Welcome to Spider-Bob's Comic Collecting Corner where I dispense advice to novice collectors and the occasional pro, who may find some kernel of knowledge of which they never thought.  You will find information on history, storage and preservation, grading, buying and selling, conventions and what I think may be a worthy read (or for that matter why something may not be a worthy read).  So enjoy, I hope you find this advice useful.

I welcome your feedback, questions, concerns and advice - but keep your insults to yourself.

Arguably, claims can be made that comics have been around since the days when Cro-Magnon man painted cave walls with pictographs representing the hunt, harvest or equally life essential events.  As time went on, humans' early depictions would find expression in great monuments to themselves and their gods.  Leap forward thousands of years from the days of Egyptian hieroglyphics depicting god-like beings performing great and mystical wonders to the 20th Century when god-like beings performing great scientific and magical wonders would find a home in the modern myths known as comic books.

Silver-age comics are less rare than golden-age comics and therefore typically less valuable, but valuable none the less.  The Silver-Age, in addition to reintroducing characters that were popular during the prior decade, also saw the introduction of popular characters by then Atlas Comics, now known as Marvel.  A small sample of these characters are:  Daredevil, Fantastic Four, Incredible Hulk, Iron Man, Spider-Man, the X-Men and the reintroduction of the original Captain America in the pages of the superhero team book titled the Avengers.

The Modern-Age by definition has not seen a demarcated cutoff period.  Although comics did see a downturn in the mid-1990's, due to over production and speculation by collectors, the subsequent resuscitation of the industry has been so recent that it has not garnered an overarching label and may never do so.  Comics publishing as a rule has been a diverse industry since the 1970's, with an explosion of independent publishers during the 1980's.  Most titles by major publishers have enjoyed extended publishing runs in large quantities insuring that these comics are, and may be for a long time into the future, relatively affordable.  Nothing occurred in the last three decades of the 20th Century to threaten the industry beyond its own shortsightedness and greed, but that can be said for quite a few industries of the later 20th Century.

Modern-age comics are the least rare, due to the sheer number and quantity of titles published, and therefore are the least valuable in the aggregate.  Many of the books from this time period that increased in value and maintained their collectability did so because of the introduction of popular characters within the comic's publication run.  A small sample of characters that lead to the rise in value of the comic in which they first appeared are: Bullseye, Elektra, Punisher, Sabretooth, Venom & Wolverine.  Although many of these supporting characters have been popular within the pages of established titles very few characters introduced in the past 30 years have been able to consistently sustain their own ongoing title.

Remember that one of the joys of collecting is looking back on the comics that you have amassed and having pride in their condition.  If you choose to part with your acquisitions you also want to get the most from your investment.  That being said, I can never emphasize enough the necessity of bagging, boarding and storing your comics upright in some sort of covered box away from light and moisture.

Mylar is the recommended archival medium of the U.S. Library of Congress because it does not have any volatile chemicals which will migrate to the surface of the paper causing damage, but Mylar averages about 25 cents a bag versus less than 10 cents a bag for polypropylene.  Because of its stable nature Mylar, under optimal conditions, will last over a century, as opposed to polypropylene, which is recommended to be replaced every decade.  Therefore, because poly would cost you 30 cents in thirty years, Mylar would be a less expensive option if you intend on owning your comics for more than three decades.

Comics bags come in a variety of sizes: golden-age (7-5/8 x 10-1/4 w/flap), silver-age (7-3/8 x 10-1/4 w/flap), regular (7-1/8 x 10-1/4 w/flap) and treasury (10-1/2 x 13-1/2 w/flap).  My recommendation is to use standard size Mylites2 bags, which will fit not only your silver-age comics, but your current comics as well.  These bags work very well with silver-age backing boards.  You may choose to purchase your bags as you need them from your retailer of choice, but bulk options are available online by searching for "comics bags."  You can usually request a sample pack from the supplier to determine what is best for your collection.

