Serendipity's wonderful. With my shirts and comics (DNA #1)ready to show to fans at the San Diego Comic Con, I thought I'd rest while possibly designing some preview pages.

I want to convince myself there's no pressure and just find myself creating it! I've decided what, but not all of exactly what, my goal for those pages is. Now: what's a way to relax, heading into the big week, something creatively stimulating?

At last, I pulled out my gift disk filled with archived Fantastic Four and Avengers comics.

I just knew I wanted some Jack Kirby art to read, so I dug into the run after it's kicked off good and proper, opening the 1964 issues and starting with #22, cover date Jan. 1964.


I was struck by the elements of humor, mystery and danger, all mixed into an adventure comic.

I imagine George Bell's inking is not for everyone, but Jack Kirby's figures, while well drawn and laid out, engage with each other's unusual powers, and express their own, with much personality. A cartoonishly humorous gag about the Thing's frustrated efforts to answer multiple complaining phone calls is a highlight, but while the Fantastic Four seem thrown off-balance by multiple complaints and harassments, little do we suspect the adventure's already under way! You see, it's all part of a plan to coerce the foursome out to a big secret island off the Jersey coast---a piece of potential real estate, possibly a new headquarters.

What they can't know is that their foe the Mole Man survived the battle in their very first encounter, and here he plans their doom, while setting into operation a most under-handed scheme to confuse the Cold War powers, the Soviets and the United States, into war---over vanishing cities.

It seems an absurd stretch? (Take it up with Mr. Fantastic.) I suppose it's difficult to characterize the suspicion between those nations, particularly in matters of bizarre technology. Just think about the race to Space, won by the Soviets before the U.S. knew it was declared, and our response to race to the Moon. Remember, a Moon launch inspired the rocket with which Stan and Jack gave the quartet their powers!

Anyway: I just happened to be drawing my preview based on the Stuckwayze comic drawn early this year: a journey to a mysterious island full of technological secrets, begun with a comical flair, disguising how an over-arching plan has been put into effect. To return to Kirby's comics and the Stux on the same day, to such serendipity, gave me a feeling of things neatly fitting into place from the chaos of life that brought it to us.

Now, my first comics preview will begin, decided by coin flip, with the Stuckwayze, an angsty-looking, skinny race of humanoids, whose story is explored by one of their own, Ogie Johnson, when he finds unexplained cash in the bank and decides to seek out his best friend Willie, and together, explore Big Secret Mountain.

I took most of my idea from a comic I drew as a kid, characters essentially made by my sister and I, growing up.

Jack Kirby loved a good hidden race, himself, and his work as I know it---and I've not nearly read all the best of it---was a guiding light in making an odyssey for Ogie and Willie, today. (They were not the original P.o.V. characters in UGLIES #1.)


I have to note FF #22 was also the debut of Sue Storm's invisible force field powers, and also is where she began making other items invisible (which, if she was invisible, made her visible) as well as invisible objects, visible. Her expanded powers immediately come into play against the Mole Man, who can't activate his doomsday device in front of his captives and can't visibly detect why he can't just push the darn button!

I enjoyed the creative usage of everyone's powers and the different traps; this was still the Fantastic Four formula for many early issues, so while we are about to enter an era of fun, inter-locking references to other Marvel heroes and titles and a high energy carousel of storylines that overlap and intertwine, we are hitting the time when the original team, the original lee/ kirby formula, feeling their creative way, begins to change and grow.

There's always a sub-plot cooking in these classic Fantastic Four stories made by Stan Lee and Jack Kirby. In #23, from cover date Feb., 1964, opens with a squabble evoked by a five foot tall reptile bopping in from prehistoric times, courtesy of the time machine they've confiscated from Dr. Doom. The argument surrounding the runaway dinosaur (who's quickly dispatched again to his time) brings up the question of why it is that Mr. Fantastic, Reed Richards, is the leader of the team and not The Thing (Ben Grimm), the Human Torch (Johnny Storm) or the Invisible Girl (Sue Storm).

Well, in a group where one member's code name contains the honorific "Mister" (he's really a Ph.D , you know, if Dr. Fantastic isn't too egomaniacal for you!) and the lady in question goes by "Girl", it's probably not going to be equality of the sexes---that's things fifty years ago for ya! "The Thing" doesn't sound like your likely group leader, either (though Steve Englehart tried just that almost three hundred issues later)!

