Multiversity’s history column returns with a variety of items from 1980, including a review of the direct market, the back issue market, and the effects of the growing independent comic scene.
Following some legal decisions in 1979, the Direct Market was growing faster than ever. There were about 3000 comic specialty shops operating around North America. Distributors Diamond and Capital City were both working hard to grow that number and elevate themselves from regional operations to nationwide suppliers while driving out smaller competitors. One of their aggressive tactics was a low financial barrier to opening a new account – an initial order of only $300 got your name on the roster to buy comics at wholesale prices. Many collectors took advantage of the offer and became “dealers”, getting new comics shipped to them at home.
This growth was noticed at Marvel, where about a third of their sales (100,000 copies) were through the Direct Market. Seeing this as a good opportunity, Marvel hired Mike Friedrich to establish and lead the industry’s first Direct Market sales department (by “lead”, I mean he was a department of one). Friedrich was a good choice for the role because he had previously published “Star*Reach”, the first commercially-produced comic book without newsstand distribution, utilizing superior paper stock and printing techniques. Friedrich’s efforts on Marvel’s behalf were successful enough to earn him an assistant, Carol Kalish, in 1982.
Back issue developments
The back issue market was going through changes in 1980, some obvious and some behind the scenes. One of the covert movements was also a sign of the times – the staff putting together the “Overstreet Price Guide” bought a computer to organize their data. For the previous ten years, all of the sale prices and titles had been recorded in long hand on actual paper spreadsheets.
A change that was out for everyone to see, but was easily overlooked, was a double page ad taken out by Mile High Comics. You can view a scan of one below (from “Thor” 305, cover dated March 1980). It was the first of it’s kind, and you’ll notice it includes prices. That was very uncommon at the time – the other sale ads in the same “Thor” issue tell readers to send off for a catalog of available stock, and they charge up to a dollar for the privilege of letting you see their prices.
The highest price comic on that list, which only offers Marvel titles, are the first and third issue of “Conan” at $75. You’re probably asking yourself, “Why does the third issue cost almost double the second issue?” If you’re curious enough to check the “Overstreet Price Guide”, you’ll see a note indicating the third issue had low distribution and is therefore less common. According to Chuck Rozanski, owner of Mile High Comics in Denver, that claim is a lie made up by dealers in the 1970s. They thought it was easier to claim a short supply, which everyone can understand, than to explain the high demand, which only people familiar with “Conan” would really get (Issue #3 adapted a popular “Conan” novel).
The next most expensive comics, tied at $60 each, are “Giant Size X-Men” and “X-Men” #94, the first appearances of the new team. Those were comparatively high prices, but they were in sync with the 1980 Overstreet values. In the October edition of the Mile High ad, prices for both books had fallen to $50. Interest was growing, however, as the Dark Phoenix Saga concluded with Jean Grey’s death in #137, cover dated September 1980. When Moondance Comics joined the ads-with-prices game in 1981, they offered “Giant Size” and #94 for $60, and by 1982 they were up to $70. According to Mike Benton, 1980 is when the values began to climb. I can’t support that claim with my research, but my data points are limited to 1980 and later. Does anyone out there have the 1979 “Overstreet”?
Rising Independents
In 1980, “ElfQuest” was selling around 100,000 copies per issue and showing the whole industry that success wasn’t defined by working for Marvel or DC. One selling point publishers like Pacific Comics, Eclipse Comics, and First Comics were using to attract creators was a promise not to interfere with their content. That was a stark contrast to Marvel, where creators were given less than a month’s notice a book was being canceled. Marvel’s system led to some hasty conclusions, plots dumped into a second, unrelated title by the same writer, and frustration from creators who felt their craft was being disrespected.
Marvel’s response to the independent movement was to try mimicking it. In early 1980, editor Archie Goodwin put together the magazine “Epic Illustrated”. It was modeled after “Heavy Metal” and contained an anthology of mature and/or explicit comics with high quality color aimed at adults. “Epic” offered creators a chance to retain some rights and earn royalties while still working for Marvel. The first issue contained a Silver Surfer story and Jim Starlin’s ‘Metamorphosis Odyssey’. Perhaps in an effort to show readers and creators what it was realy going for, “Epic” #1 also included a comic written and drawn by “ElfQuest” creator Wendy Pini.
“Epic” was successful enough to expand into Epic Comics, a whole imprint under Goodwin, in November 1982. The magazine ran until 1986, which coincided with the Epic imprint turning from creator-owned content to focus on mature content starring Marvel characters.