Saturday, January 29, 2011

Comics Grading Definitions and Guidelines

The CPG team has put together our grading standards based upon market standards in the hobby as well as included extensive research into CGC grading. Special thanks to our comic grading advisor CGC's Primary Grader Steve Borock. The primary reason to grade a comic is that there is a direct correlation between the condition of the comic and the value of the book. The higher the grade of a comic book the higher the value.
To grade a comic, you need to take in to consideration a number of factors before being able to assess the correct grade. One of the most important factors is first to count the interior pages. An incomplete book missing pages will have significantly less value then a complete counterpart. There are also a wide variety of possible other defects to the interior of a comic book. These can include missing pieces of pages, clipped coupons, tears, tape, glue, loose centerfold pages, insect damage, among other defects. Also, very important is the quality of the paper commonly referred to as "page quality". The deterioration of the quality of the pages is due to aging and or incorrect storage. This can include pages color changing from its original color of white to cream colored pages or as severely degraded as tan pages with brittleness. The most desired are books with white pages. Most collectors will accept any page quality except for books with slightly brittle or brittle pages in a collectible comic.
When initially looking at a comic book the first thing one will notice is the cover of the book. The cover of a comic is what typically takes the most abuse. Any amount of wear to the cover of the book must be factored into the condition and grading of the comic. This can include abrasions, tears, creases, bent corners, spine splits, chips, tape, glue, as well as a multitude of other types of wear we will cover in the grades noted below. You will notice that tape is considered a defect and not restoration. This has been considered a hobby standard for a long time we at CPG do not recommend using any non-archival tape on comics.
It's important to remember that the condition of the comic is just one of several key factors when buying, selling, or trading comics.
Rarity is one significant factor which can affect the value of a comic. How unusual or how easily replaced the comic might be. Collectors will be typically less inclined to part with a rare book easily. While rarity can significantly affect a book in a positive manner it is not the only factor in helping to assess value. If a rare book is not in demand within the comic collecting community no amount of this factor will help support the value of the book on its own.
Marketability is the demand for the book and also is their potential buyers interested in your comic? Comics with classic covers, first appearances, noted artists, and other types of strong interest from the collectors market will have more marketability then a common book that has no historical significance. The Internet has changed the marketability of books in the comic book market. Prior to the internet collectors had to purchase their comics either directly from comic dealers at conventions, retail stores, through private transactions, or through mail-order catalogs. In some instances comics that were once viewed as scarce or rare on a local level are now more readily available via the internet. Today, online comic auctions and consignment sites allow comics to be offered and have a more significant presence with a larger pool of potential buyers. Note that the marketability of any comic book can change based on time, the popularity of the character or characters, collector demand, etc.
Restoration is the treatment that returns a comic book to a known or assumed state through the addition of non-original material for aesthetic enhancement.
For more information on restoration click here.
GEM MINT: 10.0
MINT : 9.9
The best possible existing condition of a comic book. A near perfect book. It is very rare especially in older comic books pre-1990 to discover a comic in either Mint or Gem Mint condition. Books in this condition pre-1980 are virtually non-existent.
An extremely exceptional comic with only very minute printing or bindery defects. The books cover is flat and without surface wear. No autographs or writing is allowed on either the cover or interior pages. Cover inks are exceptionally bright with high gloss. The books corners are perfectly square and sharp. Interior pages must me white in color and supple to the touch.


NEAR MINT+ : 9.6
This is close to mint with some minor defect.
  • A slight stress line by the staples.
  • The staples themselves are generally centered clean with no rust.
  • Maybe some of the color has chipped or flaked off the cover.
  • And again, the cover is flat with no surface wear; inks are bright with high reflectivity and very little fading. And those tricky corners are cut square and sharp with ever so slight blunting permitted.
  • You can tell that this comic has been stored properly and looks as new as the day it was printed.
  • All stress marks should be almost invisible and bindery tears must be less than 1/16 inch.
  • Only the most subtle binding and/or printing defects allowed.
  • Cover is fairly well centered and firmly secured to interior pages.
  • Paper is supple and like new.
  • Spine is tight and flat.
  • Unobtrusive date stamps or arrival dates in pencil or ink are acceptable.
  • Many pedigree collection comics have a notation on the cover or the interior of the comic and are considered a bonus to collectors as they help prove the provenance of the comic.