Still, when the trio without Reed put it to a vote, each has voted for his or her self! At least Sue made the point "it's time we tried a woman around here!" but there's not really a serious discussion that makes you think the status quo will change. If anything, Reed does have the maturity to apologize to Sue for lumping her in with his frustration towards "you primadonnas" though in a later era she would've stood up for better treatment herself.


Basically, while this fued's been brewing, Reed's been watching for signs of Doom's peculiar technology; it's his dedication as well as his ideas that have driving the Fantastic Four.

The point about dedication is particularly the one that makes him the leader: he's the one who's obsessed with improving their technology for emergencies and exploration, the one who puts the thought into what their arch enemy might be doing at the time. The implication that he is the most serious one and the most logical thinker. Even still, there's more to leadership, yet---the ability to delegate, the ability to communicate, the ability to foresee consequences. Still, as you'll find in these pages, nobody can do it alone---even Reed's humbled by Doom here.


At this point Reed and Ben are portrayed as fifteen or so years older than Sue and her teenage brother, so while that's a factor, of those two Reed's the one portrayed with the temperament: the writer's chosen mouth piece for a majority of the ideas and precautions. The whole point at the time was to move adventures along, preferably with character reflecting an array of reactions and motivations with which readers could identify.



Meanwhile, Doctor Doom's busy recruiting three criminals with peculiar talents, to manuever the four, the counter to Sue, Ben and Johnny's powers in particular. Do you want to know or am I wise not to spoiler these until you've read them yourself? The psychology of the team is on Von Doom's mind, too. This time, rather than producing very powerful super criminals to match the Four's strength, he enhances his minions just enough for his purposes, and uses his grasp of the team to do the rest. Handsome Harry can hear Sue when she walks; Bull has a bit of superhuman strength; Yogi Dakor is fireproof.





I will say this: the special ionic dust that's used, when activated by a passing "solar wave," to begin transferring matter in our dimension into some frightening other, is part of a FF trap I'll never forget! I first read these as plots in the old Marvel Indexes, and later, as a story in the black and white Fantastic Four Essentials collections. It's nice to wrap my imagination around the timeless energy of these stories---it's the sheer inspiration one should take along!

FF #24 "The Infant Terrible!!"


The menace is funny, but played very straight: the alien who's landed in Times Square
creates random mischief, but Reed Richards begins to fear the awesome extent of what the being can do. He deduces from its behavior that it's simply a child---but one he expects will treat the corner stones of our natural survival like toys. What happens when the creature decides...to play with the sun? The criminals that attempt to influence the child are thwarted by his lack of understanding, as well as the timely intervention of the Thing, Torch, and Invisible Girl.


Reed gambles his time and concentration : what else do you do when a missing child turns up? You try to contact the parents!

I'm busy with strange wanderers from another culture, myself. I don't think Willie and Ogie will panic any superheroes, though! I'm about to add them to my friend Michele Suthers' cartoon map of our town.

http://nymag.com/daily/entertainment/20 ... _2011.html Comic Con's the big news in San Diego downtown.

But at the core of all its Hollywood spectacle and major product release frenzy, amidst the swirling robes of wizards and the sound of clanking Storm Troopers, San Diego International Comic Con was a celebration of fans of comic books, and easily, one of the most iconic, the most representative, of all super hero comics, it's Stan Lee and Jack Kirby's two issue battle featuring the Hulk and the Thing, as presented in early 1964! Yep, before the Beatles were even off the plane, Marvel's greatest monster men were smacking each other through a hapless New York City!

After a decidedly offbeat issue before (following a classic struggle with Doctor Doom), now we get to the place where the modern world of super hero comics evolves. Not only does the Hulk react in anger to a newspaper announcing Captain America joining the Avengers, but in the brutal revenge scheme to follow, he instead mixes it up with the Fantastic Four before the Avengers themselves make the scene in the next issue!

The interactions of characters from three different strips was facilitated by the writer and editor of all three of them, Stan Lee. So he gets a bit confused and refers to "Bob" Banner in the script---I can only imagine how fun this scrap was for fans of the time! The FF are not at their full fighting strength here, making it a rather dramatic battle centering around Hulk and the FF's resident strong man, the Thing. Their first encounter in FF #12 was the earliest crossover I know of in Silver Age Marvel history.