Most comics boards generally have two different surface textures; flat and glossy.  I have rarely seen backing boards with a flat texture on both sides.  There appears to be an unresolved debate about which side you should store your comics against, which has led me to believe that either side is fine.  The manufacturer does not include instructions for use and advertises the product as "acid free," which would lead me to the conclusion that the entire board is acid free.  If there is a side to the board that could damage your comics, then I could foresee a lawsuit in the future for the manufacturer of comics boards.

There is also the option of buffered backing boards, which are impregnated with calcium carbonate to mop-up the acids emitted by the newsprint in older comics.  Although this sounds intriguing I have never used these types of boards and can not recommend them either way.

Comics backing boards correspond in size to comics bags.  Like bags I recommend using silver-age boards - although it may depend upon the true size of your bags and how snug the board fits.  You may also choose to purchase your boards as you need them from your retailer of choice, but bulk options are available online by searching for "comics backing boards."

Comics must be stored in an upright position to avoid spine rolling.

Instead of boxes I use HON brand legal-size vertical filing cabinets.  Each cabinet drawer can store 500 golden-age size comics.  The comics can be stored side-by-side and the length of the drawer can be adjusted to ensure the books stand upright.  I purchased my cabinets at Office Depot for about $150 each, but you can purchase them at any office supply store or possibly second hand at a military or government surplus dealer.

*{I have received a lot of e-mails concerning the model number of filing cabinets that I use and what I recommend.  I have determined that the model number is irrelevant as to the interior width and height of the cabinet, although there are apparently differences in interior depth.  As to the overall exterior size of the cabinet, I recommend using whatever best fits your storage needs and available home space.  There appears to be only two configurations for drawers; two and four.  The later being about 5 feet tall.

When determining a cabinet that will work for your needs the best suggestion I can make is to go to your local office supply retailer and using two golden-age-sized backboards, hold them side by side in the drawer and if there is a reasonable amount of space between them then the cabinet should accommodate any standard comic book published since 1938.  The other suggestion I would make is that the adjustable slide at the back of the cabinet have a reasonable amount of surface space as to not cause creasing or bending of your comics at the back of the drawer.  I hope this covers most of the bases, but if it doesn't then don't hesitate to pepper me with further questions in the forum.}

For your more expensive comics I recommend either a fire-proof filing cabinet for large collections, or a small fire safe for just a few of your more prized comics.  It's a little more expensive, but worth it.

<- 7' 8" ->

Here are my 8100+ comics snuggly stored in legal filling cabinets.

Although collecting comics is fun - keeping track of which ones you own and which ones you would like to own can be a pain in the rear.  There are several programs available which can help you keep track of your collection, but in my humble opinion none of them are worth the price.  I have found that Microsoft Access is an adequate program for tracking my collection and also teaches basic database management skills - something which is actually useful and may be able to make you some money in your career.  Keeping all this in mind I have generously provided a LINK to the basic code of the database.  Feel free to download, modify and expand to meet your particular needs.

As location, location, location is to real estate, condition, condition, condition is to collectibles.  A prime example of how the condition of a comic affects its value would be Amazing Fantasy #15, the first appearance of Spider-Man, which sells for around $28,000 in near-mint condition, but would sell for around $1,400 in poor condition.   Granted that is a pretty penny either way, but if I were to sell a near-mint copy I could afford a new car, where as a poor comic would buy a used jalopy - maybe.

Values are determined by the "market" and prices can be found in a number of sources. Some of these sources include free online services such as ComicsPriceGuide.com, books like the Overstreet Price Guide which contain almost every comic published, and magazines such as Wizard which list most popular and current comics.  Both publications can be found at most retail book stores or comics retailers.  Remember that each guide is based upon "market" value and may have different prices for the same comic.  That being said, the ultimate arbitrator of what a comic is worth is how much you are willing to pay, and the monetary or trade value the owner is willing to accept.