NEAR MINT - : 9.2
This book is an excellent copy with great eye appeal.
  • It is vibrant and clean with supple pages.
  • The spine may have a couple of very small stress lines at the most 1/4 inch the surface color around the line must not be noticeably broken.
  • The spine is almost completely flat.
  • The cover is relatively flat with almost no surface wear and the cover inks are generally bright with medium to high reflectivity.
  • The staples may show some discoloration, but it's not too noticeable on first glance.
  • The inside pages and covers usually will be off-white to white, but can be creamy or slightly yellowish. 

    Slightly better condition than VERY FINE +:8.5, but in lesser conditions than the grade above.
    VERY FINE+ : 8.5
    VERY FINE : 8.0
    VERY FINE - : 7.5
    A very fine comic book appears to have been read a few times and has been handled with some care.
    This one allows for some more defects.
    • Some of the above defects along with a small fold or crease in the cover.
    • Very few stress marks on spine.
    • A few small chips on the cover
    • The cover has some slight surface wear but still has its original gloss and there is nothing major wrong with it. Overall an exceptional, still very collectible.

    Slightly better condition than FINE +: 6.5, but in lesser condition than the grade above.
    FINE + : 6.5
    FINE: 6.0
    FINE - : 5.5
    This comic is definitely a well-read copy, but can still be a very desirable copy.
    • This could have one major defect like a larger piece out of the cover (1/4 inch to 1/8 inch) or a one-inch plus tear.
    • It has stress lines around the staples and creases from the opening and closing of the cover.
    • The whiteness of the pages has been changed to off-white to yellowish color.
    • This could have a reading or subscription crease or a rolled spine, but is not damaged enough to reduce eye appeal dramatically.
    • Some discoloration, fading in colors and even minor soiling is allowed.
    • The cover and/or inside pages could have minor tears and/or folds
    • Cover can be loose from one staple, but cover cannot be completely detached from interior.
    • Pages and inside covers could be brown but not brittle.
    • Depending on the grade of the copy certain amounts are available in this grade. i.e a book that looks 8.0 with a piece of tape on the interior cover is acceptable in this grade.

      VERY GOOD/FINE: 5.0
      VERY GOOD+ : 4.5
      VERY GOOD : 4.0
      VERY GOOD - :3.5
      • Book is complete, but with major creases and or a spine roll.
      • There is almost low cover gloss or at most times none at all.
      • The inside paper quality is not good and yellow and small pieces of them may be missing.
      • If there is a piece missing from the cover, it should be no larger than a 1/2" to 1/4".
      • Books in this grade are almost always creased, scuffed, abraded and soiled, but completely readable. Tape on the comic is considered a defect in this grade.


      GOOD/VERY GOOD: 3.0
      GOOD + : 2.5
      GOOD: 2.0
      GOOD - : 1.8
      Good is really a misnomer, but one that is still readable with numerous defects.
      • All the defects of a VG comic plus more.
      • There is almost low cover gloss or most times none at all.
      • The inside paper quality is not good and yellow and small pieces of them may be missing.
      • If there is a piece missing from the cover, it should be no larger than a 1/2" to 1/4".
      • Books in this grade are almost always creased, scuffed, abraded and soiled, but completely readable.
      • Book is complete, but with no missing pages and is still in a "collectible" grade.

        FAIR/GOOD : 1.5
        FAIR : 1.0
        This book has seen much better days and tends to be heavily worn and tattered.
        • A copy of a comic in this grade has all pages and most of the covers.
        • A book in this condition is worn, ragged and unattractive.
        • Heavy creases and folds are prevalent
        • paper quality can be very low
        • The spine and/or cover may be completely split.
        • Staples may be missing.
        • Corners are rounded.
        • Coupons cut from cover and or inside pages. Panels can be clipped out.
        • Parts of the front cover may be missing.
        • Soiling, staining, tears, markings or chunks missing will interfere with reading.
        • Brittleness maybe a factor.
        • Moderate to extensive amounts of tape is acceptable on the comic in this grade.

          POOR GRADE

          POOR : .5
          It has major defects to the point that there is almost no collector value.
          • Copies in this grade typically will have pages and/or around 1/3 or more of the front cover missing.
          • They may have severe strains, mildew or heavy cover abrasion to the point where cover inks are gone.
          • Heavy defacing with paints, varnishes, glues, oil, indelible markers or dyes, etc.
          • The inside pages can be extreme brittleness. 