I don't believe the Hulk had yet begun to appear again in Tales to Astonish after his own series was quickly cancelled (yes, the first commercial failure of the Marvel Age was the six-issue INCREDIBLE HULK). This was a break through appearance, then, for Jade Jaws. His strength outclassed the Thing's, but Ben's fighting spirit and wits keep this cross-town tussle from a dull moment. These two have clashed now so many times as to become a sort of Marvel cliche, but Jack Kirby brought this an energy and whacked-out sense of happening right in the middle of the Big Apple that makes it one of the true blue classics of comic books, from days gone by.

Ooops, haven't re-read this one yet!


But I do remember the story. Wait, I'm getting it mixed up. This is the one where Reed decides to make a stand for Sue's love, but the story ends with him in personal turmoil. When all's said and done, when the FF have stormed Atlantis to rescue Sue, she chooses to leave with Reed---but he worries about her ulterior motive to simply end the violence.

What I almost started telling about was Submariner's movie studio, but that's an earlier adventure! Of course, his film roles double as traps for the male members of the Fantastic Four, while he woos Sue. I would tie it in happily with the Hollywood push at Comic Con.

Prince Namor, the Submariner, and Reed and Sue were Marvel's best love triangle in the Silver Age. The super-strong Lord of Atlantis and the smartest man in the world had some great fights (doesn't it sound ridiculous for the smartest man in the world to fight anyone? But hey, who said you couldn't have nerve if you're bright?). Sue always sympathizes with the misunderstood monarch, whose passion for this surface woman pits him at odds against his royal advisers.

We have lots of fun gadgets and imaginative inventions such as the "oxygen spray" used to create a membrane around the air-breathing heroes and always, strange sea creatures with sophisticated purposes. Too fantastic for some, but all played together to assemble a world that usually observes its own inner logic, and very appealing to one's sense of wonder!

What else would I do now, but tie the undersea classic with our modern day beach-loving adventures of Jenn, Celestia, Pepper and the gang we put together in Not Another Comic Book! Looks like Jenn will be appearing in my cartoonist friend Michele Suthers' cartoon map of San Diego. Come by Marina Park beside Seaport Village this week and buy one! You can check out her work here (clipboard it): http://michelesart7777.blogspot.com/201 ... pieta.html

I'm a little surprise Lee/ Kirby FF didn't draw any comments.

Very well then! I have Perez Avengers/ Slott Spider-Man on tap.

Heh. I'm a little surprise.

If you see this man, please contact the Intergalactic Federation!

Yep, that's Steven T. Seagle! I gave him his 1st comic of Comic Con.







Stan Sakai treated me like an old friend. I do believe he shook my hand five times.

A nice present to Sri Lanka courtesy Man of Action











CVS across 6th Ave. from home, on Market.

A board friend (who was not bored at the time---okay it was Monk) suggested the Big Time story arc to me when I asked: "is it a good time to read AMAZING SPIDER-MAN again?" I'd only bought a handful of issues in the past...decade? Yah. Hey, I'd already spent an embarrassing amount (if only I knew shame!) on comics in my lifetime, times were tight and other things called. But I still loved a good comic book classic if I could get a decent deal on it; I'm not a torrent kid, after all. They have a way of suspending over-thought and self-absorption of a sort, these clever mixtures of art and words as story.


My Big Time gambit led me to snag #'s 647 thru 649, and while it was a very different Spider-Man world, I'd missed the familiar faces like (now Mayor!) J. Jonah Jameson, Harry Osborn, Flash, the Black Cat. I was intrigued by Aunt May's marriage to Jonah's father, though it's chiefly taken her safely to the sidelines. Jonah as mayor was a great idea!


It seems, in the issues I then missed, Flash took a decidedly dark turn I won't spoil for you (I'm sure it's all over the 'Net, with the rest) and Marla Jameson died during a Spider-Slayer attack. Spider-Slayers were the general name for the multitude of robots cooked up to create Spidey Heartache and Bruises, and both Jonah (who funded most of them!) and Marla had helped build them before (it's how they met!). As a kid who enjoyed the 1984 Annual written by the long-absent Stan Lee (twelve years!) where the Jamesons married, it was a little poignant. As illustrated painfully by Daily Bugle Publisher Joe Robertson, "Marla's no longer the story..." because the Spider-World was knee-deep already in the next threat.