Poor: The crap of the crop.  Generally unsuitable for collecting or reading because of the extent of damage.  Damages range from water soaked or mud incrusted, to ripped-to-shreds by an animal or mutant vegetable.  Cover or pages may be missing, torn or cut.  Poor comics sell for about 5-15% of near-mint value.

Fair: This comic has definitely seen better days and has limited market value.  Damages may include soiling and damage to the cover and interior pages due to age or abuse.  A common "fair" comic is an otherwise flawless comic that has a coupon or ad removed from the interior pages.  Fair comics are intact and fine for reading or lending to friends and family.  Fair comics sell for about 10-20% of near-mint value.

Good: A comic with a few miles on it and starting to show its age.  Cover and pages may have a number of major wrinkles, flakes or chips, but should not have any major tears.  Cover may be dull and pages may be yellowed and brittle.  Good comics sell for about 20-30% of near mint-value.

Very-Good: A comic with a little read-wear, but still holds onto its looks.  Common condition of older books.  Cover may have lost its glossy luster and have minor wrinkles, flakes or chips, but has no sign of abuse or defacement.  Very-good comics sell for about 30-40% of near-mint value.

Fine: A comic that has been loved and cared for by someone who may have been a novice collector.  Very little wear, may have lost some of its cover gloss, have a few chips or wrinkles and have a slightly off center or rolled cover.  Yellowing may have begun to creep into the interior pages.  Fine comics sell for about 40-60% of near-mint value.

Very-Fine: A comic that has been better cared for than its "fair" cousin.  Slight read-wear and few defects.  Stress around staples may be visible, but not severe enough to cause wrinkles.  Cover and pages are crisp and sharp, no flaking or creases.  Interior pages may be slightly yellowed in older comics of this condition.  Newer very-fine comics sell for about 60-85%, and older comics may sell for as high as 90% of near-mint value. 

Near-Mint: I'm almost mint and most people wouldn't know the difference.  This is the benchmark by which all other comics are graded and the most common condition for new comics.  Cover and pages are bright, clean and have no defects.  Slight stress lines may exist near staples and minor printing defects may exist.  This is a perfect ten and holds 100% of its value.

Mint: These comics turn the volume to eleven.  Better than the best and therefore the most uncommon condition in new and old comics.  There are no imperfections and the printing press quality is uniquely superb.  This condition is so rare, that it is hardly ever seen, and therefore sells for as high as 120% of near-mint value.

Things you should look at with first glance are the cover and spine.  Is the cover soiled, ripped, rough, dull, water damaged or generally unattractive?  Is the spine bent, creased, rolled, are the staples rusted or missing?  First impressions can tell you quite a bit about the quality, and you can judge a book by its cover.  If the cover appears to be fine, check the centerfold next.  Often a comic's pages will come loose from the staples starting with the centerfold.  If you find no problems here, then perform a page to page check insuring that the pages are all intact and that there have not been any coupons clipped or pages embellished with ink or markers by an aspiring artist.

The rarest and most insidious flaw to watch for is restoration.  There are a variety of tricks that people use both legitimate and illegitimate to improve the condition of a comic, but in some cases the restoration causes the comic more damage than it would have had otherwise.  An example I have seen was when someone used black permanent marker to fill in a dark area on a cover that had become faded, it would have not been easily noticed if the marker had not bled through the cover and onto several pages of the comic.  They accomplished the feat of turning what would have been a fine comic into a fair or good comic.  

Restored comics are acceptable, as long as the seller makes you aware of the restoration, otherwise it's fraud.

In my opinion this process seems to defeat the main joy of comics, which is reading.  If you purchase a certified graded comic and remove it from the plastic case, then it is no longer certified.  This process seems to be better served for items like sports cards and coins, which still can be enjoyed because of their two dimensional nature.  I would only recommend purchasing a comic, or having a comic professionally graded if you intend it for investment purposes only.

Although comics are no longer commonly found at drugstores, groceries and newsstands, there are a multitude of retailers both "brick and mortar" and online.  

