TALES TO ASTONISH #95

Cover shows good color and gloss with no major creases visible, but there is noticeable wear along the left spine edge with some fraying/whitening near the top and bottom staples, and slight corner softness at the top left and bottom right. The book is housed in a protective sleeve which obscures fine surface detail and edge condition on the right side. No tears, stains, or writing are visible on the front cover; interior pages and back cover were not assessed.

Tales to Astonish #95 arrived in September 1967 as part of the dual-feature format that defined the title's final stretch before it split into standalone Incredible Hulk and Sub-Mariner series. The issue continues the Bill Everett-created Sub-Mariner's undersea adventures alongside the ongoing Hulk feature, with Stan Lee scripting and art handled by the Marvel Bullpen's Silver Age stalwarts, including Gene Colan's atmospheric work on the Namor side and Marie Severin's contributions to the Hulk pages. It is not a first appearance or origin issue, but it represents a representative, well-remembered entry from a title that would soon give rise to two of Marvel's longest-running solo series.

Market data shows a large certified population (307 Universal copies of 344 graded) with steady but modest demand: values sit flat around $30 through the low-to-mid grades before climbing meaningfully at 8.0 and above, and accelerating further past 9.4. This curve is typical of a plentiful, well-collected but non-key Silver Age split book — collectors chase high-grade examples for condition census bragging rights and Hulk/Sub-Mariner run completion rather than for any landmark content. The scarcity of unblemished copies (only 4 census 9.8s, none with a recorded sale) creates outsized premiums at the very top of the grade scale relative to the gentle mid-grade curve.

This issue suits Silver Age Marvel run-builders, Hulk and Sub-Mariner character collectors, and Gene Colan or Marie Severin art collectors rather than key-issue investors. Lower and mid-grade raw copies trade as inexpensive, easily sourced run-fillers, while pressure at the top of the grade scale is driven almost entirely by census scarcity rather than character or story significance — a dynamic collectors should weigh heavily against the modest content value when evaluating high-grade asking prices.