So, in #656, the first of eleven issues I purchased for an offer of $25, we meet Massacre, a hostage-taking, clinically disfigured individual whose empathic ties to human life have been severed by a brain injury, which left him with a dead wife for whom he could not even grieve (how's THAT for sympathetic villainy?)and a serious psychosis, previously treated by longtime Spider-verse therapist Dr. Ashley Kafka. We also see Spider-Man cope without his spider-sense, the nervous system-centered danger alert that's saved his life nearly every issue. Worse, writer Dan Slott offers numerous problems that crop up with his lost spider-sense: an unexpected example is when his web fastens to unsupported plaster and his swing lands him flat on his back atop a police car. Things proceed downhill from there!


On the cover, you see Peter's solution, which hits him just as he almost hits snide Paladin outside the office of the Night Nurse: if he's going to get hit, he needs some body armor. I personally think the lost spider-sense is a great idea; now he's truly vulnerable to dangers in ways most flesh and blood people are, and there's more room for surprises, adding to his challenge. Besides, I don't know how many times writers conveniently had him ignore his warning sense for the sake of giving the baddies a fighting chance, anyway!

Jonah's feelings are stone cold, in the wake of Marla's death, and he prepares to use the law to put a permanent end to Massacre. That characterization, and Peter's sensible approach to facing this hapless terrorist, deliver a solid story. Marcos Martin's art here and in other stories is so fresh and vivid, with some unique layout ideas and a warm cartoony style for the characters.

A subplot involving Pete's new girlfriend---a forensic crime sleuth---comes to a kind of resolution that insures me she will remain intensely curious about Peter's secret, without the predictable melodrama one might expect. By the end of #661, I had to laugh.

At this point, the biggest plot in the past year at Marvel intersects with the comic, and we're treated first to Peter's reminiscences of times spent with the Human Torch and the Fantastic Four, three very neat little adventures that range from the very relatable and human to the strange frontiers of Fantastic Four exploration...only to tie back in to the world right outside your door, courtesy of gearhead Johnny.

After that deeply hilarious issue ends with a holographic "will" from Johnny conferring his place in the Fantastic Four family to his superhero brother, Spidey then joins the Future Foundation, the present iteration of the FF, and begins a terrific set of adventures that brings a long-favorite "what if?" to life. The cast becomes the appealing present day FF and their precocious children and the strange protege children under their protection. I've never enjoyed Peter working with the FF more; maybe the difference is that he is genuinely a member, and together they are working through the loss of the Torch while facing mutual adversaries in fairly interesting schemes that harken back to the earliest days of Marvel without simply re-treading old plots!

The other thing of note: Peter got black-balled from photography while aiding JJJ, but his luck takes the interesting bounce where he gets a real genius-level science job, extending the cast and plot possibilities (albeit with characters that have yet to really grab me, but it's been sooo busy!!) with Horizon Corp, which is essentially a Marvel Silicon Valley-East Coast outfit.

These comics are trading for about $13 in fine condition on Mile High Comics' site, and I saw some pretty high Ebay bids. The fact that they rock, AND cost me a shade over $2 a piece, gave me immense satisfaction, when I was finally too shagged out to do anything but sit and enjoy them with some music (much provided by my talented and silly friends Eric and Sabrina, who've bombed my phone with tongue-in-cheek covers of childhood favorites for two days!). They share a last name with Peter's new squeeze, Carli Cooper!

The ending of #656 rings home a fundamental change in the character; not the temporary costume change (changed again for his FF initiation, in another funny scene), but the very motivation of the character. A legitimate beef with his depiction is that, while he was written as a youth still grasping maturity in his early days, he was also a victim of the Me Generation's morose tendencies to psycho-analyse themselves in gloomy, self-absorbed ways in the next decade. Guilt, guilt, guilt---it's a pretty shameful motivation. It's actually one that would hamper happiness, if not effectiveness.

No, he realizes how he can apply his brains and try to find a way to win---a way to save everyone. He does this now for the living! "And I'm going to make you proud. You'll see." I always said a love of people, appreciation of life, and more positive traits were the real motivator, ensnared in all that down-on-yourself verbiage some people find necessary to consider themselves "good." Listen, life is worth living for its own merit; saving life is a joy. And it's a fine time to be Spider-Man!!!

http://ceaseill.blogspot.com/2011/07/co ... go-ca.html Lots and lots of pics

Still having trouble with my camera, though. This Samsung's memory card has been used a lot, and my laptop's not reading it. I'm not sure what's wrong with my USB cable, either, just reads "USB error".

