The rest of the comic book publishers shared the remaining 31.28% of the Retail Dollar total. Image Comics was the best of the rest snagging 5.48% of the total Retail Dollar.

Sales in January declined slightly from December, with Comics falling by 7% and Graphic Novels falling by 4.5%. January’s sales improved over the year previous, with Comics sales up by 32% and Graphic Novels up by 18%.

DC Comics enjoyed a clean sweep posting the top 10 spots on the comic sales charts! Geoff Johns and Jim Lee’s Justice League #5 was the month’s best-selling comic book. Sweeping the top 10 spots is quite the coup for DC; I can’t see them holding every top ten spot for long especially with Marvel’s Avengers and Spider-Man movies hitting theatres this spring and summer.

DC Comics also dominated January’s top 10 graphic novel list, posting 5 including the top selling Batman: Through the Looking Glass.

Fun is the best way to describe this work. It doesn’t take itself seriously; the plot has humourous slants and the characters are at times silly. And because of that you’ll be turning pages, smirking, and think to yourself how fun Mystery Society is.

We start off with immediate action but learn through flashbacks Nick and Anastasia ran an occult book shop until they won the lottery, at which point they formed the Mystery Society and began investigating all manner of odd bits. Nick busts into Area 51 to rescue twins that are being held there; actually it opens with Nick going to prison but then we start jumping around. From that point we form our story of two against the government and their over the top violence and extreme measures; the government, not our heroes.

While Nick and Anastasia are the normals in this tale we quickly become acquainted with Secret Skull, a girl who’s dead, and Jules Verne, or more accurately Jules Verne’s brain in a century old robot body. As I said, kooky and fun. The villain is agent Powell, a government secret agent that is prone to fits of rage and violence. The story has a lot to say about the government and militarism but it’s kept behind a humorous facade. To lighten the story just a little more Skull and Verne go on a case by themselves to recover Poe’s skull; hilarity ensues.

While the situations and plot are well drafted it’s the dialogue that keeps you interested. Niles gives us Nick and Nora Charles for the conspiracy occultist science fiction crowd. We’re not burdened with back story and long character development: Niles presents the framework and builds within it. Who knows how bookstore owners developed shooting and martial arts skills, or where they bought all their fancy gear, or where Jules Verne’s brain has been hanging out until now. We don’t need that baggage to get in and enjoy.

Fiona Staples has a clean long style, angular. Her credit on this is “artwork” so that’s pencils, inks and colours. Characters are expressive and well developed. Backgrounds detailed as needed, colours muted. Clean. Equally adept at action scenes or a page of talking heads.

Mystery Society includes a good selection of additional material from Staples: character studies and all covers. No introduction or afterward. A good value at $20 as this will stand up to several reads. I included the cover image at the top even though it’s incorrect: Ashley Wood has no credits in the work but for this collected edition’s announcement IDW showed that cover.

I’ve had this discussion before with people, what is more important “The Chase” or “The Grail”?  Or to put it in other words, is it more fun to track down your elusive item or is it more rewarding to have that item in your collection?

In case you are asking yourself what do we mean by “Grail”, it is in reference to The Holy Grail.  The Holy Grail is that one object that many searches and crusades have been launched to find that artifact (Scott adds: supposedly the cup Christ used at the last supper, and/or to collect his blood on the cross).  King Arthur, Indiana Jones and Monty Python have searched for the Holy Grail.  As comic book collectors, our crusade isn’t different than the search for the real Grail.

To each of us, our Grail is a different object.  You may be searching for Amazing Fantasy #15 or an Action Comics #1 (or it could be one of last week’s new 52 that wasn’t put in your box at the comic shop and is now sold out).  It doesn’t matter what it is, it is something you desire which now you will search out.

In one discussion I had about “Grail” collecting, someone brought up the issue that there was only one Holy Grail and only one person could wind up with it.  They also brought up the example of the G.I. Joe aircraft carrier, the U.S.S. Flagg.  They said it couldn’t be a Grail because there were many of them in production and it is easy to obtain it you are properly motivated.  I quickly dismissed this person.  I like using the Holy Grail as an example.  As a collector, you wouldn’t start on your quest unless it was important to you.  What could be more important than the Holy Grail?  Also putting that object on very high regard, makes the chase and reward more exciting.

Sometimes the object you are looking for, isn’t readily available.  If it was, it wouldn’t be a chase.  Sometimes your quest for your “Grail” could take months, years or dare I say decades.  There are several items I’ve been looking for have taken decades to find (but I’ll elaborate on that later).

