Wednesday’s Reviews

I really hope everyone had a great holiday and New Years!

As for what’s new here, there will be a bit of a format change for how reviews will be done – meaning, how I review them will shorten up. By doing so, I’ll focus on key points on the book, but also do more reviews in a posting. It’s win-win, in my eyes.

Childrens Crusade

Avengers: The Children’s Crusade #4 of 9
Allan Heinberg (writer), Jim Cheung (penciler), Mike Morales & Jim Cheung (inker), Justin Ponsor (colours), Cory Petit (letters), Jim Cheung & Justin Ponsor (cover). $3.99

The continuing saga of the Children’s Crusade moves forward as the hunt for the Scarlet Witch – somewhat – comes to a conclusion. Wiccan finds Wanda to discover that she does not remember anything about her past or who she was. Oh, and that she’s going to marry Dr. Doom the next day. With the both the Avengers and Young Avengers storming Latveria, an all-scale assault begins to bring Wanda Home.

Allan Heinberg is constantly kicking all other mini-stories butt with this title. Rich developments still come from each character, despite the massive cast in this story, brings this title to stand above all other Avenger’s titles. Tossing in Jim Cheung, Mark Marales, and Justin Ponsor as artist, inker, and colourist, multiple page spreads of action and wonder of Latveria generates a jaw-dropping gaze on each page. I’m still saddened that this is just a limited series, and is only out bi-monthly. Easily the best pick of the week.

Grade: 9/10

Avengers Prime

Avengers Prime #5 of 5
Brian Michael Bendis (writer), Alan Davis (penciler), Mark Farmer (inker) Javier Rodriguez (colours), Chris Eliopoulos (letters & production), Davis, Farmer & Rodriguez (cover). $3.99

The conclusion to the post-Siege Avengers mini comes to an end! The big three, Steve Rogers, Iron Man and Thor are trapped in a different dimension due to Hela and her Twilight Sword. After the multiple issues of build-up, the final battle begins with the big three, the Enchantress, and their army, versus Hela’s demon army. Unfortunately, despite its bi-monthly release schedule, no exciting conclusions were found by the end of the book – leaving the reader to ask, “why did this take so long to finish?”

Despite a great start to the series, the story began to dwindle down with real means of characterization. The first issue dealt with how the big three felt about each other and Siege – but all seemed forgotten until the final pages of the last book – making the story seem tacked on by the end. Davis’ brilliant spreads however, picked the book up from a “forget about it” to a “not that bad,” status. With Rodriguez’s bright, majestic colours on each page, the book literally shone with each turn of the page. Unfortunately, the conclusion of this book made the story not worth the wait as the story is arguably forgettable.

Grade: 6/10

Generation Hope

Generation Hope #3
Kieron Gillen (writer), Salvador Espin & Scott Koblish (penciler), Jim Charalampidis (colours), VC’s Clayton Cowles (letters), Olivier Coipel, Mark Morales & Chris Sotomayor (cover). $2.99

Hope and her new mutants (not to be confused with New Mutants – capitalization is important here, people!), are in Tokyo with Cyclops, Wolverine and Rogue, battling a massive beast-mutant which is hell-bent on destroying everything for his “art.” (Yup). After a few different attack approaches, Hope comes up with a new plan to finally take the monster down and uses it to prove her “messiah” title to Cyclops.

Generation Hope has yet to really jump out at me. I mean, when I finished the book, I flipped to the cover to made sure I only spent $2.99 for it, because I do not feel like this is really happening. The book is too fast-paced with so little dialogue that I do not feel involved with these characters at all. I know Gillen can do better than this, and I’m waiting for him to show it. As for the art, individual characters really shine through. Hope versus the beast, for example, has some really great spreads of the two against each other. But that is really where the focus is. The backgrounds disappear in particular panels, while one panel with Cyclops’ visor suggests that he has eyes on his forehead. Rogue also looks like an anime high-schooler, but hey – to each their own.