Darkseid stands in line for no man! You will pay dearly for this indignity.

Looks like fun, Lue! I'd love to make the con one day. I've been to San Diego.

No pictures of the GLEE panel??

What on Earth is wrong with you?????

Why didn't I think you'd ask, Doc?

I had to make sure you saw Darkseid.

It's just a matter o' time, Marcus. It's a good scene. And my favorite weather in the country. That goes a long ways, even on a day with disappointments.

My only sister gets married but once (one hopes)...maybe HeroCon at least can happen next year!

OH, I did have words with this flasher!!!

http://ceaseill.blogspot.com/2011/07/co ... -more.html more! But the videos will be fun, too---uploading shortly! My Memory card started working first thing.

http://www.youtube.com/watch?v=ykLviGh2bh0 Ninjas

As far as Adam West is concerned, there's no reason for him to worry about where he fits into the Batman legacy, because when it comes to the numerous actors who've played the Caped Crusader, he knows he's in a league of his own.
"My Batman, I think of it as the Bright Knight; the others are the Dark Knight," West offered during the panel honoring the 45th anniversary of the "Batman" TV series on Friday at Comic-Con 2011. "It's just a different ball game, that's all -- not that I wouldn't love to play the Dark Knight's father."
http://tv.yahoo.com/blog/comiccon-adam- ... anel--3350
[Related: See all TheWrap's Comic-Con coverage here.]
West was joined by his former co-stars Burt Ward (who played his trusty sidekick, Robin) and Julie Newmar (who played Catwoman). The panel, sponsored by television network The Hub, packed the hall with rabid fans of the campy superhero series, many of whom had clearly not been born yet when the series debuted in 1966.
During the panel, West discussed how he scored the role -- "I was hired to play Batman because they saw a commercial I'd done for Nestle's Quik," West recalled, "and they said, 'This is the turkey to play him" -- as well as the specific appeal that the series held for him.
"It was such a harmless show, and it was so much fun -- absurd," West offered. "I enjoy it so much more than any other series or movie I've done since."
Ward, meanwhile, discussed how he was injured while filming the series' famous scene when the Batmobile comes roaring out of the Batcave exit and hangs a sharp left. "On one of the takes, my door flew open; I grabbed the gear shift and broke my pinkie finger," Ward revealed. "They said, 'We have to get you to the hospital... but we have to get the shot first."
That wasn't the only discomfort that Ward experienced while shooting the program: There were also the infamous green tights. "I called them my python pants because they strangle you in every way," Ward noted.
Newmar, however (the first of three actresses to play Catwoman on the series), was considerably more satisfied with her Catwoman costume. "Well, if you wear black, it takes 15 pounds of your body," Newmar offered. "When you put on the heels, which were four inches, it takes what -- five pounds per inch off of your body?"
While the trio was quick to note how much they enjoyed filming the series together, West did hint at some degree of tension with one of the series' numerous guest stars. "Oh my God, there were so many of them -- about 120 -- and I enjoyed working with all of them except one."
Despite heavy prodding from the crowd, West declined to identify the object of his ire. Apparently, that's one for the Riddler to puzzle over.

His life as Marc Spector, mercenary veteran of multiple engagements in Africa and Central America, changes when he watches their leader, Bushman, bite the throat of an archeologist they wish to rob.



Already put off by Bushman’s extreme cruelty, he nonetheless tips his boss off to Dr. Arlaune’s pre-emptive assassination attempt, only to watch brutal murder. The dagger in Arlaune’s hand suggests the nearby dig has the kind of gold Bushman needs to run a small country; his thanks to Spector is to beat him and leave him crawling the desert to die. But he doesn’t; he finds himself at the feet of Arlaune’s daughter Marlene, the person Spector had warned to run, incurring Bushman’s wrath. In the shadow of the statue of Khonshu, Egyptian deity and Taker of Vengeance, Spector’s revitalized. The cloak of Khonshu becomes his...as does revenge against Bushman. With his partner, the pilot Frenchie, and Marlene Arlaune, Spector establishes a new life in America, parlaying his copper mine findings from Africa into a fortune, directed under his alias, Steven Grant. One final identity, a fourth phase, like the moon: Spector begins masquerading as Jake Lockley, a cab driver who frequents Gena’s Diner and talks often with Crawley, a loquacious informant. The hero with four lives in one: Moon Knight.



