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Independent · Bulletman · #9 · Golden Age · ID-28630
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RSI needs 15 dated prices; 1 on file for 9.4.
BB20 is waiting for 20 dated prices for 9.4; no shorter window is substituted.
Market-wide signal (top 4) · Issue-specific signal (bottom 2 · tagged ISSUE)
Bulletman #9 demonstrates disciplined liquidity depth and stable sovereign grade spread characteristics across current secondary market trading.
Speculative micro-allocation with high-beta risk/reward characteristics.
Publisher profile coming soon
News linked to this book, the Grand Comics Database record, variants and the source of each figure.
T. Higgens (signed)
? (various artists)
? (various artists)
typeset
| Grade | Panel Profits |
|---|---|
| 9.4 | $3,450.00 |
| 7.0 | $432.00 |
| 6.0 | $240.00 |
| 5.0 | $120.00 |
| Raw | $182.17 |
Single-source econometric valuation across 1 verified monthly observation epochs (0Y runway)
Hedonic age factor + census scarcity weighting.
80% Interval: Unmeasured (Insufficient Volatility Sample)
Wholesale realization (45% haircut · ILLIQUID_SPECIALTY)
Relative-value gravitational equilibrium anchored to the foundational genesis instruments of sequential art.
Rigorous options modeling requires empirical prices for both legs (raw acquisition and target slab FMV). One or both legs currently lack recorded market observations; synthetic assumptions are disabled.
| Grade | Dealer Buy (Bid) | Retail Sell (Ask) | Spread | Underwriting House |
|---|---|---|---|---|
| 6.0 | $132.00 | $264.00 | 50.0% | Khamsin Custodial |
| Raw | $100.00 | $200.00 | 50.0% | Arnveld Capital |
Multi-tier analytical consensus distinguishing public truth, firm posture, desk urgency, and personal exposure
The birth of superheroes. Superman, Batman, Captain America, and Wonder Woman debut. Comics became a mass medium.
Extreme scarcity drives value. Condition sensitivity is paramount — even low-grade copies of key issues command five figures.
A pricing discrepancy between an auction listing and the prevailing cleared consensus value across organized exchanges, allowing rapid liquidity capture before market equilibrium reconverges.
Early one morning a "business man," in a tuxedo with a walking stick and top hat, is headed to his "exclusive club" to relax at the end of a busy night. He's actually a burglar, and the club is the Crime Exchange, concealed in a closed-down toy factory. He chats with the staff and pays up his dues: ten pearls out of the hundred that he stole that night. Farther inside is a lavish nightclub, packed with well-dressed gangsters, all boasting about their successful crimes. And in his private offices, the Crime Broker, and his cigarette holder, spend some time arranging murders for hire and checking the ticker-tape for crime statistics, then gloating about how well his business is going. That evening at PDHQ Sgt. Kent complains that his department is being run ragged by this gigantic criminal organization. This week alone there have been five murders, ten robberies, twelve swindles, and twenty-five other crimes. Jim Barr and Susan Kent withdraw to Barr's office, change clothes, and fly out on patrol. In rapid succession, Bulletman and Bulletgirl encounter, and foil, three separate crimes: a mugging, a bombing, and a box-office robbery, with the perps getting away each time. Soon, in the secret citadel of crime, the Crime Broker hears from three returning crime teams, of their individual failures, and kicks them out of his office, bodily! "Fools! Get out! Just for that you can't go on the Crime Exchange picnic next Sunday!" Patrons of the Crime Exchange gossip and grumble among themselves; they have a common beef: Bulletman is ruining their lives! One bright spark recommends that they petition the Crime Broker to get rid of Bulletman, which he'll be happy to do … for one million dollars! The crooks gladly pitch in gems and cash. The Crime Broker gets started on his big plan, first calling together all of his muscle men, and loading them up with assorted deadly weapons. The next day at police HQ, Sgt. Kent alerts his cops to a big shipment of silver being trucked into town from the west. Jim and Susan both hear this, and they change outfits and fly out into the country to observe the shipment. They land in an old mill and watch as the armor-plated truck rolls by. The Crime Broker also watches as it goes; he's here for bigger game, and he's brought a large number of henchmen, and he saw where the Flying Detectives have landed. The Crime Broker orders his platoon of gangsters to surround the old mill. They lay down so much fire that it's not feasible for BM & BG to try to fly through the barrage. So they wait for the hoods to attack. After a very short siege and about a three-round melee, the (15 or more) gunmen are strewn about the landscape, while nearby, the Crime Broker, in his tuxedo and opera cape and top hat, sprints away from the fight and makes it to his motorcycle, and speeds away to the city, pursued by the Flying Detectives. They find his bike dumped outside the door of the closed-down toy factory, draw the correct conclusion, and Bulletman sends Bulletgirl to the PD to get some cops, then charges in. He gets caught in a big cage, which is soon hanging from the club room ceiling. The Crime Broker and three henchmen pull out submachine guns and bring them to bear on Bulletman, but just then Bulletgirl flies into the room and knocks them all down. The Crime Broker flees the club room. Police also arrive and start rounding up the gang while Bulletgirl frees Bulletman from the cage. Bulletman and Bulletgirl storm into the Crime Broker's private office, where a vault door stands open and gold coins are covering its floor and spilling out into the main room. Bulletman pretends to make a deal with him, and helps him load a large sack with gold coins, and watches as he collapses under the weight of the sack. Then the police arrive, and the Flying Detectives fly away.
