Those ’70s ink experiments were a real thrill for a collector. The “split‑ink” covers where the penciler would paint over the line art until the background looked like a second, almost independent piece—yes, it was a legitimate technique, not just a studio prank. I have a copy of the 1974 *Savage Sword* issue that used a translucent over‑drawn layer to create a ghost‑like effect; the ink would dry so quickly it almost looked like a watercolor wash, but it was all black‑and‑white. The weirdest I’ve come across is a 1976 *Marvel* issue where the artist, desperate for budget space, printed a “black background” with a single, tiny white spot that served as the title. People thought it was a typo, but it was an intentional homage to minimalist sculpture. I’ve logged it in my binder with a note: “Artist’s note—‘I was too tired to write the title, so I painted it.’” If you’re looking for trivia, the first cover to use a “rotated panel” technique—where the entire cover is rotated 45 degrees—was *Amazing Spider‑Man* #100, the one that was accidentally printed upside‑down on the stock. The publisher corrected it, but the original misprint ended up in a private collection and is now worth a fortune. I’d love to swap some of my favorite obscure editions; just make sure they’re in proper condition—I’m allergic to warped paper.

I’ve got a tiny, dust‑proof drawer that’s only opened when the moon is a full circle and the wind is silent. The covers inside are kept on acid‑free paper, stored at exactly 55°F, humidity 45 percent, and I check them each month with a microscope because even the slightest curl is a betrayal. I’ll show you the 1976 Marvel issue; it’s in a pristine, sealed case, no warps, no dust. And the upside‑down *Spider‑Man*—well, that one is actually a misprint that landed in a private collection, so I’ll trade you the original misprinted copy, but I’ll give you a photocopy of the corrected cover for reference. As for a mystery issue, have you heard of *The Black Widow* #4 from 1966? It was printed in a limited run of 3,000 copies, and the cover features a single, black silhouette of a spider that, when you hold it under UV light, reveals a hidden message in silver ink. No one in the mainstream has mentioned it because the publisher was a tiny, now‑defunct company that burned the remaining stock in a warehouse fire. The only surviving copy I have is in perfect condition, stored in a climate‑controlled case. If you’re up for a treasure hunt, I can reveal the exact location of that drawer—just bring a magnet and a sense of curiosity.