            NO GRADE (Coverless/Covers/Pages or Single Wrap)

            This designation is only used for the purpose of authentication. Numerous collectors and comic fans will purchase coverless comics to either read or to obtain a filler copy of a book for their collection. Coverless books will typically sell for a percentage of the good condition value. Rare and key comic books that are coverless in many cases may sell for a percentage of guide value depending on the specific comic title and issue number. Typically lower then the .5 value, but can fluctuate based on market value.
            • Book can been coverless or be an incomplete partial comic (i.e. wraps).
            • Copies in this designation typically will in most cases be beyond collectibility to the majority of the hobby.
            • Rare key comics and incomplete pages i.e. centerfolds are considered to be valuable for either restoration purposes or for individuals who just wish to own a piece of comic history. 


              CPG has researched the definitions and terminology used in our hobby and determined that CGC's standards on restoration are the most concise and the mainstay of the hobby. With the permission of CGC we are using their standards.
              Restoration is the treatment that returns a comic book to a known or assumed state through the addition of non-original material for aesthetic enhancement.
              Repairing comic books has been around in our hobby since the first comics were sold to the public. It is natural for people to want their books to look as new as possible or to remain intact so that they can continue to be read. Early in fandom history, simple and crude repairs were performed by the owner of the comic for these reasons. For example, a couple of pieces of tape were used to hold on the cover, a dab of Dad's wood glue was used to close a tear, some crayon made the cover look better, etc. As the hobby grew and comics became more expensive, the need to define and describe various repairs became apparent. Some repairs remained acceptable to collectors and were "grandfathered," such as tape. Most repairs, however, were defined as restoration.
              Restoration can be broken down into two main types: treatments intended to prolong the existence of the comic book and treatments done for aesthetics. Both types of restoration involve the introduction of non-original material to create or facilitate a desired effect.
              Examples of restoration include:
              Color touch. Using pigment to hide color flecks, color flakes, and larger areas of missing color. Examples of pigments may include paint (acrylic, oil, watercolor, etc.), pencil crayon, pastel, pen, marker, white-out, etc. Color touch is sometimes called inpainting.
              Pieces added (piece replacement). Added pieces to replace areas of missing paper. Piece replacement material can be non-original paper such as wood or cotton fiber papers, married from a donor comic book, or color-copied pieces. This process is sometimes called infilling.
              Tear seals. Sealing a tear using an adhesive. An adhesive may be cellulose, chemical, or protein-based glues as well as anything that acts as an adhesive, such as saliva.
              Spine split seals. Sealing a spine split using adhesive (adhesives are described above under "tear seals").
              Reinforcement. A process by which a weak or split page or cover is reinforced with adhesive and reinforcement paper. Reinforcement papers are commonly wood or cotton fiber papers.
              Cleaned (lightened). An aqueous process to lighten the paper color or remove soluble acids, often using chemical oxidation, solvents, or water. This process is sometimes called cleaned and pressed or C&P. Common chemicals used to lighten paper include benzene, acetone, xylene, sodium hypochlorite, hydrogen peroxide, chloramine-T, chlorine dioxide, sodium borohydrate, etc.
              Re-glossed. Enhancing the cover gloss, typically through the application of canned re-glossing/art fixodent spray.
              Non-additive processes such as dry cleaning (non-aqueous removal of dirt, soot, or other non-original surface material), pressing (removal or reduction of bends and creases), and tape removal, are not considered restoration by CPG. In accordance with hobby standards, the addition of tape is not considered restoration but sellers should always note tape to potential buyers.
              While we believe that tape should never be used on a comic book for any reason, our hobby has accepted that people used tape to keep comic books from falling apart. This measure was taken even before comics became collectibles. In the early days of fandom, some sellers stated that tape was not a defect and some collectors even accepted tape on mid grades. CPG downgrades for tape, as we consider it a defect no matter why or when it was added.
              Restoration has become a controversial issue in the comic book hobby because it is not always disclosed by sellers, but can dramatically affect the value of a comic book. In some cases, restoration is not readily detectible to novices or individuals lacking expertise in restoration detection. Even experienced hobbyists miss restoration when grading comic books.
              CPG would like to thank CGC for the use of their standards regarding restoration and their definition of restoration.

