Wally West is a fictional superhero that appears in American comic books published by DC Comics. He was the first Kid Flash, his power consists of superhuman speed. He made his first appearance as Kid Flash in Flash #110 in 1959. Barry Allen dies in the crossover Crisis on Infinite Earths #8 and Wally took up the mantle of the Flash in Crisis on Infinite Earths #12, holding that role until 2009 in DC's main lineup, his physical appearance is a redhead with green eyes and is portrayed with a lighthearted and caring personality. Wally has an important role as the Flash in DC Rebirth. In his debut as the Flash, Wally wears a distinct red and gold costume, traditionally storing the costume compressed inside a ring and creating a costume directly out of Speed Force energy, he is the fastest character. In DC Rebirth, the Flash wears a red and silver costume and generates blue or white lightning to show that the Speed Force is inside him more than before. In 2011, IGN ranked Wally West #8 on their list of the "Top 100 Super Heroes of All Time", ahead of any other speedsters, stating that "Wally West is one of the DCU's greatest heroes if he does not rank as the original Scarlet Speedster".
In 2013, Wally West placed 6th on IGN's Top 25 Heroes of DC Comics. Wally West has appeared in many forms of media, including the Justice League cartoons, in which he is voiced by Michael Rosenbaum, he appeared in the 2010 TV show Young Justice as Kid Flash, voiced by Jason Spisak, as the Flash in Justice League animated features such as Justice League: Crisis on Two Earths, voiced by Josh Keaton. Wally made his live-action debut in the second season of The Flash, as portrayed by Keiynan Lonsdale. In this version Wally is the younger brother of Iris West-Allen, he was part of the main cast of the third season of Legends of Tomorrow. Wallace Rudolph West, or Wally West, was created by John Broome and Carmine Infantino and introduced in The Flash #110; the character was the nephew of the existing Flash character's girlfriend and wife, Iris West. During a visit to the Central City police laboratory where Barry Allen worked, the freak accident that gave Allen his powers repeated itself, bathing Wally in electrically charged chemicals.
Now possessing the same powers as the Flash, West donned a smaller-sized copy of Barry Allen's Flash outfit and became the young crimefighter Kid Flash. Wally had a strained relationship with his own parents and looked to his beloved aunt and uncle for moral support and guidance, he operated as a lone superhero in his hometown, Blue Valley, when not partnering with the Flash. This costume was altered to one that would make him more visually distinctive; the original red was replaced with a costume, yellow with red leggings and lightning bolt emblem. The ear pieces remained yellow, but became red in issues. In addition to his appearances within the Flash title, the character was a founding member of the newly created Teen Titans, where he became friends with Dick Grayson known as Robin known as Nightwing. Sometime Wally contracted a mysterious illness that affected his entire bodily system; this could have been caused by one of two things, Wally was a boy when the electrified chemicals altered his body, still developing and maturing or when his was struck with a weapon during his time with the Teen Titans.
As such, as Wally's body matured, his altered body chemistry was killing him. During the 1985–1986 miniseries Crisis on Infinite Earths, Barry gave his life to save the Earth when destroying the antimatter cannon, aimed at Earth. Unaware of this, Wally was coaxed by Jay Garrick into assisting the heroes against the Anti-Monitor's forces. During the final battle with the Anti-Monitor, Wally was struck by a blast of anti-matter energy, which cured his disease. In the aftermath of the conflict, Wally took on his fallen mentor's identity; the decision by DC Comics' editorial staff to radically change their fictional universe saw a number of changes to the status quo of the character. Wally West became the new Flash, but less powerful than his predecessor. For example, instead of being able to reach the speed of light, he could run just faster than that of sound; the character had to eat vast quantities of food to maintain his metabolism. Those changes were followed up and 1987 saw the publication of a new Flash comic written by Mike Baron.
