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A Guide to Organizing a Comic Book Collection for Growth

A Guide to Organizing a Comic Book Collection for Growth

Organizing a comic book collection seems like it should be easy. Alphabetical order. Problem solved.

At least, that's what I thought.

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I've been organizing my comic collection, and my natural inclination has always been to arrange everything alphabetically. But comics have a way of turning even something as simple as the alphabet into an argument.

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Consider The Amazing Spider-Man.

Ignoring the word "The," as you normally would when alphabetizing a title, The Amazing Spider-Man belongs under A. But part of my collector brain immediately objects.

Shouldn't Amazing Spider-Man be with the other Spider-Man comics?

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It would seem perfectly reasonable to file it as Spider-Man, Amazing. Then Spectacular Spider-Man could become Spider-Man, Spectacular, Sensational Spider-Man becomes Spider-Man, Sensational, and so forth.

Now all my Spider-Man comics are together.

Neat. Logical. Problem solved.

Except I think I just made the problem worse.

When Alphabetical Isn't Really Alphabetical

Once I decided that Amazing Spider-Man could become Spider-Man, Amazing, I had created a rule.

And rules have consequences.

What about Friendly Neighborhood Spider-Man? Presumably that becomes Spider-Man, Friendly Neighborhood.

Superior Spider-Man? Spider-Man, Superior.

Ultimate Spider-Man? Spider-Man, Ultimate.

Okay. Still manageable.

Then there's Web of Spider-Man.

Does that become Spider-Man, Web of?

What about Peter Parker: Spider-Man? Spider-Man 2099? Spider-Man Unlimited?

At some point, I'm no longer alphabetizing comic books. I'm creating my own taxonomy for them.

And Spider-Man is actually an easy example.

The Franchise Method

There's an appealing philosophy behind grouping comics this way: organize everything by character or franchise.

All the Batman comics go together. All the Superman comics go together. All the Spider-Man comics go together. For browsing a favorite character, this sounds fantastic.

But where do I put Action Comics?

Under Superman?

Superman is certainly the character most closely associated with Action Comics, but Action Comics is also a series with an identity and history of its own. Even though Superman was introduced in issue #1, he wasn't its only feature. In the 1980s, DC made Action Comics a weekly anthology that didn't always include a Superman story.

The same problem applies to Detective Comics.

Today, Batman and Detective Comics are practically inseparable. But Batman didn't appear until issue #27. Does that mean issues #1–26 belong under D while everything afterward goes under Batman?

Obviously not.

So maybe the entire series goes under Batman. But now I've made another rule.

And then I find Tales of Suspense.

Uh-oh!

Should Tales of Suspense be filed with Iron Man?

That makes sense for a substantial part of its run. But Captain America shared the book with Iron Man. Before either character appeared, Tales of Suspense was an anthology title. So is it an Iron Man comic, a Captain America comic, or simply Tales of Suspense?

Similar problems appear with Journey into Mystery, Strange Tales, Showcase, The Brave and the Bold and countless other titles.

The more comics you own—and the further back into comic-book history your collection reaches — the more these exceptions pile up.

A franchise-based system doesn't eliminate organizational decisions. It requires them.

The Publisher Method

Then there's another organizational method I've encountered among collectors and comic shops: separate everything by publisher and alphabetize within those sections.

Marvel goes over here. DC goes over there. Image gets another section. Dark Horse, IDW, Dynamite and everybody else get their own areas.

Of the common approaches, this one is my least favorite. It adds an unnecessary prerequisite to finding a comic:

You have to know who published it.

That's easy enough if you're looking for Batman or Fantastic Four. Most comic collectors know that Batman is DC and Fantastic Four is Marvel.

But what about a licensed comic, like G.I. Joe?

Which section should I search?

Marvel published G.I. Joe comics. So did Devil's Due and IDW. Today, Skybound publishes G.I. Joe as part of its imprint through Image.

The same thing happens with Transformers: Marvel, Dreamwave, IDW, Skybound/Image.

Star Wars spent years at Marvel, moved to Dark Horse for decades, and eventually returned to Marvel.

A publisher-based system requires me to know not merely what comic I'm looking for, but which company held the license when that particular comic was published.

That's useful information for a collector to know, but it's terrible information to require simply to find a comic in a box.

The Real Problem Is Mental Friction

This is what ultimately changed my thinking.

None of these questions are particularly difficult.

I can decide whether Tales of Suspense belongs with Iron Man. I can look up who published a particular Transformers series. I can develop a perfectly consistent rule for where Web of Spider-Man belongs.

But why should I have to?

Every special rule adds a tiny decision.

When I'm putting away one comic, that's nothing. When I'm organizing thousands of comics, those tiny decisions accumulate. Worse, I have to remember those decisions later.