Valuation parity across physical collectible manifestations for Bulletman #9.
CGC, CBCS, PSA Universal certified high-grade specimens (9.8 / 9.6 / 9.4). The gold standard for institutional alternative investment.
Official witnessed creator-signed slabs (Yellow label). Valued based on creator historical stature and inscription provenance.
Certified specimens from landmark historical collections (Edgar Church / Mile High, White Mountain, Kansas City, Pacific Coast).
Original newsstand barcode distribution copies. Extremely scarce in high grade due to newsstand rack wear and unsold return pulping.
Regional price test market copies (Canadian 75¢/95¢ variants, Marvel 30¢/35¢ test variants). Highly coveted micro-population rarities.
Exclusively allocated copies requiring retailer orders of 1:25, 1:50, 1:100, or 1:500 standard copies. Immediate manufactured scarcity.
Unslabbed collector copies inspected under standard Overstreet physical guidelines. The primary pool for grading arbitrage.
Alternative artistic interpretations, virgin covers, metal foil, and convention exclusives with dedicated collector followings.
Standard specialty comic shop printings sold through non-returnable distribution. The baseline circulation foundation.
Green label copies with significant manufacturing flaws, unwitnessed signatures, or missing coupons that do not affect the main story.
Purple label copies with professional or amateur color touch, tear seals, piece fill, or spine rebuilds.
Blue/Grey label copies treated exclusively with archival preservation techniques (leaf-casting, rice paper tear reinforcement, solvent wash).
Official second, third, or later printings released to satisfy secondary market sellouts. Distinct cover art and trade dress.
International editions licensed by La Prensa (Mexico), Editora Abril (Brazil), Panini (Europe), or Titan (UK).
Certified printing oddities (missing foil, inverted interior, double covers, foil color error). Unique curiosity pieces.
Advance promotional black-and-white booklets, ashcans created to secure trademark rights, and preview giveaways.
Each cover variant, retailer incentive, and subsequent printing represents an independent atomic tradeable instrument with unique supply elasticity, barcode registration, and secondary market demand.
?, T. Higgens (signed)
?, ? (various artists)
? (various artists), ?
?
typeset, ?
Illustrated contents page for the issue, featuring one panel of art for each of the four Bulletman stories.
Inspect underlying sources, timestamps, and confidence factors for any market claim
All prices are current market price based on historic completed sales with a buyer and seller agreeing on price. Calculated via proprietary algorithm tracking end-of-month historical sales. Unsold items are excluded.
Total graded population from the stored CGC census snapshot for this title and issue.
The Crime Exchange, headed by the Crime Broker, is a high class nightclub-like hideout for criminals to come and relax after committing their illegal deeds, as well as being provided new jobs they can perpetrate. Having had a $1 million dollar bounty placed on their heads, the Flying Detectives must stop the Crime Broker before his lackies stop them....permanently!
Miffed because she is not getting equal space in the local newspaper, Bulletgirl decides to leave the team and go out on her own, and becomes involved in a case in which a phony fortune teller is victimizing wealthy people who live on the west side of town.
The Flying Detectives must battle an ingenious criminal who has devised a radio control unit that he uses to order the movements of his pack of jewelry store robbing dogs!
An eminent Professor of poetry invents a set of wings in response to a dream of his to be able to fly like a bird and become a crime crusher like Bulletman. Unfortunately, for every crime he attempts to halt, the Flying Detective is made to take the blame for committing it, and the Birdman vows to stop capture him and Bulletgirl --- or else!
Recorded price evidence by source and grade tier. Ungraded / RAW pricing represents loose physical copies; certified grading authorities record authenticated slabbed grades only. Unpriced grades remain unpriced.
| Authority Source / Metric | RAWUNGRADED | 1.8 | 3.0 | 4.0 | 5.0 | 6.0 | 7.0 | 8.0 | 9.0 | 9.2 | 9.6 | 9.8ANCHOR | 10.0 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Panel Profits(Exchange FMV) | $182.17 | — | — | — | $120.00 | $240.00 | $432.00 | — | — | — | — | — | — |
Panel Profits(Bid (Buy Price)) | $100.00 | — | — | — | — | $132.00 | — | — | — | — | — | — | — |
Panel Profits(Ask (Sell Price)) | $200.00 | — | — | — | — | $264.00 | — | — | — | — | — | — | — |
Panel Profits(Annual Volume) | — | — | — | — | — | — | — | — | — | — | — | 1 tracked sales | — |
Panel Profits(Realized Listings) | — | — | — | — | — | — | — | — | — | — | — | 1 sold | — |
Highest verified price observed. Non-9.8 books never receive a 9.8 price or synthetic valuation.
ComicBase catalog guide reference valuation. Evaluated independently from newsstand cover prices and certified slabs.
Historical cover price stamped on physical newsstand or direct copies at initial publication.
Panel Profits decodes auction transaction feeds into sovereign econometric market valuations and bid-ask spreads. CGC, CBCS, and PSA never carry RAW prices.