These stories focused not the state of Wally's wealth. West won a lottery, bought a large mansion, began dating beautiful women; the character's finances and luck continued to wane until Flash vol. 2, #62, when his fortunes stabilized. The 1990s saw further modifications to the look of the character, with a modified uniform appearing in 1991; this modified costume altered the visual appearance of the traditional Flash costume, with a belt made of two connecting lightning bolts meeting in a "V" at the front, removal of the wings from the top of his boots, a change in the material of his costume, opaque lenses added to the eyes of his cowl. This modified design utilized elements of the costume designed by artist Dave Stevens for the live action television series The Flash. A difficult encounter was made with the first Reverse-Flash. Thawne had been killed by Barry Allen shortly before Allen'
Sheldon Mayer was an American comics artist and editor. One of the earliest employees of Major Malcolm Wheeler-Nicholson's National Allied Publications, Mayer produced all of his comics work for the company that would become known as DC Comics, he is among those credited with rescuing the unsold Superman comic strip from the rejection pile. Mayer was inducted into the comic book industry's Jack Kirby Hall of Fame in 1992 and the Will Eisner Comic Book Hall of Fame in 2000. Mayer is not to be confused with fellow Golden Age comics professional Sheldon Moldoff. Mayer was born in New York, to a Jewish family. Sheldon Mayer's career in the days before comic books was a diverse one, he worked as writer and artist on "scores of titles" for a juvenile audience circa 1932–33, before joining the Fleischer animation studios as an "opaquer" in 1934. He began working for National Allied Publications shortly after it was founded, in 1935, writing and drawing stories and "thus becoming one of the first contributors to comic books."Between 1936 and 1938, Mayer worked for Dell Comics, producing illustrations, house advertisements and covers for titles including Popular Comics, The Comics and The Funnies.
In 1936, he joined the McClure Syndicate "as an editor working for comics industry pioneer M. C. Gaines." While working for the McClure syndicate, Mayer came across Jerry Siegel and Joe Shuster's unsold Superman comics strip, which he "immediately fell in love with." He recalled in a 1985 book. I was singing praises so much that in 1938 Gaines took the strip up to Harry Donenfeld, looking for original material to run in his new title, Action Comics," where the soon-to-be iconic character debuted as the lead feature of the first issue. Action Comics editor Vin Sullivan is among those credited with discovering Superman. Mayer said, I was crazy about Superman for the same reason I liked The Scarlet Pimpernel and The Desert Song; the mystery man and his alter ego are two distinct characters. The Scarlet Pimpernel's alter ego was scared of the sight of blood, a hopeless dandy: no one would have suspected he was a hero; the same goes for Superman. In 1939, "Gaines left McClure to enter into a partnership with," and Mayer went with him, becoming the first editor of the All-American line run as a separate entity from National/DC, publishers of Superman and Batman.
Mayer edited and participated in the creation of - among others - the Flash, Green Lantern, Wonder Woman and All-Star Comics, home to the Justice Society of America. Comics historian Les Daniels noted that "This was a great notion, since it offered readers a lot of headliners for a dime, the fun of watching fan favorites interact."Among his non-superhero work, Mayer assisted with lettering and logo creation on several All-American titles, drew a number of covers for the "Mutt and Jeff" reprints appearing in the companies flagship title All-American Comics. Having created the semi-autobiographical strip "Scribbly", "the trials of a novice cartoonist," for Dell Comics in 1936, where the feature appeared in The Funnies #2–29 and Popular Comics #6–9), Mayer moved "Scribbly" to All-American Publications in 1939. Soon afterward, the featured included the supporting character of "Ma" Hunkel, who would go on to become the Golden Age incarnation of the Red Tornado, with Mayer writing and inking the renamed Scribbly and the Red Tornado for All-American Comics between 1941 and 1944 when All-American merged with National.
Mayer launched several funny animal titles including Funny Stuff, Animal Antics, Funny Folks. Mayer retired from editing in 1948, "to devote himself full-time to cartooning", he began to write and draw a number of humor comics for National, including the features The Three Mouseketeers, Leave It to Binky, a teenage humor book, Sugar and Spike. Leave It to Binky debuted in February 1948 while Scribbly received its own title in August 1948, he created the funny-animal backup feature "Doodles Duck", starring a dimwitted angered instigator and his smarter, calmer nephew Lemuel, in Animal Antics #40. This is unrelated to Howie Post's early DC creation Doodles Duck. Sugar and Spike proved to be one of Mayer's longest-lasting strips, starring two babies who could communicate in baby talk that adults could not understand. Mayer signed the stories he drew, something rare at National Periodical Publications in the late 1950s when Sugar and Spike debuted. In the 1970s, when failing eyesight limited his drawing ability, he continued to work for National/DC, contributing scripts to the companies horror and mystery magazines, including most notably House of Mystery, House of Secrets and Forbidden Tales of Dark Mansion.