Grade: 4/10

Until next time, keep on Space Truckin’!

Quesada No-More!

In case you haven’t heard yet, Joe Quesada, Marvel Comics’ Editor-in-Chief has stepped down to promote Axel Alonso to the position. You can read all about it here.

Quesada, of course, is still with Marvel. He was promoted to Chief Creative Officer back in June, which of course, you can read about it here.

What I want to simply say is that Mr. Quesada’s tenure with Marvel was triumphant in my eyes. I absolutely loved everything he did with Marvel – despite all the issues everyone else seemed to have with him. Obvious ones is how he completely flipped Spider-Man upside-down in the post-Civil War storylines. Of course, the increase in price for Marvel’s comics were also a bit of a hassle – but to me, they were small in comparison to other problems.

The number one thing which stood out for me with Joe, was his Cup O’ Joe column at Comic Book Resources, where he literally spoke to the fans through columns, as well as address important issues within stories. For that, he really made a society with Marve – something which started with Stan Lee, and continued because EiC’s like Quesada made it live on.

So with that, I’m honoured to say that I’ve met the guy (three times in a weekend) and I’m happy to see him move on to greater things.

JoeQuesada

Keep on Space Truckin’, Joe, and good luck Mr. Alonso!

A Wednesday in Review

A laundry-list of stories came out this week! The Chaos War continued in Incredible Hulks #619, the X-Men cleared up the vampire threat in the Curse of the Mutants storyline in X-Men #6, while a What If? showed us what would happen had Hawkeye killed Norman Osborn during the Dark Reign. Also to note, a particular drawing of Rogue in X-Men Legacy #243 by Paul Davidson has shown Rogue at her absolute worst. Just sayin’ is all. I was unaware Rogue was an aged Maggie Gyllenhaal.

Despite all that stuff going on, I felt reviews of Uncanny X-Men #531 and Namor: The First Mutant #5 were necessary.

Uncanny

Uncanny X-Men #531

With part two of the Quarantine storyline, Matt Fraction continues his run on Uncanny X-Men, but this time adding Kieron Gillen from the most-recent Generation Hope series as a co-writer. If you haven’t heard, yesterday Marvel announced their next big event for 2011, called “Fear Itself.” Given Fraction is running the show, I can only assume Gillen will be helming Uncanny very soon on his own.

In this issue of Uncanny, you can read the first couple of panels in the story and see Gillen’s adjustments to Fraction’s run. It seems as if the conclusion to Generation Hope’s current story ties into Uncanny’s pages.

Continuing from last month, the flu-plot thickens as the X-Men’s heavy-hitters are all diagnosed with some unknown flu. Namor, Wolverine, Magneto, and so-on, have obtained some sickness running aboard Utopia – while Cyclops seems to be next on the list. Three other subplots, believe it or not, actually run within the Uncanny story and ultimately cramming quite a bit in such a small book. First, we have the X-Men outside of Utopia dealing with a “new” X-Men team created by superhuman villain Lobe. Yes, now there are three X-Men teams running around in the story. To top it all off, Emma still is off with Fantomex and Kitty Pryde inside EVA to rid of Sebastian Shaw forever, while the vigilante Collective Man is terrorizing San Francisco’s Chinatown. The story ultimately ends with the two outside-of-Utopia X-Men teams closing in on Collective Man’s position, while a silly error in Fantomex’s judgment thickens the Sebastian Shaw developments.

I believe you can imagine how rushed this book seems. It can be very problematic. However, that’s actually not my “big” beef with the book. Whereas last month, I was upset about X-Men Legacy’s continuity problems, Uncanny took that problem then made it happen ten-fold. I really do not know where in the Marvel U this story takes place, as there are too many variables with different characters. For example, Namor is no longer on Utopia. Magneto too, has jumped ship to be in both Legacy and the Children’s Crusade plots. Fantomex’s ship EVA is currently destroyed in Uncanny X-Force. Then there’s Curse of the Mutants, the Generation Hope’s story which I am assuming ends into Uncanny, etc. The list of problems goes on.

