Gene Colan
Eugene Jules "Gene" Colan was an American comic book artist best known for his work for Marvel Comics, where his signature titles include the superhero series Daredevil, the cult-hit satiric series Howard the Duck, The Tomb of Dracula, considered one of comics' classic horror series. He co-created the Falcon, the first African-American superhero in mainstream comics. Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005. Eugene Jules Colan was born September 1, 1926 to Harold Colan, an insurance salesman, Winifred Levy Colan, an antique dealer, in The Bronx, New York City, his parents ran an antiques business on the Upper East Side. His family was Jewish, the family's surname had been "Cohen". Colan began drawing at age three. "The first thing I drew was a lion. I must've copied it or something, but that's. And from on, I just drew everything in sight. My grandfather was my favorite subject". Among his earliest influences, he said in 2001, were the Coulton Waugh adventure comic strip Dickie Dare "in The New York Sun.
I was influenced by the story. The story. I took it seriously." He moved with his family "at about age 4" to New York, on Long Island. He would try to copy artist Norman Rockwell's covers to The Saturday Evening Post. Other major art influences were comics artists Syd Milton Caniff. Colan attended George Washington High School in the Washington Heights section of Manhattan, went on to study at the Art Students League of New York. Colan began working in comics in 1944, doing illustrations for publisher Fiction House's aviation-adventure series Wings Comics. "ust a summertime job before I went into the service", it gave Colan his first published work, the one-page "Wing Tips" non-fiction filler "P-51B Mustang". His first comics story was a seven-page "Clipper Kirk" feature in the following month's issue. After attempting to enlist in the U. S. Marine Corps during World War II but being pulled out by his father "because I was underage", Colan at "18 or 19" enlisted in the Army Air Corps. Scheduled for gunnery school in Boulder, plans changed with the war's sudden end.
"I was going to be an aerial gunner. A bomber, but it never materialized", he recalled in 2001. After training at an Army camp near Biloxi, Mississippi, he joined the U. S. forces in the Philippines. There Colan rose to the rank of corporal, drew for the Manila Times, won an art contest. Upon his return to civilian life in 1946, Colan went to work for Marvel Comics' 1940s precursor, Timely Comics, he recalled in 2000, I was living with my parents. I worked hard on a war story, about seven or eight pages long, I did all the lettering myself, I inked it myself, I had a wash effect over it. I did everything I could do, I brought it over to Timely. What you had to do in those days was go to the candy store, pick up a comic book, look in the back to see where it was published. Most of them were published in Manhattan, they would tell you the address, you'd go down and make an appointment to go down and see the art director. Al Sulman, listed in Timely mastheads as an "editorial associate", "gave me my break.
I went up there, he came out and met me in the waiting room, looked at my work, said,'Sit here for a minute'. And he brought the work in, disappeared for about 10 minutes or so... came back out and said,'Come with me'. That's. Just like that, I had a job. Comics historian Michael J. Vassallo identifies that first story as "Adam and Eve — Crime Incorporated" in Lawbreakers Always Lose #1, on, written the internal job number 2401, he notes another story, "The Cop They Couldn't Stop" in All-True Crime #27, job number 2505, may have been published first, citing the differing cover-date nomenclature for the uncertainty. Hired as "a staff penciler", Colan "started out at about $60 a week.... Syd Shores was the art director". Due to Colan's work going uncredited, in the manner of the times, comprehensive credits for this era are difficult if not impossible to ascertain. In 2010, he recalled his first cover art being for an issue of Captain America Comics, he definitively drew the cover of the final issue, the horror comic Captain America's Weird Tales #75, which did not include the titular superhero on either the cover or inside.
