Monday, April 18, 2011
En Sabah Nur: “The First One”
In the harsh, unforgiving desert of ancient Egypt, ruled by Rama-Tut, a band of nomadic raiders found an infant, gray-skinned and freakish in appearance, abandoned by the settlers of Akkaba. The nomads took the child for their own, giving him the name En Sabah Nur, “The First One,” and teaching him to be "strong" in order to survive the desert as a child. This idea, that "the strong will survive," would shape Apocalypse's actions throughout time.
When En Sabah Nur was an adult, he was captured with his nomadic clan and forced into slave labor under the Grand Vizier Ozymandias. He quickly became a rebel and was even killed by agents of Ozymandias, only to be revived soon after due to his mutant powers. Believing himself "strong" and blessed, En Sabah Nur discovered Rama Tut’s technology underneath Egypt, and soon destroyed the Egyptian rulers around him and twisted Ozymandias into the being he is today.
Apparently, Apocalypse would use Rama Tut’s technology to "regenerate" for long periods of time, becoming more and more powerful when awakening. He was also known to have traveled around the world during these ancient years, appearing to various primitive cultures as their death god. At some point, when traveling through Mongolia, Apocalypse encountered a spaceship abandoned by the planet-judging aliens, the Celestials. His travels then became fueled by a single-minded purpose-- to find the key that would unlock the secrets to this alien technology. He found it in the person of Nathan Summers, then wandering various eras as the Traveler. The two fought, and although Apocalypse was nearly killed, he was saved by Ozymandias and taken to the Celestial ship. Apocalypse’s blood had become infected with Summers’ techno-organic virus during the battle, and the infection allowed Apocalypse to not only transform into an even more powerful being, but to also interface with the Celestial ship, claiming it as his own.
Another reawakening occurred during the 12th century Crusades. Apocalypse's regeneration chamber was thought to be a temple of great power, and was sought out by the Black Knight and his friend Bennet du Paris, whom Apocalypse recognized as a mutant, and created him into the being known as Exodus.
Later, Apocalypse surfaced in late 19th-century England, about the same time Darwin was proposing his "survival of the fittest" theories. Apocalypse, searching for underlings, met the scientist Nathaniel Essex, whose own desire for scientific knowledge led him to foresee the abundance of mutants that would occur in modern times. Apocalypse earned the allegiance of Essex, turning him into the being now known as Mister Sinister, but was soon defeated by the time-lost mutants, Cyclops and Phoenix.
In recent years, Apocalypse was somehow awakened by the arrival of Cyclops’ son from the future, Cable. Apocalypse made another move against Cyclops and his team, X-Factor, by pitting them against a team of his own creation, the Alliance of Evil. Although he never used his Alliance again, Apocalypse soon formed the Horsemen of Apocalypse to plague humankind, when his ideas to "cull" humanity in order for the rise of mutant supremacy were beginning. He fought X-Factor again, and even captured their member Angel to turn into his Horseman of Death, although he defected, to be later replaced by X-Factor's ally, Caliban. Later, Apocalypse infected Cyclops' son, Nathan (who would become Cable) with the techno-organic virus (which would also inadvertently create Cable’s counterpart, Stryfe, as well as ensure his own infection when he met Cable as the Traveler) but was defeated by X-Factor in final battle.
Apocalypse abandoned his Horsemen in favor of his Riders of the Storm (a.k.a. the Dark Riders) and later became the target of time-traveling Stryfe, who, as a clone of Nathan, was raised by Apocalypse in a horrific alternate future in which Apocalypse had risen to power. Eventually, Stryfe left Apocalypse withered and dying on the surface of the moon, where he was confronted by his Dark Riders and left for dead.
Later, Apocalypse tried to revive his team of Horseman, transforming the Hulk into War, until Hulk broke free and went his own way. Over time, Apocalypse managed to re-create his Horsemen, transforming recognized heroes and villains into versions of War, Pestilence, Famine, and Death, (specifically Deathbird, Caliban, the X-Men’s associate, Rory Campbell, and Wolverine.)
About the same time, Apocalypse apparently encountered and agreed to lead a faction of the Skrulls, who were investigating their own race's mutations. Apocalypse led these Skrulls in finally assembling what Apocalypse called "the Twelve," mutants who Apocalypse would absorb powers from, giving him god-like abilities to re-create the world in Apocalypse's image. Many of the Twelve were members of the X-Men, and the team assembled to stop Apocalyspe. In the process of absorbing all of the Twelve’s powers into himself, Cyclops was merged with Apocalypse instead of Nate Grey, whom Apocalypse preferred. Unable to cope with the influx of power due to Cyclops' involvement, Apocalypse rejected the power, escaping and abandoning his mission, although Cyclops' body was seeming killed in the process.
