Comics Buyer's Guide

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Comics Buyer's Guide

from: F&W Publications




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Availability: Usually ships in 1 to 3 months

List Price: $71.88
Your Price: $29.95
You Save: $41.93 (58%)
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Average Rating:  out of 5 stars
Sales Rank: 1159







Binding: Magazine
First Issue Lead Time: 6-10 weeks
Format: Magazine Subscription
Issues Per Year: 12
Label: F&W Publications
Magazine Type: Consumer magazine
Manufacturer: F&W Publications
Number Of Issues: 12
Publisher: F&W Publications
Sales Rank: 1159
Studio: F&W Publications
Subscription Length: 365 days




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Editorial Review:

Product Description:
COMICS BUYER'S GUIDE is the longest-running magazine about comic books. Each 200+ page monthly issue features new comic reviews, nostalgic retroviews, interviews and the largest monthly price guide. Also included is the latest convention news, opinion pieces from celebrity columnists and expanded coverage of anim‚, manga and other comics-related collectibles.









Availability: Usually ships in 1 to 3 months


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Customer Reviews
Average Rating:  out of 5 stars

Rating: 1 out of 5 stars - DON'T Buy Comic Buyer's Guide !
I recommend that you not buy Comic Buyers' Guide !
I will admit that I used to like it , but I feel differently now .
Just to start with something comical , the latest issue rund an issue-by-issue retrospective of several old titles , Captain Marvel Adventures , Darkhawk , and various Avengers titles - that had appeared in as meany as two previous issues of the six months preceding !!!!! It appeared in an issue I still have ( still have beacuse , it never cam e the first time around , a supposed replacement never came , finally , Replacement #2 came . ) , so I know . Amusingly , we get told that Charlton published a Flintstones comic book in the 60s , as well , in the same current issue .
These errors might be piddling - But the current editor really appears to be driving it straight into the loo . Now , he and I have had words , so perhaps that influences my comments here - But , CBG's failure to EVER send to me in a timely manner the 2&1/2 to 3&1/2 years of coupons for " free classified ads " that they owe me , dating from before the magazine switch , predate his elevation ! Since I'm signing off them , and don't want classifieds in them amymore , I guess that's some more money F&W Publications at least indirectly pocketed , from me .
Their tendency to rah-rah whatever comics are currently being published , especially if they're selling , but , only later , criticize them - As with a lot of the " blockbuster "/" Image-style " comics of the late 80s and early 90s - might've , well , I don't know how much longer they're going to be in business , so , if they go under , perhaps that willseem retroactively cute , too !!!



Rating: 4 out of 5 stars - More meaty than Wizard
* While sections like \"Longbox Manifesto\" and \"Ask Mr. Silver Age\" will certainly appeal to long-time comic book lovers, CBG is a magazine that, month-in and month-out, will contain new and fresh news and stories that you more-than-likely didn't read elsewhere. The comic book and graphic novels reviewed each month are more than just Marvel and DC books, too, which is nice.

Wheras Wizard simply regurgitates the same news found on the various comic book sites online, Comics Buyers Guide is refreshingly new. ...



Rating: 4 out of 5 stars - It's Wizard for the more discerning reader
When Comics Buyers Guide was a weekly tabloid, it appealed mainly to the hardcore comic book collector. Now that it has switched to a monthly format, delivering a healthy 244+ pages/issue, it has evolved into a dual-purpose magazine, still meeting the collector's needs while offering much more content for the discerning comic book reader and/or fan.

While Wizard is very good at what it does, hyping the latest Marvel and DC projects while offering a glimpse at the world beyond the big two - and the fanboys justifiably love it for that reason - Comics Buyers Guide offers meatier content and covers a much wider range of comics, with actual reviews as opposed to PR hype and creator-driven spin. Also, their price guide is more realistic, and thorough, than Wizard's seemingly hype-driven guide.

If you have to choose between them, Comics Buyers Guide is the one you want on a monthly basis.



Rating: 5 out of 5 stars - How to get immersed in comics-buying culture!
* This weekly publication is a great way to dive into the culture of the comics-buying world. The letters page is several pages long, often written by incredibly knowledgable and insightful readers. Also included are lots of reviews, articles on the industry and upcoming creative news, informative/interesting/entertaining columnists, convention guides, publication schedules, and classifieds. Content ranges from the beginnings of comic book history all the way to what's happening a year from now. Definitely a highlight of my week; often I read this before I read the comics I just bought. This comes from a publisher whose primary focus has been on collecting (coins, stamps, records, etc.) Trustworthy and entertaining! ...