After all the Timely staff was let go in 1948 during an industry downturn, Colan began freelancing for National Comics, the future DC Comics. A stickler for accuracy, he meticulously researched his countless war stories for DC's All-American Men at War, Captain Storm, Our Army at War, as well as for Marvel's 1950s forerunner Atlas Comics, on the series Battle, Battle Action, Battle Ground, Battlefront, G. I. Tales, Marines in Battle, Navy Combat and Navy Tales. Colan's earliest confirmed credit during this time is penciling and inking the six-page crime fiction story "Dream Of Doom", by an uncredited writer, in Atlas' Lawbreakers Always Lose #6. By the early 1950s, he was living in New York. Around this time he did his first work for DC Comics the industry leader, on the licensed series Hopalong Cassidy, based on the film and TV Western hero, drawing it from 1954 to 1957. In the 1960s
Copyright
Copyright is a legal right, existing in many countries, that grants the creator of an original work exclusive rights to determine whether, under what conditions, this original work may be used by others. This is only for a limited time. Copyright is one of two types of intellectual property rights, the other is industrial property rights; the exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright on ideas is that copyright protects only the original expression of ideas, not the underlying ideas themselves. Copyright is applicable to certain forms of creative work. Some, but not all jurisdictions require "fixing" copyrighted works in a tangible form, it is shared among multiple authors, each of whom holds a set of rights to use or license the work, who are referred to as rights holders. These rights include reproduction, control over derivative works, public performance, moral rights such as attribution. Copyrights can be granted by public law and are in that case considered "territorial rights".
This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities to establishing copyright, others recognize copyright in any completed work, without formal registration. Copyright is enforced as a civil matter, though some jurisdictions do apply criminal sanctions. Most jurisdictions recognize copyright limitations, allowing "fair" exceptions to the creator's exclusivity of copyright and giving users certain rights; the development of digital media and computer network technologies have prompted reinterpretation of these exceptions, introduced new difficulties in enforcing copyright, inspired additional challenges to the philosophical basis of copyright law. Businesses with great economic dependence upon copyright, such as those in the music business, have advocated the extension and expansion of copyright and sought additional legal and technological enforcement.
Copyright licenses can be granted by those deputized by the original claimant, private companies may request this as a condition of doing business with them. Services of internet platform providers like YouTube, GitHub, DropBox, WhatsApp or Twitter only can be used when users grant the platform provider beforehand the right to co-use all uploaded content, including all material exchanged per email, chat or cloud-storage; these copyrights only apply for the firm that operates such a platform, no matter in what jurisdiction the platform-services are being offered. Private companies in general do not recognize exceptions or give users more rights than the right to use the platform according certain rules. Copyright came about with wider literacy; as a legal concept, its origins in Britain were from a reaction to printers' monopolies at the beginning of the 18th century. The English Parliament was concerned about the unregulated copying of books and passed the Licensing of the Press Act 1662, which established a register of licensed books and required a copy to be deposited with the Stationers' Company continuing the licensing of material that had long been in effect.
Copyright laws allow products of creative human activities, such as literary and artistic production, to be preferentially exploited and thus incentivized. Different cultural attitudes, social organizations, economic models and legal frameworks are seen to account for why copyright emerged in Europe and not, for example, in Asia. In the Middle Ages in Europe, there was a lack of any concept of literary property due to the general relations of production, the specific organization of literary production and the role of culture in society; the latter refers to the tendency of oral societies, such as that of Europe in the medieval period, to view knowledge as the product and expression of the collective, rather than to see it as individual property. However, with copyright laws, intellectual production comes to be seen as a product of an individual, with attendant rights; the most significant point is that patent and copyright laws support the expansion of the range of creative human activities that can be commodified.
This parallels the ways in which capitalism led to the commodification of many aspects of social life that earlier had no monetary or economic value per se. Copyright has grown from a legal concept regulating copying rights in the publishing of books and maps to one with a significant effect on nearly every modern industry, covering such items as sound recordings, photographs and architectural works. Seen as the first real copyright law, the 1709 British Statute of Anne gave the publishers rights for a fixed period, after which the copyright expired; the act alluded to individual rights of the artist. It began, "Whereas Printers and other Persons, have of late taken the Liberty of Printing... Books, other Writings, without the Consent of the Authors... to their great Detriment, too to the Ruin of them and their Families:". A right to benefit financially from the work is articulated, court rulings and legislation have recognized a right to control the work, such as ensuring that the integrity of it is preserved.