And it’s not that the X-Men are spread too thin in various titles. I mean, the vampire/X-Men storyline actually could fit in rather nicely had there been a bit more collaboration. It seems that Fraction set Uncanny up too-wrong-too-fast, post-Second Coming. He’s taking on a lot with the characters and it’s completely unhealthy for the book. Once you bring in art from Greg Land, where I’ve seen in this current book – the Dazzler as Emma Frost and Namor as Wolverine, while Dr. Kavita Rao younger by at least ten years, I’m not impressed at all.

In a nutshell, if I wasn’t so hell-bent on collecting every Uncanny X-Men comic (as being a comic collector does), I quite honestly would have dropped this story last month.

Grade: 2/10

Namor: The First Mutant #5

A gorgeous story about the history of Namor shocked me in Namor: The First Mutant #5. I was absolutely stunned by the completely different change of pace this story turned to post-Curse of the Mutants. And it was done very well.

Namor

Interestingly enough, the writer hadn’t changed at all. Stuart Moore still helms the book – proving to me his immense versatility in writing. The story stems right out of the previous issue where X-Man Loa finds out she can breath underwater because of an amulet she has. That only takes up four pages of the entire book. Immediately, we are taken back to the 1940’s where Namor’s lover at the time, Betty – being both blonde and Sue Storm-esque, and her friend Alice – first introduced back in the 40’s with Namor! Talk about digging up dirt from the past! Anyway, we are taken through how Namor both spoils and berates Betty – being the anti-hero he was back during those times. Fast forwarding to recent years, the story ends with Namor saving a father and daughter from Great White in Maui (with little interesting tidbits in there for you to find out), and finding Alice as a mother/grandmother of the two people Namor just saved. The story ends with a return to present time and concludes the interesting story on how Loa got the amulet. Ending on a positive note, this book serves as a reminder to all Namor fans of who he was before and what he is now.

With Moore writing, he proved to me that he knows Namor and that he is currently in good hands. The story in every couple of pages, gives a different title to Namor’s various attributes – being a lover, destroyer, egotist, and so-on.

Meanwhile, artists Ariel Olivietti and Brian Ching take over as artists and add a tremendous amount of depth to the pages, while Olivietti and Rachelle Rosenberg brighten up the pages with glorious colours, making each page as attractive as the last. To top it all off, a brilliant cover page of Namor, Betty, and WWII by Mike Mayhew really puts the icing on the cake. For $2.99 and keeping up with this pace, I really think we’ll actually have a regular on-going Namor series.

Grade: 9/10

Whilte you’re at it, check out Marvel’s month-to-month sales up to October 2010, courtesy Comics Beat. I also will not be posting Classic Comics for the next two weeks due to various holidays. However, they will return in the new year!

And of course, keep on Space Truckin’!

Porno, Crooks, and Comic Books

I’ve been aware of Marvel artist, Greg Land, for quite a few years. He has a very particular style of drawing – especially when it comes to facial expressions and body positions. He is currently working on X-Men-related stories, but has worked on Ultimate Fantastic Four and the Ultimate Power mini-series. Land also has a long history working with DC books, such as Nightwing and Birds of Prey. He also had a long run with the CrossGen’s series, Sojourn. Needless to say, Land has a great amount of experience with his short-time being in the comic drawing business.

PornFace

However, it does not take a rocket scientist to see Land’s work as questionable.

But let’s backtrack slightly for a little bit of comic book art history and law suits.

You may notice the likeliness of other celebrities in things, such as Arnold Swarchenegger in the newest rendition of Terminator: Salvation, or Carrie Fisher as a pez dispenser as Princess Leia. Needless to say, the celebrities do not have a problem with this because the movie studios and a few others own the rights to the likeliness of their characters. The celebrities “look” in those movies, for those specific franchises, are owned. It’s like Warner Brothers owning the rights to Batman movies. Fox cannot make a movie with even a hint of Batman in it because Warner Brothers own Batman and most things related to him. It sounds pretty standard and easy-peasy.

