KONGA #2

Cover shows multiple diagonal and vertical crease lines running through the central gorilla figure, most visibly across the chest and midsection, along with general surface wrinkling consistent with handling. Corners show blunting and there is minor edge wear along the top and right border; the spine area shows some stress lines near the top staple. Color remains bright with no visible fading, but the accumulated creasing and handling wear place this in the good-to-very good range. Interior pages and back cover were not visible in this photo and were not assessed.

Konga #2 continues Charlton Comics' adaptation-adjacent giant-monster title built around the rampaging ape Konga, launched in the wake of the low-budget British monster-movie boom and predating the 1961 American International Pictures film that shares the character's name and premise. Charlton's Konga run is remembered today chiefly as a vehicle for early Silver Age monster-comics art, with Steve Ditko contributing cover work to several early issues in the series before his rise to prominence on Amazing Spider-Man and other Marvel titles. The book sits within the broader wave of giant-creature comics that flourished alongside atomic-age monster cinema of the late 1950s and early 1960s.

Market data for Konga #2 is sparse, reflecting the low print survival and modest original demand typical of Charlton's lower-tier genre output. Certified population is limited to a handful of copies spread across a wide grade range, with sale prices climbing sharply as grade increases, from roughly $20-$40 in low-to-mid grades to $130-$300 for the two highest-graded copies on record. This steep, non-linear climb is consistent with the pattern seen across scarce Silver Age Charlton material, where high-grade survivors are disproportionately rare relative to demand from specialist collectors.

Collector interest in Konga #2 comes primarily from Charlton completists, monster-comic specialists, and Ditko-cover collectors rather than mainstream key-issue buyers, since the book carries no first appearance, origin, or landmark creative credit beyond its cover art pedigree. Lower-grade raw copies trade as inexpensive genre curiosities, while any high-grade certified example would command a substantial premium purely on condition rarity rather than character significance, making this a book whose value is driven almost entirely by scarcity of nice copies rather than broad collector demand.