One doesn’t have to believe in supernatural intervention; that ambiguous point becomes crucial to a story about just who Spector is, now. The cases are based on realistic crime and espionage, more hard-boiled Dashiel Hammet than Tokein; the criminals don’t have powers, but the quality of their modus operandi doesn’t disappoint. Moon Knight is a costumed vigilante, but the idea of him as a super being is dispensed gradually, in favor of naturalistic characters, a kind of magical realism. The supporting cast doesn’t develop very much in the stories presented in Moon Knight, Essentials, Vol. 1, but Marlene, Frenchie, butler Samuels, Gena and her sons, and housekeeper Nedda all actively support the plot and reveal facets of Moon Knight’s thinking, especially once he reveals his identity and recruits everyone actively into his network. Marlene is particularly effective counseling her love, a sardonic and tough yet elegant lady in her own right, and it’s a fantasy for those who love a story at street level. Her appearance at his origin, published about four years after his first appearance (with a ret-conned origin) in WEREWOLF BY NIGHT #32, establishes her as part of Moon Knight from the start; it’s safe to say while Spector is already playing four roles, it’s really a multitude of people that solve these cases together.


The one supporting character who grows the most in dimension is Crawley, the derelict with the affinity for booze and horses, who finally reveals something of the life he drank away in MOON KNIGHT #2. This is also the issue where Grant/Lockley/Spector shares his mode of operation and actively incorporates the characters still as yet in the dark.

Already, creator and writer Doug Moench busies himself with things that distinguish this comic from its super hero brethren; one werewolf and one outlandish trap after his first appearance, Moon Knight gets passed around for a run of DEFENDERS (#47-50) and PETER PARKER (#’s 22, 23) then settles in as a back-up in the more adult-oriented RAMPAGING HULK magazine, a long story arc tying one crime into the next, culminating in a terrorist nuclear bomb plot (followed by a “meeting” with the Hulk under an eclipse).

Realistic criminals and Robert Ludlum/ Richard Marcinko style operations establish Moon Knight as an action hero, but not a super-hero (though he plays upon superstition in a way Batman would applaud). Once his origin is told in the first issue of his new ongoing series, however, Moon Knight’s world begins to fill with glimpses of real people and problems and dialogue.


It’s when a slasher begins murdering derelicts on the Bowery that we get a glimpse of Monech’s ability to tie social commentary and forgotten people in life into a comic book published alongside space adventures and gods. We get a view into Crawley’s real life, as well as an observation from a police officer, after Crawley’s barely escaped the slasher, that these men, these bums, are the lowest priority in life, and not even a serial murderer can make people really care. Crawley’s past life of mistakes comes back to haunt him in a way that just steps the line of impending irony, but the tragedy of a broken family and a broken man comes through, unmarred by the slasher, who is not a typically absurd antagonist and has a frightening desperation in his seemingly aimless plan. It’s the most downbeat of the Moon Knight stories, perhaps even an outlier that made Monech think of how to keep the plots full of action and intrigue, as opposed to miserable characterizations.

Still, when Spector takes everyone to Haiti in #6, he revisits the theme of economic oppression, the concern over protecting business and pretty white people over any sense of justice for all. Sometimes the point’s made in passing, which is a less heavy-handed approach that still makes a reader think of what’s happening out there on the street. But real life is neither as dark and sad nor swash-buckling romantic as in these early Moon Knight comics. It may be one of the reasons it’s so satisfying to read. It’s rather similar to contemporary work done by Frank Miller in Daredevil.


When Moon Knight got his series, Bill Sienkiewicz was tapped for art chores, along with classic, moody inker Klaus Janson to embellish. Bill’s style is perfect for the realism here, even while he serves the action with interesting perspectives and solid anatomy skills. He does develop as a story teller right before your eyes, and while he is still in a photo-realistic mode similar to Neal Adams in these early stories, it’s charming to follow in black and white, as found in the Essentials volume. (The HULK magazine issues are reproduced from color in grey tones.)

I loved this run on Moon Knight, I still have the individual issues along with the Moon Knight: Special Edition that reprinted the Rampaging Hulk back ups.