Looking back on my own experience I see how the brainwashing had sunk in and young men, including myself, were purchasing three to four copies of everything. Comics that I did not even read. Comics, that on the cover, told me I had to have it because it was a “collector’s issue.” Funny that something had to tell me it was a collector’s issue. I look back now in amazed wonder on how crazy I had been. Eight million copies of X-men No.1 sold and I had to be in line for it, to collect all five variant covers. The problem with that is that there are 7,995, 000 other copies out there. I never stopped to think, how is that going to make me rich?
Sometime after that, there was another hoax for me; DC comics announced the death of Superman. Media hype alone caused even non-collectors to come and line up to the two issues per person comic. I had a rough time as I had to go to at least three stores to get my share. I mean how was I going to make a buck off just one? My mother to this day still thinks she is going to retire from her one copy of that Superman No.75. The experts advised, “If you were thinking about trying to make money by collecting copies of Superman No.75, forget it. With a print run estimated in the millions you cannot count on them to appreciate at all” (Fenner).
Therefore, there is currently no money to be made with current or modern comics because too many are produced. We need to look back before the buzz started to find truly valuable comics, the pre-‘70’s comics. Nicolas Cage, the actor, recently sold a collection worth 1.6 million US. Such items included Detective comic’s No. 38 (1940) which was the first appearance of Robin as sidekick to Batman, sold for $121,000. As well as, Action Comics No.1 (1938, first Superman) went for $86,250 (Miliokas). Vincent Zurzola, a dealer of pre-70’s comics, states, “Investing in vintage comics has clearly increased in popularity recently” (Kates). Bob Storms, an investor who has moved from Wall Street to comics books, purchased a copy of Amazing Fantasy No.15 (1962, First Spider-Man) for $20,000 US in 1998. He recently sold the comic for $32,500 US (Kates).
When the price goes up, so too does the cost. There are many things to consider when being a collector of fine vintage comics. You must consider insurance against theft and damage. Storage must be considered to protect your investment. How do you make a return on that comic you purchased? How do you let people know you have it? This brings me to my next point, that of the comic book convention and trade shows.
Starting in the 1960’s, conventions and tradeshow helped with comic collecting in its infancy. Where else (besides Comics bookshops) could you find an abundance of collectors and sellers pushing their products? Over the past few years, the number of shows in a year has become quite staggering. The San Diego Comic Con has been growing and growing ever since inception in 1970. The convention has grown to be more of a pop culture show when compared to a traditional comic con, but still draws most of the heavy hitters and hard-core comic fans. Places like San Diego are where you can go to find your treasures, but you will be competing against a multitude of other “Fan boys” as well.
A more simplistic approach would be to go to a local trade show where you will find many collectors trying to haggle their old collections. I have found bins and bins of hidden gems waiting to be found in quarter comic boxes. Sometimes they come in and give away some of the comics I treasured not ten years prior. I find it amusing that I made sure I collected multiple copies and hid them away from the world only to find some other collector dumping boxes of the same issues on a table to “give” away. I have a different outlook on collecting today than I did in the ‘nineties.
Collecting at its core should be about love of good story, not about the future rewards they might bring you. Unless you actively pursue older, much more expensive comics (like pre-1970), then forget it. Just follow your eye for quality. Read for fun, not for need. “It starts with just one, and then the need to collectively forage takes over. It always starts innocently enough. I see a certain treasure in an antique mall or second-hand store and it’s under $10 – a bargain, I think, before scooping it up” (Pemberton). That is how it starts. That may not be a description of someone buying or finding a deal on an old comic book, but the idea is the same, the feeling is the same, like the need to go to the bathroom or eat.
There is a certain amount of mixed anticipation and dread every Wednesday when the new books come out. Walking into the store and thinking yourself that you will only buy five books this week and no doubles. An addiction is probably the best descriptive I can think of. Even considered an adult by my peers, I still feel like a kid when I go into a comic store.
