Monday, March 20, 2017


JUDGE DREDD: THE COMPLETE CASE FILES VOL. 10 (2000 AD, First Printing, 2008; Softcover)

Collects the Judge Dredd stories from 2000 A.D. #474-522 and 2000 A.D. Sci-Fi Special 1985 (cover dates 1984 for the 2000 A.D. Sci-Fi Special 1985 and June 14, 1986- May 16, 1987).

Writers: John Wagner and Alan Grant

Artists: Kevin O'Neill, Ian Gibson, Cam Kennedy, John Higgins, Barry Kitson, Robin Smith, Ron Smith, Brendan McCarthy, Cliff Robinson, Garry Leach, Steve Dillon, Mark Farmer, John Cooper, Jeff Anderson, Jose Ortiz, Kim Raymond, and Paul Hardy

I discovered something when reading this volume: Judge Dredd ages in real time. They refer to his decade of service as a Judge, and this book collects the tenth year of publication of the character. I wonder if this is still the case today. It would make him pretty darn old if it's true.

As usual, the artwork is all over the place in terms of quality. Some of it is photo realistic, while some of it is too cartoonish for my tastes. The writing is consistently solid. Gone are the huge sprawling “arcs” found in the earlier volumes in this line, in are short stories that are cranked out so fast that your head spins. The Taxidermist is one such idea that is tied up in one short story but should have gone on longer. The Shooting Party is another. I've always subscribed to the notion that it's better to be left begging for more than screaming for mercy, but some of these plots have legs beyond their seven page per week allotment.

The Interrogation is brilliant, and again, it's another idea wrapped up in a scant six pages but could have gone on ten times as long and still have been interesting. 10 Years On is amazing, a standout among the standouts in this book. There are some incredible artists who have worked on this title over the years.

I have to be in a specific mood to read Judge Dredd or else it leaves me cold. But when I am in the mood for it I enjoy the heck out of it. It's black humor and satire wrapped in an ultra-violent package. I have Volume 11, and whenever the mood strikes me I'll crack it open and tear through it.
Junk Food For Thought rating: 4 out of 5.

The OCD zone- These are wider than standard trade paperbacks. The material is still reprinted smaller than it was in the original publications.
There is a cover gallery in the back of the book which features only six of the twenty two covers that Judge Dredd appeared on out of the issue collected in this book.
Linework and Color restoration: Everything looks clean and clear. This book is printed in black and white, which is fine since that's how the title was back then with the exception of the occasional color double page spread which kicked off the strip. Those are scanned and printed in black and white, resulting in a grayscale mess.
Paper stock: Uncoated paper stock. The paper used in the European printed versions (like my copy here) feels odd to the touch. I can't quite explain it.
Binding: Sewn binding. There is gutter loss across the double page spreads, which is often annoying as the word balloons get sucked right down the middle.
Cardstock cover notes: Super thick cardstock covers with a matte coating that is sufficiently resistant to scuffing. 

Monday, March 13, 2017


NIGHTCRAWLER VOL. 1: HOMECOMING (Marvel, First Printing, 2014; Softcover)

Collects Nightcrawler #1-6 (cover dates June- November, 2014)

Writer: Chris Claremont
Artist: Todd Nauck
Colorist: Rachelle Rosenberg

My kids love going to the library, and I enjoy taking them there. My local library system has an extensive graphic novel section, and I peek at it from time to time to see what they have. I was curious about how this series was when it came out, as I enjoy both Claremont and Nauck. Alas, there are so many books being pumped out at all times that it is impossible for me to keep on buying or reading them all. We live in an era where available content has outstripped both time and money for even the most lifeless loser. The library removes the barrier of money, so if I were willing to dedicate an evening or two I could finally answer the question about this book.

Chris Claremont is unjustly vilified by modern day comic fans as being overly wordy, having unnecessarily complex ongoing subplots, and too many stylistic ticks. While there is some merit to all of the above criticisms, make no bones about the fact that the man saved The X-Men from extinction as well as helped pave the way for the sophisticated adult fare that you find in comics today. Many of your favorite current writers would not be here if he didn't help expand the notion of how fully formed a comic book character could be. I will admit that my pet peeve with his writing is that he often overdevelops a character, but that is a discussion for another time. Right now I'm going to go into this book.

Claremont seems to have taken a razor blade to his writing, chopping off all manner of dialogue and captions to better suit modern day audiences. It works, and his writing is still meatier than many writers nowadays.