Soon, Phoenix and Cable left the X-Men in order to focus their attention on a search for Summers, whom they believed to still be alive. They tracked Apocalypse to his birth place in Egypt, where Summers, now an amalgamation of himself and Apocalypse, fought them. Ultimately, Jean was able to physically rip Apocalypse from Summers' body using her mental powers, and Cable destroyed Apocalypse's essence with his own telepathic powers.
However, Apocalypse did not die, but managed to regenerate in a tomb in Akkaba. He immediately set about creating more Horsemen, this time recruiting Gazer, Sunfire, and Polaris. Gambit had also sought Apocalypse, hoping to be a mole for the X-Men but becoming twisted by Apocalypse instead. When Apocalypse’s power once again was at his peak, he confronted the X-Men at their mansion headquarters, which had since become a camp of refugees from the events of M-Day. Despite recruiting several refugees to his cause, Apocalypse was forced to retreat by the X-Men and the Avengers. Ultimately, it was revealed that Apocalypse had never been able to use the Celestials' technology without their notice, and Apocalypse believed that they would soon exact their retribution. Apocalypse sought death as an escape route, but the Celestials appeared, resurrecting him in order to spirit him away for their judgement.
More on Marvel.com:
http://marvel.com/
Apparently, Apocalypse would use Rama Tut’s technology to "regenerate" for long periods of time, becoming more and more powerful when awakening. He was also known to have traveled around the world during these ancient years, appearing to various primitive cultures as their death god. At some point, when traveling through Mongolia, Apocalypse encountered a spaceship abandoned by the planet-judging aliens, the Celestials. His travels then became fueled by a single-minded purpose-- to find the key that would unlock the secrets to this alien technology. He found it in the person of Nathan Summers, then wandering various eras as the Traveler. The two fought, and although Apocalypse was nearly killed, he was saved by Ozymandias and taken to the Celestial ship. Apocalypse’s blood had become infected with Summers’ techno-organic virus during the battle, and the infection allowed Apocalypse to not only transform into an even more powerful being, but to also interface with the Celestial ship, claiming it as his own.
Another reawakening occurred during the 12th century Crusades. Apocalypse's regeneration chamber was thought to be a temple of great power, and was sought out by the Black Knight and his friend Bennet du Paris, whom Apocalypse recognized as a mutant, and created him into the being known as Exodus.
Later, Apocalypse surfaced in late 19th-century England, about the same time Darwin was proposing his "survival of the fittest" theories. Apocalypse, searching for underlings, met the scientist Nathaniel Essex, whose own desire for scientific knowledge led him to foresee the abundance of mutants that would occur in modern times. Apocalypse earned the allegiance of Essex, turning him into the being now known as Mister Sinister, but was soon defeated by the time-lost mutants, Cyclops and Phoenix.
Apocalypse abandoned his Horsemen in favor of his Riders of the Storm (a.k.a. the Dark Riders) and later became the target of time-traveling Stryfe, who, as a clone of Nathan, was raised by Apocalypse in a horrific alternate future in which Apocalypse had risen to power. Eventually, Stryfe left Apocalypse withered and dying on the surface of the moon, where he was confronted by his Dark Riders and left for dead.
Later, Apocalypse tried to revive his team of Horseman, transforming the Hulk into War, until Hulk broke free and went his own way. Over time, Apocalypse managed to re-create his Horsemen, transforming recognized heroes and villains into versions of War, Pestilence, Famine, and Death, (specifically Deathbird, Caliban, the X-Men’s associate, Rory Campbell, and Wolverine.)
Soon, Phoenix and Cable left the X-Men in order to focus their attention on a search for Summers, whom they believed to still be alive. They tracked Apocalypse to his birth place in Egypt, where Summers, now an amalgamation of himself and Apocalypse, fought them. Ultimately, Jean was able to physically rip Apocalypse from Summers' body using her mental powers, and Cable destroyed Apocalypse's essence with his own telepathic powers.
More on Marvel.com:
http://marvel.com/
Sunday, April 17, 2011
CBR REVIEW: “Thor” Best Marvel Film Yet!