Your chase can take you anywhere as well.  You could be searching through back issue bins at a comic shop, checking a dealers table at a toy show or come across what you’re looking for at a garage sale.  And don’t dismiss garage sales too quickly.  You never know what you will find there (often for a really cheap price… and sometimes in unbelievable condition).

For me, I enjoy having the “Grail”.  Most times I enjoy having my object, more than I enjoy the chase.  The chase can get frustrating at times.  Especially when you get very close to your object but lose it at the last second.  Sometimes I’ve been at a toy show and seen a specific G.I. Joe figure I wanted, but someone scooped it up before I could get my hands on it… or there have been times where I’ve had my Grail in my hands and sadly like Indiana Jones I’ve had to let it go because Henry (or my wife in those instances) has told me to let it go because the price was too high (not figuratively, I mean literally.  $28 for a G.I. Joe figure is insane).

But when your quest is long and arduous, the reward is ever so sweet.

Now you may be asking yourself, Ed, what are some of the “Grails” in your collection?  I am glad you asked, because I have some examples for you.

U.S.S. Flagg

The U.S.S. Flagg is the “mamma jamma” of all G.I. Joe toys.  It is the biggest.  It is by far the coolest.  It is ”THE” G.I. Joe vehicle every kid wanted.

When I was a kid I would dream about getting the Flagg.  At the time I knew it would never happen.  It was just too expensive in those days.  Plus the sheer size of it didn’t help either. Interesting note about the Flagg.  The bridge section is removable so you could store it under your bed.

I eventually accepted the fact that I would never own a Flagg.  I rarely came across one while at garage sales or toy shows.

Several years ago I came across an ad on Kijiji where someone was selling his G.I. Joe collection.  I browsed the ad quickly because I find when people are selling their G.I. Joe collection, their price is high because they think it’s worth something.  In the list of items for sale, I saw the words I’ve always looked for… U.S.S. Flagg.  My jaw dropped.  I immediately responded to the ad and after talking back and forth for several days, we eventually came up with a price for a portion of his collection.  But included in that portion was the Flagg and the Cobra headquarters… The Terrordrome.

I finally had my Flagg.  There were a few pieces missing and the owner was a smoker, but that was easy to fix.  The Flagg has some age to it, but I don’t care.  I own a “bleeping” G.I. Joe Flagg.

Shipwreck (1985)

photo courtesy of Yojoe.com

I know what you may be thinking, the orignal Shipwreck figure was very popular in the mid 80′s, he should be easy to find.  Well… sort of.

I bought my Shipwreck in the summer of 1985.  At the time I was debating over two figures.  In one hand I had Snake Eyes.  In the other I had Shipwreck.  I was debating between both because they came with animals.  I ended up buying Shipwreck.

I didn’t have Shipwreck long.  I took him to school one day and he was taken out of my desk.  Since then I’ve been on the hunt for Shipwreck.

Over the past couple of years I have pick up 3 Shipwrecks, but they’ve been in poor condition and missing their weapons.  I did find one at a show, and it was in mint condition.  But I left it there because of the price (as I mentioned earlier).

This past weekend I was at a toy show.  I found a Shipwreck, with his weapons (alas… missing Polly), for $5.  I paid for it quickly then moved on to the next table.  When I got home I inspected it.  The paint is perfect and the joints are very tight.  The only flaw I can see on it is a small crack at one of the elbow joints.  I have an extra Polly (the parrot) from another Shipwreck I bought, that I will give my new Shipwreck.  So after searching for 27 years I have finally replaced my missing figure.  That doesn’t mean I’m going to quit buying Shipwreck.  I’m still going to keep buying him.  I have an aircraft carrier that needs a crew.

What’s my current Grail?

There isn’t much that I am desperately looking for right now, except for a Marvel Legends Beta Ray Bill.  I’ve been looking for it at different toy shows and expos I have been at.  I did find it online, but unfortunately the website turned out to be a fraud and I lost the money on the transaction (Paypal was awesome and refunded it).  I have found it on eBay at another retailer, but after getting stung on my first transaction I am leary on trying it again.  I know I’ll find it at a future show.  But like all chases for a Grail, it takes time and work but it pays off in the end.

Now I want to hear from you.  What is your “Holy Grail” in your collection?  Have you found it yet or are you still on your quest?  Let us know in the comments below.

