Comics Timeline
Oct. 18, 1896: Richard Outcault’s “Yellow Kid,” recognized as the first major modern comic-strip character, first appeared in the New York Journal. In late 1902, William Randolph Hearst’s New York Journal released five 50¢ books with cardboard covers reprinting Sunday comic strips in full color, referring to them as “the best comic books that have ever been published.” (Of course, there were many comics published prior to 1896, with the probable primary pioneer of the art form being Rodolphe Topffer, 1799-1846.)
1932: The Adventures of Dick Tracy, published by Whitman, was the first Big Little Book.
May 1934: Famous Funnies #1 (dated July) went on sale. Begun by Eastern Color salesman Max C. Gaines, it ran for 218 issues over the next 21 years, was the first monthly comic book, and sold for 10¢.
1935: New Fun was the first DC comic book.
March 1937: The first issue of DC’s Detective Comics was published. Though Batman didn’t make his debut in its pages until #27, this title is now the longest-running comic-book series in the world.
June 1938 Action Comics No. 1 June 1938: Action #1 had this as its cover date; the issue featured the first appearance of Superman.
October-November 1939: This was the cover date for Marvel Comics #1, one of the comic-book issues bringing the highest prices as a collector’s item today. The company became known as Timely through most of the Golden Age — not adopting the “Marvel Comics” imprint until the 1960s.
May 8, 1940: Chicago Daily News Literary Editor Sterling North denounced comic books as “a poisonous mushroom growth of the last two years,” adding that comics were “guilty of a cultural slaughter of the innocents.”
1942: Stan Lee became editor at Timely, when Joe Simon and Jack Kirby left for DC.
Fall 1942: E.C. started — with Picture Stories from the Bible.
March 1948: In a Town Meeting of the Air radio broadcast, Saturday Review of Literature drama critic John Mason Brown described comic books as “the marijuana of the nursery; the bane of the bassinet; the horror of the house; the curse of the kids; and a threat to the future.”
October 1954: The Comics Magazine Association of America started to censor comics before publication.
September-October 1956: Showcase with this cover date (issue #4) reintroduced The Flash, a DC super-hero from the ’40s. The issue marked the start of The Silver Age.
Spring 1961: The world of widespread comics fandom emerged with the (almost simultaneous) publication of two amateur magazines devoted to comics: Alter Ego and Comic Art.
Fall 1961 Fantastic Four No. 1 Fall 1961: Fantastic Four #1 was published with a cover date of November; it was the start of the so-called “Marvel Age of Comics.”
July 27, 1964: Fan Bernie Bubnis put together a Monday-afternoon event in New York City that is usually acknowledged as the first comics convention, and by 1966, there was a two-day July event that followed much of the same format as today’s comics conventions.
November 1967: Zap Comix #1 was printed, with a run of 5,000 for the 25¢, 24-page underground comic book.
November 1970: The first edition of what came to be known as The Official Overstreet Comic Book Price Guide was published; the print run was about 1,800, and a Mint copy of the eight-year-old Amazing Fantasy #15 was listed at $16, more than 100 times its original price of 12¢.
Spring 1971: High-school student Alan Light began publication of The Buyer’s Guide, a comics collectors’ publication which evolved into Comics Buyer’s Guide.
Sept. 5, 1972: Comics & Comix was founded in Berkeley, Calif. Store spokespeople estimated later that there were fewer than 25 stores of the type in the country at the time. By 1978, the line had expanded to six locations.
1974: Jack Katz’s The First Kingdom began from Bud Plant: an independent, non-anthology, non-“underground” title.
1975: Phil Seuling began (non-returnable) direct distribution of Marvel and DC comics to comics specialty shops, later incorporating with partner Jonni Levas as Sea Gate Distributors, Inc.
December 1977: Cerebus by Dave Sim began with this date — a comic book that became so immensely popular that copies of the first issue were eventually forged. Sim’s initial print-run was 2,000; it grew to 10 times that within a decade.
March 1978: Fantasy Quarterly carried this date — and the first installment of Wendy and Richard Pini’s ElfQuest, one of the success stories in self-published comics.
Sept. 30, 1978: Independent publisher Eclipse published Sabre #1, its first title.
November 1982: First published its first comic book: Warp #1, dated March 1983.
Dec. 1, 1982: Krause Publications took over The Buyer’s Guide, which became Comics Buyer’s Guide and introduced a newspaper format. The comics publishing field had its own trade journal, one that served creators, publishers, distributors, shops, and collectors.
December 1982: The first issue of Camelot 3000 appeared. It was a 12-issue maxi-series, the first DC produced exclusively for the direct-sales market.
April 1984 Teenage Mutant Ninja Turtles No. 1 April 6, 1984: Peter A. Laird and Kevin B. Eastman placed an ad in CBG to sell 3,000 copies of their Teenage Mutant Ninja Turtles #1. The title’s success led to a black-and-white explosion of titles in the comics field.
Late 1986: New World bought Marvel.
February 1987: Four publishers cut off comics-shop distributor Glenwood, and that distributor ceased business by May.
1988: Andrews Group, Inc., bought Marvel for $82.5 million.
August 1988: Bud Plant sold his distribution company to national comics-shop distributor Diamond Comic Distribution, Inc.