An irrevocable
Christos Gage
Christos N. Gage is an American screenwriter and comic book writer, he is known for his work on the TV series Daredevil, Hawaii Five-0, Law & Order: Special Victims Unit and the films The Breed and Teenage Caveman. In the comics industry, he has done considerable work on the titles Angel & Faith, Avengers Academy, The Amazing Spider-Man and The Superior Spider-Man, Spider-Geddon and has written tie-in books for the "Civil War" and "World War Hulk" storylines. Christos N. Gage is the son of New York Times investigative journalist Nicholas Gage, he was born in New York City, grew up in Athens and North Grafton, Massachusetts. He attended Brown University, he received his MFA in Screenwriting from the AFI Conservatory. Gage, with Ruth Fletcher Gage, adapted the Arthur C. Clarke novel Rendezvous With Rama for Morgan Freeman's Revelations Entertainment, they co-wrote the 2001 film The Breed, starring Adrian Paul, Bai Ling and Bokeem Woodbine, for Sony/Screen Gems and Starz. He wrote and served as associate producer on the film Teenage Caveman for HBO.
In 2010, the Gages wrote the film Paradox, starring Kevin Sorbo, for SyFy UK. The Gages co-wrote episodes of the TV shows Order: Special Victims Unit and Numbers. SVU creator Dick Wolf cites one of their episodes from the series' fourth season, "Mercy", as "a high water mark" of the show's 400 episode run, saying "I tell writers that if you're going to look at one episode after the pilot, it's that one." The episode was nominated for a SHINE Award. In 2014 the Gages joined the writing staff of the first season of the Netflix/Marvel TV show "Daredevil", nominated for three Emmy Awards and won the Saturn Award for Best New Media TV Series, they were on the writing staff of Hawaii Five-0 for the show's ninth season. Gage broke into the comic book industry in December 2004 with the DC Comics miniseries Deadshot. One of his earliest Marvel Comics works was a Union Jack mini-series with Mike Perkins. For Wildstorm Productions Gage wrote The Authority: Prime with Darick Robertson, his subsequent Wildstorm work included Wildstorm: Armageddon, Wildstorm: Revelations and Wildcats: Worlds End, part of a relaunch of a number of titles.
During Marvel's "Civil War" storyline, he wrote the best-selling tie-in book Iron Man/Captain America: Casualties Of War. He wrote the miniseries World War Hulk: X-Men whose first issue sold in excess of 85,000 copies. Gage wrote the tie-in book Avengers: The Initiative, co-writing with Dan Slott beginning with issue #8, becoming the sole writer for the series with #20, he continued on through the conclusion of the run with #35. Spinning out of that series' storylines was Avengers Academy, which Gage launched with artist Mike McKone; that series ran for forty issues. In March 2008 Gage wrote the four-issue miniseries G. I. Joe: Cobra for IDW Publishing; that same year he wrote the first seven issues of The Man with No Name for Dynamite Entertainment, which stars the iconic Western character portrayed by Clint Eastwood. The storyline is set after the events of The Bad and The Ugly; that year he wrote the creator-owned series Absolution for Avatar Press, which focuses on a superhero actions after he develops post-traumatic stress disorder.