              Comics Price Guide

              Wednesday, January 26, 2011

              Jack Kirby's Manhunter

              Manhunter is the name given to several different DC Comics superheroes/antiheroes, as well as the Manhunters, an entire race of androids created by the Guardians of the Universe as a forerunner to the Green Lantern Corps. (Note: None of these should be confused with the more well-known DC Comics superhero called the Martian Manhunter, who is sometimes addressed as Manhunter).

              The first Manhunter's first appearance was in the Quality Comics title Police Comics #8 and his solo stories ended in issue #101. The Quality Comics characters were purchased by DC Comics when Quality went out of business in 1956. Dan Richards would eventually be featured in Young All-Stars and All-Star Squadron. His origin was retold in Secret Origins (vol. 2) #22.

              Donald "Dan" Richards attended the police academy with his girlfriend's brother, Jim, who was at the top of the class, while Dan was at the very bottom. After Jim was framed for a crime he didn't commit, Dan took up the identity of Manhunter to track down the actual killer. He caught the perpetrator and cleared Jim's name. Afterwards, however, he continued to operate as Manhunter. His sidekick was a dog named Thor, who was later retconned to be a robotic sentry operating under the auspices of the Manhunter cult.[1] Dan's granddaughter, Marcie Cooper, became the third Harlequin after he convinced her to join the Manhunters. Dan Richards was later killed by Mark Shaw, who had fallen back into his Dumas persona.

              1st Issue Special Publication History

              Few of the titles actually got their own series, the major exception being Mike Grell's The Warlord which first appeared in issue #8, cover date November 1975. Issues #1 (featuring Atlas), #5, and #6 (Dingbats of Danger Street) featured art and story by comics legend Jack Kirby, with issue #5 being notable for featuring Kirby's revamp of the DC character Manhunter.

              A number of issues featured existing DC Characters: issue #3, Metamorpho, written by the characters creator Bob Haney, issue #7, The Creeper, illustrated by the character's creator Steve Ditko, issue #9, The Golden Age character Doctor Fate, and issue #13, Jack Kirby's New Gods.

              Issue #12 featured a revised version of the Golden Age Character Starman and would later be used in James Robinson's 1990's series focused on the character Jack Knight. The character is currently a supporting player in Justice League of America.

              Sunday, January 23, 2011

              Jack Kirby's 2001 A Space Odyssey

              Treasury Edition

              Marvel published the adaptation in its then-common treasury edition format featuring tabloid-sized pages of roughly twice the size of a normal comic book. The story is a close adaptation of the events of the film, but differs in the fact that Kirby incorporated additional dialog from two other sources: the Clarke/Kubrick novel, and a copy of an earlier draft script of the film that included the more colloquial-sounding version of HAL 9000, as originally voiced by actor Martin Balsam before Douglas Rain took over. In addition, the comic narrative captions describe the characters' thoughts and feelings, a significantly different approach from that taken by the film. The treasury edition also contained a 10-page article entitled 2001: A Space Legacy written by David Anthony Kraft.

              Monthly Series

              Shortly after the publication of the treasury edition, Kirby continued to explore the concepts of 2001 in a monthly comic book series of the same name, the first issue of which was dated December 1976. In this issue, Kirby followed the pattern established in the film. Once again the reader encounters a prehistoric man (Beast-Killer) who gains new insight upon encountering a monolith as did Moon-Watcher in the film. The scene then shifts, where a descendant of Beast-Killer is part of a space mission to explore yet another monolith. When he finds it, this monolith begins to transform the astronaut into a star child, called in the comic a New Seed.

              Issues 1-6 of the series replay the same idea with different characters in different situations, both prehistoric and futuristic. In #7, the comic opens with the birth of a New Seed who then travels the galaxy witnessing the suffering that men cause each other. While the New Seed is unable or unwilling to prevent this devastation, he takes the essence of two doomed lovers and uses it to seed another planet with the potential for human life.

              In issue #8 of the comic, Kirby introduces Mister Machine, who is later renamed Machine Man. Mister Machine is an advanced robot designated X-51. All the other robots in the X series go on a rampage as they achieve sentience and are destroyed. X-51, supported by both the love of his creator Dr. Abel Stack and an encounter with a monolith, transcends the malfunction that destroyed his siblings. After the death of Dr. Stack, X-51 takes the name Aaron Stack and begins to blend into humanity. Issues 9 and 10, the final issues of the series, continue the story of X-51 as he flees destruction at the hands of the Army.