April-May 1989: Comics drew national attention, some of it critical, starting with "Drawing on the Dark Side" by Joe Queenan in the Sunday New York Times Magazine, continuing with an episode of Kate & Allie in whch comics were recommended as teaching tools, and going on to an episode of Larry King Live in which Dr. Thomas Radecki attacked comics and Denis Kitchen defended them.
1989: In Illinois v. Correa (familiarly known in the comics community as the “Friendly Frank’s case”), a comics shop manager was charged with a crime for having material for adults in his shop. Out of the case was born the Comic Book Legal Defense Fund to help fight legal problems for comics creators and retailers. Cases continue to this day.
July 1990: Spider-Man #1 by Todd McFarlane set what was the highest recorded paid circulation for a comic book to that point. The first printing had sales of 2,350,000. When all editions were added, the total paid circulation was approximately 2,650,000 copies.
Summer 1991: MacAndrews and Forbes sold 40% of Marvel to the public, raising $74 million for debt reduction and owner dividends.
July 1991 X Men No. 1 June 1991: X-Force #1 by Fabian Nicieza and Rob Liefeld beat the record set by Spider-Man #1. Thanks in part to a marketing gimmick in which collector’s cards were bagged with the issue, the paid circulation came to approximately 3,900,000.
July 1991: X-Men #1 by Chris Claremont, Jim Lee, and Scott Williams beat the paid circulation record set by X-Force #1. Marvel released the issue in five editions with variant covers. Estimated paid circulation was approximately 7,500,000.
February 1992: Several hot creators left top series at Marvel to form their own imprint, Image. Initially solicited and distributed by Malibu, the titles were eventually completely taken over by the creators.
July 4, 1992: Marvel announced it would acquire Fleer Corp. for $265 million.
Nov. 17, 1992: DC shipped between 2.5 million and 3 million copies of Superman #75, featuring the death of Superman. They vanished from stores, as the issue brought more new customers into comics stores than ever before. In Detroit alone, more than 175,000 copies sold in one day.
Mid-1993: The glut of new comic books caused by a speculator bubble hit more than 700 per month.
March 1994: In some May-dated comics, Marvel made a push for "Marvel Mart," and published a one-shot catalog designed to drive readers to its subscription services.
Dec. 28, 1994: Marvel bought Heroes World, the third-largest direct-market distributor.
March 3, 1995: Marvel announced that, beginning with July-shipping product, Heroes World would become the exclusive distributor of Marvel products, eventually leading to the dissolution of the International Association for Direct Distribution, Inc.
March 9, 1995: Marvel bought SkyBox for about $150 million.
April 30, 1995: DC announced its product would be distributed exclusively by Diamond Comic Distribution, Inc. On July 24, Image and Dark Horse announced they would be exclusive with Diamond. Many other companies followed suit, with ensuing jockeying for exclusivity between national distributors Diamond and Capital City Distribution, the second-largest national comics distributor, in the months that followed. Capital exclusives eventually included Kitchen Sink and TSR.
Sept. 22, 1995: Marvel and DC announced their entire universes would cross over for the first time in a joint publishing project.
Dec. 14, 1995: Marvel announced it had hired two Image founders to reshape The Avengers, Captain America, Fantastic Four, and Iron Man.
July 1996: Diamond bought Capital City, making Diamond the last remaining major distributor for comic books to direct-market comics shops.
September 1996: Rob Liefeld left the Image group.
October 1996: Superman married Lois Lane.
Dec. 27, 1996: Marvel filed for Chapter 11 bankruptcy protection.
Feb. 18, 2000: Marvel CEO Peter Cuneo announced hiring Bill Jemas in the newly created position of President of Publishing & New Media.
June 2000: CrossGen began publication with its monthly Scion, Sigil, Meridian, and Mystic titles.
2000: Bill Jemas took over Marvel Comics operations, and Joe Quesada was hired as Editor in Chief.
October 2000: Marvel launched its “Ultimate” line with Ultimate Spider-Man.
Jan. 10, 2002: Marvel Enterprises Inc. announced promotion of Marvel President Publishing and New Media Bill Jemas to Chief Operating Officer.
May 4, 2002: In the first industry-wide Free Comic Book Day, comics shops provided customers with copies of special FCBD comic books.
2004 CBG August 2004: The cover date on the first issue of Comics Buyer's Guide as a monthly newsstand magazine.
Comic Book Conditions and Grading
There are tons of additional comics and associated items to collect — statues, sheets of Bristol board with original art drawn on them, action figures, comics entertainment cards, hardcover collections, recordings of comics-associated Broadway shows, DVDs of comics-associated movies, and more, more, more.
Why are comics from the 1940s, 1950s, and 1960s generally considered sound investment material, when comics from last Wednesday aren’t? Part of that is because comics are literally living things — they were once trees, after all — and their natural inclination over the years is to decompose.
There’s a mortality factor at work, meaning comics in great shape are going to be harder and harder to find over time. Even if they haven’t been loved to death through multiple readings and spine folds, comics are still going to try to turn yellow and brittle.
Collectors can slow that process with storage devices, ranging from the very expensive to the makeshift. The most common archival storage solution involves products made from Mylar, a transparent chemically inert substance. Much more common are bags made from plastic, most commonly polypropylene, of varying thicknesses and backing boards with coated surfaces. In general, the cheaper the method, the less protection it tends to afford.
