Last week, in our article “Making The Grade - Part 1,” we invited reader feedback on some of the issues surrounding comic book grading and our work on the new edition of The Overstreet Comic Book Grading Guide. The article was featured not only in Scoop, but went out to all new comics retailers who get Diamond Daily, and via email to the Overstreet Advisors. While we're looking for additional feedback (see our Superstars section for “Making The Grade - Part 2”), we thought we'd share some of the input we've already received.

Terry O'Neill
Terry's Comics

How would you define "Restoration" in comics?
Adding ink, glue or paper that was not already part of the book.

What would you include and not include?
I would not include tape or Archival tape as restoration, I would not include eraser cleaning but probably would include chemical cleaning. I would not include pressing, but would include any kind of additions of ink, glue or paper.

Would you delineate between professional restoration and amateur restoration?
No, really the only delineation needed is the apparent grade after work is done as opposed to the original un-restored grade, (call it the" Restoration factor")

What, if any, forms of restoration are acceptable to you?
I believe there is a vast difference between Restoration and Preservation. I believe we should all accept minor preservation to keep vintage comics as close to their current grade as possible. I think restoring a book just to try to get extra money for it is a bad practice and should be discouraged.

And why?
Preservation is to keep the book from getting to a worse condition and included: archival tape, tear seals and tape removal.

Restoration includes Color touching, adding pieces, chemical cleaning, re-glossing, trimming and pressing

And under what circumstances?
Re-attaching loose covers or centerfolds, mending edge tears or flattening out heavy spine roll should be accepted by most collectors.


Gary Colabuono
Moondog's
I define restoration as any process that tries to reverse damage done to a comic book. The mending of tears, the addition of new paper, color touch, etc.

I do not consider pressing restoration since it's not reversing anything it's just bringing the book to its full potential. It's enhancing the book by not adding anything to it.

There's a huge difference between amateur and professional restoration. In many cases a book improved with professional restoration is a very desirable addition to a collection. Clunking amateur restoration on the other hand does nothing to aesthetically enhance a book. It's like cleaning a coin with a hole in it. Why bother?

All professional restoration is acceptable to me on those books that obviously had little problems to begin with. If minor repairs were made and the book exhibits great eye appeal, I would have no problem adding it to my collection.


Steve Mortensen
Colossus Comics

How would you define "Restoration" in comics?
I would define restoration as any sort of additive applied to the comic to improve it (i.e. color touch, adding pieces, replace staples, reinforced spines).

What would you include and not include?
I would not include pressing because it's too hard to detect. I bought a long box of bronze age books recently that were stuffed in a box since the 70s. They were as flat as pancakes when I emptied the box. I don't see how comic storage would be considered restoration. There's been some talk about professional restorers using techniques such as humidity and heat to press the books. That idea is not much different that when I was collecting as a kid and putting my comics under a dictionary. In addition, what's sort of crazy to me about the pressing issue is that once a comic is encapsulated in the CGC slabbed it's sort of being pressed to a certain degree.

Would you delineate between professional restoration and amateur restoration? And if so, what would be the determining factors?
The level of craft/detail as shown in the restoration.

What, if any, forms of restoration are acceptable to you?
Pressing.


Jim Brocius
Cosmic Comics
I do not consider professional restoration done by a competent individual to be a defect if such restoration cannot be identified by examination without special equipment beyond perhaps comparing it to an unrestored copy.

I look forward to hearing what other issues you would like to see addressed concerning grading. While the previous efforts at establishing a comprehensive, easy to use grading guide have certainly been laudable there is much room for improvement and I would be happy to contribute my thoughts on the subject.


Jonathan Knighton
Valencia, CA
I "collected" comics from 1974-1997 and a few months ago I decided to donate some of my Richie Rich comics to a group helping at-risk children, so I bought the 2005 Overstreet Guide to grade/price the comics for tax purposes. Many things had changed since I last bought the guide including, but not limited to, the 10 point grading system and, perhaps most importantly, CGC. I've spent the last couple of months reading through the CGC, Valiant and other boards, following link after link to areas of discussion, controversy and scandal. Along the way my vocabulary has grown in that I had never heard the terms slabbed, raw, pressed, dry/wet cleaned, trimmed, etc.