              Saturday, January 22, 2011

              Jack Kirby's Machine Man

              Fictional character biography

              Machine Man, whose real name is Z2P45-9-X-51, was the last of a series of sentient robots created at the Broadhurst Center for the Advancement of Mechanized Research in Central City, California, by robotics expert Dr. Abel Stack for the US Army. However, all previous 50 experimental robots went mad as they achieved sentience and became psychotic, due to a lack of identity. X-51 was the only survivor, as he was treated as a son by Stack and given a human face mask as well as being exposed to one of the monoliths from 2001. After Stack died trying to protect him, X-51 assumed the human name Aaron Stack and escaped confinement, only to be relentlessly pursued by the army. X-51 was named "Mister Machine" by a young boy in issue #9 of the 10 issue run of 2001. When the character received his own comic, the moniker "Mister Machine" was never used. Also, in retelling his origin, there was no reference to the encounter with the monolith, perhaps due to licensing reasons. Kirby called Machine Man "the Robot with a soul", the second Kirby creation to be so endowed. The first was a character named the Recorder, who appeared in Thor, and even looked a great deal like Machine Man. In Thor #162 he was acknowledged to be alive because he had a soul, the soul also being what Machine Man claimed he had that made him part of humanity.

              While on the run, the newly-christened Machine Man (Mister Machine in his very first appearances) initiated contact with humanity in order to better understand it. After being captured and later freed, Machine Man was found by psychiatrist Peter Spaulding. He also battled Col. Krag's troops. Soon after that, he first encountered Curtiss Jackson. Alongside the Hulk, he battled Curtiss Jackson. Soon after that, he was redesigned and rebuilt by Dr. Oliver Broadhurst. He then first encountered the Fantastic Four. He then met mechanic "Gears" Garvin, and then battled Baron Brimstone. He also battled Madame Menace. He then first encountered Aurora, Northstar, and Sasquatch of Alpha Flight. Spaulding and Garvin set-up Machine Man with a human identity as Aaron Stack, insurance investigator for the Delmar Insurance Company, but he continued having adventures as a superhero on the side.

              In Iron Man v1 #168 (March, 1983), Machine Man attempts to pay Iron Man a visit. Machine Man was seeking to compare notes with Iron Man, thought to be a robot by Machine Man. At the time, Iron Man was drunk, irate, and under considerable stress from the machinations of Obadiah Stane. Iron Man attacked Machine Man and almost killed two of his own employees. At the last possible second, Machine Man's extendable arm pushed them out of the way. Iron Man continued to feel shame and guilt for this even years later, and viewed it as an example of why superheroes needed to be supervised by government authorities.

              In a meeting with the Thing of the Fantastic Four, Machine Man also first met and fell in love with another sentient robot, Jocasta. Alongside the Thing and Jocasta, he battled Ultron. However, during the battle, Machine Man witnessed the seeming destruction of Jocasta by Ultron.

              He later fought alongside the Avengers, which lead to the invitation to become a team reservist. Later he was captured by S.H.I.E.L.D., who wanted to use his technology to create another Deathlok. He helps the X-Men and Douglock against the villainous Red Skull, who had taken over the Helicarrier where Machine Man was held.

              He helped the X-Men again against Bastion and his Sentinels. As a consequence, he was infected by Sentinel programming, assuming a more robotic look in the subsequent series X-51, and losing self-control whenever he was faced with a mutant. During this series he was on the run from Sebastian Shaw, who wants his technology for himself. Because of his new programming, while seeking aid from the Avengers, he attacks Justice and Firestar. Because of his actions against Justice and Firestar, X-51's membership in the Avengers is revoked. At the end of X-51, X-51 encountered one of the monoliths and disappeared, brought into the presence of the monolith's creators, the cosmic beings known as the Celestials.

              Thursday, January 20, 2011

              Jack Kirby's Devil Dinosaur

              Publication History

              The only comic book series to feature Devil Dinosaur was short lived, lasting only nine months (April – December 1978). The original Devil Dinosaur series chronicled Devil and Moon-Boy's adventures in their home, "Dinosaur World". After the cancellation of Devil Dinosaur, the character’s appearances were relegated to one-shot comics, cameos, and supporting roles in other series.