  • Did I put Tales of Suspense with Iron Man?

  • Did I put Web of Spider-Man under W or Spider-Man?

  • Did I separate my IDW Transformers comics from the Marvel ones?

A good organizational system should reduce those questions, not create them. That's when the boring solution started looking awfully attractive.

Just Sort Them Like a Library

The system I've settled on is almost embarrassingly simple.

Just use the actual published title.

Ignore leading articles — A, An, and The — and otherwise let the alphabet do its job.

So:

  • Action Comics goes under A.

  • The Amazing Spider-Man goes under A.

  • Batman goes under B.

  • Detective Comics goes under D.

  • G.I. Joe goes under G.

  • The Incredible Hulk goes under I.

  • The Spectacular Spider-Man goes under S.

  • Tales of Suspense goes under T.

  • The Uncanny X-Men goes under U.

  • Web of Spider-Man goes under W.

There's no need to know the publisher, determine the primary character, or decide which franchise owns an anthology title.

You just need to know the name of the comic.

But My Spider-Man Comics Are Everywhere!

This is the obvious argument against this sorting method:

If I'm looking for Spider-Man comics, they're scattered across the collection.

Amazing Spider-Man is under A. Friendly Neighborhood Spider-Man is under F. Peter Parker: Spider-Man is under P. Spectacular Spider-Man is under S. Ultimate Spider-Man is under U. Web of Spider-Man is under W.

Initially, I agreed with this argument against pure alphabetization and leaned into the franchise method. But as a I became a convert to the ABC method, I came to see this "bug" as a feature.

The Joy of Finding Something You Weren't Looking For

One of the pleasures of visiting an old bookstore, record shop, video store or comic shop is finding something unexpected while looking for something else. It even has a name: serendipitous discovery.

You head into the stacks looking for one title and notice another one sitting nearby.

"Wait. What's that?"

Twenty minutes later you've completely forgotten what you originally came looking for.

A purely alphabetical comic collection creates some of that same serendipity.

Looking for Amazing Spider-Man means browsing past other titles beginning with "Amazing."

Looking for Detective Comics might take me past Destroyer Duck, Devil Dinosaur, Dreadstar, or some other book I haven't thought about in years.

"Oh, man. I forgot I had this."

If every Spider-Man comic lives in one enormous Spider-Man neighborhood, I go directly to Spider-Man, find the comic, and bounce.

Alphabetical filing makes the major characters mingle with everybody else.

Spider-Man doesn't get a gated community.

I rather like that.

A disadvantage of the library method turns out to encourage one of the things I enjoy most about having a physical collection: browsing the collection itself.

Let the Database Be Smart and the Boxes Be Dumb

There's another reason I don't think the physical collection needs to encode all these relationships.

That's what a database is for.

A physical comic can only occupy one place in a filing system.

Tales of Suspense can't simultaneously sit under T, Iron Man and Captain America.

But in a database, it absolutely can.

A database can tell me:

  • every comic featuring Spider-Man;

  • every Batman title I own;

  • every G.I. Joe comic regardless of publisher;

  • every Marvel comic from 1977;

  • every appearance of Iron Man;

  • every anthology title in the collection;

  • or every issue I'm missing from a particular run.

The database can understand characters, publishers, franchises, dates, creators, series and relationships.

The long box doesn't need to.

The long box really only has to answer one question:

Where is the comic?

Keeping that distinction in mind makes the physical filing system much easier.

Let the database be smart.

Let the boxes be dumb.

The Future-Me Test

There's one other advantage that may matter more as the years go by.

Will I understand my own organizational decisions twenty years from now?

Maybe I'll remember that I decided Tales of Suspense belongs with Iron Man.

Maybe I won't.

Maybe I'll remember whether I considered Web of Spider-Man a Spider-Man title for filing purposes.

Maybe I won't.

But I'll probably still know the alphabet.

If I'm holding a copy of Tales of Suspense, I don't have to remember a decision I made decades earlier.

Tales.

T.

Done.

There's something reassuring about an organizational system that doesn't require remembering the organizational system.

My Comic Filing Rules

So, for now at least, my rules are deliberately boring:

  1. Alphabetize by the published series title.

  2. Ignore A, An, and The when they appear at the beginning of a title.

  3. Don't reorganize titles around characters or franchises.

  4. Don't separate comics by publisher.

  5. Avoid special filing rules unless they're absolutely necessary.

  6. Let the collection database handle relationships, searching and filtering.

I'm sure comics will eventually throw some wonderfully bizarre edge case at me that forces me to reconsider one of those rules. Comics are good at that.

But that's also part of the point.

The goal isn't to create a filing system with a rule for every possible situation.

It's to create one that needs as few rules as possible.

Trust the Alphabet

I started thinking about all of this because I wanted to improve alphabetical sorting.