Perhaps the most fascinating aspect of the discussions for me (after the destructive lengths people will go to in order to increase their CGC/PGX grade) has focused on the issue of amateur/minor "restorations" such a pressing and simply cleaning dirt off a comic. Now, for the last 4-5 years I have been actively collecting modern ('70s and later) hardcover fiction books where the highest grade is "fine/fine," meaning the book and the dust jacket/cover are both in pretty much perfect condition. The interesting difference between book collecting and comic book collecting is that nobody cares if you clean off the dust jacket or correct a cocked (slanted) book spine (the equivalent of spine roll for a comic). For example, if you can clean a dirty fingerprint off a white dust jacket using erasers, rubbing alcohol or lighter fluid (three popular methods), or if one puts a book in the microwave for 20 seconds to soften the glue binding the spine so the slant can be straightened out by holding it flat and letting the glue dry, then more power to you; there is no disclosure needed if you can get the book back to its original condition as far as the naked eye is concerned. Now, if you can't get all the dirt off then you simply grade the book or dust jacket lower and disclose any defects (bumped corners, yellowed pages, page/dust jacket tears, etc.) and let the buyer decide if they want to pay the price for it. And you certainly disclose any professional restoration.

I recently got my comics from 1974-1983 back from my grandmother's basement where they were stored, un-bagged/boarded in U-Haul boxes since 1983. Guess what? The comics aren't in the greatest of condition and they are dusty because I didn't live anywhere near a specialty comic shop and didn't have bags and boards. I just stacked them by collected title (Spider-man, FF, etc.) and added a new comic to the pile each month, so each comic got a month's worth of dust layered on and compressed into it. So what have I been doing? I've been using Swiffers to clean the dust off each comic, then bagging and boarding it. So, tell me, is Swiffering a comic restoration? Is pressing a comic between heavy books restoration (I haven't tried this so I don't really know if it will help a spine roll much)? Is using an art eraser or Wonder Bread to clean off dirt (I haven't tried these either) restoration? How about if a comic has a smoke or mildew smell and you use baking soda to draw out the odor? Is de-stinking a comic restoration? My feeling is: If you can get the comic back to its original look via Wonder Bread, etc., then I don't feel disclosure is necessary. But, if you have to add something to the comic (staples, covers, coloration) or if you have to take it apart to dip it in chemicals to get it clean or to get the spine roll out, then there better damn well be full disclosure to the buyer if raw and to CGC if getting the comic slabbed.

I realize it's a bit illogical, but where does one draw the line? Do I disclose to a buyer that I left a comic flat on a shelf for a month and then wiped the dust off before bagging and boarding it because that swipe with a cloth constitutes restoration? I guess I fall into the camp that believes amateur cleaning and pressing is okay because nothing is being "added" to the comic and the potential buyer can decide whether he wants it or not. Price the book accordingly and let the buyer decide if he wants it and allow the buyer to return it (even if slabbed) within a set period if he's dissatisfied.

Or, maybe, full disclosure of everything including wiping off a month's worth of dust is the way to go. Disclose everything, set a grade/price, let the buyer decide if he's happy with the comic, and allow returns for dissatisfaction even if slabbed. Will this work in the real world? We all know it won't, but does that mean you should lower your grading standards to accomodate the greedy and dishonorable? Keep your standards high, let CGC and others catch the high-tech restorers and rely on word of mouth/market forces to weed out the rest. Will people get away with pressing, for example? Of course they will, but at least Overstreet will have set a high standard and honorable dealers will follow it; and people will soon learn who the honorable or dishonorable dealers are and market forces will take care of the rest.


Ron Montuori
Tampa, FL
Hi guys, I am giving my solicited feedback regarding the new price guide. I will preface by saying I have purchased every edition of the guide since 1981, so I am a 25 year customer. I've supported all the incarnations of CBM and the various other publications over the years. I have never bought a Wizard publication as I have a firm respect for both Overstreet and Steve Geppi's leadership in our industry.