In 2010 Gage wrote the original graphic novel Area 10, a crime thriller about an disturbed New York police detective who, while on the case of a bizarre serial killer, begins to exhibit psychic abilities after his head is impaled by a screwdriver. In 2011 Gage was approached to write Angel & Faith, the canonical continuation of the adventures of Joss Whedon's Buffyverse characters, as part of Buffy The Vampire Slayer Season Nine; the title was nominated for a Harvey Award for Best New Series. In July 2012 Gage published the original graphic novel Sunset, through Top Cow/Minotaur Press, a noir tale of an aged mob enforcer facing the demons of his violent past; as of 2012 Gage and his wife Ruth were working on the historical epic The Lion Of Rora for Oni Press. From 2011 to 2013 Gage and Dan Slott co-wrote issues 661 - 662, 664 and 695 - 697 of The Amazing Spider-Man. After that series ended with the death of Peter Parker, a new series, Superior Spider-Man was launched in 2013. Gage co-wrote 10 sporadic issues with Dan Slott.
He wrote the "Inhumanity" tie-in, Inhumanity: Superior Spider-Man. From 2013 to 2014, Gage co-wrote issues 14 - 23 of Bloodshot and H. A. R. D. Corps for Valiant Entertainment. In 2014 Gage and Dan Slott co-wrote two of the stories in the anthologized first issue of the relaunched Amazing Spider-Man, while their collaboration on the final arc of Superior Spider-Man ranked at #3 on the New York Times Paperback Graphic Books Best Seller List. In the same year and Angel & Faith artist Rebekah Isaacs took over the Buffy The Vampire Slayer title, beginning with Season 10; the first collection of that series charted at #10 on the New York Times Best Seller List for Paperback Graphic Books, while the second collection charted at #8 and the third at #10. He co-wrote Spider-Verse, wrote Spider-Geddon In 2016, with his wife Ruth, Gage contributed to the Eisner Award-winning Love Is Love anthology to benefit victims of the Pulse nightclub shooting and their families. Gage scripted the 2011 console video game Captain America: Super Soldier, which Chris Evans voiced.
Evans said the game inspired a number of the action scenes on the second Captain America movie. He wrote scripts for the mobile games Captain America: The Winter Soldier. and Iron Man 3: The Official Game Gage and Dan Slott are among the writers of the game Marvel's Spider-Man, devel
Gary Friedrich
Gary Friedrich was an American comic book writer best known for his Silver Age stories for Marvel Comics' Sgt. Fury and his Howling Commandos, and, in the following era, for the series The Monster of Frankenstein and for co-creating the supernatural motorcyclist the Ghost Rider and the supernatural hero the Son of Satan. Friedrich – no relation to fellow comics writer Mike Friedrich – was the first successful new writer brought into the burgeoning 1960s Marvel after fellow Missourian Roy Thomas. Succeeding Thomas on Sgt. Fury and the art team of Dick Ayers and John Severin produced a World War II series for the Vietnam years, combining militaristic camaraderie and gung ho humor with a regretful sense of war as a terrible last resort; the humanistic military drama was noted for its semi-anthological "The" stories, such as "The Medic" and "The Deserter". Friedrich went on to write a smattering of superhero stories for Marvel, Atlas/Seaboard Comics and Topps Comics, left the comics industry. In 2011, he lost a federal lawsuit over a claim of ownership in the character Ghost Rider, but in July 2014, three months after an appellate court reversed that decision, the parties said they had reached a settlement.
Gary Friedrich was born on August 21, 1943, the son of Jerry and Elsie Friedrich. He was born and raised in Jackson, where he graduated from Jackson High School in 1961, he was a member of the marching band. As a teen, he was a friend of future Marvel Comics writer and eventual editor-in-chief Roy Thomas. Friedrich worked at a record store in Cape Girardeau, Missouri after high school, in February 1964, obtained a job at Jackson's two weekly newspapers, which were being combined into a single twice-weekly. "I was working about 80 hours a week for $50", he recalled in 2001. "I wrote and laid out the entire newspaper. I was the whole editorial staff without any help, it was driving me crazy". Friedrich had gotten married the year before and by now had a young son, but, "I didn't have time for anything because I was working all the damn time." The marriage fell apart, "and that wasn't a major problem for a while because I was so damn busy and I was either working, drunk, or both", Friedrich said, alluding to the alcoholism from which he began recovering on "New Year's night in 1979".