For the last few decades, back-issue comic books have been sold with a designation indicating their condition.
Comics Buyer’s Guide Grading Guidelines
These are the eight grades of comic books recognized by Comics Buyer’s Guide and the Standard Catalog of Comic Books.
Mint Mint
This is a perfect comic book. Its cover has full luster, with edges sharp and pages like new. There are no signs of wear or aging. It is not imperfectly printed or off-center.
We believe this grade is roughly equivalent to Comics Guaranty LLC’s (CGC) 10.0 grade.
Near Mint Near Mint (NM)
This is a nearly perfect comic book. Its cover shows barely perceptible signs of wear. Its spine is tight, and its cover has only minor loss of luster and printing defects.
We believe this grade is roughly equivalent to CGC’s 9.4 grade.
Very Fine Very Fine (VF)
A Very Fine copy has early signs of wear. There can be slight creases and wrinkles at the staples, but it is a flat, clean issue with definite signs of being read a few times.
We believe this grade is roughly equivalent to CGC’s 8.0 grade.
Fine Fine (F, Fn)
A Fine copy is good-looking at first glance. This comic book’s cover is worn but flat and clean with no defacement. There is usually no writing on the cover or tape repairs.
We believe this grade is roughly equivalent to CGC’s 6.0 grade.
Very Good Very Good (VG, VGd.)
A Very Good copy is well-read, but still nice. Most original gloss is gone. There are minor markings, discoloration, and/or heavier stress lines around the staples and spine. The cover may have minor tears.
We believe this grade is roughly equivalent to CGC’s 4.0 grade.
Good Good (G, Gd.)
A Good copy is worn with nothing missing. Creases, minor tears, rolled spine, and cover flaking are permissible in this grade. Older Golden Age comic books often come in this condition.
We believe this grade is roughly equivalent to CGC’s 2.0 grade.
Fair Fair (FA, Fr.)
A Fair copy has many problems but is structurally intact. Copies may have a soiled, slightly damaged cover, a badly rolled spine, cover flaking, corners gone, and tears. Tape may be present.
We believe this grade is roughly equivalent to CGC’s 1.0 grade.
Poor Poor (P, Pr.)
A Poor copy is damaged and unsuitable for collecting. While the copy may still contain some readable stories, major defects get in the way. Copies may be in the process of disintegrating.
We believe this grade is roughly equivalent to CGC’s 0.5 grade.
Iron Man CGC CGC Grading Guidelines
Since the early 1990s, firms in the coin-collecting and sportscard-collecting hobbies have been attempting to standardize grading by certifying items and then “slabbing” them in plastic cases, along with a label stating their grade. That has led to several firms with competing standards — but has also made it easier for those items to be sold by mail-order.
One of those grading firms entered the comics hobby in 2000 with Comics Guaranty LLC (called “CGC” even by the company itself). The firm grades comics sent to it and places them in large protective “wells,” along with their certification mark and grade label. These “slabs” and their grades facilitate the sale of comics through such venues as eBay and can, despite a popular misconception to the contrary, be opened to retrieve the comic book inside. By the middle of 2004, CGC had graded more than 400,000 comic books.
The effects of the introduction of CGC to the comics market were several. Auction prices for “slabbed” comics shot up, since a subset of each title now existed, making a new class of collectibles from existing comics.
CGC Mint 10 The Mighty Thor The CGC grading scale is:
10.0=Mint
9.9=Mint
9.8=Near Mint/Mint
9.6=Near Mint+
9.4=Near Mint
9.2=Near Mint-
9.0=Very Fine/Near Mint
8.5=Very Fine+
8.0=Very Fine
7.5=Very Fine-
7.0=Fine/Very Fine
6.5=Fine+
6.0=Fine
5.5=Fine-
5.0=Very Good/Fine
4.5=Very Good+
4.0=Very Good
3.5=Very Good-
3.0=Good/Very Good
2.5=Good+
2.0=Good
1.8=Good-
1.5=Fair/Good
1.0=Fair
0.5=Poor
Frequently Asked Comic Collecting Questions
More than 155,000 possible comic-book issues have been published in this country. So how can you start navigating your way as a collector?
Here are some of the questions we hear as editors of the monthly Comics Buyer’s Guide and The Standard Catalog of Comic Books.
Q. “I don’t know anything about comics. How can I describe what I have or am looking for to a dealer or a collector?”
A. People buying, selling, or collecting comics describe them by the information you’ll usually (not always!) find on one of the first pages of the issue of a comic book. Usually, it consists of the title in capital letters (that tells you the name of the comic book), followed by the issue number and, somewhere, the copyright date. Those three pieces of information will let you identify most comics, whether you’re trying to find a favorite from the past or identify it in your own eBay ad.
Superman 2 Q. “I know Superman #1 is worth a lot of money, but I have Superman #2. Is that worth anything?”
A. That’s a sensible question — and one we were actually asked by someone who had turned up a copy of Superman #2. Not all old comics — even comics from the same series — are worth tons of money. In this case, though, although Superman #1, published in the summer of 1939, is worth more ($149,000, if you could find it in nearly perfect condition), #2, published in the fall, still goes for $12,500 (if in nearly perfect condition).