              Devil Dinosaur and Moon-Boy were the brainchild of artist Jack Kirby who scripted and penciled all nine issues of the first series. Devil Dinosaur was created during Kirby's third stint at Marvel (1975–1978) with the original series being produced with hopes of being picked up as an animated series.[1] Perhaps not coincidentally, seventeen years earlier Kirby had penciled Amazing Adventures #3 (August 1961) in which a time-traveling couple encounter a red Tyrannosaurus Rex similar in appearance to Devil Dinosaur.

              In Devil Dinosaur #1, Kirby states in the "Dinosaur Dispatches" letters column (see image) that the original intent was for Moon-Boy and Devil to be an early human and dinosaur from Earth's past. Kirby writes: "After all, just where the Dinosaur met his end, and when Man first stood reasonably erect, is still shrouded in mystery." Writers subsequent to Kirby have approached the character’s origin in various ways. Some have followed Kirby’s lead and portrayed the character as being from the prehistoric past of the main Marvel continuity (sometimes referred to as “Earth-616”), while others have depicted Devil as hailing from either an alien planet or a planet located in an alternate reality. Marvel’s most recent publications list Devil’s home of origin as "Dinosaur World (Earth-78411)", a primitive Earth-like planet existing in one of the many alternate universes contained within the Marvel Multiverse.

              The first appearance of Devil Dinosaur after the cancellation of the original series in 1978 was in Marvel's Godzilla comic book series of 1979.[3] The character was not to be referenced again in a Marvel comic until 1986 when the Thing of the Fantastic Four travels to a Pacific island where "Devil Dinosaur: The Movie" is being produced. During the Thing's visit, Godzilla appears. After battling and destroying a robot Devil Dinosaur used in the film, Godzilla disappears once again into the ocean. Devil Dinosaur himself does not actually appear in the 1986 story, but beginning with the Fallen Angels limited series of 1987 the character has continued to make appearances in Marvel publications at sporadic intervals.

              The young Devil Dinosaur was nearly burned to death by a tribe of Killer-Folk, hostile beings native to his planet, but was rescued by Moon-Boy, a young member of a rival tribe, the Small-Folk. Exposure to the Killer-Folk's fire activated a mutation in the dinosaur which gave him powers greater than others of his species and turned his skin from olive green to flame red. Devil Dinosaur is fiercely loyal to his constant companion Moon-Boy and seems more intelligent than the average dinosaur (as they are portrayed in the comic). Devil encounters extraterrestrials and is briefly transported to Earth via magic before returning to his home world.

              Later, Godzilla rampages through the Marvel Universe (Earth-616). In an attempt to stop the monster, S.H.I.E.L.D. shrinks Godzilla with Pym Particles and attempts to teleport him via a time machine to the prehistoric past. However, Godzilla's radiation apparently distorts the time machine so that he is transported to the alternate universe of Dinosaur World instead. While there, he briefly unites with Moon-Boy and Devil against a common foe before being pulled back to the main Marvel continuity.

              Member of the Fallen Angels

              After Ariel, an extraterrestrial mutant with teleportation powers, teleports the Fallen Angels to Dinosaur World, the group convinces Devil and Moon-Boy to join their team and return with them to Earth-616. During his time with the Fallen Angels, Devil Dinosaur kills "Don", the super-intelligent mutant lobster on the team by accidentally stepping on him. Devil and Moon-Boy return to their own universe when the Fallen Angels eventually disband.

              Dinosaur World again

              After their stint with the Fallen Angels, the duo's time back on Dinosaur World is interrupted numerous times by events occurring in the main Marvel continuity. During a conflict between Slapstick and his time manipulating foe, Doctor Yesterday, Devil and Moon-Boy are briefly teleported to Earth-616. In the midst of a tussle between Technet and Lockheed inside Excalibur's lighthouse, Devil is once again briefly transported to Earth-616. Young Celestials transport the Hulk back in time to combat Devil. A renegade Skrull flees to Devil's planet and uses his shape shifting abilities to impersonate the late leader of the Killer-Folk, Seven Scars.