When the newspaper ceased publication in late summer 1965, Friedrich began working a union job at a Cape Girardeau factory, installing heating elements in waffle irons. Roy Thomas, now a Marvel Comics staff writer in New York City, called his friend with the suggestion that freelance work might exist in the newly resurgent medium. Friedrich took a Greyhound bus the following day, stayed with Thomas and a fandom friend, Dave Kaler, in Manhattan's East Village. Shortly afterward and Thomas took an apartment on Bleecker Street in Greenwich Village; this was a time of transition between the beat movement and the hippie era, when the Village flourished as a creative mecca. "The Village was a neat place to be at that time. We went to the theater, to become the Fillmore East. I began to let my hair grow and become a real New York hippie", he recalled. After Thomas recommended Friedrich to Charlton Comics editor Dick Giordano, Friedrich began writing romance comics for that low-budget publisher, where many pros got early breaks.
"I did it with a great good sense of humor", Friedrich recalled. "I wrote things like'Tears in My Malted' and'Too Fat to Frug'...." With anonymous help and input from Thomas, Friedrich began writing superhero stories, beginning with his backup feature "The Sentinels" in Peter Cannon... Thunderbolt #54, he wrote the feature for two more issues before handing it off. Friedrich dialogued the debut and the next three stories of the Blue Beetle and drawn by Steve Ditko, in Captain Atom #83–86. Friedrich's last recorded Charlton story was "If I Had Three Wishes", penciled by Ditko, in Ghostly Tales #60. By this time Friedrich had begun writing Westerns for Marvel, including issues of Kid Colt, Outlaw. Friedrich contributed to the parody series Not Brand Echh, he began on Sgt. Fury and his Howling Commandos with #42 – co-scripted, as was the next issue, by Friedrich's Western partner, Sgt. Fury penciler Ayers; the next issue, a flashback to the Howlers' first mission, was co-scripted by Thomas. Following this inauspicious beginning came the first of several Friedrich "The" stories, "The War Lover" – a shaded exploration of a trigger-happy soldier and the line drawn in war, between killing and murder.
Daring for the time, when majority public sentiment still supported the undeclared Vietnam War, the story balanced present-day issues while demonstrating that in what is referred to as "a just war", a larger morality prevails. His story for issue #72 was rewritten and redrawn due to concerns about possible copyright infringement of the film Casablanca. Friedrich continued through #83, with the late part of this run having reprint issues between new stories, again for the even-numbered issues from #94–114. Issue # 100 featured a fictional reunion gala. Friedrich launched the 19-issue World War II United States Marines series Capt. Savage and his Leatherneck Raiders (Jan. 1968 –
Frank Springer
Frank Springer was an American comics artist best known for Marvel Comics' Dazzler and Nick Fury, Agent of S. H. I. E. L. D.. As well, in collaboration with writer Michael O'Donoghue, Springer created one of the first adult-oriented comics features on American newsstands: "The Adventures of Phoebe Zeit-Geist" in the magazine Evergreen Review. A multiple winner of the National Cartoonists Society's Reuben Award, Springer was a president of the Society and a founding member of the Berndt Toast Gang, its Long Island chapter. Frank Springer was born in the Jamaica neighborhood of the New York City borough of Queens, moved with his family to nearby Nassau County, Long Island when he was nearly 10 years old, he graduated from Malverne High School in Malverne, New York, in 1948. He had a sister, who predeceased him. Springer, whose art influences included adventure comic strips and magazine-cover illustrations by Norman Rockwell, Dean Cornwell, J. C. Leyendecker, went on to earn an art degree from Syracuse University in 1952, after being drafted that year, served with the U.