When looking at comics, it has been well-documented that artists have used other photographs, as well as celebrities, commercials, movies, and so on, as photo references. It has been done for decades in comic books. One book in particular dealt with a lawsuit, being Marvel Comics’ Doctor Strange, Sorcerer Supreme #15, where the likeliness of Christian musician, Amy Grant was used on the cover. The lawsuit ended with “a US District Court seal[ing] an out-of-court settlement between Grant and Marvel in early 1991, with a consent decree that Marvel did not admit to any liability or wrongdoing.”

The question is, how far can this go? Enter: Greg Land.

I’ll start right off-the-bat, stating that I am not accusing Greg Land of anything. I am just simply providing material which has been found via the internet. What I would like to bring forward, is the accusatory remarks placed on Land about his work. He has been accused by folks on the internet for copying other artists’ work, as well as his own. He is also known for presumably taking a lot of images from pornography, which even you may believe with the images provided, such as the many orgasm-esque shots women give (ie. the one above). Why he would trace his own work, I can assume is for one of two things: First is with the “if it’s not broke, don’t fix it” argument, while the second is that he is lazy. You can read about the controversies with Land’s work here and here.

UncannyFiveThirty

From a MyCup o’ Joe interview with Joe Quesada, he discusses Land’s work: “What’s happened with Greg is that it’s become a witch hunt and way too many people are having way too good a time hurting a tremendous artist’s reputation when he isn’t doing anything that is any different than any of us. Every line he draws now comes under scrutiny and in so many cases, people are ‘seeing’ things where are none.” Quesada also goes on to state: “I could go on and on about how many times Greg has bailed us out from some very bad deadline crunches.”

Comic critic Brian Cronin from Comic Book Resources, states about Land’s work on Uncanny X-Men #510: “People speak often about the ethical issues of someone copying a drawing directly from an image, and those concerns are likely fair enough, but when I think of Greg Land, my problems are not so much ethical ones, but the fact that his process results in terrible art and particularly terrible storytelling. When you only have a certain amount of poses to work with, you just can’t tell the story the correct way. And when the characters all look more or less the same (as they’re all based on the same small set of models/”actresses”), it just makes the book that much more incoherent.”

Needless to say, we have two well-established comic book people arguing two different points. One says what he does is okay, while the other suggests that he is blatantly copying other images and recycling older sketches.

I will leave you with these images pulled from many of his comics. I do not know all of the “authors” that made some of the GIF or JPEG images, but thank you. I did however, use some of the photos (most notably, the X-Men #500 ones) from an awesome blog named JimSmash. His blog is hilarious and well thought-out, so go there now! (Or after you finish reading this one). He also gave me great permission to use his photos. So thank you, Jim! He also referenced me to the 4th Letter.net blog, where they came up with an animated GIF image of the Uncanny X-Men #500 cover you’ll see below. As for the rest of the pictures, I found them through various Google searches leading to message boards. There are more photos like these too – I just have not uploaded them all.

Also look at ComicVine here, for more examples.

As for Land, you can assume what you will. Is it coincidence, actual recycling, or are people looking too far into his art?

If you do believe he is recycling or copying – is he being lazy, or is it because the drawing works so well on many different levels? If you don’t, then why not?

View the pictures here and sound off below. If you’d like, you can also follow me on Twitter and Instagram!

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Uncanny X-Men #500 Variant Cover

UncannyA

UncannyB

UncannyC

UncannyD

UncannyE

UncannyF

Is Sandra Bullock Psylocke?

Psylocke

Photo Tracing and Recycling?

One

Two

Sports

MaybeTheSame

The many faces of The Thing

What pose is this, anyway?

Tracing

An “Oh” Face and Some Recycling.