With artist Tony DeZuniga, he co-created the "Black Orchid" feature which ran in Adventure Comics #428-430 in 1973. Mayer wrote and drew several "Rudolph the Red-Nosed Reindeer" treasuries starting in 1972; these were published as Limited Collectors' Edition C–24, C–33, C–42, C–50 and All-New Collectors' Edition C–53, C–60. Additionally, one digest format edition was published as The Best of DC #4. In 1978, Mayer wrote and drew a "How to Draw Batman Booklet" as part of an ongoing debate with DC editor Paul Levitz regarding continuity in comic books. In the 50th anniversary publication Fifty Who Made DC Great, Mayer is cited as still writing and drawing "for the company that first published his great discovery, forty
Mary Marvel is a fictional character superheroine published by Fawcett Comics and now owned by DC Comics. Created by Otto Binder and Marc Swayze, she first appeared in Captain Marvel Adventures #18; the character is a member of the Marvel/Shazam Family of heroes associated with the superhero Shazam/Captain Marvel. In the traditional Shazam! concept, Mary Marvel is the alter ego of teenager Mary Batson, twin sister of Captain Marvel's alter-ego, Billy Batson. Like her brother, Mary has been granted the power of the wizard Shazam, has but to speak the wizard's name to be transformed into the superpowered Mary Marvel. Mary Marvel was one of the first female spin-offs of a major male superhero, predates the introduction of Superman's female cousin Supergirl by more than a decade. Following DC's licensing of the Marvel Family characters in 1972, Mary Marvel began appearing in DC Comics, co-starring in DC series such as Shazam! and The Power of Shazam!. Two limited series from 2007–2009, Countdown and Final Crisis, feature an evil version of Mary Marvel having acquired powers from first Shazam Family archenemy Black Adam and further from Apokoliptian supervillain god Desaad.
In current continuity following DC's 2011 New 52 reboot, Mary Bromfield appears as one of Billy Batson's foster siblings, can share Billy's power by saying "Shazam" to become an adult superhero similar to the traditional Mary Marvel. Mary Bromfield and Mary Marvel both made their cinematic debut in the film Shazam!, played by Grace Fulton and Michelle Borth, respectively. Mary Marvel was introduced into Fawcett Comics' Marvel Family franchise a year after a young male counterpart, Captain Marvel Jr. made his debut. Artist Marc Swayze based Mary Marvel's personality upon American actress Judy Garland. Mary was introduced in Captain Marvel Adventures #18 as Mary Bromfield, a girl who discovers she is the long lost sister of Captain Marvel's alter ego Billy Batson. Soon after her introduction, Mary Marvel headlined Wow Comics, by 1945 had her own Mary Marvel book, she appeared in The Marvel Family book with Captain Marvel and Captain Marvel Jr. In her solo adventures, Mary soon gained sidekicks in her kindly Uncle Marvel, not her uncle nor a Marvel, his nonpowered niece, Freckles Marvel.
Uncle Marvel was made the Marvel Family’s manager, served as Mary’s guardian. Just before the Marvel Family's adventures ceased publication in 1953, Mary Marvel’s costume and appearance were altered: the neckline of her blouse was lowered her hair was shortened, she now wore yellow slippers instead of the customary Marvel Family yellow boots. After Fawcett canceled their superhero comics line because of a copyright infringement lawsuit with National Comics, Mary Marvel hosted a puzzle page drawn by C. C. Beck on page 33 of Mysteries of Unexplored World issue 1. After that and her teammates went unseen for years. In 1972, DC Comics licensed the rights to the Marvels, revived them in a new comic series called Shazam!. Mary and Junior appeared in both new stories and reprints of their classic stories. According to Shazam #1 the Sivanas had put the Marvel family into suspended animation for 20 years, along with themselves and much of the supporting cast; the comic book was canceled by 1978, the Shazam!