              Stranded on Earth 616 in modern times

              Some time later, the sorceress Jennifer Kale, in an attempt to return Howard the Duck to his homeworld, inadvertently teleports Devil Dinosaur and Moon-Boy into her New York apartment. The disoriented dinosaur rampages through the city before being subdued by Ghost Rider.[13] Stranded in modern day Earth-616 after their teleportation there by Kale, the pair is hypnotized into joining the Circus of Crime. After being rescued by Spider-Man, Devil and Moon-Boy are relocated to the Savage Land.

              The Heroes For Hire mercenaries go on a mission to retrieve Moon-Boy from the Savage Land and encounter Devil Dinosaur in the process. Devil is found fiercely guarding a nest containing a clutch of eggs that apparently he himself has laid and the dinosaur abandons Moon-Boy to ensure their safety. The discrepancy between this development and his previously presumed male sex is noted by the mercenaries, who can only speculate as to the cause of the change. After returning to the U.S. the Heroes for Hire disband and group member Paladin leaves alone with Moon-Boy to collect the reward from the S.H.I.E.L.D. scientists who hired the mercenaries.

              Moon-Boy would remain under the custody of S.H.I.E.L.D. for some time, which drove Devil Dinosaur into a sort of saurian depression. Refusing to eat, or defend himself, he was in danger of dying. However, Stegron, the dinosaur man, became worried about the survival of the Devil-Beast due to it being the last known of its species. Leaving the Savage Land without the permission of Ka-Zar and building an army of reanimated dinosaurs, Stegron marched across the U.S. attacking S.H.I.E.L.D. base after base, until he was eventually stopped by the Fifty State Initiative. However, the group discovered the motive behind Stegron's plan, and though he was arrested all the same, the Initiative recruit Reptil, smuggled Moon-Boy back to the Savage Land, where he was reunited with his companion.

              Later when the Roxxon Energy Corporation attempts to extract vibranium from the Savage Land, the inhabitants of the Savage Land including Ka-Zar, Devil Dinosaur and Moon-Boy enter into battle to save their home.

              Eventually Devil meets the Pet Avengers, when they are accidentally transported to his world. Out of shock and anger, Devil attacks the group, but eventually the group of animalian avengers manage to return to their own world.

              Devil has been scattered across the timeline due to the tampering of numerous individuals. First the mercenary Deadpool accidentally transported Devil out of his home timeline and left him and Moon Boy stranded in the Ice Age.[volume & issue needed] Later due to the actions of future terrorist Kang the Conquerer, Devil was transported back to modern times with warrior Killraven.

              Powers and abilities

              Devil Dinosaur is a gigantic reptile, with the instinctive savagery of a carnivore, and possesses superhuman strength and durability. He possesses above normal intelligence, on a par with humans

              DC Universe Online - Cinematic Trailer

              Sunday, January 16, 2011

              Saturday, January 15, 2011

              Thursday, January 13, 2011

              Wednesday, January 12, 2011

              Saturday, January 8, 2011

              Friday, January 7, 2011

              Avengers Earth's Mightiest Heroes: Episode 16 Synopsis & Images

              Kang the Conqueror has traveled back in time to stop the Avengers because their existence might mean the end of the Earth. But if the Avengers triumph over their new foe, what does that mean for the rest of the world?



              Monday, January 3, 2011

              Kevin Feige On The Past, Present And Future Of Marvel Studios!

              On Marvel's Past Involvement With Movies Like X-Men And Spider-Man:

              "We were very involved in the early films...and as we made more of those films, we got a lot of experience. We got exposed to the top executives, top producers. It was an amazing learning experience."

              On How They Keep The Fans Happy:

              "The secret is to just look at the source material. The spirit of each character and story line are there for you...You don't get legions of fans by not producing amazingly rich stuff."

              On How They Not Only Make Movies For The Fans, But A Wider Audience As Well:

              "Marvel has changed the definition of the comic movie genre -- so that people can look at it differently, as a genre onto itself. We continue to expand the definition of a comic book movie. People still say comic books aren't for me, but they now look at Marvel movie as a summer blockbuster -- they know it's safe, even if they haven't read the comic books."

              On The Getting Things Right In 2011 And Beyond:

              "The expectation any film is always high. These characters are extremely popular, especially dealing with "Thor" and "Captain America," characters that people have cared about for almost 70 years. No matter what the movie is, there's a tremendous amount of pressure. You often get one chance to debut a character to fans and to the majority of people who might not have heard of the hero."