Guide Buyer's Comics




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Set in Saudi Arabia, The Kingdom is a political action thriller with good acting and wonderful visuals. Its so-so script, though, at times meanders aimlessly until a good explosion jolts the viewer's attention back to the screen. Jamie Foxx stars as FBI special agent Ronald Fleury, who leads an elite team into Saudi Arabia to find the terrorists who attacked American employees working in the Middle East. He has been given the unlikely deadline of five days to infiltrate the compound, with just his wit and his crew, which includes forensics expert Janet Mayes (Jennifer Garner), explosives guru Grant Sykes (Chris Cooper), and intelligence analyst Adam Leavitt (Jason Bateman). It's unclear how helpful smarmy U.S. diplomat Damon Schmidt (Jeremy Piven) will be, but Fleury knows enough to surmise that the media-hungry Schmidt might not be completely trustworthy. Foxx and Garner have wonderful screen presence, but it's Bateman and Piven who get the best lines. Director Peter Berg peppers The Kingdom with actors he has worked with in the past. Berg, who guest-starred on Alias opposite Garner, casts Tim McGraw in a small role here. (The country singer also had a co-starring role in Berg's 2004 film Friday Night Lights.) And Kyle Chandler and Minka Kelly--two of Berg's lead actors from the Friday Night Lights television series, , make appearances in The Kingdom. The action sequences he creates are impressive and generate a sense of panic that The Kingdom producer Michael Mann (Miami Vice) undoubtedly applauds. While a tauter script would've rounded out the action nicely, the action in many cases does speak for itself. --Jae-Ha Kim
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A staggering portrait of arrogance and incompetence, the documentary No End in Sight avoids the question of why the U.S. invaded Iraq in 2003, choosing instead to focus on the war's aftermath--and meticulously examine the chain of decisions that led Iraq into a grotesque state of lawlessness and civil war. Drawing from interviews with top generals, administration officials, journalists, and soldiers who were in the thick of the war itself, No End in Sight lays out a gripping story, as suspenseful as any Hollywood movie, accompanied by terrifying footage of firefights and explosions more vivid than any special effects. Unfortunately, there is no happy ending. If the documentary has a weakness, it's the shortage of voices trying to defend the administration policies (perhaps unsurprisingly, policymakers like Dick Cheney, Donald Rumsfeld, and Paul Wolfowitz declined to be interviewed). But the testimony (presented by administration insiders and officials in Iraq, both military and civilian) argues that, despite contrary analysis and experienced advice against its actions, the top brass of the Bush administration made decisions (that aggravated already existing problems and created devastating new ones. No End in Sight builds its case one voice at a time and avoids the grandstanding that undercuts Michael Moore's work; instead, the gradual accumulation of simple facts--presented with weary resignation, earnest outrage, and restrained anger--results in a compelling condemnation of one of the worst blunders the U.S. has ever made. --Bret Fetzer
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Fans of Oliver Stone's J.F.K. will recognize the opening moments of writer-director Eugene Jarecki's Why We Fight, in which outgoing President Dwight Eisenhower warns of the pernicious and growing influence of what he called the "military-industrial complex." But Stone's movie, which uses the same footage, was a work of fiction. While those who disagree with the decidedly leftist point of view in this documentary will probably consider it the product of paranoid liberal fantasy as well, there's enough credible material, much of it supplied by the targets of Jarecki's criticisms, to make Eisenhower look like a prophet and everyone else uneasy about the dark confluence of politics, money, and war that controls the country's fortunes. The message here is that while there may be some who sincerely believe that America's various military engagements (in Iraq, Vietnam, Grenada, Panama, and elsewhere) since World War II are the product of our God-given duty to spread freedom and halt the influence of evil ideologies around the world, the real reason we fight is that war is good business. This is hardly a bulletin; anyone who is surprised by allegations that politicians pander to defense contractors, or that Vice President Dick Cheney helped secure huge deals for Halliburton, the company he formerly headed, simply hasn't been paying attention (Politicians lie? How shocking!). In fact, the principal drawback to Jarecki's film is simply that there's nothing particularly revelatory or compelling about it. Only when he takes a personal approach does he go beyond the obvious; the story of a retired New York policeman and former Vietnam veteran whose son died in the World Trade Center, who wanted revenge, but who became seriously disillusioned when Bush admitted that the war in Iraq had nothing to do with 9/11, adds some much needed human interest. Still, Why We Fight, which includes a director's audio commentary track and a few other bonus features, serves as a grim reminder that the world's most powerful nation has strayed far from the principles of our founding fathers, a development that does not bode well for America's future. --Sam Graham

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In her snowy home state of Utah, Marie Osmond serves up a warm cup of holiday cheer with Marie Osmond's Merry Christmas, her very first Christmas special. Mixing traditional songs and carols with modern melodies, Marie presents a sentimental hourlong program (originally aired on television in 1989), blending music with short sketches. The show features Kirk Cameron, then-teen heartthrob on Growing Pains; Candace Cameron, his sister and star of Full House; country singer Lee Greenwood; Sally Struthers and daughter Samantha, ice dancers Judy Blumberg and Michael Siebert, and the Osmond Boys.

Marie opens the show with an outdoor rendition of "We Need a Little Christmas" and then moves into the studio where Kirk Cameron arrives on a snowmobile (fresh from rescuing a trio of blonde snow bunnies) to read "The First Christmas Story." Lee Greenwood performs "Christmas to Christmas" and later a duet with Marie. "It's Beginning to Look a Lot Like Christmas" is sung by Sally Struthers and daughter with help from the Osmond Boys--six stepping stones ages 4 to 12 who have the senior Osmonds' moves down pat. The adorable award, though, goes to Marie's 5-year-old son, Steven, who performs a rockin' version of "Santa Claus Is Comin' to Town" (clapping on the off-beat nearly the whole song).

Marie has a good, strong voice, but many of the songs are overproduced and melodramatic. This, most likely, is a product of the big, pouffy '80s (her hair and outfits are also bigger-than-life) rather than a reflection of her talents. The closing number, "O Holy Night," sung by Marie alone, is quite lovely. --Dana Van Nest

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Comics Buyer's Guide
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