The super hero universe grows on the silver screen with the upcoming Marvel Studios/Paramount Pictures release of “ Thor,” but in a decidedly non-super hero fashion. Where previous films featuring super powered beings focused almost entirely on the players, the shift in this film takes a bold step towards world building, which helps makes this the best Marvel film release yet.
Director Kenneth Branagh does well with what is essentially a pretty simple origin story – powerful son disappoints father, struggles to learn the lessons his father imparts, yet finally overcomes his own arrogance and over confidence to grow as both a man and hero. We’ve seen this story played out in literature and film numerous times, but Branagh deftly manages his cast and brings out performances that make the somewhat mechanical storyline feel both new and engaging.
After a short sequence on Earth, the film starts by taking the audience immediately to Asgard, the home world of Thor, played by Chris Hemsworth. We’re given a brief Asgardian history lesson focusing on their deadly war with the Frost Giants of Jotunheim, ruled by Laufey. The story is told by King Odin (Anthony Hopkins) to his two young sons, Thor and Loki, and brings the audience up to speed in quick fashion by telling the tale of an incredible battle between Odin’s forces and the Frost Giants. Great sacrifices are made on both sides, but ultimately the Frost Giants are defeated and what follows is a tense but peaceful period between the two worlds.
Questions have dogged this production from the start of whether or not audiences would accept a super hero film where much of the feature takes place on a fantastic world very unlike Earth. Once your through the back story and brought in to the present day, you’re left wanting to know more about Asgard’s history and are blown away by its majesty. Hopkins’ brings great strength to his role as a wise old leader and helps ground Asgard and makes it relatable for the audience.
The film moves back and forth comfortably between Earth and Asgard. Thor’s ascension to the throne is interrupted when he convinces his friends Sif (Jaimie Alexander) and the Warriors Three – Hogun (Tadanobu Asano), Fandral (Josh Dallas) and Volstagg (Ray Stevenson) – to confront the Frost Giants after they breach Asgardian security in an attempt to steal a powerful weapon. This brings about a second war between Jotunheim and Asgard and for going against his father’s express wishes, Odin
banishes his son to Earth. This is a powerful moment between the defiant son and a very disappointed and troubled father. It’s here we see Hopkins shine and he helps rise the performances of all those around him.
When Thor arrives on earth we meet scientist Jane Foster played by Natalie Portman. The chemistry between Portman and Hemsworth is instantly evident, but Marvel smartly chose to not over state the romantic storyline. It’s there, in the background, but never forced and develops naturally. It’s clear this love affair will be explored more either in “The Avengers” or the potential sequel to this film.
Foster is witness to the event that brings Thor to earth, an incredible wormhole which transports our heroes from Heimdall’s Observatory on Asgard through the use of bifrost AKA the Rainbow Bridge. While the design and look of Asgard is awe inspiring, the most impressive design has to be the Observatory and how this jump through space takes place. Idris Alba’s Heimdall is an imposing and powerful figure in the film who watches over this incredible observatory that spins to life with great speed and beauty. Space travel has never looked so cool.
Foster’s research in to these events on Earth is interrupted by SHIELD, that mysterious government agency headed up by Nick Fury. It’s SHIELD’s investigation that allows this film to set up “The Avengers,” giving us a glimpse of characters appearing in that film and setting the table for what’s to come. Agent Phil Coulson, played deftly by Clark Gregg, is at the center of this storyline. While he was seen in “Iron Man” 1 & 2, he plays a much larger role in “Thor” and brings a likeable touch to this clandestine organization.
While Foster tries to better understand who this new being is that magically appeared in her life, Loki’s story is revealed back on Asgard. With Thor out of the picture on Earth and powerless to act, this allows Loki to seize control of the throne through manipulation and trickery. Finding Loki’s ascension impossible to accept, Sif and the Warrior Three journey to Earth in an attempt to find Thor and bring him home. The performance of these actors makes them instantly likeable, but their lack of character development is one of the great missed opportunities of the film. We’re given brief glimpses in to who these players are and what meaning they have in Thor’s life. When we do see them they’re mostly fighting in impressive action sequences by Thor’s side on Jotunheim or back on Earth against the massive Destroyer, but you’re left wanting to know much more about who they are.
Hemsworth plays Thor deftly as a powerful, confident general and he’ll fit well alongside the likes of Chris Evans and Robert Downey Jr. in the upcoming “The Avengers.” For a young actor who’s never carried a movie of this scale on his own, it’s an impressive performance that plays up the iconic features and power of the character.
