This is another oddball issue, though from one of the two major publishers, that really speaks to how ‘story’ can still elevate prices in modern books. It also (more relevantly) has the benefit of a dip in print run. DC tends to have very few comparable issues with Marvel in the late copper/modern era, as the former has first appearances of Cable, Deadpool, and Venom (aka – the original Image founders visual creations) that have developed back issue demand– the only one that immediately comes to mind are the two early Harley Quinn appearances (which will probably end up in Spotlight Modern as well at some point). No other issue in this–very recommended– run has a premium associated with it.
That isn’t to say that the rest of the run isn’t fantastic, as I think the series as a whole was vastly underrated and remained so as a whole even when Gail Simone brought some net-based star power behind it–the Chuck Dixon work that launched the series was some great stuff. It’s generally always found appropriate art with people like Greg Land, Butch Guice, Joe Bennett having stints, not to mention my favorite, Nicola Scott. This issue was written by Dixon and penciled by Greg Land and is remarkable to me as essentially the value of this issue (I’ve seen raw HG copies go for $20-$75 ) is really based on the lasting effects of a single source-marketing push that readers have carried with them into adulthood. This is no different than some ‘facts’ we still hold to due to an updated Overstreet notation. We don’t, however, tend remember or claim that, and instead we speak of the power of story and a kiss, but it is the truth.
Let me first say that I think as a read and as a fan of the Batman mythos and family I love this issue. I also know that the issue is often referred to as “the kiss” issue, which if you read the actual issue may be slightly deceiving. What the issues is, however, is the culmination of a relationship that we’ve seen brewing on some level for decades between Robin Nightwing, Dick Grayon and Batgirl Oracle Barbara. Dick and Babs. It’s a sweet (in the adorable sense, not ‘70s show lingo) story. It is, however, not the only one (story). This issue was also the subject of getting a Wizard bump–one of those issues that the publication was able to ingrain, not just present–into a generation’s head as being significant in a monetary sense. Personally, I think the story is worth every penny, but in no other way have I seen an issue whose apparent basis for value be so flimsy. Even if it was a “first kiss” – what exactly does that mean to the back issue collector? What other character’s first kiss is relevant in terms of dollars? What other modern couple’s ‘kiss’ is thus noted?
The cynic comic collector (which is most of them) hates this. Anything associated with Wizard, particularly regarding 90’s pricing and speculation is generally looked upon with disdain (which represents the biggest mass flip-flop in perhaps any hobby’s history)–so much so we will avoid the content of the story in having a tangible effect on price. It would be nice, and speak more positively about us if they were indeed wrong. The problem is, I don’t that they are. There is no real reason t he content of this title would differentiate it from moments in a great deal of titles. It would be great as unlike some of the other examples noted above, Bird of Prey#8 ’s value was not pushed by having a first appearance of a character about to appear in a forthcoming blockbuster film appearances. I am aware of the TV show, but that had very little (I’d say none) effect on pricing. The truth is that Wizard pushed this issue heavy, and we bought it (literally), perhaps in some small percentage with good motivations, but it’s no less artificially constructed. We remember this issue having a premium, so it still does. There really is no reason why this isn’t a $10 book to compensate for the print run (in comparison to the other that are legitimate bargain bin issues) and not a $25-$75 books. If one looks back to the ’70s Batman Family title you’ll see a a bit of this relationship playing out–indeed they were called The Dynamic Duo: Batgirl and Robin.
I have many copies of this issue. I love it because it bridges the Barbara pre-Killing Joke to the Oracle we know now –in all incarnations she’s our girl. It also shows this unique identity that the original Robin has made from himself, and that for perhaps just for a moment, the Batman Family doesn’t have to be dysfunctional for our better good. There’s a lot of growing up here that’s a contrast from the patriarchal head of their family. None of that really justifies the premium though, and if there were some logical restructuring (as logical as comics get in this regards) of pricing, it wouldn’t shock you if this was relegated to the status of being a $5 book. I’m continually amazed at how robust this issue’s value remains. I think while at the end of the day I don’t believe it should have such a premium associated with it, I’m oddly happy that it does. I love having a book from this era that I can say does have backissue value and is a story I can talk about, and not be something elevated in the guide just due to being a low-print last issue of a dying title, or some sad, contrived, rare variant (Bloodshot Platinum).
I think the intention of a early appearance by Nightwing was to draw more immediate ties to the Bat Family, and through them Batman. What it did instead was tell an all too rare story that has the right to exist beyond the necessity of the month it was published. The cover itself has come to become one of my favorites, because it’s this embrace and stare that goes back decades, but swinging forward. Issues like this is what pays off continuity fans.
Sometimes the fiction is better than truth.
