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PostPosted: Fri Feb 05, 2016 7:03 pm 
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Lots of rose colored glasses in this thread. :lol: The scene I remember around that time was awful. Prices on everything were artificially inflated by hype kids and flippers who only bought because art toys were the latest trendy bandwagon. Going to SDCC meant camping out overnight and then not getting anything anyway because the exclusives were all sold to flippers with vendor badges. Every release was infuriating.

Now that the bubble has burst and all those trendf***ers are gone, things are better than ever. I understand that collectors - and especially retailers - are nervous because it takes longer for things to sell out without the help of the hype kids, but companies who make toys people actually want (instead of clinging to outdated street art and faux edgy stuff that USED TO sell) are still doing well.

Look at Rotofugi and MPH. Both are still going strong because they've adjusted their stock to carry the Japanese style toys that collectors want. 3DRetro has big crowds at every signing. DCon has doubled in size. Scott Tolleson, MVH, Paul Kaiju, Chris Ryniak and Amanda Louise-Spayd sell out of nearly everything they release because their toys are well designed and use the materials, textures and paint applications collectors want. Instinctoy, Coarsetoys, Elegab, Koraters and Flawtoys sell out of everything for the same reasons. The scene ain't broke. It's only the older companies and artists who refuse to adapt that are failing.

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PostPosted: Sun Feb 07, 2016 5:20 pm 
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I have been thinking about what happened to the toy collecting scene as well and did a little blog post about it. Let me know what you think! :)

http://www.solaris100.com/blog/2016/1/2 ... a-over-but

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PostPosted: Tue Feb 09, 2016 12:45 am 
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paul wrote:
Lots of rose colored glasses in this thread. :lol: The scene I remember around that time was awful. Prices on everything were artificially inflated by hype kids and flippers who only bought because art toys were the latest trendy bandwagon. Going to SDCC meant camping out overnight and then not getting anything anyway because the exclusives were all sold to flippers with vendor badges. Every release was infuriating.

Now that the bubble has burst and all those trendf***ers are gone, things are better than ever. I understand that collectors - and especially retailers - are nervous because it takes longer for things to sell out without the help of the hype kids, but companies who make toys people actually want (instead of clinging to outdated street art and faux edgy stuff that USED TO sell) are still doing well.

Look at Rotofugi and MPH. Both are still going strong because they've adjusted their stock to carry the Japanese style toys that collectors want. 3DRetro has big crowds at every signing. DCon has doubled in size. Scott Tolleson, MVH, Paul Kaiju, Chris Ryniak and Amanda Louise-Spayd sell out of nearly everything they release because their toys are well designed and use the materials, textures and paint applications collectors want. Instinctoy, Coarsetoys, Elegab, Koraters and Flawtoys sell out of everything for the same reasons. The scene ain't broke. It's only the older companies and artists who refuse to adapt that are failing.


:partyman:

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PostPosted: Tue Feb 09, 2016 7:19 am 
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Well put! I love positive vibes, and optimism!


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PostPosted: Sat Feb 13, 2016 10:45 am 
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paul wrote:
Lots of rose colored glasses in this thread. :lol: The scene I remember around that time was awful. Prices on everything were artificially inflated by hype kids and flippers who only bought because art toys were the latest trendy bandwagon. Going to SDCC meant camping out overnight and then not getting anything anyway because the exclusives were all sold to flippers with vendor badges. Every release was infuriating.

Now that the bubble has burst and all those trendf***ers are gone, things are better than ever. I understand that collectors - and especially retailers - are nervous because it takes longer for things to sell out without the help of the hype kids, but companies who make toys people actually want (instead of clinging to outdated street art and faux edgy stuff that USED TO sell) are still doing well.

Look at Rotofugi and MPH. Both are still going strong because they've adjusted their stock to carry the Japanese style toys that collectors want. 3DRetro has big crowds at every signing. DCon has doubled in size. Scott Tolleson, MVH, Paul Kaiju, Chris Ryniak and Amanda Louise-Spayd sell out of nearly everything they release because their toys are well designed and use the materials, textures and paint applications collectors want. Instinctoy, Coarsetoys, Elegab, Koraters and Flawtoys sell out of everything for the same reasons. The scene ain't broke. It's only the older companies and artists who refuse to adapt that are failing.


Damn son, dropping knowledge!!

Seriously though, this response is absolutely the best response I've ever heard to this arguement..

In addition, you are completely right about back in the day, I actually stopped collecting for a few years because things got so crazy.

I could not agree more with everything that you've said.