Superman 1 Q. “I have a Superman #1! It doesn’t have that date you list, but it’s in great shape! Is it worth $149,000?”
A. There have been several issues of a comic book with “Superman” in the title — and that means there are several comics that you might call Superman #1. The only one worth six figures was originally published for distribution in the summer of 1939 — and, even then, watch out for a version the size of Life magazine. That was a special 1974 reprint edition (Limited Collectors’ Edition #C-30) from which someone has removed the original over-cover that explained that it was a reprint. (Without that over-cover, by the way, it’s relatively worthless.) The second Superman #1 was dated January 1987 and is worth about $5. And, for example, there’s a comic book titled Superman Adventures #1. It was dated November 1996 and is worth about $3.
Q. “I have an old price guide that says that copies of Valiant’s Turok, Dinosaur Hunter are worth money, but I can’t find anyone who wants to pay that. What’s the matter?”
A. The Valiant revival of the Dell and Gold Key Turok series that started in 1954 began in July 1993, as speculation in prices of back-issue comics reached its height. Although some people think comics never decrease in price, that is certainly not the case with many of the series published during the speculation “bubble” of the early 1990s. Today, it’s not difficult to pick up an assortment of runs of various Valiant titles for around cover price — or even less.
Q. “What makes a comic book valuable?”
A. Primarily, but not entirely, a comic book is valuable owing to the traditional supply-and-demand formulas of all fields. One of the smallest print runs of a Marvel comic book ever, for example, was 1990’s black-and-white title Street Poet Ray. But few were interested in Michael Redmond’s poetry, and few are to this day. Result: a scarce Marvel comic book that won’t bring much money.
Q. “How can I keep a comic book valuable?”
A. Condition, condition, condition is a vital component in figuring the value of a comic book. It’s a good idea to put comics in clean plastic bags when they’re not being read. Even clean food storage bags can be used for temporary protection from water, scuffing, and the like.
By the way, beat-up copies can be a delight to collect, because their bad condition can (and should) bring the price way down.
DC Showcase Metal Men Q. “I used to have all the issues of DC’s Showcase. What ever happened to The Metal Men?”
A. This is the sort of question that leads collectors into looking for back issues, buying price guides, checking eBay auctions, and asking questions at shops and conventions. The focus of your question may vary, but this is where you start getting into research that will take you beyond a simple field guide like this. If you’re online, you can take a look for “Metal Men” on eBay and in general searches. Price guides like the CBG Checklist and Price Guide and The Standard Catalog of Comics will provide additional information. [OK, in this specific case: The Metal Men were introduced in Showcase #37 (Apr 62) and earned their own solo series, Metal Men, from May 63 to Mar 78 and a mini-series in 1993, among other appearances here and there.]
Q. “I see lots of different comic-book price guides. Which should I believe?”
A. All price guides in all fields are just that: guides. They’re not offers to buy what you have; they’re not guarantees that you’ll get the price they list. (In fact, unless you’re selling directly to another collector, as is the case in selling on eBay, you’ll almost certainly get less than a price guide says, since any middleman has to make a profit by re-selling to another buyer — who’s unlikely to pay more than guide price.) If you see three widely differing prices, the option is yours as to which to accept. We have good reasons for the prices we provide: reasons based on online activity, retailer reports, and the like.
Q. “Are there comics that will never be worth much of anything?”
A. Every time we try to predict one or another title or series or publisher that will never be of interest, we turn out to be wrong. The answer is, “Sure.” But, if the next question is, “Which comics?” the answer is, “You never know.” What’s far more important than predicting what you can buy cheaply today that will be worth a fortune tomorrow is advising you to buy the comics you enjoy.
CGC Thor Mystery Q. “I have so many comics that storing them is a problem. What’s the best way to save my comics? Should I put them into one of those plastic CGC holders?”
A. “Those plastic CGC?holders” (and for more on CGC, see “Grade Certification” on page 16) are not a cheap way to protect comics for storage; they’re provided by a third-party grading service, and the cost of encapsulation includes evaluation of condition. The only reason to pay for that sort of preservation is intent to sell or insure what’s inside.
Beginning collectors usually simply “bag and board” their comics (see page 13) and make some sort of list of what they have (both to avoid buying duplicates and to see what they might want to buy). When you’ve accumulated a couple hundred or more, you’ll probably want to acquire some boxes specially designed for storage of bagged and boarded comics. If you have thousands of comics, you might want to consider an actual comics inventory computer program [we use ComicBase (www.comicbase.com)] and labels for the boxes, so you can find what you’re looking for. And, at that point, you’ll want a more detailed price guide, like our Standard Catalog of Comic Books.
Comics Glossary
Adzine — A magazine that exists for its advertising content.
Anime — Japanese animated films, not an interchangeable term with manga.
Annual — Occurring once a year; in the case of comic books, it is often a special yearly issue published in addition to the monthly, ongoing title.
Anthropomorphic Characters
Antrhopomorphic Character UnderdogAnthropomorphic — Attributing human characteristics to other animals. In the case of comic books, it’s often taken to the extreme of having animal characters dressed in clothing, living in homes, and working in businesses. See also funny animals.
Arrival DateArrival Date — Comic-book cover marking indicating when the issue was placed on the newsstand.