To start out, I would like to define three terms which will occur in this portion of the column.  Comics go without explaining, but for the sorely uninitiated they are small magazines which are commonly bound by two staples.  Graphic novels are less strict by definition, but are typically new comics material printed within a hardbound or oversized publication.  Trade paperbacks are reprinted material usually softbound, although this trend is changing, and usually combine a popular story arc or rare time period of an established comic in a more affordable format.

New comics, graphic novels and trade paperbacks can be commonly found at your local comics shop, a multitude of online services or occasionally retail book stores.  Graphic novels and trade paperbacks almost always can be found at retail book stores such as a Barnes and Noble, ordered from an online retailer, such as Amazon.com, or checked-out at your local library.

Back issue comics can be purchased at most comic shops, through online auctions services such as eBay.com, from individual sellers advertising in the newspaper classifieds and vendors selling comics at conventions, which occur in any number of cities monthly.  There are also a number of comics retailers that catalog back issues though online stores.  Many of these online retailers also purchase comics for their inventory.  You can find a want list for back issue comics being purchased by Lone Star Comics.

As with anything, you should be cautious of who you buy from, the seller's definition of near-mint may be dubious, and once you find a reputable source you should stick with them.  That being said, I will give a break down of the different outlets I have used to purchase comics, what they have to offer, and what you can often expect.

My local comic shop fits the first description, and although it lacks character it serves my needs, but I do enjoy the quirky shops to an extent.  The oddest comic shop I have ever been in doubled as a gun shop.  I asked the owner/operator what inspired him to couple guns and comics, his response was that he liked them both and thought there were others out there that shared his passions.  Be that as it may, he frightened me and I never returned.  Another "odd-ball" shop that I frequented was stuffed to the gills with comics to the point that it was a fire hazard.  I often wondered if the proprietor, who had been there for over 20 years, had any idea, or care, for what was in his shop.  He had premium comics for sale pinned in bags displayed on his wall, some of which were being faded by sunlight coming through his storefront.  Normally this type of sin would cause me to claim heresy and have the proprietor burned at the stake using his abused comics as kindling, but at the same time he had some of the best prices on new and used comics.  Buy four comics get the fifth one free and 90% off overstock back issues.  I picked up a copy of Captain America #104 (1968) in very-fine condition for $2.50.  A bargain at four times the price. 

Any given week you may find ads selling comics in the classified section of you local newspaper.  Often people selling comics through the newspaper do not know anything about comics, and fall into two camps.  The first camp thinks their comics are worth a fortune, but the comics are for the most part crap.  I refer back to my first lesson concerning grade: condition, condition, condition.  I generally walk away from these exchanges, but give them my phone number incase they change their mind, which they very often do after taking a sample of their "treasure" to a local comic shop.  The second camp just wants to unload their (or their speculator cousin's) comics and are willing to take 25 cents for each comic.  You may have to pick through a pile of coal to find the diamonds, but it's usually worth it.

An even rarer exchange is when you find someone who has collected for a number of years and is desperate to sell.  This leads into another story.  I was working on a contract and got to talking to one of the computer techs about comics, when he revealed that he had an extensive collection he wanted to unload.  Cautiously intrigued I went to his home to investigate what he was offering.  He was kind enough to have a sample of comics ready when I arrived, and let me say they were gems all.  Then he lead me to the basement.  This guy could have opened his own comic shop.  I took a paper grocery bag full with me to further inspect the comics and would make him an offer at a later date.  The comics I inspected were mostly silver-age Marvel comics in fine or better condition, plus one golden-age comic in near-mint condition.  After I had calculated the cost of the comics I came up with a total of around $3000.  Well - being the kind of guy who is always willing to stretch the boundaries of the buyer/seller relationship, I told him that I was going to start the bidding low and we would haggle from there, fully expecting him to counter in the spirit of economic exchange or scoff and stomp off.  I opened the bid at $250, less than the guide value of the golden-age comic.  To my surprise he jumped at the offer.  Sold!  Now, I'm not saying that this may ever happen to you, but the lesson is if you ever find yourself in the position of controlling the price, go for it.

