1.
Namor
–
Namor the Sub-Mariner is a fictional character appearing in American comic books published by Marvel Comics. During that period, known to historians and fans as the Golden Age of Comic Books, Everett said the characters name was inspired by Samuel Taylor Coleridges poem, The Rime of the Ancient Mariner. Everett came up with Namor by writing down noble sounding names backwards, the first known comic book antihero, the Sub-Mariner has remained a historically important and relatively popular Marvel character. He has served directly with the Avengers, the Fantastic Four, the Invaders, the Defenders, the X-Men, and the Illuminati as well as serving as a foil to them on occasion. Namor the Sub-Mariner first appeared in April 1939 in the prototype for a planned giveaway comic titled Motion Picture Funnies Weekly, the only eight known samples among those created to send to theater owners were discovered in the estate of the deceased publisher in 1974. When the giveaway idea fell through, creator Bill Everett used the character for Marvel Comics #1, the final panel of the earlier, unpublished eight-page Sub-Mariner story had included a Continued Next Week box that reappeared, sans lettering, in an expanded 12-page story. The series Marvel Comics was retitled Marvel Mystery Comics with issue #2, in his first appearances Namor was an enemy of the United States. Comics historian Les Daniels noted that Namor was a freak in the service of chaos, although the Sub-Mariner acted like a villain, his cause had some justice, and readers reveled in his assaults on civilization. His enthusiastic fans werent offended by the carnage he created as he wrecked everything from ships to skyscrapers, everetts antihero would eventually battle Carl Burgos android superhero, the Human Torch, when in 1940 Namor threatened to sink the island of Manhattan underneath a tidal wave. When the U. S. entered World War II, Namor would aid the Allies of World War II against Adolf Hitler and the Axis powers. Supporting characters included Betty Dean, a New York City policewoman introduced in Marvel Mystery Comics #3, who was a steady companion, Namor starred in the Golden Age comic book Sub-Mariner Comics, published quarterly, then thrice-yearly, and finally bimonthly, from issues #1–32. A backup feature each issue starred the detective-superhero the Angel, along with many other Timely characters, Namor disappeared a few years after the end of World War II and the decline in popularity of superhero comics. Both these super-groups were built around the core of Namor, Captain America, the Sub-Mariner experienced a brief revival in the mid-1950s at Atlas Comics, the 1950s iteration of Marvel. Along with Captain America and the original Human Torch, he was revived in Young Men #24, soon afterward, Sub-Mariner Comics was revived with issues #33–42. During this time, Namora had her own spin-off series, a planned live-action television program starring Namor did not appear and the revival of the comic book series was cancelled a second time. Storm helps him recover his memory, and Namor immediately returns to his undersea kingdom – identified, for the first time in the Marvel canon, finding it destroyed from nuclear testing, Namor assumes his people are scattered and that he will never find them. He again becomes an antihero during this period, as two elements – a thirst for vengeance and a quest for identity – would dominate the Sub-Mariner stories of the 1960s. He was both a villain and a hero – striking against the race who destroyed his home
2.