Ashcan — A rough version of a periodical prepared in advance of publication to demonstrate what it will look like. Ordinarily, these were black-and-white and thrown away (which is why they are called “ashcans”); sometimes today, publishers actually solicit for and release print runs of what they call ashcans.
B&W/Black and White — usually referring to comics that are printed in black and white, rather than in the usual four-color or offset process. Black and white comics may have color covers.
Bad Girl Art ElviraBad Girl Art — A term used in the 1990s to refer to wave of comics featuing lasciviously drawn female characters. An ironic play on "good girl art" .
BalloonBalloon(s) — The round, usually white area in which a comics character’s words or thoughts appear, it has a tail which points at the speaker. Thought balloons are usually placed in “bumpier” balloons that have a tail made of circles to differentiate them from speech balloons.
Baxter Paper — Paper of much higher quality than the newsprint customarily used in comic books. Sometimes used by comics publishers starting in the 1980s for their more permanent publications. Fans tend to use the term generically for such paper (including such papers as Hudson), despite its being a trade name for a specific brand. Some have taken to referring to the printing method (offset, which see) rather than the paper when discussing such comics.
Big Big Books — A brand name for a line of cheap books with cardboard covers. They were published by and similar to (though larger than) Big Little Books.
Big Little Books — A brand name for a line of small, square books with cardboard covers, also published under such names as Better Little Books. Their time of widest circulation was the ’30s and ’40s. A page of large-type text alternated with a full-page illustration, and many were adaptations of comic-book or comic-strip stories.
Bondage — Portrayal of a character bound or chained or otherwise restrained; there are collectors who feel a “bondage cover” makes a comic book of more interest.
Book(s) — Comic book/s. Often used in casual conversation.
Bookshelf Format — See prestige format.
Breakdowns — Rough layouts of comic-book stories done by an artist on sheets of paper before he begins work on the final version of the story. Sometimes one artist will do the breakdowns, another the pencilled story, and still another will apply ink to the pencil drawings.
CBG — Comics Buyer’s Guide.
CMAA — Comics Magazine Association of America .
Cameo — Guest appearance by famous actor/character.
Capital City Distribution — One of the largest direct-market distributors of comic books, it was acquired by Diamond Comic Distributors in 1996.
Captions — The boxes describing scenes and action in comic-book panels, e.g., “Meanwhile — ” or “Night. The waterfront was dank and deserted.”
Cel — The original art for an animated cartoon, it is a painting done directly on celluloid (hence the name). Note that it is spelled with only one “l.”
Census Report — A term used by CGC for its listing of comics it has graded, showing how many of an issue number it has graded and what the grades for the issue were.
CGC — The common reference to designate comic books that have been slabbed , despite the fact that the name of the company that slabs comics was initially Comics Guaranty, LLC. It is now known as Certified Guaranty Company.
Chromium Cover — A special foil cover.
Church, Edgar Collection — The Mile High collection.
Code — The Comics Code.
Comic — Funny. Also used synonymously with “comic book,” but usage is more clear when the full term is used — or when the term “comics” is used. Jerry Seinfeld is a comic; Jack Kirby drew comics.
Comic Book Story — A comic-book story may grow in one of several ways. A popular current method has been traditional with Marvel Comics for many years: A plot is suggested and agreed upon; the layout handler designs that plot for presentation in comic-book format; the layouts are approved and sent to the penciller, who indicates the appearance of the final artwork, but in pencilled form; the pencils are approved and sent to the inker, who inks the art for final reproduction; the writer scripts the story; the inked art is then lettered by the letterer. Silver proofs are then made of the art, and the colorist colors those proofs. From there, the art goes into the hands of printing-plant technicians. Another method is the “Full-script” method, in which the author writes a story in play form, specifying what is happening where. This is passed to the artist/s to turn into comic-book form following the author’s directions.
Comicon —A comics convention.
Comics CodeComics Code — The rules and regulations of the Comics Magazine Association of America , as they apply to censorship of comic books.
Comics Magazine Association of America — An organization established in the mid-’50s to censor comics before publication. It was formed as an answer to pressure groups which demanded the comics industry “clean up” comics. The organization is funded by payment from comics companies, which submit material for censorship/approval. Comics passed by the Code authorities are identified by the CMAA seal of approval, which appears on the cover.
Comix — The use of the “x” denotes underground comix .
Con — Convention.
Convention — When a fan uses the term, it denotes a gathering of comics (or science-fiction) fans to buy and sell, meet professionals in the field, attend panels, and generally indulge in their hobby.
Crossover — Appearances by one storyline’s characters in another story, sometimes making the transition between comic-book companies.
DC The Flash
DC Wonder Woman Comic With CrossoverDC — DC Comics, publisher of Superman, Batman, etc. Formerly called National Periodical Publications (NPP). There are no periods in DC, since it is not an abbreviation, though it stands for the company’s first all-original comic book devoted to one theme, Detective Comics.
Daily/Dailies — Comic strips that appear in daily (as opposed to Sunday) newspapers. The word may appear in ads for original art for such strips or for clippings of the printed strips.
Dealer — Someone who buys and sells comics, magazines, books, art, and the like.
Debut — First appearance, as of a comic-book character.
Dell ComicsDell — An early publisher of comic books, largely for younger readers. The company was supplanted by Gold Key, which was later known as Whitman Comics, published by Western Publishing Co., Inc.