While there’s not a weak performance by anyone in “Thor,” the standouts are the two villains played by Hiddleston and Feore. Tom Hiddleston’s Loki is played with great subtlety. While he may appear almost half the size of Hemsworth, at no point do you doubt his power when he goes up against Heimdall or battles his brother in the final action sequence. His deviousness and duplicity make him an instantly memorable villain.
It’s Colm Feore’s role as Laufey that audiences may come away from this film remembering best. Having met Feore on set last May in full make-up, it became apparent that the actor was transformed by the intricately designed costume. Through the magic of digital effects, Feore puts on a good foot or two in height, making him one of the most imposing physical creatures seen on film. Laufey simply shines in a stirring final battle with Loki and Thor.
Seeing the film in 3D was nice, but only half effective. Aside from an outstanding action sequence in New Mexico with the mechanical and quite deadly Destroyer, the 3D is lost on the Earth bound sequences. On the other hand, Asgard is majestic in 3D and special attention should be paid by audiences to these scenes, especially those in Odin’s throne room and anything involving Heimdall’s observatory.
Patrick Doyle’s score at times helps convey the grandeur of Asgard and nicely accentuates the action set pieces, but at times it’s the weak link in the film, playing up the drama with a melodramatic tone that may leave you rolling your eyes occasionally. It’s these moments that remind me of Branagh’s early directing attempt “Dead Again,” a favorite of mine, but ultimately the melodrama that works so effectively in that film doesn’t go over as well in “Thor.”
It’s on Asgard that this film takes on a more “Lord of the Rings” quality and that’s very much a good thing. Where “Iron Man” 1 & 2 felt like traditional super hero films, with “Thor” Marvel is clearly universe building. At no point do you really look at Thor like you do a traditional super hero like Iron Man, Spider-Man or even Batman. This is not to say one is better than the other, but only to illustrate the point that the style of presentation seen in this film is different from what we’ve seen before and helps to expand the brand.
Blink and you may miss references to other events in the Marvel Studios universe or the brief cameos of Stan Lee, J. Michael Straczynski, Walter Simonson and Louise Simonson. Comic fans will absolutely want to stay to the end of the credits for what has to be the best teaser from Marvel Studios.
While “Thor” is not a perfect film, it is the best from Marvel Studios yet. The lessons learned from their previous attempts are evident here, with a strong storyline that doesn’t have any major weaknesses. The film deftly expands the Marvel Universe in film, taking bold steps to set itself apart from the pack, with a great set-up for what may be the ultimate super hero cross over.
”Thor” opens in the US on May 6th.
http://www.comicbookresources.com/
After a short sequence on Earth, the film starts by taking the audience immediately to Asgard, the home world of Thor, played by Chris Hemsworth. We’re given a brief Asgardian history lesson focusing on their deadly war with the Frost Giants of Jotunheim, ruled by Laufey. The story is told by King Odin (Anthony Hopkins) to his two young sons, Thor and Loki, and brings the audience up to speed in quick fashion by telling the tale of an incredible battle between Odin’s forces and the Frost Giants. Great sacrifices are made on both sides, but ultimately the Frost Giants are defeated and what follows is a tense but peaceful period between the two worlds.
Questions have dogged this production from the start of whether or not audiences would accept a super hero film where much of the feature takes place on a fantastic world very unlike Earth. Once your through the back story and brought in to the present day, you’re left wanting to know more about Asgard’s history and are blown away by its majesty. Hopkins’ brings great strength to his role as a wise old leader and helps ground Asgard and makes it relatable for the audience.
banishes his son to Earth. This is a powerful moment between the defiant son and a very disappointed and troubled father. It’s here we see Hopkins shine and he helps rise the performances of all those around him.
When Thor arrives on earth we meet scientist Jane Foster played by Natalie Portman. The chemistry between Portman and Hemsworth is instantly evident, but Marvel smartly chose to not over state the romantic storyline. It’s there, in the background, but never forced and develops naturally. It’s clear this love affair will be explored more either in “The Avengers” or the potential sequel to this film.
Foster is witness to the event that brings Thor to earth, an incredible wormhole which transports our heroes from Heimdall’s Observatory on Asgard through the use of bifrost AKA the Rainbow Bridge. While the design and look of Asgard is awe inspiring, the most impressive design has to be the Observatory and how this jump through space takes place. Idris Alba’s Heimdall is an imposing and powerful figure in the film who watches over this incredible observatory that spins to life with great speed and beauty. Space travel has never looked so cool.