Alex Schomburg
–
Alex A. Schomburg, born Alejandro Schomburg y Rosa, was an American commercial artist and comic-book artist and painter whose career lasted over 70 years. Alex Schomburg was born on May 10,1905 in Aguadilla, Puerto Rico, and moved to New York City in the early 1920s, where he began work as a commercial artist with three of his brothers. In 1928, the partnership ended and Schomburg found work with the National Screen Service, creating lantern slides. During the 1930s, in addition to working for the NSS, Schomburg freelanced Better Publications, producing interior line art for Thrilling Wonder Stories and his skill at drawing anything mechanical soon had him illustrating aviation covers for Flying Aces and electronic equipment for the Hugo Gernsback pulp Radio Craft. Schomburgs first science fiction-themed cover was for the September 1939 issue of Startling Stories, the following decade, Schomburg freelanced primarily for Timely Comics, the 1940s forerunner of Marvel, displaying his talent for slam-bang action tableau. He mastered the use of the airbrush, signing many of his airbrushed covers Xela, Schomburg drew between five and six hundred covers during this Golden Age of Comic Books. In 1977, Schomburg and a few of his fellow Golden Age comic book artists collaborated on the Invaders Annual #1, Schomburg penciled and inked a 6-page chapter featuring the Golden Age Human Torch. This issues story, set in the 1940s, contained his first work for Timely/Marvel Comics since the 1940s, late in life, Schomburg was living in Hillsboro, Oregon, and died in Beaverton, Oregon on April 7,1998. Nominated for Hugo Award for Best Professional Artist 1962, runner-up, doc Smith Second Stage Lensman Award September 30,1979 Moscon 1. Guest of Honor, PulpCon 16, July 9–12,1987, Dayton, lifetime Achievement Award, Kansas City Comic Con, Fall 1989. First Fandom Hall of Fame award 1990, 47th World Science Fiction Convention Noreascon III Special Committee Award,1989, for contributions to Science Fiction. The Will Eisner Award Hall of Fame 1999, stan Lee, Ive always felt that Alex Schomburg was to comic books what Norman Rockwell was to The Saturday Evening Post. He was totally unique, with a distinctive style. You could never mistake a Schomburg cover for any other artists, I remember hearing Timely Comics publisher Martin Goodman tell me time and again how great a cover illustrator Alex was, and how he wished we had more like him. Espite the quantity of work we gave him, despite the care and effort went into every Schomburg cover. Gustafson, Jon, ed. Chroma, The Art of Alex Schomburg, poughkeepsie, New York, Father Tree Press. The Official Estate of Alex Schomburg Site, archived from the original on December 16,2014. Alex Schomburg at the Internet Speculative Fiction Database Duin, Steve, archived from the original on July 17,2006
3.
Timely Comics
–
Timely Comics, initially Timely Publications, was the earliest comic book arm of American publisher Martin Goodman, and the entity that would evolve by the 1960s to become Marvel Comics. The company was founded in 1939 as Timely Publications, based at his company in the McGraw-Hill Building at 330 West 42nd Street in New York City. In 1942, it moved to the 14th floor of the Empire State Building, in 2016, Marvel announced that Timely Comics would be the name of a new imprint of low-priced reprint comics. to supply material. His first effort, Marvel Comics #1, featured the first appearances of writer-artist Carl Burgos android superhero, the Human Torch, a painted cover by veteran science-fiction pulp artist Frank R. Paul featured the Human Torch, looking much different from the interior story. That initial comic, cover-dated October 1939, quickly sold out 80,000 copies, prompting Goodman to produce a second printing, the latter is identical except for a black bar over the October date in the inside-front-cover indicia, and the November date added at the end. With a hit on his hands, Goodman began assembling a staff, hiring Funnies. Simon brought along his collaborator, artist Jack Kirby, followed by artist Syd Shores, Goodman then formed Timely Comics, Inc. beginning with comics cover-dated April 1941 or Spring 1941. But it appeared intermittently, when someone remembered to put it on cover. The Grand Comics Database identifies 23 issues of Goodman comic books from 1944 to 1959 with Red Circle, Inc. branding, Marvel Comics was rechristened Marvel Mystery Comics with issue #2, the magazine would continue under that title through #92 before becoming Marvel Tales through #159. Timely began publishing additional series, beginning with Daring Mystery Comics #1, Mystic Comics #1, Red Raven Comics #1, The Human Torch #2, and Captain America Comics #1. Going on sale in December 1940, a year before the bombing of Pearl Harbor and already showing the hero punching Hitler, timelys other major competitors were Fawcett Publications, Quality Comics, and Lev Gleason Publications. Just as Captain America had his teenage sidekick Bucky and DC Comics Batman had Robin, stan Lee, a cousin of Goodmans by marriage who had been serving as an assistant since 1939, at age 16, was promoted to interim editor just shy of his 19th birthday. Showing a knack for the business, Lee stayed on for decades, fellow Timely staffer Vincent Fago would substitute during Lees World War II military service. The staff at that time, Fago recalled, was, Mike Sekowsky, gary Keller was a production assistant and letterer. Ernest Hart and Kin Platt were writers, but they worked freelance, george Klein, Syd Shores, Vince Alascia, Dave Gantz, and Chris Rule were there, too. In 1942, Goodman moved his operations to the 14th floor of the Empire State Building. The superheroes were the products of what Timely referred to as the adventure bullpen. k. a, moe Worth, and future Mad magazine cartoonists Dave Berg and Al Jaffee. Timely also published one of humor cartoonist Basil Wolvertons best-known features, the first issue, cover-dated January 1943, bore no number, and protagonist Pepper looked different from his more familiar visualization as the bullet-headed naif in the striped turtleneck sweater
4.