Stories were relegated to Adventure Comics. After the 1985 Crisis on Infinite Earths miniseries, Captain Marvel’s origin was rebooted in the Shazam: The New Beginning miniseries in 1987; the Marvel Family was written out of the Shazam! mythos, neither Mary Batson nor Mary Marvel appeared in DC Comics for several years. Mary Batson was reintroduced in The Power of Shazam! Graphic novel by Jerry Ordway in 1994. An ongoing series followed in the next year, Mary Marvel was introduced into the modern DC Universe with a new origin story in Power of Shazam! #4. When calling upon her powers, Mary is transformed into an adult resembling her late mother. Mary shares the title of Captain Marvel with her brother. Various characters in the series distinguish the two by gender when addressing them, addressing Mary as "the lady Captain Marvel". At first, Mary’s costume was the same as her original one. However, beginning with Power of Shazam! #28, Mary donned a white costume to distinguish herself from her brother.
The color change was retained for most future uses of the character during the next decade. After the Power of Shazam! Series ended in 1999, Mary’s superpowered alter ego was rechristened "Mary Marvel." In 2002 she had lunch with Supergirl in "The Clubhouse of Solitude", in the spoof graphic anthology "Bizarro Comics". Since she has guest-starred in both Superman and Supergirl comics. In 2003, Mary became a member of an offshoot of the Justice League known as the Super Buddies in the Formerly Known as the Justice League miniseries, which juxtaposed her Golden Age-era personality with the modern-day world for comic effect. Mary Marvel appears in several stories relating to DC's 2005–2006 Infinite Crisis crossover. Mary appeared in DC's weekly limited series 52, with her most substantial appearance being in 52 #16 as the maid of honor at the wedding of Black Adam and Isis, two Shazam!-related characters. She was defeated by Black Adam during World War III along with the other Marvels. In 2006, DC began a revamp of the Shazam! mythos with Judd Winick and Howard Porter's Trials of Shazam! limited series
The Flash is the name of several superheroes appearing in American comic books published by DC Comics. Created by writer Gardner Fox and artist Harry Lampert, the original Flash first appeared in Flash Comics #1. Nicknamed the "Scarlet Speedster", all incarnations of the Flash possess "super speed", which includes the ability to run and think fast, use superhuman reflexes, violate certain laws of physics, thus far, at least four different characters—each of whom somehow gained the power of "the speed force"—have assumed the mantle of the Flash in DC's history: college athlete Jay Garrick, forensic scientist Barry Allen, Barry's nephew Wally West, Barry's grandson Bart Allen. Each incarnation of the Flash has been a key member of at least one of DC's premier teams: the Justice Society of America, the Justice League, the Teen Titans; the Flash is one of DC Comics' most popular characters and has been integral to the publisher's many reality-changing "crisis" storylines over the years. The original meeting of the Golden Age Flash Jay Garrick and Silver Age Flash Barry Allen in "Flash of Two Worlds" introduced the Multiverse storytelling concept to DC readers, which would become the basis for many DC stories in the years to come.
Like his Justice League colleagues Wonder Woman and Batman, the Flash has a distinctive cast of adversaries, including the various Rogues and the various psychopathic "speedsters" who go by the names Reverse-Flash or Zoom. Other supporting characters in Flash stories include Barry's wife Iris West, Wally's wife Linda Park, Bart's girlfriend Valerie Perez, friendly fellow speedster Max Mercury, Central City police department members David Singh and Patty Spivot. A staple of the comic book DC Universe, the Flash has been adapted to numerous DC films, video games, animated series, live-action television shows. In live action, Barry Allen has been portrayed by Rod Haase for the 1979 television special Legends of the Superheroes, John Wesley Shipp in the 1990 The Flash series and Grant Gustin in the 2014 The Flash series, by Ezra Miller in the DC Extended Universe series of films, beginning with Batman v Superman: Dawn of Justice. Shipp portrays a version of Jay Garrick in the 2014 The Flash series.