Nightcrawler is back from the dead. As someone who jumped off of The X-Men merry-go-round years ago, this doesn't surprise me. There have been so many deaths and resurrections during the history of the title that even the characters seem to yawn about it. This is a major problem. The death of Phoenix was a powerful story in its day because it showed the high stakes of being a superhero. In the decades since then it has become little more than a sales stunt, a gimmick with no real bearing on the story itself. No readers take comic book deaths seriously any more.

There are S P O I L E R S ahead. People's mileage may vary on the shelf life for the spoiler tag, but I use it regardless of age of the material.

Claremont does a good job at weaving several smaller stories into the prerequisite six issue arc. In the '80s there weren't “arcs” as they currently are, a story simply took as many or as a few issues as necessary. Nightcrawler (Kurt Wagner) is reunited with his longtime love interest, sorceress Amanda Sefton. He runs into a robot called Trimega, which can split into three different robots with powers of fire, water, and wind (the elements being a pet favorite of Claremont over the years). Claremont complicates things by bringing in Margali Szardos, who not so shockingly turns out to be the villain of the piece.

I don't know why the Beast has changed his appearance again, but I am thrilled to see the Grant Morrison era bastardization thrown out the window. Todd Nauck's artwork is decent enough. His action sequences and layout for story flow are excellent, but there are some panels where something seems off with the way people look. Art is subjective and your mileage may vary, this is just my two cents. This is a decent read, and I'm glad I finally found out what this series is about. My library unfortunately does not have Volume 2 available.
Junk Food For Thought rating: 4 out of 5.

The OCD zone- Standard fare Marvel trade paperback.
Paper stock: Fair weight coated stock with a slight sheen.
Binding: Perfect bound trade paperback.
Cardstock cover notes: Laminated cardstock. Marvel switched to thinner cardstock a few years ago, and they end with this “curl” effect when you set them down. It's odd.

On the flip side, this being a library book is a fascinating scientific experiment of the workmanship and durability of the materials used in these trade paperbacks. Bent corners, dog ears, and creases aside, this has held up very well with the rigors of handling by hands less gentle than mine. 

Monday, March 6, 2017



Facsimile edition of the 1904 hardcover collection Buster Brown And His Resolutions, which collects fifteen Sunday newspaper strips which were originally published in 1903 and 1904 in the New York Herald.

Writer and Artist: R.F. Outcault

Before there were Buster Brown shoes there was Buster Brown the comic strip. R.F. Outcault was the premiere cartoonist of his day, arguably the first “superstar” in the world of comics. His Hogan's Alley (later The Yellow Kid) strip, published during the mid-1890s through the turn of the 20th century, made his name. His work on this strip and Pore Lil Mose remain criminally neglected in this golden age of comic reprints. I have been waiting for Sunday Press Books or another publisher to preserve them for posterity. The sad fact of the matter is that comic fandom as a whole has little interest in the history of the medium prior to superheroes, and reprints of strips like this would be expensive to produce and sell very few copies for any publisher brave enough to even try. If I ever win the Lotto I will procure a complete run of this series and start up a publishing company to rescue these lost classics from obscurity.

Early 20th century newspaper strips were compiled and reprinted in hardcover books. These were the first collected editions, if you will. I was looking at Buster Brown books one night on eBay when I came across this book. A few minutes on Google and I was able to peg this as an affordable reprint, and in color no less! Dover must have photographed the old book that they did this facsimile off of, as the colors are completely authentic and scanners as we now know them were science fiction back in 1974.

The strip itself is charming. Buster Brown is a child in a well to do family during the then-contemporary Victorian era. The fashions and furnishings were current when published but look like something out of Henry Ford Museum today. Buster and his dog Tige always get in trouble, with Buster often finding his posterior region on the receiving end of a hairbrush. Buster tends to get himself into all manner of trouble with a resolution provided in a text panel in each strip. This book seems to span all seasons and doesn't seem to follow any publication order, as it skips back and forth between 1903 and 1904 copyright dates. The strips themselves are undated.

Beating your children with a hairbrush was not only acceptable, it was passed off as wholesome lowbrow family entertainment in 1903-1904. 