Needless to say, buying comics is a lot easier than selling them.  As I briefly mentioned in the buying section you can purchase comics from "brick and mortar" and online comic shops, online auctions and individuals.  Well guess what?  You can sell them back through most of the places you bought them, but the return on your investment may not be what you expect.

One advantage to selling to a comics shop is that many will give you store credit in trade - often double what they would pay in cash.  It may not be the best deal to you, but it may be the quickest.

Another option that comics shops may offer is selling on consignment.  This means that they give your comic a place in their shop where potential customers have an opportunity to purchase it, and the store takes a modest cut of the sale.

The first rule of online auctions is always be honest with your customer about shipping.  Many people get kind of ticked-off if you charge them double your actual shipping cost, and they will know, because the rate is on the stamp.  For the best deal, ship your comics media mail through the U.S. Postal Service.  The post office charges by the pound for media mail and you can use your bathroom scale to get an approximate weight.  Use the post office website to determine the cost and then contact your seller with the final bill.

The second rule is pack your comics professionally.  To ensure they get there in one piece, I place the bagged and boarded comics inside a larger plastic bag.  Two Ziploc gallon size freezer bags pulled over both ends and wrapped with packing tape around the center on the X and Y axis will make a snug and reasonably waterproof seal.  As a little cheat, I recommend using the post office's Priority Mail boxes by turning them inside out and taping them back together again.  Technically you are not supposed to do this, but most postal workers could care less.  If you find yourself in the federal penitentiary, I don't know you.

The third rule is when selling online be honest with your customer about the condition of the product, it may be counter intuitive, but talk the product down a little, after all you are asking for someone to purchase a product sight unseen.  In the end, if you establish a bad reputation as a seller, you are very unlikely to sell to anyone every again.  To spruce up the auction I use a digital camera to put a picture of the comic or comics online.  I find that I like to have some idea of what I'm buying, and I'm sure that others share that desire.

As I previously wrote, conventions are a bargain for comics; but also have so much more to offer.  You will find original art, toys, movies, posters and apparel for sale.  You will find movie screenings for films you would never otherwise see.  There are conferences with professionals speaking about the comics business; booths with professionals reviewing artwork and scripts, drawing sketches, signing comics, or just shooting the breeze with fans.  There is always plenty to see and do, and chances are there is a convention, even a small one, somewhere near you on any given month.   I link to the websites of many conventions on my main-page and a guide to monthly conventions is listed in the back of Wizard magazine.

A few rules should be adhered to when meeting your favorite or not-so-favorite creators.

First: Be polite, even if the writer/artist "ruined" your favorite character, get a grip, its only a comic character and eventually the publisher will get enough negative correspondence, or the sales will dip low enough, that they will get a new creative team on the book.

Second: Be polite, if your favorite creator is having a conversation with another creator, or fan, or a lamppost, then do not interrupt, or hang around making them feel like they have their own personal psycho stalker.

Third: Be humble, if you are showing a creator your script and or art then take criticism as it is intended, which is to help you be a better writer or artist.  A rising tide lifts all ships and professionals want to work with other people of professional caliber.  Criticism may seem personal at the time, and it may be, but don't take it that way and storm off, you may have to work with this person some day.

First: If you want a creator to sign your comics, don't bring every issue of their work you own.  I generally bring about 3-4 books for several creators to sign.  Conventions are busy places and there is no guarantee you will get even one autograph, so hedge your bets.

Second: Before you hand over your comics, let them know how you would like them to autograph it.  In recent years many creators have been signing the covers of the comics in silver paint pen, for which I personally do not care.  My preference is to have them sign in regular ink, beside their name, on the page that credits the creators.