The various incarnations of the Flash feature in animated series such as Superman: The Animated Series, Justice League, Batman: The Brave and the Bold and Young Justice, as well as the DC Universe Animated Original Movies series. The Flash first appeared in the Golden Age Flash Comics #1, from All-American Publications, one of three companies that would merge to form DC Comics. Created by writer Gardner Fox and artist Harry Lampert, this Flash was Jay Garrick, a college student who gained his speed through the inhalation of hard water vapors; when re-introduced in the 1960s Garrick's origin was modified gaining his powers through exposure to heavy water. Jay Garrick was a popular character in the 1940s, supporting both Flash Comics and All-Flash Quarterly. With superheroes' post-war decline in popularity, Flash Comics was canceled with issue #104 which featured an evil version of the Flash called the Rival; the Justice Society's final Golden Age story ran in All Star Comics #57. In 1956, DC Comics revived superheroes, ushering in what became known as the Silver Age of comic books.
Rather than bringing back the same Golden Age heroes, DC rethought them as new characters for the modern age. The Flash was the first revival, in the tryout comic book Showcase #4; this new Flash was, a police scientist who gained super-speed when bathed by chemicals after a shelf of them was struck by lightning. He adopted the name The Scarlet Speedster after reading a comic book featuring the Golden Age Flash. After several more appearances in Showcase, Allen's character was given his own title, The Flash, the first issue of, #105. Barry Allen and the new Flash were created by writers Robert Kanigher and John Broome and cartoonist Carmine Infantino; the Silver Age Flash proved popular enough that several other Golden Age heroes were revived in new incarnations. A new superhero team, the Justice League of America, was created, with the Flash as a main, charter member. Barry Allen's title introduced a much-imitated plot device into superhero comics when it was revealed that Garrick and Allen existed on fictional parallel worlds.
Their powers allowed them to cross the dimensional boundary between worlds, the men became good friends. Flash of Two Worlds was the first crossover in which a Golden Age character met a Silver Age character. Soon, there were crossovers between the Justice Society. Allen's adventures continued in his own title until the event of Crisis on Infinite Earths; the Flash ended as a series with issue #350. Allen's life had become confused in the early 1980s, DC elected to end his adventures and pass the mantle on to another character. Allen died heroically in Crisis on Infinite Earths #8. Thanks to his ability to travel through time, he would continue to appear oc
Humour spelt as humor, is the tendency of experiences to provoke laughter and provide amusement. The term derives from the humoral medicine of the ancient Greeks, which taught that the balance of fluids in the human body, known as humours, controlled human health and emotion. People of all ages and cultures respond to humour. Most people are able to experience humour—be amused, smile or laugh at something funny—and thus are considered to have a sense of humour; the hypothetical person lacking a sense of humour would find the behaviour inducing it to be inexplicable, strange, or irrational. Though decided by personal taste, the extent to which a person finds something humorous depends on a host of variables, including geographical location, maturity, level of education and context. For example, young children may favour slapstick such as Punch and Judy puppet shows or the Tom and Jerry cartoons, whose physical nature makes it accessible to them. By contrast, more sophisticated forms of humour such as satire require an understanding of its social meaning and context, thus tend to appeal to a more mature audience.
Many theories exist what social function it serves. The prevailing types of theories attempting to account for the existence of humour include psychological theories, the vast majority of which consider humour-induced behaviour to be healthy; the benign-violation theory, endorsed by Peter McGraw, attempts to explain humour's existence. The theory says'humour only occurs when something seems wrong, unsettling, or threatening, but seems okay, acceptable or safe'. Humour can be used as a method to engage in social interaction by taking away that awkward, uncomfortable, or uneasy feeling of social interactions. Others believe that'the appropriate use of humour can facilitate social interactions'; some claim. Author E. B. White once said, "Humor can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind." Counter to this argument, protests against "offensive" cartoons invite the dissection of humour or its lack by aggrieved individuals and communities.
This process of dissecting humour does not banish a sense of humour but begs attention towards its politics and assumed universality. Arthur Schopenhauer lamented the misuse of humour to mean any type of comedy. However, both humour and comic are used when theorising about the subject; the connotations of humour as opposed to comic are said to be that of response versus stimulus. Additionally, humour was thought to include a combination of ridiculousness and wit in an individual; the French were slow to adopt the term humour. Non-satirical humour can be termed droll humour or recreational drollery; as with any art form, the acceptance of a particular style or incidence of humour depends on sociological factors and varies from person to person. Throughout history, comedy has been used as a form of entertainment all over the world, whether in the courts of the Western kings or the villages of the Far East. Both a social etiquette and a certain intelligence can be displayed through forms of wit and sarcasm.