Diamond Comic Distributors — The major national distributor of comic books to direct-market comics shops, Diamond has exclusive rights to distribution of comics from Dark Horse, DC, Image, Marvel, and CrossGen.
Direct Distribution — A system of comic-book and book distribution in which comics, specialty, and other shops receive comics to sell. Material that does not sell is not returnable to the distributor, unlike the organization of the newsstand distribution system. It usually involves comics shops’ ordering magazines that they plan to sell on a nonreturnable basis, with shop owners estimating what they can sell.
Direct-Sales Market — The market consisting of comics sold via direct distribution.
Done In One — A term coined by Maggie Thompson to describe a comic book in which the story or stories it contains are complete in that one issue.
Double Cover — A binding error that results in an issue’s having two identical covers, one over the other. It does not always mean the comic book is more desirable than one with a single cover, but sometimes the issue will sell for a higher price.
E.C. — The letters stood for “Educational Comics” and “Entertaining Comics,” but the symbol remained the same for the line of comics published by William M. Gaines in the early ’50s.
Fan(s) — Devotee, hobbyist, an amateur in the truest sense — one whose activities grow out of a love for comics (or SF, in science-fiction fandom).
Fandom — The world of fans. The loose network of hobbyists devoted to a particular avocation, a term used primarily by science-fiction and comics fans. Its usage is similar to “mankind”; it is not called “the fandom.” A fan is a member of fandom.
Fannish — Pertaining to fans and their activities.
Fanzine — An amateur magazine done by and for fans. It is a term coined by combining “fan” and “magazine.”
File Copy — An issue from the file of the publisher of the comic book.
First Appearance — The first time a character is seen in any comic book.
Flashback — A sequence in which preceding action is shown.
Foil Cover — A comic-book cover to which metal foil has been stamped.
Four ColorFour-Color — Refers to the four colors used in printing color comics: cyan (blue), magenta, yellow, and black (known in computer color programs as CMYK). Used in blends, they produce the rainbow necessary for reproducing the original colored material.
Foxing — Spotting caused by mold on paper.
Fumetti — The method of telling a story with photographs arranged like comic panels, with speech balloons superimposed. It is an Italian term, sometimes used simply with reference to comics.
Funny Animals Bugs BunnyFunny Animals — Characters (usually, but not always, animals) which are humorous in their actions — e.g., Donald Duck, Bugs Bunny, and Pogo. Occasionally, its usage also applies to human characters — e.g., Little Lulu — depending on how loosely the speaker uses the term.
Furry — Reference to anthropomorphic comics .
Gateefold Cover — A cover that extends beyond the normal width of cover of a comic book and is folded under before distribution.
Give Away Big Boy ComicGiveaway — A comic book distributed free, usually for advertising purposes.
Gold Key TarzanGold Key — A comic-book publisher which supplanted Dell; now known as Whitman or Western Publishing Co., Inc., but which no longer publishes comic books.
Golden Age Action Comics No. 1Golden Age — Indicates the first era of comic-book production — which occurred in the ’30s and ’40s.
Good Girl Art — A term used (most often by dealers) to indicate pinup-type pictures of leggy, busty females in “cheese-cake” poses. Some find the term offensive.
Grading — Determining condition of a comic book, often involved in evaluation for buying, selling, and/or insuring.
Headlights — A self-explanatory description of the depiction of busty women in comic-book drawings.
Hologram Cover — A comic-book cover with a hologram picture attached.
HypergradeHypergrade — A comic book in a grade above CGC 9.4 (NM). Hypergrades include 10.0, 9.9, 9.8, and 9.6.
Illo(s) — illustration(s).
Independent Comics — Comics not published, for one reason or another, by the larger publishers. They tend to be aimed at a smaller, more specialized audience — but stories are often similar to those of the larger publishers (Marvel, DC). They need not place an emphasis on drugs, violence, sex, etc. — as is often considered typical of underground comix. More and more, these publishers prefer not to be tied to a term like “independent” — and prefer to be known simply as publishers.
Indicia — Small print appearing somewhere in an issue that provides such information as the comic book’s title, publishing company, issue number, copyright, date, and the like.
Infinity Cover — A comic-book cover displaying the cover with an inset reproduction of the cover that contains an inset reproduction of the cover and so on.
Inker — An artist who inks comic-book artwork for final reproduction.
Inkpot Awards — Trophies given out at Comic-Con International: San Diego each year to fans and professionals for services to comics fandom.
Inks — Inked art — e.g., “Inks by Joe Sinnott.”
Intro — Introduction.
Ish — Issue.
JLA — DC’s Justice League of America.
JSA — DC’s Justice Society of America.
Key Issue Captain America No. 1Key Issue — An issue vital to the comic-book run or character. It can be the first issue, an issue containing a major change in a title’s direction, etc.
Lamont Larson — A collection of high-grade comics identifiable by the name “Lamont” or “Larson” written on them. They frequently fetch a premium price.
Lenticular Cover — A cover made of plastics that change the view of the illustration, depending on the angle from which it is viewed.
Limited Series — A comic-book title that has a pre-set limit to its number of issues. Different companies use different terms, but generally a mini-series runs four to six issues; a maxi-series runs 12 issues; and a mega-series runs more than 12 issues but is not planned as an endless series.