S. Army through 1954. Stationed at Fort Dix, he spent his service, he said, "drawing pictures, drawing charts and that kind of thing.... I got a lot of training in the army in doing sports cartoons with a deadline and so on." Following his discharge, he began freelancing in New York City, soon becoming assistant to cartoonist George Wunder on the comic strip Terry and the Pirates, on which Wunder had succeeded creator Milt Caniff. Springer recalled in 2008, I was a line artist and it was through one of the freelance jobs that I learnt that George Wunder, who wrote and drew Terry and the Pirates, was looking for an assistant and I was given his number. I called him up, was hired and I stayed there for five years doing some backgrounds and foregrounds, answering his mail, coloring the Sunday strips; that was good training, watching a professional churning this stuff out, day after day, writing the synopsis writing the strips and so on. I loved the strips. I grew up on the Pirates, Flash Gordon and Prince Valiant.
There were a lot of adventure strips at that time, Buck Rogers, Smilin’ Jack and all of that, so I leaned toward all of that rather than the gag cartoons. Leaving in 1960 to freelance again, Springer entered the comic-book industry two years to draw Dell Comics' Brain Boy, starring a telepathic government agent, in Four Color Comics #1330. Springer drew the spin-off series' five-issue run of #2-6. During the remainder of the 1960s and early 1970s period fans and historians call the Silver Age of comic books, Springer became a prolific penciler-inker across much of Dell's line, drawing issues of Ghost Stories, Movie Classic, Tales from the Tomb, Toka: Jungle King, the movie/TV tie-in series The Big Valley, Charlie Chan, Iron Horse and The New People, among other comics, he debuted at DC Comics with two comics the same month: penciling Batman #197, both penciling and inking the lead feature, "Dial H for Hero", in House of Mystery #171. Springer went on to draw Our Army at War. After that, he found more regular work at rival Marvel Comics, where he debuted on Nick Fury, Agent of S.
H. I. E. L. D. #4, a fill-in issue of writer-artist Jim Steranko's signature series. Springer penciled and inked an origin-story retelling sandwiched between Steranko's final two issues. Springer succeeded the departed Steranko, drawing issues #6-11, with Steranko providing the covers of #6-7. Springer additionally drew Captain Marvel #13-14 and a Hercules back-up story in Ka-Zar #1 before concentrating on his ongoing Dell work until 1973, when that company ceased publication. Springer returned to draw a handful of stories for Marvel's black-and-white horror-comics magazines in 1974 and 1975, sprang from title to title, penciling sporadic issues of The Avengers, Captain America, The Spectacular Spider-Man, Spider-Woman, among others, inked many Marvel and DC comics, he became regular inker of Marvel's The Savage She-Hulk over penciler Mike Vosburg on issues #10-22. He penciled a longer run of the superheroine series Dazzler from #4-31 and 35, plus the Dazzler stories in What If...? #34 and Marvel Graphic Novel #12.
Springer, wrote Dazzler #27-28 and co-wrote with Jim Shooter #29. Springer's other 1980s comics include issues of Marvel's Conan the Barbarian and the company's toy-license titles based on the properties G. I. Joe and Transformers. After a brief hiatus from comics, he returned to co-ink, with Michael Weaver, Claypool Comics' Phantom of Fear City #11-12; this was his last confirmed work in comics except for a single-page profile of the DC character Perry White in Superman Secret Files #1. Miscellanea includes the Atlas/Seaboard series Cougar in the 1970s, Continuity Comics' Armor in the 1990s. With the dark-humor writer-provocateur Michael O'Donoghue, Springer from 1965 to 1966 drew "The Adventures of Phoebe Zeit-Geist" in the magazine Evergreen Review; the feature was one of the first mature-audience comics in the U. S. following the French feature "Barbarella" in Evergreen Review in 1965. Others in the vein included Playb
Marvel Super-Heroes (comics)
Marvel Super-Heroes is the name of several comic book series and specials published by Marvel Comics. The first was the one-shot Marvel Super Heroes Special #1 produced as a tie-in to The Marvel Super Heroes animated television program, reprinting Daredevil #1 and The Avengers #2, plus two stories from the 1930s-1940s period fans and historians call Golden Age of comic books: "The Human Torch and the Sub-Mariner Meet", the first Marvel story by future editor-in-chief Stan Lee, the two-page text piece "Captain America Foils the Traitor's Revenge"; this summer special was a 25 ¢ relative to the typical 12 ¢ comics of the times. The first ongoing series of this name began as Fantasy Masterpieces a standard-sized, 12¢ anthology reprinting "pre-superhero Marvel" monster and sci-fi/fantasy stories. With issue #3, the title was expanded to a 25-cent giant reprinting a mix of those stories and Golden Age superhero stories from Marvel's 1940s iteration as Timely Comics. Fantasy Masterpieces ran 11 issues before being renamed Marvel Super-Heroes with #12.