Surely putting all my Spider-Man comics together would be better. Surely grouping related characters would make the collection easier to navigate. Surely there was some clever collector's system that would make everything fit together perfectly.

But every improvement required another rule.

And every new rule produced another exception.

Eventually I realized I was solving the wrong problem.

The best organizational system isn't necessarily the one that puts every related thing together.

It's the one that lets me consistently predict where something will be.

For my collection, I think librarians had the right idea all along.

Use the title. Trust the alphabet. Let the database worry about everything else.

And if searching for The Spectacular Spider-Man leads me to some weird forgotten comic sitting three dividers away?

That's not a bug.

That's half the fun of having a comic collection in the first place.

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Top 5 Superman Artists

Top 5 Superman Artists

With his debut in Action Comics #1 in 1939, Superman launched the comic book superhero. During his 72 year history, the Man of Steel's adventures have been illustrated by many of the greatest artists in the comic book industry. These men are not only great illustrators and storytellers but during their tenures as Superman artists they produced the seminal work in Superman's ongoing battle for "Truth, Justice and the American Way!"


5 Neal Adams

Neal AdamsSuperman by Neal Adams

Neal Adams was one of the pioneers of realism in comic book illustration. Adams exploded onto the scene in the late Silver Age and by the early 1970s he was one of the most sought after talents in the industry. His contribution to the Man of Steel are hundreds of beautiful covers for Action Comics, Superman and Superboy (not to mention Superman as part of the JLA). Unfortunately, he drew interiors for only one issue of Superman, Issue #254.

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4 Joe Shuster

Joe ShusterSuperman by Joe Shuster

Joe Shuster, with writer Joel Siegel, kicked off the age of the Superheroes (which I’m happy to say is still alive and well). Compared to the art in a modern comic book, Shuster’s work appears less polished (true) and more juvenile (arguable). One thing his art has in spades is energy. Leaf through an early Action Comics or Superman comic and you can see why the Man of Steel captured the imaginations of generations of the young at heart. Joe Shuster made everyone “believe a man can fly”.

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3 John Byrne

John ByrneSuperman by John Byrne

By the late 1980s, Superman was in a bit of a creative rut. Superman was seen by many fans as hopelessly out-of-date and increasingly irrelevant. He was your GRANDfather's superhero.

After DC's major spring cleaning event, Crisis on Infinite Earths, John Byrne was tapped to modernize the company’s flagship character. Byrne toned-down Superman's god-level powers, scrapped some of the crazier aspects of Superman canon (such as a full spectrum of crazy kryptonite colors). His high-energy artwork (Byrne is a master of superhero battles) leapt off the page in 1986's Man of Steel miniseries and his subsequent reboot of Action Comics and Superman.

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2 Curt Swan

Curt SwanSuperman by Curt Swan

Curt Swan is the quintessential Superman artist of the 1950s, 60s and 70s. He drew Superman in Action Comics, Lois Lane, Jimmy Olsen, Superman, and World's Finest, and drew Superboy in Adventure Comics for over 3 decades. His swan song (sorry...this pun was too good to leave in the holster) was the “final Superman story” Whatever Happened to the Man of Tomorrow (Superman #423 & Action Comics #583) in 1985 as DC prepared to reboot of their iconic character in Man of Steel.

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1 José Luis García-López

Jose Garcia-LopezSuperman by Jose Garcia-Lopez

If you own a Superman lunchbox, t-shirt, button or other piece of merch, chances are you own a piece of Garcia-Lopez's artwork.

Besides his stints as penciller on Action Comics, Superman and Superboy and the Legion of Super-Heroes, Garcia-Lopez also defined and refined the look of the DC Universe in DC Comics Style Guide in 1982. Garcia-Lopez is the Artist’s Artist and his mark on the Man of Steel (and the wider DC Universe) endures to this day.

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Top 5 Iron Man Armors

Top 5 Iron Man Armors

Every superhero has a collection of multi-colored long-johns and capes hanging in the closet waiting for the moment when the Bat-Signal lights up or Jimmy Olsen pushes the button on his signal watch, but Tony Stark takes the prize for "Best Dressed Superhero" (or would if there were such a prize). His 'costume' isn't just a brightly colored cloth suit (not that there's anything wrong with that) but the coolest, hi-tech suit of battle armor that even Halo's Master Chief eyes with barely concealed envy. Good ol' Shellhead also has the good sense to change up his armor regularly so the superhero fashion followers never get bored, and while each new armor is almost always awesome … (aside from a dismal collection suffering the double whammy of awful design and subpar art in the late '90s) … there are a few that standout.

Here are my Top 5 picks for the best armors of The Invincible Iron Man!