OhFace

Is Jessica Alba a Trace or from Photo Reference?

FirstAlba

Black Canary?

Other Celebrity Coincidences
On the left, think of a young Neal McDonough, while Ben Afleck on the right. Beneath them, it is suggested that it is Topher Grace.

PerhapsMcDonoughandAfleck

PerhapsTopherGrace

Are You an Oakland Raider’s Fan?
From Uncanny X-Men #509.

Raiders

Enjoy Starbucks

Starbucks

Possibly a Pornography Image?

Shameless

Hugh Jackman is Still Wolverine

Wolverine

Updated, Sept 2020

The internet is making the rounds over a new accusation against Land. Artist Tristan Jones has found he has been “Landed” regarding Land’s new cover for an Alien Omnibus coming out. . .

Let’s see Jones’ case:

Hmm. We’ll see where this goes.

Until next time, keep on Space Truckin’!

What’s a CGC?

Hey, folks! First I’d like to say I’ll be a few days late on my Wednesday reviews because I’ll be off to Toronto for the evening. I apologize for any inconvenience this may or may not cause.

Secondly, as promised, here is my explanation of the CGC!

I was fortunate enough to be able to deal with the CGC when I met Stan Lee in Toronto last August for Hobbystar’s FanExpo event. In a nutshell, it’s Canada’s version of the San Diego ComicCon (or SDCC).

I was one of the first people in line to have something signed by Stan Lee – that being my copy of X-Men #15 from December of 1965. It was a dream come true – to meet my childhood idol AND to have him sign something he actually created.

While in line, CGC had a sign there stating that they would be taking submissions for their signature series. Someone from CGC (actually it was someone who was licensed by the CGC, Desert Wind Comics) was present to witness the signing.

Here’s where you ask, “Wait. How can you prove the book is signed? Why does it matter?” Enter the CGC.

What is the CGC?

The Certified Guaranty Company, also known as the CGC, is a company dedicated to the grading, acting, consistency and commitment to comic books and their collectors. They are, by all means, the largest unofficial-official “authority” in comic book collecting. But more on that later.

What does the CGC do?

The CGC will grade your comic book with a scale from .5 to 10.0. To be fair, it also goes through three stages of grading. The Restoration Detection Expert, the Pre-Grader, and the Grading Finalizer. Hefty, eh? Each person does their own job and makes notes about the grading. Once all three graders have finished grading, they will “average” out the scores they give to make a final score. If there are disagreements, they will be discussed until a final answer is made.

CGC Labels
Have you ever been to a comic book store or a comic book convention and witnessed books in plastic with numbers above them? That’s totally CGC’s fault. But what do they mean?

Let’s explain the label first. Here’s a CGC graded copy of Avengers #4 I pulled from the world wide web. Click on it for a larger view or open it in a new window.

Firstly, notice the big 9.8 on the left. That is the grade which CGC gives the book for its quality. Following to the right, we see the book information. So Stan Lee wrote the story, followed by the artists, Jack Kirby and George Roussos. In the middle, we have the name of the book and the date. If there were any “problems” with the book, such as the discolouration over time, it may say “Cream to off-white pages” or something under the date.

To the right of the date we will see if there is any relevance to the story at all. For this, we see that this is the first issue appearance of “Silver Age Captain America” and “Sub-Mariner appearance.” To the far right is a holo-foil CGC label.

The barcode in the center is the CGC Certification number. You can plug that into their website to see some information/verify your book.

That’s not all to the grading process. There’s still colours!

Blue (Universal): Much like that issue of Marvel Premiere #3 above, the colour blue is the most common of the gradings. Blue means it is a standard book. Any book you would hand in, whether it be brand new or from the 1930’s, will be given a blue label.

Purple (Restored): This colour means the book has been restored in some way or another. It is noted how the quality of the restoration is done as well, where A is amateur and P is professional. Next to those, it will suggest if the restoration was slight, moderate, or extreme – telling how much restoration has been done. It will also say what was done underneath the date of the book.