While Foster tries to better understand who this new being is that magically appeared in her life, Loki’s story is revealed back on Asgard. With Thor out of the picture on Earth and powerless to act, this allows Loki to seize control of the throne through manipulation and trickery. Finding Loki’s ascension impossible to accept, Sif and the Warrior Three journey to Earth in an attempt to find Thor and bring him home. The performance of these actors makes them instantly likeable, but their lack of character development is one of the great missed opportunities of the film. We’re given brief glimpses in to who these players are and what meaning they have in Thor’s life. When we do see them they’re mostly fighting in impressive action sequences by Thor’s side on Jotunheim or back on Earth against the massive Destroyer, but you’re left wanting to know much more about who they are.
While there’s not a weak performance by anyone in “Thor,” the standouts are the two villains played by Hiddleston and Feore. Tom Hiddleston’s Loki is played with great subtlety. While he may appear almost half the size of Hemsworth, at no point do you doubt his power when he goes up against Heimdall or battles his brother in the final action sequence. His deviousness and duplicity make him an instantly memorable villain.
It’s Colm Feore’s role as Laufey that audiences may come away from this film remembering best. Having met Feore on set last May in full make-up, it became apparent that the actor was transformed by the intricately designed costume. Through the magic of digital effects, Feore puts on a good foot or two in height, making him one of the most imposing physical creatures seen on film. Laufey simply shines in a stirring final battle with Loki and Thor.
Seeing the film in 3D was nice, but only half effective. Aside from an outstanding action sequence in New Mexico with the mechanical and quite deadly Destroyer, the 3D is lost on the Earth bound sequences. On the other hand, Asgard is majestic in 3D and special attention should be paid by audiences to these scenes, especially those in Odin’s throne room and anything involving Heimdall’s observatory.
Patrick Doyle’s score at times helps convey the grandeur of Asgard and nicely accentuates the action set pieces, but at times it’s the weak link in the film, playing up the drama with a melodramatic tone that may leave you rolling your eyes occasionally. It’s these moments that remind me of Branagh’s early directing attempt “Dead Again,” a favorite of mine, but ultimately the melodrama that works so effectively in that film doesn’t go over as well in “Thor.”
Blink and you may miss references to other events in the Marvel Studios universe or the brief cameos of Stan Lee, J. Michael Straczynski, Walter Simonson and Louise Simonson. Comic fans will absolutely want to stay to the end of the credits for what has to be the best teaser from Marvel Studios.
While “Thor” is not a perfect film, it is the best from Marvel Studios yet. The lessons learned from their previous attempts are evident here, with a strong storyline that doesn’t have any major weaknesses. The film deftly expands the Marvel Universe in film, taking bold steps to set itself apart from the pack, with a great set-up for what may be the ultimate super hero cross over.
”Thor” opens in the US on May 6th.
http://www.comicbookresources.com/
Saturday, April 16, 2011
Etrigan: The Demon
Centuries later, Jason is called to the crypt of Merlin and discovers a poem that changes him into Etrigan. Unfortunately, he is followed by the long-lived Morgaine le Fey, who lusts for Merlin's secrets. That leads to Etrigan's first major battle. Over the years, Etrigan both clashes with and occasionally aids Earth's heroes, guided by his own whims and Jason's attempts to turn his infernal power to good use.
Some time after his first appearance, Etrigan begins speaking in rhyme due to a promotion in Hell, though he is not limited to rhyme.
Despite Blood's own doubts about himself, when the Justice League vanished during their attempt to rescue Aquaman from the past, Batman's emergency program — designed to assemble a substitute Justice League in the event that the originals were ever killed — selected Blood as the team's magic expert, a pre-recorded message Batman had left for Blood assuring the sorceror that he would not give Etrigan the keys to the Watchtower unless he was certain he could be controlled. While working with the team, Jason spent some time reinforcing the Watchtower's magical defences. During the subsequent fight with Gamemnae, Jason sacrificed himself to free Zatanna from her control, although he later escaped Gamemnae's quagmire spell thanks to the Martian Manhunter telepathically prompting his transformation into Etrigan. The crisis resolved, Jason handed his duties as the League's magic expert over to Manitou Raven, newly-arrived in the present, before departing.
The series Blood of the Demon, plotted and drawn by John Byrne, and scripted by Will Pfeifer, began in May 2005. Etrigan apparently loses the restrictions imposed upon him by the wizard Merlin which turned him from evil, caused by his "murder" at the exact moment he was transforming from his human guise, Jason Blood, into his demon self. It turns out that the incident has resulted in Jason Blood being able to exert some will over Etrigan's violent nature, whereas previously the two remained separate, only one existing at a time. Blood of the Demon ended with issue #17 in July 2006.