Mainstream Comics — Comics published by newsstand-distributed publishers.
Mallcon — A comics convention that primarily consists of a number of dealers’ tables set up in a shopping mall. Obviously, there’s no admission fee, and usually there’s no program of events.
Mando Paper — High-grade paper, not quite of the quality or whiteness of Baxter paper, but still of better grade than comic-book newsprint.
Manga Maison IkkokuManga — Japanese comic books, a term not interchangeable with anime .
Marvel Star Wars 107Marvel — Refers today to Marvel Characters, Inc. (one of the companies of Marvel Enterprises, Inc.), publisher of Fantastic Four, X-Men, etc.
Marvel Chipping — A defect in Marvel comics of the 1950s and 1960s in which the edges of the pages and cover were slightly damaged by the trimming equipment, resulting in slight flaking along the right edge.
Marvelilte(s) — Marvel comics fan/s.
Marvel Zombie — Term coined in the mid-1980s to refer to collectors who bought every new Marvel comic book, whatever it was. Usually derogatory in its early uses. Also "DC Zombie," "Image Zombie," and other variations have appeared.
Maxi-Series — See “limited series.”
Mega-Series — See “limited series.”
Micro-comics — A specific format of minicomix.
“Mile High” Comics — Part of Edgar Church’s collection of Golden Age comic books in unusually superb condition; initially bought as a lot by the Mile High comics shop in Colorado.
Mini-Comix — Tiny comics produced by fans who want to produce amateur comics at minimum cost; the comics usually have a very low page-count and a small page size, so that they are very cheap to produce and mail.
Mini-Con — A small convention, sometimes one that lasts only a day or part of a day.
Minis — Minicomix.
Mini-Series — “limited series.”
Mopee — Mopee was (to quote Mr. Silver Age Craig Shutt) the little goofball who claimed in Flash #167 (Feb 67) that he’d given Barry Allen his super-powers. “We all promptly denied that story’s existence.”
Mylar — Trademark of DuPont Co. for its uncoated archival quality polyester film widely used for storage of paper collectibles.
NCB — The National Central Bureau, an organization run by Stan Blair that worked against mail fraud in comics fandom in the 1970s. Advertisers could apply for NCB seals, and many could be found in ads in the early years of The Buyer's Guide for Comic Fandom.
NCS — The National Cartoonists Society, an organization of professional cartoonists, primarily comic-strip artists but also including comic-book artists and artist specializing in advertising art and magazine gag cartoons.
NN — No number. Used to refer to a comic book without an issue number.
NPP — National Periodical Publications.
National Periodical Publications — An earlier name for DC .
Newzine — A magazine that exists for its news content.
Non-Code SupermanNon-Code — Comics that do not carry the seal of approval of the CMAA.
Offset Comics — A term loosely used for comics printed on high-quality paper. Actually, it simply refers to the printing method of such comics.
One-Shot — A magazine intended to have only a one-issue run.
Origin — Start, beginning — used especially to refer to stories in which the creation of a hero is given in some detail; it is not always the first story in which the character appears.
Original(s) — Original art, as created by the artist, for comic strips, printed illustrations, etc. — as opposed to prints, newspaper pages, etc.
Overstreet — A reference to Robert M. Overstreet and his annual The Comic Book Price Guide and the prices therein. “20% off Overstreet” in an ad refers to a comic book’s price as being 20 percent less than its value as listed in the current issue of his Guide.
Painted Cover — Comic-book cover that originated as a painting, rather than a line drawing.
Paleovariant — A variant edition of a comic book published before such versions were known to generate speculative interest, such as Whitman versions of DC comics and Marvel test-market price covers
Panel — (1) Segment of a page or strip of comic art, usually enclosed in a border, which most often consists of a picture and text. (2) At a convention, a group of people whose discussion before the audience forms a feature of the program.
Pedigree — Source of a comic book, the term is applied to recognized collections of high quality. When it grades comics, CGC recognizes the following pedigrees and notes them in the header information: Allentown, Bethlehem, Denver, Gaines File Copies, Larson, Mile High, Pennsylvania San Francisco, Spokane, Don & Maggie Thompson, and White Mountain. There are other pedigrees recognized by collectors, as well.
Penciller — An artist who pencils comic-book artwork, which will then be inked for final reproduction.
Pencils — Pencilled art — e.g., “Pencils by Frank Miller.”
Perfect Binding — A paperback binding method in which the cut edges forming the spine are held together with glue, rather than staples or stitching.
Phone Book Effect — The tendency for comics publishers to begin their names with a letter early in the alphabet, so as to improve their products' placement in distributor catalogs
Photo Cover — Comic-book cover that originated as a photo, rather than a line drawing.
Plot — The general outline of a story. See “comic-book story.”
Pre-Code Captain MarvelPre-Code — A comic book published before the advent of the Comics Magazine Association of America’s Comics Code — that is, before October 1954.
Prestige Format — Many today use the term generically to indicate a fancier package than the average comic book. Details of fancy formats can be widely varied, and this refers to comics published in a format with squared-back binding, more like a book than a comic book.
Prozine — A professional magazine.
Pulp(s) — Pulp-paper-printed adventure-fiction magazines, mostly those printed during the ’20s, ’30s, and ’40s. The paper was made of wood pulp and was the cheapest form of paper that could be used in printing; it was thick and coarse and occasionally would contain recognizable chips of wood. Intended as cheap, throwaway entertainment, the pulps today are widely collected and expensive.