Green (Qualified): A green colour means there is a defect in the book which must be noted – under the date on the label. This comes into play where a signature may not be authenticated or a price sticker has been placed over the book. A book can still reach a high grade with a sticker on it, so it still does not hurt to get it graded.

Yellow (Signature Series): It is simply a book which has been signed a notable person, has not been restored, and the signature was witnessed by an employee of the CGC. One thing to note is that if the signature is by someone who did not write the book, it will still get a yellow tag – as long as the name is authenticated by a member of CGC. Unfortunately, that means comics you may have signed by legends like Jack Kirby or Carmine Infantino will never be able to be authenticated. Recording devices, testimonials, pictures, etc, do not count. Only CGC approved staff does. The date of the signature will be noted underneath the date the book was published.

Yellow/Purple (Signature Series/Restored): I think this one is pretty self explanatory.

Does it Change the Price?

Since getting my X-Men #15 signed and graded at a 4.0, the NUMBER ONE thing I’ve been asked is, “How much is it worth now?”
The answer: It varies.

Why?

Some people like to collect comics without them “harmed,” regardless of the signature. Although, arguably, an authentically signed comic should be worth more, that does not always reflect how much someone will pay for it. For example, in my eyes, I could not put a value on that comic. If I did, it would be astronomical in price. This goes with absolutely every comic signed everywhere.

Let’s take an example here:
Going from the comic book database Comics Price Guide, Fantastic Four #5 – the first appearance of Dr. Doom – with an assumed 9.4 grade from its seller would go for $16,000. However, currently based on the site, a 9.4 CGC grade should go for $40,000. Yet, a CGC 9.4 sold for $47,977 a couple of years before in 2008. Is the price guide wrong? Would someone be ripped off buying the book for $40,000 instead of $47,000? If it was signed, does it become more expensive or less because the cover was “ruined” with a signature?

Problems with the CGC

Although they are known world-wide for their reviews, of course some may differ on opinions. Take for example a professionally restored comic with a purple label. Arguably, that would be the comic restored in its original form. However, to some, that would destroy the quality of the comic – much like a signature series would be looked at. Thus, would a purple label diminish the comic quality for the owner?

Then of course you have opinions. While the example of the Fantastic Four #5 is one, you may also consider that your comic quality is still better than what CGC grades it. I had a discussion with my local comic book shop owner, and we both agreed that it does boil down to opinion. Although they are “official,” they are still a self-created grading company with their own in-house professionals. Much like the Watchmen, who oversees the CGC? Or are we all complicit for them to make the decisions for us?

Conclusion

Given all you have read here, you may find yourself asking, “do the CGC seem qualified or unqualified to be doing what they’re doing?”

As for some other general questions to think about, ask yourself: Does a signature, even by a comic great ruin the quality of the book? Are restored comics worth less, despite more money being put into them to make them better? Do CGC gradings make comic prices unfairly inflated?

Generally speaking, the comic book collecting community (CBCC?) is fine with how CGC does their reviews and grading. Most conventions use CGC as their go-to grader. Other companies like PGX Comic Grading Services also provide a nice alternative to CGC.

If there are any other questions you have, feel free to comment below. I’d love to generate some discussion based off of this. Also check out the CGC and Comics Price Guide websites off to the right of this blog for more information.

Until then, keep on Space Truckin’!

Classic Comic Fridays: Fantastic Four #45

Like every Friday, I will review a classic comic from my personal collection. For this week, I managed to find a decent-quality copy of a comic at my local comic store. I absolutely loved the story and art, so I figured that I should review it.

Fantastic Four #45

The comic, if you haven’t read the title already, is Fantastic Four #45 from December of 1965. It’s a classic, and one which was the first appearance of the Inhumans! Yes, Black Bolt, Crystal, Lockjaw, Triton and Karnak all get their first appearance in this early issue of F4. And you better believe that Stan Lee and Jack Kirby were the two on the helm for writing and penciling credits, while Joe Sinnott was on-board for inking. Needless to say, this is a classic comic done by the legendary comic artists which we all revere today, and I’m absolutely excited to have read it and to be reviewing it now.