1) I do not like in the least the absence of the grading pages. I have always believed Overstreet is the 'bible' and have used word of mouth to praise your book hundreds of times over the years to new/younger collectors who only know of Wizard.

My basis is your credibility and the books' immense scope, as it always says in the beginning of the book. Part of that to me is edcuating new readers on the grading part of the hobby. I am of the opinion the 2-3 pages of grading is indispensable. Appropriate readers will still buy your grading guide separately. We believe and trust in your Overstreet guide, and know it evolves a little each year, but entry level collectors and not just dealers/ advanced collectors, require this info complete in one source. I will always suggest your grading guide in addition to the price guide, however. To me it will alienate possible newcomers to comics if they have to buy 2 books just to start, in order to get grading definitions. I prefer just the suggestion that they can start with the Guide sections, and when they reach the appropriate stage of interest, seek out the Grading Guide. And it shouldn't involve going online to do so.

Editor's note: The grading definitions, something for which we've not previously received much in the way of feedback, will be back in the Guide next year.

2) Please consider less non-comic related material, and less market reports, which hasn't been a trend I have liked. The static info isn't static for new readers, and I don't want to be forced to use the internet for the 'static' information. I honestly have tremendous interest in the platinum stuff, since there isn't other sources for it yet. The BLB has several other sources, so I vote to lessen that section if needed.

Editor's note: We don't know what you mean by less non-comic-related material. The implication, which may not be what the author intended, is that Big Little Books aren't comic books, which of course they are. Drop us another line and let us know!

3) I am among those who do not like the trends towards pressing for 'releasing true potential.' I consider pressing to be manipulative and restoration, and not in the hobby's best interest. Please keep the error in the definition in the draft box only, not the final box. If anything, and as a pedigree collector, I wish you would put in print the negative impact of pressing and undisclosed restoration. I am angered to have Church books survive 50-60 years in mint shape, only to have a dealer press or manipulate the book for a .2 CGC grade difference, and then not tell me the customer when I buy the book. I wouldn't mind the restoration as much, if they disclosed it so I can make an informed decision, but the major dealers either don't have the courage to do so, or are purposely withholding knowledge, which I feel is unethical.

I plan to advertise in next year's Guide for the very first time, and to be an advertiser for years to come, and one day become one of your Overstreet Advisors. Please continue to be the voice of credibility and conservative authority I have respected for 25 year now. Basically I am asking to be assured my advertising dollar will be spent on the best possible [edition of] The Overstreet Comic Book Price Guide and reference source in our hobby.


John Foss
How would you define "Restoration" in comics?
I define restoration in comics the same way I would define restoration in other works of art. Webster's NewWorld Dictionary aptly states, Restoration is a putting, or bringing back into a former, normal, or unimpaired state or condition. This is the definition I would apply to comics.

What would you include and not include?
Restoration would include the restorative techniques mentioned in The Overstreet Comic Book Price Guide (staple replacement, pieces added, tear seals, color touch, etc.). In addition, I would expand upon the old definition of restoration to include pressing. Though not as invasive as the other forms of restoration, it is restoration nonetheless (again, see the aforementioned Webster definition).

Would you delineate between professional restoration and amateur restoration? And if so, what would be the determining factors? Absolutely. The experts are in a better position to identify those traits that appear to be professional restoration. The identifying traits would be based on the skill and complexity of the work performed.

What, if any, forms of restoration are acceptable to you? And why?
Almost all forms of restoration are acceptable to me as long as I am made aware of the restoration and the restoration is to save the book. I don't like to be mislead or downright lied to when buying what appears to be a high grade comic only to find out that "work" has been done to the book. I am against pressing for the sake of increasing a subjective numerical value but pressing and cleaning can be valuable if it is part of an overhaul of a damaged or deteriorating book (i.e. pressing performed in conjunction with more aggressive forms of restoration).

And under what circumstances?
To save these treasures from the ravages of time. For example, I would gladly have a book with replaced vintage staples over rusted staples that will soon migrate to the paper stock. My belief is that restoration should be done to save the book and not to increase the appearance solely to maximize profits when sold to an unsuspecting public.