\:D/

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PostPosted: Sat Feb 13, 2016 1:24 pm 
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This is an interesting thread, especially from the perspective of being in London, where
the closure of both the Kidrobot shop in Covent Garden and Playlounge in Soho seemed to
indicate that this was, indeed, the end of the line...

Seems like all is not lost... I've noticed more US companies sending me direct messages
about their releases in the last month of so

UK collectors have always been on the wrong side of the pond for most of the releases,
and shipping and other related costs have deterred those with less deep pockets...

I wish everyone well, this whole scene has bought a lot of pleasure to a lot of people over
the last decade... :partyman:

p.s although there are other methods of posting and discussing this scene, I like the atmosphere
of ye olde forums...


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PostPosted: Sat Feb 13, 2016 3:13 pm 
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I enjoy the fact that this was transformed into an actual thread.

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PostPosted: Thu Mar 17, 2016 8:26 pm 
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I think the fact that people don't use messageboards much anymore has contributed a bit to the paranoia. Without a close community and people to talk with, the scene can feel a bit empty. Facebook groups and Instagram are okay, but just not the same. Hopefully someone will figure out a new way for collectors to communicate so that sense of community will return.

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PostPosted: Sat Mar 19, 2016 11:48 pm 
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paul wrote:
I think the fact that people don't use messageboards much anymore has contributed a bit to the paranoia. Without a close community and people to talk with, the scene can feel a bit empty. Facebook groups and Instagram are okay, but just not the same. Hopefully someone will figure out a new way for collectors to communicate so that sense of community will return.


I'm hoping Trampt will be become that platform. Seems as though there are positive steps being taken in that direction.

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PostPosted: Sat Aug 27, 2016 6:02 am 
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Although it was exciting discovering this stuff around '05-'07, the scene seems like it's opened up hugely, with far more creative possibilities. I guess I don't mind sacrificing some of the tight, cozyness of the old days for a more wide-ranging, vibrant scene now!
I've recentley been drawn back to this world for that very reason.


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PostPosted: Mon Sep 05, 2016 11:05 am 
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Rift.Canyon.Dreams wrote:
Although it was exciting discovering this stuff around '05-'07, the scene seems like it's opened up hugely, with far more creative possibilities. I guess I don't mind sacrificing some of the tight, cozyness of the old days for a more wide-ranging, vibrant scene now!
I've recentley been drawn back to this world for that very reason.


You're going to have a hard time drawing fresh blood if all you talk about is how great it used to be. No one wants to join a dying community.

I just like art and years ago i didn't have the stability to buy any of it.. Forums without a taptatalk integration are also on the outs.


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PostPosted: Wed Sep 07, 2016 7:54 am 
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Let me tell you something - the Funko lines at SDCC (not to mention the people sleeping outside the Funko pop-up shop during the con) have been mind-boggling. Funko has simply taken up the mantle of the vinyl fad company du jour.

In its heyday, given that most of the artists designing its figures were graffiti writers and contemporary artists, Kidrobot impressively reached out to a wide base - even getting product into mainstream retailers. Now they're focused on licensed characters just like Funko does - it's where the market is.

And just like JLED said in an interview in 2015, the hype machine isn't necessarily a bad thing. It gets people excited about new releases, ensures sell-throughs, and opens the pipeline to broad AND niche figures.

When the scene contracts to a few hardcore collectors, like it was in the earliest days, we go full circle back to Flying Cat and Strangeco scenarios - companies that made very impressive toys that just didn't get traction.

But yeah, to listen to some, the sky has been falling since 2005. People have either been worried about things going mainstream, becoming too easy to get (or too hard to get) - or too expensive, etc. And QC complaints have topped the list every year (often for good reason).

Well, now that prices have dropped, at least folks can complete their collections, right?

The elephant in the room is these are products...commodities...goods, though nobody likes talking about tooling and freight costs, so the discussion usually gets lost in esoteric discussions about toys as sacred art - which neither companies nor artists believe deep down.

Products need markets. To keep your favorite artists or companies going - show them the money. And then the sky will stop falling and Chicken Little can get the Bermuda vacation he deserves.

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PostPosted: Fri Sep 09, 2016 4:13 pm 
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creaturion wrote:
Let me tell you something - the Funko lines at SDCC (not to mention the people sleeping outside the Funko pop-up shop during the con) have been mind-boggling. Funko has simply taken up the mantle of the vinyl fad company du jour.

In its heyday, given that most of the artists designing its figures were graffiti writers and contemporary artists, Kidrobot impressively reached out to a wide base - even getting product into mainstream retailers. Now they're focused on licensed characters just like Funko does - it's where the market is.

And just like JLED said in an interview in 2015, the hype machine isn't necessarily a bad thing. It gets people excited about new releases, ensures sell-throughs, and opens the pipeline to broad AND niche figures.