Daredevil issue 6 splash by Wally Wood. Source.

Cosmic Odyssey by Duncan Fegredo. Source.

Machine Man by Kalle Malloy. Source.

Avengers ad by Jack Kirby. Source.

Rocketeer by Dave Johnson. Source.

Black Cat by Stephane Roux. Source.

Tales To Astonish issue 40 splash by Jack Kirby. Source.

Punisher by Jason Pearson. Source.

Enchantress by Phil Noto. Source.

Catwoman by Peter Nguyen. Source.

Batman by Chris Samnee. Source.

MADMAN 20th Monster Cover by Mike Allred. Source.

Take a successful creative team and let them loose on, lets face it, a B list character and see what happens. What we end up with is a confusing and muddled story. Bendis presents a new Marc Spector to us, ex-mercenary and now executive producer on a television show about his former life. He’s also Moon Knight and seems to be working with Captain America, Spider-Man and Wolverine. Or is he? We don’t really get a handle on what’s happening for a few issues where we finally learn he hears voices and thinks he’s these other super heroes. Apparently most people found it confusing as well since this “schizophrenia” is outlined on the back cover.

Along the way as Los Angeles’ only superhero he partners up with Echo, former Daredevil interest and Avenger. She thinks he’s crazy, as does everyone else he comes in contact with. They do team up and with the help of the real Avengers get some butt kicking accomplished. Spector recognizes his issues and comes across with a devil-may-care attitude and disarming humour. He and the entire cast of characters are well written with good dialogue. I just don’t get the whole mental illness aspect of the story. Is it there because Marvel feels it’s a key aspect of Moon Knight’s character? It adds a major element of instability to the story, but isn’t that true of anyone who dresses up in a costume and fights “evil”? Early on Spector fights dressed as Spider-Man with Wolverine-like claws, but that get dropped quickly.

Maleev handles the art well. He’s moved away from the photo reference style to something edgier, with hard thick black inks. At times the characters looks too boxy and don’t translate movement well but it’s fleeting. We’re treated to lots of big fight panels and a steady supply of action. I see some Denys Cowan in the faces, but that could just be me. Credit is also due to Matthew Wilson and Matt Hollingsworth who contributed the colours.

Moon Knight By Brian Michael Bendis & Alex Maleev Volume 1 is an interesting take on the character. For extras we get the now standard variant covers and nothing more. Can’t we get an intro for one of the creators anymore? It’s a decent amount of story for $25. My interest was piqued by this first volume; unfortunately the series has been cancelled as of issue twelve so hopefully we see a volume two collecting issues eight to twelve.

DC will be returning to the world of 'Watchmen' with a series of prequels to be released in 2012.

Now with a day to have completely digested the announcement of DC’s decision to move forward with a collection of Watchmen prequels, not to mention an extended discussion with a friend, I’ve ultimately concluded I dislike the move.

With various mini-series focusing on Dr. Manhattan, Rorschach, The Minute Men, The Comedian, Ozymandias, Nite Owl and Silk Spectre, the summer releases will touch on and interpret the lives of these characters for the first time (outside the film) since Alan Moore wrapped up the original series over two decades ago. Watchmen is one of the most revered comic books in the medium’s history, one which has been included consistently on lists compiling the top literary works. And it’s completely warranted. At its core the book was a character analysis of the superheroic idealization and depiction of the modern superhero, breaking down their motivations for becoming a vigilante while highlighting their virtues as well as their vices. Moore’s work humanized each of them, while concurrently celebrating their shortcomings as individual characters. It forced us to look at heroes through another lens which in turn forced us to really look hard at their ethics and morality as it relates to their actions. The book(s) grounded those characters in reality, and despite the story being rooted in the fantastic, his analysis of heroism, vigilante psychology and the moral/ethical implications of action  have not been met since. The story itself was a complete work which told its story to perfection.

Rorschach will join his teammates in a series of prequels in 2012.

So I must posit the question. Why revisit their universe? What do these books add or do to enhance the content? What will the creative teams do in so far as paying homage to Moore’s graphic novel? While I can’t go so far as to decisively state they won’t, to presume this decision wasn’t economically motivated due to the state of the industry is naive. I have a friend who characterized the Watchmen prequels as DC’s big red panic button, the button encased in a glass covering, accompanied by the message, “In case of emergency, break glass,” that would be pressed by DC editorial as a last resort. I believe he’s right, and considering the nature of the relaunch of DC titles, this should have been expected. Regardless, this is a delicate project, which despite the inclusion of Brian Azzarello and J. Michael Straczynski as part of the creative teams, I’m unsure whether this is necessary. In fact, it’s not and the more I contemplated these books the more agitated I became.

