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Fantastic Four #228 front cover

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~8.5 AI-Estimated
Approximate
Condition Profile
FANTASTIC FOUR #228
MARVEL COMICS · 3/81 · NEWSSTAND
UNIT ECA-039343

FANTASTIC FOUR #228

Bill Sienkiewicz pencils the Fantastic Four amid Doug Moench's early-1980s run

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// Unit specification

PublisherCover dateEraVariantKey attributeStatus
Marvel Comics March 1981 Bronze Newsstand — LISTED ON EBAY

// Copies in archive

UnitGradeVariantStatus
ECA-039343 ~8.5 Newsstand LISTED ON EBAY ↗ (opens eBay in a new tab)
ECA-027977 ~8.0 Newsstand LISTED ON EBAY ↗ (opens eBay in a new tab)

// Run position

Part of an unbroken run · #70–#319 · 250 issues View all 361 available issues of FANTASTIC FOUR →

// Condition analysis

⚠ AI-Estimated / Approximate Condition Profile

Graded at 8.5 (VF+) on 2026-11-04, from new photos taken out of the sleeve: front and back. Flat and square with sharp corners and strong color. Thin pale strip along the fold. Faint dimples without color loss in the back's spine-side margin. Tiny nub at the back's lower left tip. Small dark fleck in the yellow at lower right.

// Valuation — market reference

⚠ AI-Estimated values — approximate, not an appraisal
BracketGradeEst. market valueMarker
LOW_RAW 0.5 – 1.5 $3
MID_RAW 4.0 – 6.0 $8
HIGH_CERT 9.8 SLAB $70

// Archive commentary

Fantastic Four #228 arrived in March 1981 as part of Doug Moench's brief writing stint on the title, illustrated by a young Bill Sienkiewicz who was still developing the angular, expressive style that would later define his celebrated Elektra: Assassin and New Mutants work. The issue is a standard team adventure featuring the classic FF lineup alongside Franklin Richards and supporting cast, with no first appearances, deaths, or origin material that would elevate it beyond a solid mid-run installment. Its interest today rests almost entirely on Sienkiewicz's early pencils rather than any narrative milestone.

Market data reflects this modest standing: a substantial certified population exists across the grading spectrum, with dozens of 9.8 copies on census and FMVs that rise gently rather than steeply as grade increases. Demand is thin and steady rather than competitive, consistent with a common newsstand Bronze Age issue that was well preserved in quantity. The absence of any landmark content keeps the ceiling low even in top grade, and sales at the higher end remain infrequent despite the large census pool.

This book suits Sienkiewicz completists and Fantastic Four run-builders more than speculative investors. Raw copies in low and mid grades trade cheaply and are readily available, functioning as inexpensive additions to a longbox or a bridge issue in a complete run. High-grade slabs offer little premium beyond bragging rights for census-chasers, and the book is unlikely to see meaningful appreciation absent a broader reassessment of early Sienkiewicz artwork.

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