When the scene contracts to a few hardcore collectors, like it was in the earliest days, we go full circle back to Flying Cat and Strangeco scenarios - companies that made very impressive toys that just didn't get traction.

But yeah, to listen to some, the sky has been falling since 2005. People have either been worried about things going mainstream, becoming too easy to get (or too hard to get) - or too expensive, etc. And QC complaints have topped the list every year (often for good reason).

Well, now that prices have dropped, at least folks can complete their collections, right?

The elephant in the room is these are products...commodities...goods, though nobody likes talking about tooling and freight costs, so the discussion usually gets lost in esoteric discussions about toys as sacred art - which neither companies nor artists believe deep down.

Products need markets. To keep your favorite artists or companies going - show them the money. And then the sky will stop falling and Chicken Little can get the Bermuda vacation he deserves.


Thanks Andy!

I always love hearing your perspective!


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PostPosted: Wed Oct 12, 2016 7:04 pm 
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Good read with lots of good ideas and valid points.

To my mind it was when KR starting doing their fans super dirty with a case with 16 doubles and 4 unique dunnys/blinds is when the worm turned.

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PostPosted: Mon Jun 26, 2017 6:01 am 
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This is what keeps happening in this scene, and in others closely related and why I am working on the Toy Collectors Bill of Rights and wanted to drop in a TCBoR mention. And wanted to highlight a comment that I have had bookmarked for over a decade, who is Vapdee? What is Performance Art? Lets Make Vinyl Great Again, and no I ain't talking records but they are one of the best Flips these days :-) What is a manimal? Who are the real Art Hustlers?

fat5 wrote:
As mentioned previously just got conned by Zenga a while ago... He's reached me out from Instagram offering to sell the new Murakami DOB's and skate decks... After a long conversation he's convinced me not to use paypal, and I've wired the amount into his bank account. After weeks, I've realized his insta account was full of crap, no genuine followers or else...

After a long radio silence!... Recently he's reached me out and said he's legit, will refund back the money and put me off with trumped excuses... I'm planning to file a FBI case against him, don't care to spend 10x more than what he's stolen from me!...

Anyone has any clues regarding this crook, pls distribute this message and appreciate to gather any additional information regarding this thief!!! Insta: fat2505 or firat@medyapunto.com


KAYGARFIELD wrote:
SHEP ROCKS, some of you waste way too much of your life talking about what another man does wrong, when you have done ziltch with your own accomplishments. It's takes a special quality to allow yourself to constantly be on stage open to criticism all the time, and still be able to stay on track and continue to do what you set out to do. America loves to sit and watch people grow in success and then as soon as they become relevant, you jump up to try to hang them out dry, and pawn it off as old news, this week we're in love with Wanksy.

It disgusts me, Shepard has spent i believe 2 decades putting in major amounts of street level work, thats 20 yrs b4 most of you couch potatoes and vinyl collector hobbiests even had a compass to tell you what direction was "cool".

Shep's work is hit or miss for me, but it's what he represents as a person along with his work that I enjoy and support. If anyone wants to sit and call him a fraud, then in the same breath I'll let you debate Warhol or any other artist in the past 40 yrs that took an image and made it more famous then it originally was intended.


Shep will be here long after the peanut gallery goes home, believe it.

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PostPosted: Wed Sep 06, 2017 12:26 pm 
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paul wrote:
Lots of rose colored glasses in this thread. :lol: The scene I remember around that time was awful. Prices on everything were artificially inflated by hype kids and flippers who only bought because art toys were the latest trendy bandwagon. Going to SDCC meant camping out overnight and then not getting anything anyway because the exclusives were all sold to flippers with vendor badges. Every release was infuriating.

Now that the bubble has burst and all those trendf***ers are gone, things are better than ever. I understand that collectors - and especially retailers - are nervous because it takes longer for things to sell out without the help of the hype kids, but companies who make toys people actually want (instead of clinging to outdated street art and faux edgy stuff that USED TO sell) are still doing well.

Look at Rotofugi and MPH. Both are still going strong because they've adjusted their stock to carry the Japanese style toys that collectors want. 3DRetro has big crowds at every signing. DCon has doubled in size. Scott Tolleson, MVH, Paul Kaiju, Chris Ryniak and Amanda Louise-Spayd sell out of nearly everything they release because their toys are well designed and use the materials, textures and paint applications collectors want. Instinctoy, Coarsetoys, Elegab, Koraters and Flawtoys sell out of everything for the same reasons. The scene ain't broke. It's only the older companies and artists who refuse to adapt that are failing.



=D>


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