“The flip-side to that question, then, is ‘Why do anything based on something that was well done?’ It’s weirdly counter-intuitive: the characters are great, the world is terrific, we created something amazing here, so, God — let’s never ever do that again,” Straczynski said in an interview with Comic Book Resources.

While I can see his point, I find his conclusion disagreeable. Not only does it feel like a writer toeing the company line, but I challenge the mentality seemingly possessed by JMS that they should do it because they can. I doubt that any of the writers truly have something to add to any of their characterizations, much less a way to present the material in a way that enhances the purpose of Watchmen. They can try, but in the end I can’t help but feel a degree of pretension at the thought of the effort. This simply isn’t a matter of DC looking to move the story, this is a matter of the company hoping to boost sales with a move that, regardless of fan reactions to the prequels, will be picked up by all, all the same. This will be a lucrative move for the company, yet I can’t help but consider the absence of creativity in the move and the stories that may be produced where the purpose doesn’t seem so much the need to tell a story as it is the need produce a story to increase total revenues.

Mr. Straczynski spoke of logical thought in relation to the decision to move forward without Alan Moore’s blessing, however his logic fails say, if we use his own Superman example. The difference being, as far as Superman and Watchmen is concerned, is that by the time Alan Moore wrote his Superman stories, the ongoing title had been in publication for nearly 50 years. Its continuing nature lends itself to creative changes, not to mention, that as a serial, the book will never end. Watchmen is a different matter, as it’s a 12 issue maxi-series which was written with the intent of telling a story about the nature of the superhero and the humanity buried underneath the perception of their godliness. It’s a complete work without the need for re-visitation. This move is what it is, and it smells of desperation.

“God help us all.”

Don Ahe has created something truly charming. Road Apples Almanac is like a trip to the past. Visually striking chords of Herriman’s Krazy Kat, feeling like something out of a time when comic strips were a selling feature for newspapers, it yet somehow doesn’t feel dated or stodgy. Maybe it’s the surfer lions. Or the candy machine in the pasture. The talking trees are a mystery.

Aldous is a farmer. We’re just starting to learn the extent of his former life, but now he leaves a mostly peaceful life with Shep the dog, (Shark Dog?) and Doc, the rooster who plots to kill him. There’s also a pair of sheep who take great pleasure in poo flinging. The strip varies in length and composition, sometimes a three or four panel strip, other times multitiered. There are some one-off gags, but by and large it’s ambling stories like the aforementioned poo flinging or the current story of Aldous’ early years. And there’s the Switch, the story from 5 years earlier when they were the superheroes Dark Ink and Shark Dog. Yeah.

The humour is light, although at times sarcastic or wry. There’s a certain contemplative or philosophical tone at times, like the more thoughtful of Calvin and Hobbes strips. Don is aware of his influences, making nods to not only Herriman, but also Windsor McCay and perhaps Escher. The strip is primarily black and white, but he intersperses colour now and then.

Don’s art itself is confident. It’s not slick by any means, but it has a rough edge of somebody who doesn’t second guess each mark. And at times, those scratchy little lines, or the watery colours are truly beautiful.

I had the pleasure of sitting next to Don at a small local con last year, and he is much like his strip. Welcoming and neighbourly with a humour that sits lightly and delivered with a deft hand. The strip is called Road Apples, but the journey is pleasant.

Comic Culture is produced by Anthony Falcone and is engineered by Andrew Roebuck.

Enjoy Comic Culture February 1st 2012 Edition

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We’ve had our fair share of speculation regarding a Watchmen prequel, but now we know for sure. DC is on a roll and they want to keep the momentum building. How better to do that then resurrect one of their best selling properties.

Without a doubt that’s an impressive list of creators: individually they can all carry a series with their name alone and combined it’s a sure thing. Can’t say I’ve seen anything but colours from John Higgins, but using him DC gets to have one of the original creators involved. Unfortunately a lot of these A list creators are known for excessive lateness, and with DC’s new rules on keeping to schedule it may cause issues. This series cries out for digital and casual readers so keeping on track is paramount to its success. The plan looks to have one book a week shipped for 35 weeks. Brilliant strategy: keep the comic fan coming every week for their Watchmen fix. With that kind of return DC and comic shops should be able to interest these customers in more comics. Unless they miss a few weeks here and there. DC should give another go at their “if you liked Watchmen then try…” campaign. Retailers, dig out all that old Watchmen movie material, including the action figures, and re-merchandize them.