Eighteenth-century German author Georg Lichtenberg said that "the more you know humour, the more you become demanding in fineness." Western humour theory begins with Plato, who attributed to Socrates in the Philebus the view that the essence of the ridiculous is an ignorance in the weak, who are thus unable to retaliate when ridiculed. In Greek philosophy, Aristotle, in the Poetics, suggested that an ugliness that does not disgust is fundamental to humour. In ancient Sanskrit drama, Bharata Muni's Natya Shastra defined humour as one of the nine nava rasas, or principle rasas, which can be inspired in the audience by bhavas, the imitations of emotions that the actors perform; each rasa was associated with a specific bhavas portrayed on stage. The terms comedy and satire became synonymous after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Arabic writers and Islamic philosophers such as Abu Bischr, his pupil Al-Farabi, Persian Avicenna, Averroes.
Due to cultural differences, they disassociated comedy from Greek dramatic representation, instead identified it with Arabic poetic themes and forms, such as hija. They viewed comedy as the "art of reprehension" and made no reference to light and cheerful events or troublesome beginnings and happy endings associated with classical Greek comedy. After the Latin translations of the 12th century, the term comedy thus gained a new semantic meaning in Medieval literature. Mento star Lord Flea, stated in a 1957 interview that he thought that: "West Indians have the best sense of humour in the world. In the most solemn song, like Las Kean Fine, which tells of a boiler explosion on a sugar plantation that killed several of the workers, their natural wit and humour shine though." Confucianist Neo-Confucian orthodoxy, with its emphasis on ritual and propriety, has traditionally looked down upon hu
H. G. Peter
Harry George Peter cited as H. G. Peter, was a newspaper illustrator and cartoonist known for his work on the Wonder Woman comic book and for Bud Fisher of the San Francisco Chronicle. Harry George Peter was born in California, in 1880, the third of three children. Parents Louis and Louisa Peter were born in France, his father worked as a tailor. At the age of twenty he drew newspaper illustrations under the name H. G. Peter, while answering to the nicknames "Harry" or "Pete". Working for the San Francisco Chronicle, he met Adonica Fulton, a staff artist for the San Francisco Bulletin who had studied at the Mark Hopkins Institute of Art. After moving to New York together in 1907, their pen-and-ink stye illustration, influenced by Charles Dana Gibson, earned them editorial work from magazines like the New York American and Judge. In 1912 they married, his first work for comic books was through Lloyd Jacquet's comic shop, Inc. where he illustrated such features as the biography of General George C. Marshall in True Comics #4.
His first superhero was Man o' Metal in "Reg'lar Fellers Heroic Comics". His most lasting work came when the 61-year-old artist brought William Moulton Marston's Amazonian superheroine Wonder Woman to life on the pages of comic books in December 1941. Peter notably changed his Gibson technique to an Art Nouveau-influenced cartooning style for the new series. In April 1942, he opened his own studio at 130 W. 42nd Street in Manhattan. In March 1944, the success of the Wonder Woman comics and newspaper strip led to the opening of the Marston Art Studio at 331 Madison Avenue at 43rd Street; the fourteenth floor studio, one floor above Marston's office, was run by office executive Marjorie Wilkes Huntley, who contributed some inking and lettering. Joye Hummel went from being Marston's assistant to writing full scripts for the comic, the only other writer for Wonder Woman during the Golden Age. While Peter pencilled the stories and strips and inked the main figures, he was assisted by a series of female commercial artists who did background inking.