While continuing with the same mix of reprint material, this first volume of Marvel Super-Heroes began showcasing a try-out feature as each issue's lead. This encompassed solo stories of such supporting characters as Medusa of the Inhumans, as well as the debuts of Captain Marvel, the Phantom Eagle and the Guardians of the Galaxy; the Spider-Man story drawn by Ross Andru in issue #14 was planned as a fill-in issue of The Amazing Spider-Man but was used here when that title's regular artist, John Romita Sr. recovered more than anticipated from a wrist injury. Andru would become the regular artist on The Amazing Spider-Man several years later. Under either name, this series' Golden Age reprints represented the newly emerging comic-book fandom's first exposure to some of the earliest work of such important creators as Jack Kirby, Bill Everett, Carl Burgos, to such long-unseen and unfamiliar characters as the Whizzer and the Destroyer. Fantasy Masterpieces #10 reprinted the entirety of the full-length All-Winners Squad story from the All Winners Comics #19.
Fantasy Masterpieces #11 re-introduced the work of the late artist Joe Maneely, a star of 1950s comics who died young in a train accident. Marvel Super-Heroes became an all-reprint magazine beginning with #21, a regular-sized comic at the then-standard 20-cent price with #32; this reprint series lasted through issue #105. A second series titled Fantasy Masterpieces ran from #1-14, reprinting truncated versions of the 1968 Silver Surfer series, Adam Warlock stories from Strange Tales and Warlock. In September 1979, the Marvel UK series The Mighty World of Marvel was retitled Marvel Superheroes after a brief run under the title Marvel Comic; the name itself reappeared, without a hyphen, as part of the title of a 12-issue, company-wide crossover miniseries Marvel Super Heroes Secret Wars. The 1985-1986 sequel was titled Secret Wars II. Next came the 15-issue Marvel Super-Heroes vol. 2, published quarterly and which printed "inventory stories", those assigned to serve as emergency filler. The first issue featured a Brother Voodoo story drawn by Fred Hembeck in a dramatic style rather than his usual "cartoony" art.
The final series of this title was the six-issue Marvel Super-Heroes Megazine, a 100-page book reprinting 1970s and 1980s Fantastic Four, Iron Man and Hulk stories in each issue. Marvel Super-Heroes at the Unofficial Handbook of Marvel Comics Creators
Marv Wolfman
Marvin Arthur Wolfman is an American comic book and novelization writer. He worked on Marvel Comics's The Tomb of Dracula, for which he and artist Gene Colan created the vampire-slayer Blade, DC Comics's The New Teen Titans and the Crisis on Infinite Earths limited series with George Pérez. Marv Wolfman was born in the son of police officer Abe and housewife Fay, he has Harriet, 12 years older. When Wolfman was 13, his family moved to Flushing, Queens, in New York City, where he attended junior high school, he went in Manhattan, hoping to become a cartoonist. Wolfman is Jewish. Marvin Wolfman was active in fandom before he began his professional comics career at DC Comics in 1968. Wolfman was one of the first to publish Stephen King, with "In A Half-World of Terror" in Wolfman's horror fanzine Stories of Suspense #2; this was a revised version of King's first published story, "I Was a Teenage Grave Robber", serialized over four issues of the fanzine Comics Review that same year. Wolfman's first published work for DC Comics appeared in Blackhawk No. 242.
