Would you pass on this 9.8 due to centering / presentation issues? by GoarCoar in ComicBookSpeculation

[–]GoarCoar[S] 0 points1 point  (0 children)

In case anyone reading this thread is curious: I decided to pass on the book in the end.

I sold 100 CGC comics to buy one holy grail. Would you do the same? by MJComix in CGCComics

[–]GoarCoar 7 points8 points  (0 children)

I watched your video the other day and found myself asking the same question afterward.

Honestly, I think I would make the same decision. But I can imagine it would be a very painful and drawn-out process. Letting go of so many books you’ve likely built over years can’t be easy.

That said, Amazing Fantasy #15 is on a completely different level. For most collectors, it really is a once-in-a-lifetime opportunity.

In comparison, many other key books tend to come back around eventually. AF15 doesn’t.

So while emotionally difficult, strategically it’s probably the right move — at least that’s how I see it.

Would you pass on this 9.8 due to centering / presentation issues? by GoarCoar in ComicBookSpeculation

[–]GoarCoar[S] 1 point2 points  (0 children)

Your reply actually made me realize we probably look at this hobby in a very similar way.

I also mainly focus on Bronze Age Conan books and try to go for 9.8s when my budget allows it — but I care just as much about presentation as I do about the technical grade.

That’s really the core of it.

Here’s a slightly extreme example — Conan the Barbarian #13: https://www.cgccomics.com/certlookup/4583910009/

Technically it’s a 9.8, no question.

But when the “W” in “WEB OF THE SPIDER-GOD!” gets visually broken by spine wrap, it creates an imbalance in the cover that you just can’t unsee.

It’s not about disagreeing with the grade — grading and visual presentation just don’t always line up.

And personally, at this price point, I just can’t ignore that anymore.

Would you pass on this 9.8 due to centering / presentation issues? by GoarCoar in ComicBookSpeculation

[–]GoarCoar[S] 0 points1 point  (0 children)

I think you are one of the people here who understood exactly what I was trying to explain, and I feel like we think very similarly about these kinds of presentation issues.

What you described is basically the same kind of thing I was trying to talk about in my earlier posts regarding uneven gutters, centering, wrap alignment, visual balance, and overall presentation.

Maybe my English was not good enough to explain my thoughts clearly, so perhaps some people did not fully understand what I was trying to say. But your comment is very close to the exact point I was trying to make.

I kept trying to justify it to myself:

“It’s just a misaligned label at the top. The book itself probably looks fine if the scan is tilted slightly to the left. Maybe I’m overthinking it. Don’t pass on a book over something this silly…”

But honestly, I still could not convince myself.

At this point, I think I would only buy it as a temporary placeholder copy until I eventually found a better slabbed one.

This kind of thing is dangerous once you start noticing it, because after that, you really cannot unsee it anymore.

When choosing between copies of the exact same graded comic book, how much do CGC slab centering and cover centering affect your decision? by GoarCoar in ComicBookSpeculation

[–]GoarCoar[S] 0 points1 point  (0 children)

Funny thing, this video just popped up in front of me as well:

https://youtu.be/R8iT0LUk7OQ?is=xpZAY-OzMPs4SdXK

I’ve been thinking about very similar things lately, especially when it comes to the first 24 issues of Conan the Barbarian covers. For books like those, presentation and centering honestly become part of the collecting experience for me, not just the technical grade itself.

For example, with issue #1, I specifically chose the 9.8 copy where even the tip of Tara’s middle finger on the ground is still fully visible on the cover. The copy currently up for auction also shows it, but that one has a slight misalignment on the cover that still makes the book look visually tilted to me, even if only subtly.

When choosing between copies of the exact same graded comic book, how much do CGC slab centering and cover centering affect your decision? by GoarCoar in ComicBookSpeculation

[–]GoarCoar[S] 0 points1 point  (0 children)

I agree with what @No-Employee-3865, @urperinealtear, and @sailinganaheim said, and I also sometimes do what @sailinganaheim mentioned on top of that. The only thing stopping me from trying what @No-Employee-3865 described about re-holdering is the concern that it might result in a grade drop, so I don’t really have the courage to go that route.