Golden Age of Comic Books
–
The Golden Age of Comic Books describes an era of American comic books from the late 1930s to circa 1950. During this time, modern books were first published and rapidly increased in popularity. The superhero archetype was created and many characters were introduced, including Superman, Batman, Captain America, Wonder Woman. The first recorded use of the term Golden Age was by Richard A. Lupoff in an article, Re-Birth, an event cited by many as marking the beginning of the Golden Age was the 1938 debut of Superman in Action Comics #1, published by Detective Comics. Supermans popularity helped make comic books a major arm of publishing, timely Comics, the 1940s predecessor of Marvel Comics, had million-selling titles featuring the Human Torch, the Sub-Mariner, and Captain America. The comic was published biweekly at one point to capitalize on its popularity, patriotic heroes donning red, white, and blue were particularly popular during the time of the second World War following The Shields debut in 1940. Many heroes of this time period battled the Axis powers, with such as Captain America Comics #1 showing the title character punching Nazi leader Adolf Hitler. As comic books grew in popularity, publishers began launching titles that expanded into a variety of genres, dell Comics non-superhero characters outsold the superhero comics of the day. The publisher featured licensed movie and literary characters such as Mickey Mouse, Donald Duck, Roy Rogers and it was during this era that noted Donald Duck writer-artist Carl Barks rose to prominence. Additionally, MLJs introduction of Archie Andrews in Pep Comics #22 gave rise to teen humor comics, the educational comic book Dagwood Splits the Atom used characters from the comic strip Blondie. According to historian Michael A. Amundson, appealing comic-book characters helped ease young readers fear of nuclear war and it was during this period that long-running humor comics debuted, including ECs Mad and Carl Barks Uncle Scrooge in Dells Four Color Comics. In 1953, the book industry hit a setback when the United States Senate Subcommittee on Juvenile Delinquency was created in order to investigate the problem of juvenile delinquency. As a result, the Comics Code Authority was created by the Association of Comics Magazine Publishers to enact self-censorship by comic book publishers, at this time, EC canceled its crime and horror titles and focused primarily on Mad. During the late 1940s, the popularity of superhero comics waned, to retain reader interest, comic publishers diversified into genres such as war, Westerns, science fiction, romance, crime and horror. Many superhero titles were cancelled or converted to other genres, in 1946, DC Comics Superboy, Aquaman and Green Arrow were switched from More Fun Comics into Adventure Comics so More Fun could focus on humor. In 1948 All-American Comics, featuring Green Lantern, Johnny Thunder, the following year, Flash Comics and Green Lantern were cancelled. In 1951 All Star Comics, featuring the Justice Society of America, the next year Star Spangled Comics, featuring Robin, was retitled Star Spangled War Stories. Sensation Comics, featuring Wonder Woman, was cancelled in 1953, the only DC superhero comics to continue publishing through the 1950s were Action Comics, Adventure Comics, Detective Comics, Batman, Superboy, Superman, Wonder Woman and Worlds Finest Comics
5.