Outcault remains a genius. Many modern comic fans are willfully ignorant of the history of the medium. I am by no means an expert, but I am learning more all the time, and the Internet has made studying the history of the medium easier than it would have been in my younger days. Unfortunately many strips like this remain out of reach of most fans due to expense or scarcity. We have been living in the golden age of comic reprints over the past dozen or so years, and in spite of everything that has been published one thing remains clear: We have barely even scratched the surface.
Junk Food For Thought rating: 5 out of 5.

The OCD zone- This opens like a calendar, meaning that it opens vertically and not horizontally like a normal book. The strip was originally published as a full sheet. Those old newspapers were huge, so each one is cut in half, with one half on one page and the other half on the next.
Linework and Color restoration: I have no source material to compare this to, but everything looks “authentic”. It's interesting how some of the earliest four color printing presses were more accurate than the ones which would turn up and print early comic books.
Paper stock: Thick uncoated stock with minimal browning on the edges, a real feat for a forty-plus year old book.
Binding: The binding is a stapled, saddle-stitched book.
Cardstock cover notes: Extremely thick cardstock cover with a durable lamination.

Monday, February 27, 2017


STEPHEN KING: THE STAND OMNIBUS (Marvel, First Printing, 2012; Hardcover)

Omnibus dustjacket cover.

Collects Stephen King's The Stand: Captain Trips #1-5, Stephen King's The Stand: American Nightmares #1-5, Stephen King's The Stand: Soul Survivors #1-5, Stephen King's The Stand: Hardcases #1-5, Stephen King's The Stand: No Man's Land #1-5, and Stephen King's The Stand: The Night Has Come #1-6 (cover dates December, 2008- March, 2012)

Companion book dustjacket cover.

Writers: Original story by Stephen King, comic book adaptation by Roberto Aguirre-Sacasa
Artist: Mike Perkins
Colorist: Laura Martin

Spines with dustjackets on.

Stephen King is synonymous with Horror. The Stand is a fan favorite, and while my mom was an early adopter of King in the '70s, I have never read the book. I'm not embarrassed to admit that my only prior knowledge of this story came from the Anthrax song Among The Living. I have no idea how well this holds up when compared to the source material, so my review will be based solely on how well it reads as a comic book.

Slipcase spine and spines of both books sans dustjackets.

I got a free copy of the Captain Trips Premiere Edition Hardcover a while back, read it, and loved it so much so that I bought this. Anyone who says that free tastes don't work is wrong. The gist of this series, for all four of you that don't know, is that the Army accidentally releases a supervirus codenamed Captain Trips which kills most of the population and causes the collapse of society.

It's through this chaos that an ultimate showdown between good and evil surfaces. On the side of Satan comes a man named Randall Flagg, “The Walkin' Dude”, a supernatural person with no past whose power grows as fear increases due to society's breakdown and the Government's attempts to suppress information. Flagg reaches out to the disenchanted through their dreams, playing on their fears and insecurities. He calls the survivors to Las Vegas, Nevada, where they will make their stand.

On the side of God is the world's oldest woman, Mother Abagail, who lives in rural Polk County, Nebraska. She reaches out through to the survivors through their dreams, with all of them making a perilous cross country journey to her farm. They end up reestablishing society, and the notion of a showdown with Flagg causes them to send spies to find out what is going on in Nevada. One of them, Tom Cullen, a man with special needs, ends up having a God-given shine that Flagg cannot pierce. Cullen ends up being my favorite character in the book, a real feat when you consider how fully formed the entire cast of characters is.

I won't go into the whys and hows of the battle, nor the outcome, nor how the story seems to continue on in an anticlimactic manner only to be saved at the last minute by a clever ending. I realize that my synopsis is vague, but that was done deliberately. I never give a blow by blow of the story when I do my reviews, as I am opposed to spoilers no matter how old the material is. I prefer to offer up an idea of what I have read as well as my thoughts about it. I am all about the joy of discovery. If this blog has a purpose it is to turn people onto comic books that they may missed amidst the never ending flurry of releases.

This was an incredibly satisfying read with beautiful artwork and tasteful coloring. It's dense and slow burning but it's a real page turner. It demands that you finish it, becoming more urgent with each passing issue. This material is available across a number of formats (original single issues, Premiere Edition hardcovers collecting each mini-series, softcover trade paperbacks which mirror those releases, this book, and of course digital), so there's no excuse not to check it out. Heck, your local library might even have it.
Junk Food For Thought rating: 5 out of 5.