The staff included Helen Schepens as colorist, Jim and Margaret Wroten as letterers, with some lettering done by daughter-in-law, Louise Marston. Although Marston died in 1947, Peter continued with Wonder Woman until his death in 1958. Marston and Peter were peers and supporters of the suffragettes and feminists of the early 20th century. Marston — an extended family member to birth control activists Margaret Sanger and Ethel Byrne — wrote and taught in favor of equality for women, Peter and his wife Adonica Fulton drew editorial cartoons in supportive magazines, such as Judge, which featured "The Modern Woman" page from 1912 to 1917. Marston stated that he felt the intention of their work was a "psychological propaganda for the new type of woman who, I believe, should rule the world."In 1972, Ms. magazine compiled a hardcover collection reprinting the Golden Age Wonder Woman stories of Marston and Peter. Gloria Steinem selected the stories and wrote of them, "Wonder Woman symbolizes many of the values of the women's culture that Feminists are now trying to introduce into the mainstream: strength and self-reliance for women.
Wonder Woman was on the premiere issue cover of Ms. Magazine with the blurb "Wonder Woman for President", a direct reference to the "Wonder Woman For President" cover of Wonder Woman #7 by Marston and Peter. During this influential period, DC Comics returned Wonder Woman's costume and Amazon heritage in a focus closer to her 1940's beginnings; the 1975 TV series The New Adventures of Wonder Woman reflected the Ms. book's influence directly, setting itself in the World War II era, basing the animated opening credits on H. G. Peter panels reprinted in the collection. Trina Robbins became the first woman to draw Wonder Woman with her 1986 mini-series, The Legend of Wonder Woman, its visual style and storytelling are a direct homage to H. G. Peter and Marston; the cover to Wonder Woman #184 by Adam Hughes depicts his modern Wonder Woman meeting the H. G. Peter Wonder Woman of the 1940s; the book The Secret History of Wonder Woman by Harvard historian Professor Jill Lepore featured a panel of Wonder Woman by H.
G. Peter on its cover. "Harry G. Peter". Lambiek.net. 2017-08-23. Retrieved 2017-09-22. "Harry G. Peter". Comic Vine. Retrieved 2017-09-22
All-Flash published as All-Flash Quarterly, was a comic book magazine series published by All-American Publications and National Periodicals. The series was the first solo feature given to the comic book character The Flash, who appeared in the anthologies Flash Comics, All-Star Comics, Comic Cavalcade; the book ran for 32 issues from 1941 to 1947. The series was published on a quarterly basis before changing over to a bi-monthly schedule with issue #6; each issue contained several stories featuring The Flash, as well as minor back-up features like Hop Harrigan, Butch McLobster, The Super Mobster, Fat and Slat by cartoonist Ed Wheelan and, in issues, Ton-O-Fun by Flash co-creator Harry Lampert. The series debuted with a Summer 1941 cover date. Since the title Flash Comics was in use another name was needed for the series, so it was decided that a contest was to be held in which readers were encouraged to submit their own ideas for the title of the new series. Twenty-five dollars in cash prizes were offered to the four best names submitted, with $10.00 promised to the 1st-place winner of the contest.
To the first 500 who submitted a free copy of All-Star Comics #5 was offered. An advertisement for the contest appeared in the pages of All-Star Comics #4 stating "The Flash wins and becomes the next quarterly like Superman and Batman! Boys and girls! Here is a message from Gardner F. Fox and E. E. Hibbard, the author and artist of your favorite feature, the Flash!" The winner of the contest was announced in the pages of All-Star Comics #5, with an ad featuring the cover art for the first issue of All-Flash. Flash co-creator Gardner Fox wrote the bulk of the series, scripting the main feature in the first 24 issues. From issue #25 and on, the main Flash features in the book were scripted by writers Robert Kanigher and John Broome. Art duties for the series were handled by a host of contributors, like artist E. E. Hibbard, Harry Tschida, Lou Ferstadt, Martin Naydel, Lee Elias, Carmine Infantino; the series marked the first time writers Robert Kanigher and John Broome, artist Carmine Infantino worked on the Flash character.
Kanigher and Infantino would help create the Silver Age Flash, as well as his sidekick Kid Flash, who would in turn become the third incarnation of the character. All-Flash ended its run in 1947 with issue #32 The title returned in 2007 as a one-shot by writer Mark Waid and artists Karl Kerschl, Manuel Garcia, Joe Bennett, Daniel Acuna, with cover art by Josh Middleton and a variant cover by Bill Sienkiewicz; the one-shot served as a lead-in to Flash vol. 2 #231