He and longtime friend Len Wein created the character Jonny Double in Showcase No. 78 scripted by Wolfman. The two co-wrote "Eye of the Beholder" in Teen Titans No. 18, which would be Wein's first professional comics credit. Neal Adams was called upon to rewrite and redraw a Teen Titans story, written by Wein and Wolfman; the story, titled "Titans Fit the Battle of Jericho!", would have introduced DC's first African American superhero, but was rejected by publisher Carmine Infantino. The revised story appeared in Teen Titans No. 20. Wolfman and Gil Kane created an origin for Wonder Girl in Teen Titans No. 22 which introduced the character's new costume. He and artist Bernie Wrightson co-created Destiny in Weird Mystery Tales No. 1, a character which would be used in the work of Neil Gaiman. In 1972, Wolfman moved to Marvel Comics as a protégé of then-editor Roy Thomas; when Thomas stepped down, Wolfman took over as editor in charge of the publisher's black-and-white magazines finally the color line of comics.
Wolfman said in 1981. "No one wanted to commit themselves to the staff." He added, "We used to farm the books out to Harry Chester Studios and whatever they pasted up, they pasted up. I formed the first production staff, hired the first layout people, paste-up people." Wolfman stepped down as editor-in-chief. He and artist Gene Colan crafted The Tomb of Dracula, a horror comic that became "one of the most critically-acclaimed horror-themed comic books ever". During their run on this series, they created Blade, a character who would be portrayed by actor Wesley Snipes in a film trilogy. Wolfman co-created Bullseye in Daredevil No. 131. He and artist John Buscema created Nova in that character's eponymous first issue. Wolfman and Gil Kane adapted Edgar Rice Burroughs' Barsoom concepts into comics in Marvel's John Carter, Warlord of Mars series. Wolfman wrote 14 issues of Marvel Two-in-One starting with issue No. 25. The Spider-Woman series was launched in April 1978 by artist Carmine Infantino; as the first regular writer on Spider-Woman, he redesigned the character, giving her a human identity as Jessica Drew.
Wolfman succeeded Len Wein as writer in his first issue, No. 182, had Peter Parker propose marriage to Mary Jane Watson, in the following issue. Wolfman and Keith Pollard introduced. 194. In 1978, Wolfman and artist Alan Kupperberg took over the Howard the Duck syndicated newspaper comic strip. While writing the Fantastic Four and John Byrne introduced a new herald for Galactus named Terrax in No. 211. A Godzilla story by Wolfman and Steve Ditko was changed into a Dragon Lord story published in Marvel Spotlight vol. 2 No. 5. The creature that the Dragon Lord battled was intended to be Godzilla but since Marvel no longer had the rights to the character the creature was modified to a dragon called The Wani. In 1980, Wolfman returned to DC after a dispute with Marvel. Teaming with penciller George Pérez, Wolfman relaunched DC's Teen Titans in a special preview in DC Comics Presents No. 26. The New Teen Titans added the Wolfman-Pérez creations Raven and Cyborg to the old team's Robin, Wonder Girl, Kid Flash, Beast Boy.
The series became DC's first new hit in years. Wolfman wrote a series of New Teen Titans drug awareness comic books which were published in cooperation with The President's Drug Awareness Campaign in 1983–1984; the first was pencilled by Pérez and sponsored by the Keebler Company, the second was illustrated by Ross Andru and underwritten by the American Soft Drink Industry, the third was drawn by Adrian Gonzales and financed by IBM. In August 1984, a second series of The New Teen Titans was launched by Pérez. Other projects by Wolfman for DC during the early 1980s included collaborating with artist Gil Kane on a run on the Superman feature in Action Comics. During their collaboration on that series and Sta