The OCD zone- Stephen King's adaptations of this and both The Dark Tower sets received a unique slicpase for their Omnibus releases not found in any other book in the line. They collected thirty or so issues in one book and then had all of the extras in a second hardcover. They were also priced 50% higher than any other Marvel Omnibus during this time frame. While the second book and cardboard slipcase certainly added an expense, was it really fifty dollars more of expense? Come on, man. That said, it is a beautiful set.
Paper stock: Thick glossy stock. I miss the high quality paper that Marvel used to use in their Omniboo five years ago.
Binding: Sewn binding, lays flat. This book will last longer than I will.

This stamping appears on the cover of both books in this set.

Dustjacket, Hardback, and Slipcase notes: Dustjacket has that frosted matte feeling with spot varnish. Hardbacks have the faux leather casewrap, front cover stamp, and dye foil stamping on the spine that Marvel has sadly since done away with on their Omnibus line of books. 

Sunday, February 19, 2017


MARVEL MASTERWORKS: THE AVENGERS VOL. 11 (Marvel, First Printing, 2011; Hardcover)

Collects Avengers #101-111 and Daredevil #99 (cover dates July, 1972- May, 1973)

Writers: Roy Thomas and Steve Englehart with Harlan Ellison, Chris Claremont, Stan Lee, and Steve Gerber

Artists: Pencilers- Rich Buckler, John Buscema, George Tuska, Jim Starlin, Don Heck, and Sam Kweskin; Inkers- Dan Adkins, Joe Sinnott, Jim Mooney, Dave Cockrum, Frank McLaughlin, Mike Esposito, Frank Giacoia, and Syd Shores.

In this volume we find The Vision and the Scarlet Witch become the focal point for the series. Thomas builds on The Vision's discontentment with his lack of humanity in #102 while introducing a foe who soon-to-be Avengers writer Steve Englehart would use quite often: The Grim Reaper. The Grim Reaper was the brother of the late Wonder Man, whom the Vision's android brain patterns were modeled after. The Grim Reaper offers The Vision his deceased brother's body, which is in a form of stasis, in exchange for him standing aside while he destroys the team to revenge his fallen brother.

While all of that is happening, we see the return of The Sentinels, who have returned to Earth to save humanity from the “threat” of mutantkind. I dig this aspect of Silver and Bronze Age Marvel. The true shared universe aspect, where one hero's villains turn up in another magazine. There didn't have to be some lame tentpole event series with umpteen crossover titles to make it feel that way, either. The shared universe wasn't just implied, it was successfully implemented in an organic way. The suspension of disbelief was easy during this era.

Roy Thomas hands the title off to Steve Englehart with issue 105 after his Sentinels three-parter. Unlike today's comics, The Avengers were left with no time to catch their breaths before being called into action again, this time to the Savage Land. Having scooped up the Black Panther and losing Quicksilver in the previous issue, the team fights another Thomas/Adams X-Men era foe: the Savage Land Mutates: Gaza, Barbarus, Equilibrius, Amphibius, Lupo, Lorelei, and Brainchild. These comics are so action packed and fun to read. Comics without a whiff of self awareness or irony are refreshing when compared to today's hamfisted soapboxes.

#106 is a reframed Captain America inventory story that ties up a dangling plotline from a few issues earlier: The Vision and his desire for humanity. In one of those convoluted, it makes sense because everyone was stoned back then kind of way, the Grim Reaper's partner is none other than the Space Phantom. What makes it even more bizarre is that they use the inventory story as an even more confusing backdrop, inserting the Space Phantom disguised as the head of Hydra for the time being because he was biding his time in order to destroy The Avengers. None of it makes any sense to me either, but it was a blast to read nonetheless.

This “arc” is resolved in #108, which also neatly ties up the Vision and his desire to be human. He and the Scarlet Witch profess their love for one another at the end of that issue, setting the stage for a bizarre human-synthezoid relationship that will culminate in The Celestial Madonna storyline. I read the old trade paperback of that a decade or so ago, and look forward to rereading it remastered in “high def” in the Masterworks. I already own that volume, but it's the whole finding time to read everything that is the challenge. My backlog is like fine wine, aging to perfection. The older and more out of print a book is, the more enjoyable it is to read.