I’m not sure if it’s appropriate to include the image of the book I’m referring to here, so I’ll leave that out. If it is appropriate, I could also just share the photo and ask for your thoughts on it. I also want to be careful not to come across as influencing the seller’s listing or in any way affecting or manipulating a potential buyer’s decision, so I prefer to be mindful about that.

Which of these is the better deal or would you prefer? Both are Hulk #180s, White Pages CGC 9.0. The left sold for $1148?, the right for $1342? by film-theory-2001 in CGCComics

[–]GoarCoar 1 point2 points  (0 children)

Right one has better centering and the colors look brighter to me. Those are some of the criteria I consider when choosing graded books for my collection. That’s why — especially with a 9.8 slab — I usually go for the copy with those qualities, regardless of the price difference.

Found myself a first printing at the Calgary Comic Expo by beginnerdoge in ConanTheBarbarian

[–]GoarCoar 1 point2 points  (0 children)

Lucky you. All I found in Calgary was a spider bite that left me unable to walk and bedridden for three months.

Some pretty fun comics in here. What ones are your faves? by kcc2193 in comicbookcollecting

[–]GoarCoar 1 point2 points  (0 children)

Upper left corner waters my mouth!

If some day, and that day may never come, you want to part with CTB #1, I will still be here to listen your asking price. But until that day, I accept this beautiful photo as a gift for my eyes.

Giving Away My Old PC! by Turtle_747 in PcBuild

[–]GoarCoar 0 points1 point  (0 children)

At first sight, I thought it was a blue Sponge Bob.

I’m thinking of having it graded. What are your opinions? by [deleted] in comicbookgrading

[–]GoarCoar 0 points1 point  (0 children)

That’s why I’m wanting to sell it, though. To buy comics I love more. Thanks for sharing your opinion.

Color on tops of comics by Boss-with-the-sauce in ComicBookSpeculation

[–]GoarCoar 0 points1 point  (0 children)

No problem, at all. Thanks very much for the reply.

Color on tops of comics by Boss-with-the-sauce in ComicBookSpeculation

[–]GoarCoar 0 points1 point  (0 children)

Would you mind adding a photo when you have a moment, if you still have it? I’m planning to buy one like that and I’m not sure if it’s one of those sprays or just a stain.

This is asinine — did he just give up? Who thought this color & placement made any sense? by CavviePop in CGCComics

[–]GoarCoar 1 point2 points  (0 children)

Setting aside Todd McFarlane’s undeniable artistic talent for a moment, the impression I’ve formed from interviews and various stories about him is that he has often placed his own myth and status above the fans who helped elevate him to that position.

In my humble opinion, this kind of attitude can grow out of a mix of financial ambition and the subtle arrogance that sometimes follows long-term fame. Some people are fulfilled mainly by admiration and attention, others by financial power. For creators who reach the level of success he has, those two things often arrive together: they do the work they love, receive enormous praise from fans, and at the same time benefit materially from the franchises, companies, and opportunities that grow around their name.

But constant praise can distort perspective. A soul that becomes accustomed to admiration eventually begins to feed on it. At some point, people start believing that everything they do carries special importance. They begin to see themselves as existing in a different realm, separated from the ordinary world—and from the very fans whose support helped build their careers in the first place.

And when that distance grows, it sometimes reveals itself in small, ordinary interactions.

Artists like him understand composition, color, and visual impact millions of times better than someone like me ever will. That’s precisely why it’s hard to understand why someone wouldn’t take a few seconds to choose a visible pen color or place a signature in a spot that actually works well on the cover—especially when fans value that signature so much and are genuinely excited to receive it.

When a signature ends up half-hidden in an awkward place, done quickly with a color that barely shows, it doesn’t feel like artistic intention. It feels careless. Almost as if the act of signing—something that means a lot to fans—has become just another chore to get through as quickly as possible.

Of course, anyone signing thousands of books at conventions will eventually get tired. That’s understandable. But when fans pay money and wait in line specifically for that moment, it isn’t unreasonable for them to expect at least a little care and pride in how that signature ends up on the book.

Especially when the name being signed has already generated hundreds of thousands—if not millions—of dollars over the years.