Restoration — Changes made to a copy of a comic book in an attempt to restore it to a better condition grade. It can be as minor as color touch-ups or as major as paper replacement.
Ret Con — Retroactive continuity, a plot device in which readers are shown changes from the long-established history of a character. For example, the characters in The Fantastic Four initially gained their powers in 1961, but current Marvel continuity places the event about seven years ago.
Reuben — The cartoonist-of-the-year award of the National Cartoonists Society, named for the late cartoonist Rube Goldberg. The NCS gives out several awards each year — for best adventure strip, best humor strip, etc. — but awards only one Reuben each year.
Rolled Spine — A deformation in the stapled side of a comic book caused by readers’ folding back the pages during reading; the process produces an actual bump in the spine of the issue.
SF — Science fiction.
SOTI — Seduction of the Innocent .
Saddle Stitching — The way comics are usually bound: with staples through the fold of the pages.
Sci-FiSci-Fi — “Science fiction,” as abbreviated by people who do not know the field well. Many science-fiction fans detest the term; its use marks the user as uninformed, as far as they are concerned. Science-fiction fans accept “SF” or “sf” as the correct abbreviation. The term was created by Forrest J Ackerman and adopted decades later by a cable broadcaster.
Script — The text of a comic-book story, sometimes including directions to the artist.
Scripter — The person who provides the words for a comic-book story — not necessarily the sole author of that story.
“Seduction of the Innocent” — A would-be exposé of comic books. Published in 1954, this book (by Fredric Wertham) helped to focus national attention on sex and violence in pre-Code comics and led to censorship of comics.
SF — Science fiction.
Silver Age Comics The FlashSilver Age — Used to indicate a period of comic-book production in which the comics heroes of the Golden Age were revived and reinvented for a new generation. Usually considered to have begun with the publication of the first revival of a ’40s super-hero: the appearance of The Flash in Showcase #4 (Sep-Oct 56).
Slabbed — Encased in a sealed plastic holder following third-party grading. The purpose is to maintain a comic-book’s condition so that buyer and seller will have a common ground in the exchange.
Splash Panel — A large panel, sometimes filling the page, which functions as a title page on a comic-book story. It often contains credits for the story (artist, writer, etc.). Almost invariably, it used to be the first page, but today it can appear anywhere in the issue.
Spine — The edge of the comic book which shows the staple when the comic book is closed.
Statement of Ownership — Information regarding the previous year’s circulation of periodicals distributed via the Postal Service’s Second Class Rate of service. The information is required to be published annually in such periodicals and is a guide to the size of the audience of many comics.
Sub — Subscription.
Sunday Page — A comic strip, usually related to a daily , created in a larger format for the colored comics sections appearing (usually) in Sunday newspapers. (Some papers’ colored comics sections appear on other days of the week, such as Saturday). The word may appear in ads for original art for strips appearing in such Sunday papers or in ads for clippings of such pages. Sunday pages were originally full newspaper pages but are now mostly printed in half-page, third-page, quarter-page, or even sixth-page sizes.
Super-heroesSuper-hero(es) — Heroic characters who are endowed with extra-normal powers of some sort. In some cases, those powers simply consist of superb training of otherwise-normal humans; in other cases, the powers come from mutation, magic, or other SF or fantasy devices. Marvel and DC trademarked the term at one point, to the considerable surprise of fans, who have been using the term generically for decades.
Sweatles — In comics art, little drawn drops of sweat to indicate a character's agitation.
Swipe — Theft, usually used with regard to art that is copied by an artist for use as his own material.
Syndicates — Distributors of material to newspapers for printing (e.g., King Features Syndicate); such material includes comic strips.
3-D — Three-dimensional. In comics, a 3-D effect is created by printing an item in two colors, adapted by a specialist to provide varying “levels” of effect. By blocking one of the colors from each eye by means of glasses with color filters, the 3-D effect is produced.
Typo — A typographical error. Plural is spelled “typos.”
Underground(s) — underground comix Comic books done outside the traditional marketing and distribution systems. Originally, they were an offshoot of the “hippie” and similar movements of the ’60s and were replete with drug and sex references. Many are simply comics that would not justify the large print-runs and distribution of “mainstream” comics. Examples of innocuous undergrounds include Food Comics, which presents the author/artist’s views on food production. See also “independent comics.”
Variant Cover — A copy that carries different cover art than other copies of the same issue, released at the same time as the other copies of that issue and in the same country.
Variant Price — A copy that carries a different cover price than other copies of the same issue, released at the same time as the other copies of that issue and in the same country.
Fredric Wertham — Author of Seduction of the Innocent . Wertham maintained his interest in comics throughout his career — and expanded that to an interest in comics and SF fandom as well, eventually writing a book on the topic, The World of Fanzines.
Western Roundup DellWestern — Cowboy stories. Also (capitalized), one of the names connected with Dell.
Zine — A synonym for the word “fanzine” or “magazine.”
Zip-A-Tone — A brand name often used generically (without approval of the trademark owner, which doesn’t want it applied to other brands) for toning patterns used to add effects to line drawings for reproduction.
Zip — Zip-a-Tone.