Marvel Comics
–
Marvel Comics is the common name and primary imprint of Marvel Worldwide Inc. formerly Marvel Publishing, Inc. and Marvel Comics Group, an American publisher of comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwides parent company, Marvel started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvels modern incarnation dates from 1961, the year that the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and many others. Most of Marvels fictional characters operate in a reality known as the Marvel Universe. Martin Goodman founded the later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. The issue was a success, with it and a second printing the following month selling, combined. While its contents came from an outside packager, Funnies, Inc, Timely had its own staff in place by the following year. It, too, proved a hit, with sales of one million. Goodman formed Timely Comics, Inc. beginning with comics cover-dated April 1941 or Spring 1941, Goodman hired his wifes cousin, Stanley Lieber, as a general office assistant in 1939. Lee wrote extensively for Timely, contributing to a number of different titles, Goodmans business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55. As well, some covers, such as All Surprise Comics #12, were labeled A Marvel Magazine many years before Goodman would formally adopt the name in 1961. The post-war American comic market saw superheroes falling out of fashion and this globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications. Atlas also published a plethora of childrens and teen humor titles, including Dan DeCarlos Homer the Happy Ghost, Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch, the Sub-Mariner, and Captain America. Atlas did not achieve any hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply. During this time, the Comic Code Authority made its debut in September 1954, Wertham published the book Seduction of the Innocent in order to force people to see that comics were impacting American youth. He believed violent comics were causing children to be reckless and were turning them into delinquents, in September 1954, comic book publishers got together to set up their own self-censorship organization—the Comics Magazine Association of America—in order to appease audiences
6.
Pulp magazine
–
Pulp magazines were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the wood pulp paper on which the magazines were printed, in contrast. The typical pulp magazine had 128 pages, it was 7 inches wide by 10 inches high, the pulps gave rise to the term pulp fiction in reference to run-of-the-mill, low-quality literature. Pulps were the successors to the penny dreadfuls, dime novels, although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative, and sensational subject matter. The first pulp was Frank Munseys revamped Argosy Magazine of 1896, with about 135,000 words per issue, on paper with untrimmed edges. In six years Argosy went from a few thousand copies per month to over half a million, Street & Smith, a dime novel and boys weekly publisher, was next on the market. Seeing Argosys success, they launched The Popular Magazine in 1903, due to differences in page layout however, the magazine had substantially less text than Argosy. Haggards Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. Street and Smiths next innovation was the introduction of specialized genre pulps, with each focusing on a particular genre, such as detective stories, romance. At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue, in 1934, Frank Gruber says there were some 150 pulp titles. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories, although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassells Magazine, The Story-Teller, The Sovereign Magazine, Hutchinsons Adventure-Story and Hutchinsons Mystery-Story. The German fantasy magazine Der Orchideengarten had a format to American pulp magazines, in that it was printed on rough pulp paper. During the Second World War paper shortages had a impact on pulp production, starting a steady rise in costs. Beginning with Ellery Queens Mystery Magazine in 1941, pulp magazines began to switch to digest size, in 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks. The pulp format declined from rising expenses, but even more due to the competition from comic books, television. In a more affluent post-war America, the price gap compared to slick magazines was far less significant, in the 1950s, mens adventure magazines began to replace the pulp. The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan, many titles of course survived only briefly
7.