Etrigan later attempts to use Lucifer's trident to take control of Hell. A makeshift Shadowpact team successfully takes the Trident from him and flees to the supernatural Oblivion Bar. Etrigan follows and battles the team inside the bar. He is turned into stone via magical pistols and is used as a hatrack. The pistol's magic would return Etrigan to normal at sunrise, which never happens within the bar.
Etrigan takes part in the war for control of Hell on behalf of Neron, duelling Blue Devil. Later, due to the effects of a magical drug Satanus had infested Hell with, he was transformed into a physical human, a perfect duplicate of Jason Blood. Blood, meanwhile, has taken steps as to interfere with any possible attempts of Etrigan's to re-merge.
During the Blackest Night, Blood's body is possessed by Deadman, who invokes Etrigan's transformation, using his flames to hold back the Black Lanterns.
Etrigan briefly appears in the prelude to the JLA/JSA crossover during the Brightest Day event. Etrigan travels to Germany in order to find a crashed meteorite that contains an unconscious Jade, and is drawn into a confrontation with the Justice League after attacking a squad of German superheroes. He mocks the League by claiming they are an inferior team of substitutes, but is ultimately defeated when Donna Troy uses her Lasso of Persuasion to force him back into his Jason Blood form. Jason apologizes for the trouble he caused and departs from the scene, but not before warning Batman and his teammates that the meteorite possesses supernatural qualities. The meteor is later revealed to be the Starheart, a legendary entitiy that has the power to possess metahumans with magical or elemental abilities.
The poem that releases Etrigan is:
“ Yarva Demonicus Etrigan.
Change, change the form of man.
Free the prince forever damned.
Free the might from fleshy mire.
Boil the blood in heart of fire.
Gone, gone the form of man,
Rise the demon Etrigan! ”
Jason Blood's first transformation into the Demon occurs when reading the inscription on the surface of a stone tomb:
“ Change! Change, O form of man!
Release the might from fleshy mire!
Boil the blood in heart of fire!
Gone! Gone! — the form of man —
Rise, the Demon Etrigan!! ”
—The Demon #1 (August/September 1972), p. 22
Generally, only the last two lines are actively recited, and the words have been known to vary slightly; the phrase "yarva daemonicus etrigan" has occasionally been used, but not consistently.
The reverse spell has several different wordings, all with the basic form "Gone, gone, O Etrigan! / Resume once more the form of man!" Alternate words include, "Begone, begone, O Etrigan!" and "Rise again..." (or "once more"); virtually every combination has been used at one time or another. The spell itself does not need to be recited by Jason or Etrigan to be effective, merely within their range of hearing. In emergencies when Jason cannot speak (for instance, when he was turned into a fly), writing it is sometimes sufficient to effect the change. On one occasion, Blood released Etrigan by using a parody of the spell ("Gone, O little man so tame / And rise the demon Whatshisname").
ComicLink Sells Incredible Hulk #181 CGC 9.9 For $150,000
Next to Spider-Man, Wolverine has emerged as the most popular superhero in the Marvel Universe. Shortly after Incredible Hulk #181, Wolverine appeared in Giant-Size X-men #1 and X-Men #94, becoming a permanent part of the most exciting superhero team of the last four decades. X-Men is not only one of the most significant Marvel titles of all-time, but it is one of the most successful entertainment franchises to ever emerge from the comic book industry. Wolverine has long lead the way as the most popular of the Marvel mutants, not only featured in his own long-running title, but also being the first to get his very own blockbuster feature film, X-Men Origins: Wolverine.
“It is a rare event when the single highest certified example of a comic as important as Incredible Hulk #181 changes hands,” says ComicLink President Josh Nathanson. “This singular 9.9 has long been tucked away in a private collection, largely hidden away from public view. The sale of this book is not only a great example of the strength of the market for top graded keys, but also an incredible acquisition for the new owner! Think of the bragging rights!”
If you are interested in selling in upcoming 2011 ComicLink auctions, simply e-mail buysell@comiclink.com for a prompt reply or call Josh Nathanson, Douglas Gillock, or other members of the ComicLink staff at 617-517-0062. And if you are a buyer/bidder remember that in addition to items on the auction block, there are also over 10,000 CGC Graded comic books listed on the ComicLink Comic Book Exchange, and many impressive original art items listed on the Comic Art Exchange.
http://www.comicspriceguide.com/
Sunday, March 27, 2011
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