We all knew Moore’s position over all things Watchmen, so that was expected. Of course he was reusing Charlton characters for Watchmen so the ideas weren’t all his, but he’s glossed over that. Twenty five plus years means there’s at least one generation of comic readers who don’t remember the initial run, and if movies have taught us anything it’s that great properties can be wonderfully reinterpreted for every generation.

World’s Finest #71, DC Comics, (July/August, 1954)

World’s Finest #71 was printed at both an historic low point for superhero comics and a major turning point for the American comic publishing industry. Though crime and horror comics ruled the day, behind the scenes Dr. Wertham and the US Senate were about to deal a death blow to all that sex and blood that comic books were dispensing to the youth of America. The Comics Code Authority that came out of all those Senate hearings on youth delinquency would start appearing on comics in a few short months (March 1955 on most DC comic books). The implementation of the Code would eventually lead to the revival of the superhero.

But it’s 1954 and DC Comics is really the sole viable keeper of the superhero flame (I won’t count Atlas’ attempt with Young Men #24 as viable since it turned out it wasn’t). DC had healthy selling titles devoted to their trifecta of crime proof and horror proof superheroes. I unofficially count 9 long standing titles devoted to DC’s main heroes Superman, Batman and Wonder Woman. DC also used short six page back up stories to keep characters like Aquaman and Green Arrow alive.

The only title to run two of the major characters in the same book was World’s Finest. Since the spring of 1941 World’s Finest ran separate Superman and Batman stories in its pages. The title saw sales gradually decline over its first 13 years. While keeping its 15 cent cover price the title went through 4 page count reductions during these first 13 years seeing the initial 100 page issues drop to a mere 68 by the time issue #70 was published. Shaving off a third of the page count and over half the story count while still charging the same price is a recipe for decreasing sales in my opinion.

With issue #71 the World’s Finest page count falls from 68 to 36 and the price finally dropped to the industry standard 10 cents.

Unfortunately for DC cutting the book to 36 pages meant there was not enough room in the book for two main features so DC was forced to write Superman and Batman as a team!

It’s hard to believe but World’s Finest #71 marks the beginning of the Superman/Batman team ups. Superman #76 two years earlier (June/52) contained the first story of Superman and Batman learning each other’s identities and while a very sought after issue its price is much more realized.

Oddly enough the first time we see/hear a Superman and Batman team up is on March 2^nd 1945 on the popular 1940’s Mutual radio show The Adventures of Superman. That same radio show was the first place we’re introduced to the characters Perry White and Jimmy Olsen.

World’s Finest #71 has a Win Mortimer cover and  features Curt Swan pencils on the 12 page Superman/Batman team up story called Batman – Double for Superman. In the story Lois Lane learns Superman’s identity forcing Superman and Batman to come up with a way to convince here she is wrong. Switching roles is the genius solution they come up with, and it works!

The issue is rounded out with a 6 page Green Arrow story and a 6 page Tomahawk story featuring Nick Cardy pencils.

The Overstreet Price Guide lists World’s Finest #71 as scarce. There are only 37 copies graded by CGC as of this post and the highest grade is only a 7.5. There are no high grade copies of this book graded! Compare that with the 91 graded copies of Superman #76 of which 20 grade over a 7.5 and you get a sense of how tough this book is.

The funny thing about World’s Finest #76 is that it is a bit unassuming. The cover is not instantly recognizable, the title is not the most collected, it’s easy to miss this book. Here’s a tip, don’t let this book slip out of your hand if you’re ever lucky enough to be holding one.

People are starting to become aware though , while a CGC graded 6.5 copy got a healthy $1017 in 2010 (about double guide), a CGC graded 5.5 just sold for a staggering $1850 last month over 4.5 times guide.

This is the type of comic that can still be found in collections, it’s one that may have survived guys going through collections and pulling out key issues. Memorize the cover and keep on the lookout!

The 41st edition of the Overstreet Price Guide shows $947/$1624/$2300 as the splits at the 8.0/9.0/9.2 grades.

Strengths that make this comic book a good long-term investment are:

• Very scarce comic
• Marks the start of the long running Superman/Batman team-up
• Seems nonexistent in high grade (though I’m sure there are some nice ones still out there)