As an aside, there is much debate about autographs and the condition of comics.  Some claim that is lowers the grade and value, but others claim that it adds value.  As far as I'm concerned it only adds value if I got the autograph myself, and that's the kind of value to which you can't attach a price.

Third: If you want an autograph, offer a copy that is in nice condition.  Granted, you may not be able to find a golden-age comic that you can afford in pristine condition, but don't offer a creator an otherwise affordable comic with its cover missing and poop streaks on it.

Forth: Perhaps the most important rule, if you want a creator to autograph a comic, make sure they had something to do with it beyond working for the publisher.  Comics after the early 1960's generally have credits listed for the creators of the comic, read them before you offer it to be autographed.  If the comic does not list the creators, you may be able to find this information in the price guide books I mentioned in the Grading and Condition section.

I have been reading and collecting comics for over 15 years and have read a lot of treasure and and a lot of trash.  These are my picks from not only the large and small publishers' current offerings, but also the back issue titles that I collect for my bargain reading pleasure.

One independent title that I read religiously is Cerebus by publisher Aardvark-Vanaheim.  The comic was written, draw and self-published by Dave Sim since 1977, and follows the adventures of the anthropomorphic aardvark named Cerebus.  The title started as a Conan the Barbarian parody, but evolved into an intelligent thesis on philosophy, religion, politics and every other issue of which you could think.  The series ended with issue 300 and I would warn against attempting to collect all the original comics, instead collect the trade paperbacks, affectionately known as phonebooks due to their size.

Limited Series: Due to the nature of limited series, it is difficult to recommend them, because by the time I do, they may be out of print and unavailable.

The trades I read are the Marvel Essentials, which collect the early issues of their most popular titles in an inexpensive black and white format.  The stories are kind of goofy compared to the sophisticated writing of today, but Stan was cranking out over a dozen books back then.  If you are a fan of Marvel and want to learn about the history of your favorite characters then $15 for almost twenty-five issues is quite a bargain.

For bulk inexpensive back issues the best way I have found to purchase them is through online auctions.  I know this may contradict my advice concerning the quality of online auctions, but when I am buying 25+ comics for less than $10, it's worth a chance the merchandise isn't in tip-top shape.

Most of the books I look for are failed series from the 1970s and 80s.  Many of these books are not the best stories ever published and I'm sure they were cancelled for a reason, but they do have an endearing kitsch and they make for a reasonably enjoyable read.

The 9/11 Report

Sid Jacobson & Ernie Colón

Perhaps the most important and dramatic use of the comics art form, the official report of the non-partisan 9/11 Commission is adapted by veteran comics writer/editor Sid Jacobson and veteran artist Ernie Colón into an easily digested and accessible graphic novel, which tells of the events leading up to and the aftermath of the greatest act of mass murder and terrorism on American shores.  In a condensed form, The 9/11 Report graphically illustrates both in words and images the United States government's failings to stop the attacks, respond to them while they occurred and resolve solutions to prevent future attacks.  A great teaching aid for young history students that will keep them engaged by illustrating the people, places and events depicted; and help them understand a moment that will define their nation and the world for generations to come.

The Amazing Adventures of Kavalier and Clay

Michael Chabon

The tale of two cousins' hectic and at times tragic lives on the dawn of World War II and the golden-age of comics, Kavalier and Clay balances the history of comics and life in Europe and New York during a time dubbed as the "Greatest Generation."  The infusion of world and comic's history throughout the book at times had me questioning if the accounts within were fiction or truth.  Although over 600 pages, Chabon's writing style is easy to read and engaging.  Well researched, the flavor of mid-twentieth century in America is palpable and transports the reader to an era half a century into the past.   Whether a fan of comics or drama I would recommend this book to avid readers.

Excelsior: The Amazing Life of Stan Lee

Stan Lee & George Mair

A quasi-autobiographical accounting of the life of Stan Lee (born Stanley Martin Leiber) and his career with Marvel Comics from the 1940's until the 21st Century.  A must read for any fan of Marvel Comics or a student of the history of comic books in America.