Martin Goodman (publisher)
–
Martin Goodman, born Moe Goodman, was an American publisher of pulp magazines, paperback books, mens adventure magazines, and comic books, launching the company that would become Marvel Comics. Moe Goodman, who would adopt the name Martin, was the oldest son of 13 recorded children of Isaac Goodman. His parents were Jewish immigrants who had met in the United States after separately moving from their native Vilna, Lithuania, the family lived at different homes in the New York City borough of Brooklyn. As a young man, Moe traveled around the country during the Great Depression, Goodman later became circulation manager himself, but the company went bankrupt in October 1932. Goodmans first publication was the Newsstand Publications pulp magazine Western Supernovel Magazine, after the first issue he renamed it Complete Western Book Magazine, beginning with cover-date July 1933. Marvel Comics #1, cover-dated October 1939 and published by his newly formed Timely Publications and it featured the first appearances of the hit characters the Human Torch and the Sub-Mariner, and quickly sold out 80,000 copies. Goodman produced a second printing, cover-dated November 1939, that sold an approximate 800,000 copies. With a hit on his hands, Goodman began assembling a staff, hiring Funnies, Inc. writer-artist Joe Simon as editor. Goodman then formed Timely Comics, Inc. beginning with comics cover-dated April 1941 or Spring 1941, Timely Comics became the umbrella name for the several paper corporations that comprised Goodmans comic-book division, which in ensuing decades would evolve into Marvel Comics. In 1941, Timely published its third major character, the patriotic superhero Captain America by Simon, the success of Captain America #1 led to an expansion of staff, with Simon bringing freelancer Kirby on staff and subsequently hiring inker Syd Shores to be Timelys third employee. Simon and Kirby departed Timely after 10 issues of Captain America, and Goodman appointed Stan Lee as Timelys editor, a position Lee would hold for decades. The name Timely Comics went into disuse after Goodman began using the logo of the newsstand-distribution company he owned, Atlas. This united a line put out by the publisher, staff and freelancers through 59 shell companies. Throughout the 1950s, the formerly known as Timely was called Atlas Comics. A red disk surrounded by a ring that bore the phrase A Red Circle Magazine. But it appeared intermittently, when someone remembered to put it on cover. Most were novels, but there was a smattering of mostly sports-oriented nonfiction, Goodman eventually developed two lines, the 25¢ Lion and the 35¢ Lion Library. New American Library bought Lion in 1957, and several Lion titles were reprinted under its Signet label, authors that Lion published included such notables as Robert Bloch, David Goodis and Jim Thompson
8.
Funnies Inc.
–
Funnies, Inc. is an American comic book packager of the 1930s to 1940s period collectors and historians call the Golden Age of Comic Books. Founded by Lloyd Jacquet, it supplied the contents of early comics, including that of Marvel Comics #1, American comic books originated as oversized magazines that reprinted newspaper comic strips in color. These strips, coming from the pages, were colloquially called the funnies. Gradually, new material began to be created for the medium of comic books. In the late 1930s, with the sales success of Superman. One of the many comics companies founded during this time was Centaur Publications, where Lloyd Jacquet was art director, Jacquet then broke off to form Funnies, Inc. initially called First Funnies, Inc. Located at 45 West 45th Street in Manhattan, New York City and its competitors included two other comics packagers formed around this time, Eisner & Iger, founded by Will Eisner and Jerry Iger, and the quirkily named Harry A Cheslers studio. Everett recalled in the late 1960s that, When Lloyd split with John, he offered me and we took a small loft office on 45th Street. The idea was to become publishers, but we didnt have the money or credit to publish our own books so we became an art service. Wed put the book together, deliver the package to the publisher. Torpey was Centaurs sales director, and Mahon a publisher for one of Centaurs early iterations. Other Centaur staffers who followed Jacquet, on at least a freelance basis, included artists Carl Burgos, Paul Gustavson, and Ben Thompson, writer Ray Gill, and business manager Jim Fitzsimmons. Had an idea that he wanted to start his own art service — to start an organization to supply artwork. I dont know how to explain it, but I was still on a freelance basis and that was the agreement we had. The artists, including myself, at Funnies, worked on a freelance basis, Comics historian Hames Ware added that, The Jacquet shop was distinct from the other major shops. It was set up more like a clearinghouse that a conventional shop, while at the other classic shops there were actually buildings and offices housing. Many artists who collaborated on jobs, most of Jacquets artists worked from home and did solo work and, also unlike other shops. Funnies, Inc. s first known project was Motion Picture Funnies Weekly, the idea proved unsuccessful, and seven of the only eight known samples created to send to theater owners were discovered in an estate sale in 1974
9.