#109 and 110 tie up the loose ends of the Savage Land adventure from a few issues earlier, revealing Magneto to be behind it all while bringing The X-Men into the proceedings as well. Remember, The X-Men were cancelled, with their title being relegated to a reprint series. Writers like Englehart kept them alive, limping along from guest spot to guest spot until Len Wein and Dave Cockrum would give rebirth to the series in 1975. These two issues lead into Daredevil #99, acting as a way to get rid of Hawkeye and bring back the Black Widow, who has been Daredevil's love interest and co-star in that series during that time. #111 wraps up the Magneto/X-Men/Savage Land saga nicely.

The writing is great, while the art is uneven. It starts out very strong. Rich Buckler, an underrated artist if ever there were one, nails the Marvel house style of the era. I'll take this aesthetic over what passes as comic art any day of the week. Jim Starlin and Dave Cockrum aid and abet, adding their polish to various issues. Things go south with the then over-the-hill Don Heck, who phones in weak artwork with weak inking by various folks. Don Heck did some solid work, it's just that this ain't it.

Forget ham-fisted “writers” who write endless pages of talking heads Avengers sitting around a breakfast table. These Avengers save the world on a daily basis, giving the bad guys a what for in the process. I urge folks to pick up some real Avengers comics and see for yourselves.
Junk Food For Thought rating: 4.5 out of 5.

The OCD zone- Marvel Masterworks remain my poison of choice. Indeed, they are the reason that I reentered this accursed hobby lifestyle.
Linework and Color restoration: Marvel Masterworks are the Criterion Blu-Rays of collected editions. Top shelf restoration and a color palette faithful to the original comic books, all lovingly restored to the highest standards. Make mine Marvel Masterworks!
Paper stock: Thick coated stock with a slight sheen.
Binding: Smyth sewn binding. Lays flat.

Dustjacket and Hardback cover notes: Dustjacket has a lamination as well as spot varnish. The hardback casewrap has a faux leather texture with dye foil stamping on the front cover as well as the spine. 

Tuesday, February 14, 2017


ACG COLLECTED WORKS: ADVENTURES INTO THE UNKNOWN VOL. 6 (PS Artbooks, First Printing, 2014; Hardcover)

Collects Adventures Into The Unknown #26-30 (cover dates December, 1951- April, 1952)

Writers: Richard Hughes and other unidentified writers.

Artists: Ken Bald, Ogden Whitney, Edvard Moritz, Dan Gordon, Milt Knopf, Leo Morey, George Wilhelms, King Ward, Al Williamson, Roy Krenkel, Charles Sultan, Al Camy,
Lin Streeter, Pete Riss, Mac Elkan, R.S. Pious, Lou Cameron, Rocke Mastroserio, Art Gates, and other unidentified artists.

This series seems to get better with each successive issue, as ACG tried to match EC in terms of quality writing and artwork. While they didn't quite succeed, they certainly get a solid B+ for their efforts. The artwork is better than the writing, which is at times silly. I say this reading this material with 2017 eyes, but when you compare it to other early 1950s Horror comics it falls pretty much in line with them. I enjoy Pre-Code Horror in moderate doses, as it can get repetitive if you do a marathon of reading it.

I can't rave enough about the work of Ogden Whitney and Edvard Moritz. Solid craftsmanship, interesting panel composition, and effective story flow from one panel to the next. A quick look at the list of artists above reveals a who's who of comic book journeymen of the day. Some, like Al Williamson, remain fan favorites to this day, while most of them are all but forgotten. That is why books like this are important. They help preserve the history of the artform in a relatively affordable format.

I'm surprised that some modern day writer doesn't use this idea for their "IP" and make a series about vampires harvesting "organically grown" humans. 

#28's Double Vision! is the most EC-esque of the bunch, coming off as one of those Jack Kamen-style riffs about love gone wrong and the twists of fate, using a man's last mile to the electric chair for framing. #30s Werewolf Valley seems like a precursor of sorts to Avatar Press' Ferals, or even the movie The Howling. That same issue's The Thing Without A Face is another favorite of mine.

This was another enjoyable batch of dated but fun Horror goodness. It's not high art but that is what makes it so much fun to read.
Junk Food For Thought rating: 4.25 out of 5.

The OCD zone- I enjoy huffing these Chinese made books. PS Artbooks smell the best. Whenever I crack one open I sit there and snort it...Oh yeah, that's the stuff.
Linework and Color restoration: Raw scans with minimal tinkering. They remove all color from the word balloons, leaving them as bright white as the paper stock. The original printed comics had shoddy printing, and that is presented here warts and all. Off register printing and line bleed are all present, just like they were back then. The scans are of better quality than the ones found in Volume 5 of this series, with the exception of #28, which has the same problems with the top of some of the pages.