Painless Algebra

Lynette Long PhD

A great introduction for students or re-introduction for adults to the rules and concepts of algebra.  Step-by-step process and explanation culminating in a short quiz at the end of each lesson which challenges and reinforces concepts.  Buy a used copy and get your pencil at the ready.

Steal This Idea

Michael Perelman

Economics professor Michael Perelman writes an occasionally dry, but important dissertation on the runaway patenting system both within America and overseas.  His accounting tells of a United States Patent Office more preoccupied with earning patent fees, and of industry more preoccupied with denying the free exchange of new ideas, despite the fact that patents were designed to disseminate knowledge, not hamper it.  Although rarely discussed by public information resources, it is a subject which affects everything from the food and medicine you purchase to the entertainment you watch, read or listen to (or how you use your computer software).  If you don't believe me check your end-user license agreement (c:\windows\system32\eula.txt) for any copy of Windows, you may own the disk, but they still own what's on it.

The Savage Tales of Solomon Kane

Robert E. Howard

The author of the more well known Conan the Barbarian, Robert E. Howard brings to life a world of savagery where his 17th Century English protagonist is challenged by adventures that force him to question both his Puritan faith and notions of race and human relationships in the dark heart of Africa.  A complete compilation gathering all known Solomon Kane stories and poems from both published and unpublished sources - a must read for fans of swashbuckling swordplay or tales of mysticism.

Under the Moons of Mars & Return to Mars

Edgar Rice Burroughs

More famous for his later creation Tarzan of the Apes, Edgar Rice Burroughs is truly under appreciated for his contribution to modern science-fiction with his early 20th Century creation of the Barsoomian Trilogy.  (For those unfamiliar with Burroughs science-fiction epic, Barsoom is the Martian word for their native planet.)  Unlike H. G. Wells' more famous War of the Worlds, written a little over a decade before , Burroughs' style is more engaging and paints an image of an alien world that staves off the boredom found within Wells' description of a Martian invasion of a late 19th Century England.

The first volume Under the Moons of Mars introduces Burroughs prime protagonist John Carter, an Earth born mercenary who eventually becomes the Warlord of Mars, and his Martian paramour Dejah Thoris the titular Princess of Mars from the 1917 novelization which collected the original chapters found in the pulp magazine All Story beginning early in 1912 .  Under the Moons of Mars chronicles the first three books (or if you prefer chapters) of the Barsoomian Trilogy which reads like an amalgam of genres; western, romance and combat - woven into the backdrop of a fantastic and fully formed alien world.

The second volume Return to Mars concentrates on the next generation of Martian heroes and shows a more "modern" sensibility in that the roles of the female characters are cast less in the mold of romantic hostages - victims to the machinations of evil men, instead they are depicted as women capable of navigating their own destines.  Each volume of Return to Mars is more self contained and focuses on a broader palate of characters most of which have only been part of the supporting cast of previous tales.  The further exploration of these supporting characters also allow the author to explore hidden lands with creatures even more alien than those described in the adventures of John Carter.

Burroughs seems to be pioneering a new style of literature with his description of Mars and although technically science fiction the amalgam of styles he used to arrive at his destination make his Barsoomian tales palatable for people of many differing tastes.  These stories are overall well written and easy to navigate which makes them great books for both teens and adults.

A New Brain for Igor

Teddy O'Connor and Bill Basso

This book I picked up for my young daughter for bed-time stories, and unlike the previous offerings it does depend upon visual images to tell its story.  A New Brain for Igor is a colorfully illustrated book about a dim-witted lab assistant that conspires and executes a plan to have his master transplant into him a new "bigger" brain.  On the surface the premise may seem creepy, and is probably intended for children of reading age, which my daughter is not yet, but my twisted sense of irony mandated that I read it.  In the end it is a humorously cautionary tale about watching what you wish for, because you just might get it.