Titled, “Among Us Hide the Inhumans,” the book opens up with the F4 minus Sue, trapped under rubble. After a battle with Dragon Man, the three were defeated, and Dragon Man kidnapped Sue. Johnny goes after her and confronts Dragon Man. Sue realizes that Dragon Man has child-like mind and tries to get Johnny to stop his attack. However, Johnny uses his Nova Flame power, and knocks out Dragon Man, saving Sue.

After defeat, Sue tames Dragon Man, working with his child-like mind and convincing him that the F4 were just scared and would not actually hurt him. Convinced, the three, Johnny, Sue and Dragon Man, return back to the Baxter Building to meet Reed and Grimm. They all decide to keep Dragon Man in the building for the time being, so they make him a room.

Johnny takes a break and calls his girlfriend, Dorrie Evans. Because of Johnny always putting her second for the Fantastic Four team, she says she already has another date that night and cannot go out. Upset, Johnny goes for a walk and finds some red-haired woman hunkered in an alley. Perturbed by her, Johnny walks in to see what she is doing when all of a sudden a huge gust of wind lifts him up in the air. By the time he drops down, she is gone.

Johnny returns to the Baxter Building to see that the rest of the team are having a tough time trying to get Dragon Man to sleep. Sue ends up sedating him, while Ben reflects hard on himself on how he is a monster, too. Poor Ben.

Air-Jet Cycle

Johnny decides to go back out and hunt for the red-haired woman – which he finds with ease (somehow). However, she tries to escape, stating he wouldn’t understand her world. Johnny then turns on his powers, prompting the woman to realize she may not be alone. Lockjaw appears behind Johnny, somewhat startling him, and takes both him, and the now revealed woman to an underground base under Manhattan.

The woman reveals herself as Crystal, and introduced Johnny to Karnak, followed by Triton and Crystal’s sister, Medusa. Johnny, scared, knowing Medusa was part of the Frightful Four (and meeting in an earlier F4 comic), and Karnak accusing Johnny of tricking Crystal, Johnny panics and escapes, creating a “4” signal in flames in the sky.

The rest of the team join up with Johnny – arriving by the F4’s Air-Jet Cycle (being its first appearance) – and they are attacked by Karnak from behind. Ready to fight, the book ends with Black Bolt literally crashing down onto the scene.

There is definitely a lot going on in this one comic, yet it does not feel rushed. Actually, by the end of the book, I was asking myself, “it’s over already?” Lee’s great dialogue and character development creates a world on its own. Tied in with Kirby’s brilliant art and Sinnott’s inks, the book to me felt ahead of its time. Of course, that was arguably put Marvel ahead of most comic companies. Rich character development mixed with brilliant art.

Black Bolt's First Appearance

The cover of the issue, also done by Kirby and Sinnott, even seems menacing looking. There’s great dread right on the cover. I love Sinnott’s ink on the F4 directly. The Thing’s body is greatly drawn with shading accenting his body. I love it.

Another great thing about this comic – which is outside of the story – is the M.M.M.S., the Merry Marvel Marching Society which Stan Lee invented for Marvel fans. Gone are the times where fans would have pages dedicated to letters, and a box-out for newer members – one even from my home province of Ontario.

Of course, Stan’s Soapbox was placed in the comic as well. In it, he made a prediction too. He said that he knew the Inhumans would take off with a life of their own. He was excited to give the readers their backstories, and was thrilled to continue writing with them.

All-in-all, the book itself was brilliant. Albeit, one moment in the dialogue, Reed snaps at Sue and says to “stop sounding like a wife,” which to me was a shock to see in comics back then. But I mean, that’s how these characters are to develop!

Grade: 10/10

Until next time, keep on Space Truckin’!