This is barely legible; it looks better here than in person. This is scanning amateur hour. Some of these PS Artbooks have abysmal scanning. 

Paper stock: Uncoated bright white stock.
Binding: Sewn binding. Lies mostly flat.
Hardback cover notes: No dustjacket. Image printed on casewrap with matte finish and spot varnish. 

Thursday, February 9, 2017


TALES FROM THE CRYPT ANNUAL VOL. 1 (Gemstone, 1994; Softcover)

Collects The Crypt of Terror # 17-19 and Tales From The Crypt # 20, 21 (cover dates April/May, 1950- December, 1950/January, 1951)

Writers: Al Feldstein, Gardner Fox, Johnny Craig, and Ivan Klapper

Artists: Al Feldstein, Johnny Craig, Bill Fraccio, George Roussos, Wally Wood, Harvey Kurtzman, Graham Ingels, and Jack Kamen

The first few EC Annuals did not have the title printed on the spine.

While not the first Horror comic book, Tales From The Crypt was the title that put the genre on the map. Like every other comic book company, EC dabbled in lots of genres (Westerns, Crime, Science Fiction). The seeds of the genre that they would become synonymous with, Horror, were laid in the last few issues of War Against Crime! and Crime Patrol. They inserted tales under the banners The Vault Of Horror and The Crypt Of Terror on the cover while simultaneously coining their future phrase SuspenStory. Vault Of Horror was launched the same month as this title, and EC's New Trend Direction was on. Haunt Of Fear would follow one month later.

I read all of these comics years ago in Tales From The Crypt Archives Vol. 1. When you compare these issues to those later in the series, two things become apparent. The first is that the trademark EC ironic twist ending, later employed by Rod Serling in The Twilight Zone, isn't quite perfected yet. There are more “happy endings” in these early issues than there would be later on in the series. The second is that EC employed more comic book journeymen than they would within a few issues. EC later had their stable of artists who did very little work outside of EC during that time. Those artists do contribute here as well, but we see folks like George Roussos and Gardner Fox who are known to fans of DC and Marvel Comics of the 1960s.

Al Feldstein's stories are strong right out of the gate, with his rock solid linework adding a confidence to the proceedings. While not as moody as Graham Ingels or as kinetic as Johnny Craig, Feldstein is the “voice” of this series as far as I'm concerned. Jack Kamen is my favorite of the EC artists stable, with artwork of beautiful people put into horrific circumstances.

The ironic EC twist ending is executed effectively for the first time in #20s A Fatal Caper. #21's Terror Ride, on the other hand, has so happy an ending that is seems anticlimactic. Your mileage may vary. I'm not complaining, mind you. I know that the best of this series is yet to come, and I've read every issue before.

Next to my beloved Spider-Man, EC are my favorite comic books. They are certainly the gold standard for Horror comic books. Without EC we wouldn't have the works of Stephen King or John Carpenter, as these comics were a huge influence on their young minds. Believe the hype and pick up some reprints of these comics. You can thank me later.
Junk Food For Thought rating: 4.75 out of 5.

The OCD zone- Gemstone overprinted their single issue reprints in the '90s with an eye toward selling their own back issues. They re-purposed this overstock by trimming and gluing 5 entire issues into a cardstock cover. While this is not technically a trade paperback (it has no ISBN), it is squarebound and has the title on the spine. Close enough for Rock and Roll in my book.
Linework and Color restoration: The linework is excellent, photographed from the original art. The color palette is faithful to the original publication except for the covers, which are all recolored. All of these recolored covers look inferior to the original versions, especially #21, where the recoloring changes the hair color of the judge in the story. Ridiculous.
Paper stock: Standard pulp paper of the day. The pro is that this looks and feels like a real comic book. The con, and it is a very large one, is that this will age and yellow, just like real comic book paper. I am admittedly less and less worried about this sort of thing as time goes by, as I will likely be dead and gone before this book deteriorates too badly.
Binding: Perfect binding (which is fancy talk for glued). If it hasn't fallen apart in 23 years I am not going to lose sleep over it. The gutters are a bit too tight for my taste.
Cover notes: The cover of the first few Annuals, like this one, did not have a cardstock cover. They had a thick glossy paper cover. This is basically a very fat comic book with a really thick cover. There are only a handful of EC Annuals with the paper covers; the rest have cardstock covers.