5 Model I Mk I

A tin-can Frankenstein lumbering off the cover of Tales of Suspense #39 to the repeated drumming of the question: Who? Who? WHO? awed and excited my 10 year old mind when I first saw it on a Marvel reprint in the late '70s. Even though Mk I is crude compared to later armors, it still symbolizes the raw power of Iron Man and has a unique distinction that assures it a place in the Top 5: It was first!

First Appearance: Tales of Suspense #39


4 Model 13 — Hulkbuster

Tony Stark is Marvel's Man with a Plan … much like Bruce Wayne in the DC Universe. So it comes as little surprise that he would develop armors with special functions … such as taking down the Hulk. Unfortunately, the Hulkbuster armors never really got the job done against the Green-Skinned Goliath. The Hulkbuster Mark II was even possessed by the demon Zom and attempted to destroy New York City, giving Tony a bigger headache than it ever gave the Hulk. However, like the Edsel and DeLorean DMC-12, even though it’s a lemon it’s a beautiful piece of machinery. The Hulkbuster armor is a fan favorite and has appeared in the Marvel Cinematic Universe in both Avengers: Age of Ultron and Avengers: Infinity War. This beastly add-on to the Iron Man arsenal worked better in the movies than it ever did in the comics and was worn by the Hulk himself (in Bruce Banner mode) during the Infinity War.

Personal Note: I still think Marvel Studios missed out on a great movie moment by not having Bruce Banner regain his Hulk powers and bust out of the Hulkbuster armor during the battle of Wakanda.

First Appearance: Iron Man (Vol. 1) #304


3 Iron Tech Armor (Ultimate Iron Man)

The original Ultimate Iron Man armor feels real-ish. Other than the red and gold highlights, the Ultimate suit looks akin to the powered armor suits that are being experimented with in the real world. Ultimate Iron Man is also more constrained by the laws of physics and thermodynamics than his Marvel Universe counterpart. For example, a battle between the Ultimates and the Hulk in New York leaves the suit completely de-powered afterward and Tony has to be assisted by a team of specialisticle-items to get the armor up and running again. The more realisticle-itemic portrayal of the logistics of maintaining a complex piece of modern technology added an interesting spice to Utimate Universe storytelling. As the Ultimate Universe developed, the Iron Tech armor was replaced by more traditional Iron Man suits and one of the things that gave the Ultimate Universe its own identity was lost.

First Appearance: Ultimate Marvel Team-Up #4


2 Model 8 — Silver Centurion

The 80’s were rough on Tony Stark. His out of control alcoholism lost him his friends, his company, and almost his life. But it’s hard to keep an Avenger down and by the mid-80’s he was rebuilding his life and even started experimenting with new technology for a new Iron Man. Obidiah Stane, Tony’s rival who’d taken over Stark Industries and made sure Tony landed in the streets, was trying to replicate the Iron Man technology and wasn’t happy to see Tony getting back in the game. Stane used his Iron Monger armor to destroy Tony’s new company. Tony put his new technology to good use and when the smoke settled Stane was dead (by his own repulsor-wielding hand) and Tony Stark was Iron Man once more! The Silver Centurion armor defined the Iron Man look for the late-80s, into the 90s … Plus nothing says the 80s like huge, bitchin’ shoulder pads.

First Appearance: Iron Man (Vol. 1) #200


1 Model 2 Mk I — Horned Helmet

The Model 2 Mk I (aka Horned Helmet) ushered in the classic red and gold look that still defines ol' Shellhead today. The Horned Helmet didn't have a long run (lasting only about a year), but its impact on how Iron Man armor should look cannot be overstated. The Horned Helmet suit has always been my favorite Iron Man suit. The "horns" and grill-style mouthpiece gave Iron Man an aggressive presence often missing from other "blank-faced" helmets. While I love this suit, I realize it's a design that works better in comics and animation than in live-action. I was still a little disappointed that the MCU never tried to bring the Model 2 Mk I to life. From time to time artists will work the Horned Helmet look into modern Iron Man suits. Some efforts have worked better than others, but the original Model 2 Mk I is simply the best!

First Appearance: Tales of Suspense #48


Honorable Mentions


Model 4

The red and gold Iron Man Model 4 is the seminal Iron Man armor. This armor established the look of Iron Man not just for the decade it appeared in the pages of Iron Man, Avengers, and other Mighty Marvel tomes, but its influence can still be seen today in virtually every medium featuring the Golden Avenger. The Model 4 was a perfect example of superhero armor. It still allowed Tony (and Rhodey during his time as Iron Man) to show off his rippling muscles as well as any spandex suit, and the helmet mask somehow managed to convey the emotion of the wearer (although this feature may have been artistic license). The Model 4 captured my overactive imagination when I was a child and never let go.

First Appearance: Iron Man (Vol. 1) #85

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