Android (robot)
–
An android is a humanoid robot or synthetic organism designed to look and act like a human, especially one with a body having a flesh-like resemblance. Historically, androids remained completely within the domain of science fiction where they are seen in film. Only recently have advancements in technology allowed the design of functional. The word was coined from the Greek root ἀνδρ-, man, while the term android is used in reference to human-looking robots in general, a robot with a female appearance can also be referred to as a gynoid. The Oxford English Dictionary traces the earliest use to Ephraim Chambers Cyclopaedia, the term android appears in US patents as early as 1863 in reference to miniature human-like toy automatons. The term android was used in a modern sense by the French author Auguste Villiers de lIsle-Adam in his work Tomorrows Eve. This story features an artificial humanlike robot named Hadaly, as said by the officer in the story, In this age of Realien advancement, who knows what goes on in the mind of those responsible for these mechanical dolls. Although Karel Čapeks robots in R. U. R, —the play that introduced the word robot to the world—were organic artificial humans, the word robot has come to primarily refer to mechanical humans, animals, and other beings. The term android can mean one of these, while a cyborg would be a creature that is a combination of organic. The word android was used in Star Trek, The Original Series episode What Are Little Girls Made Of. The abbreviation andy, coined as a pejorative by writer Philip K. Dick in his novel Do Androids Dream of Electric Sheep. has seen some further usage, authors have used the term android in more diverse ways than robot or cyborg. In some fictional works, the difference between a robot and android is only their appearance, with androids being made to look like humans on the outside, in other stories, authors have used the word android to mean a wholly organic, yet artificial, creation. Other fictional depictions of androids fall somewhere in between, several projects aiming to create androids that look, and, to a certain degree, speak or act like a human being have been launched or are underway. In 2006, Kokoro Co. developed a new DER2 android, the height of the human body part of DER2 is 165 cm. DER2 can not only change its expression but also move its hands and feet, the air servosystem which Kokoro Co. developed originally is used for the actuator. As a result of having an actuator controlled precisely with air pressure via a servosystem, DER2 realized a slimmer body than that of the former version by using a smaller cylinder. Outwardly DER2 has a more beautiful proportion, compared to the previous model, DER2 has thinner arms and a wider repertoire of expressions. Once programmed, it is able to choreograph its motions and gestures with its voice, the Intelligent Mechatronics Lab, directed by Hiroshi Kobayashi at the Tokyo University of Science, has developed an android head called Saya, which was exhibited at Robodex 2002 in Yokohama, Japan
10.
Superhero
–
A female superhero is sometimes called a superheroine. Fiction centered on characters, especially in American comic books since the 1930s, is known as superhero fiction. By most definitions, characters do not require actual supernatural or superhuman powers or phenomena to be deemed superheroes, some superheroes use their powers to counter daily crime while also combating threats against humanity from supervillains, who are their criminal counterparts. Often at least one of these supervillains will be the superheros archenemy, some long-running superheroes such as Iron Man, Captain America, Superman, Wonder Woman, Batman, and Spider-Man have a rogues gallery of many villains. The word superhero dates to at least 1917, antecedents of the archetype include such folkloric heroes as Robin Hood, who adventured in distinctive clothing. The 1903 play The Scarlet Pimpernel and its spinoffs popularized the idea of a masked avenger, during the 1940s there were many superheroes, and only a few of these were female. The Flash, Green Lantern and Blue Beetle debuted in this era, most of the other female costumed crime-fighters during this era lacked superpowers. The most iconic comic book superheroine, who debuted during the Golden Age, is Wonder Woman, inspired by the Amazons of Greek mythology, she was created by psychologist William Moulton Marston, with help and inspiration from his wife Elizabeth and their mutual lover Olive Byrne. Wonder Womans first appearance was in All Star Comics #8, published by All-American Publications, in 1952, Osamu Tezukas manga Tetsuwan Atom was published. The series focused upon a robot boy built by a scientist to replace his deceased son, the 1950s saw the Silver Age of Comics. During this era DC introduced the likes of Batwoman in 1956, Supergirl, Miss Arrowette,1958 saw the debut of superhero Moonlight Mask on Japanese television. In 1963, Astro Boy was adapted into a highly influential anime television series, Phantom Agents in 1964 focused on ninjas working for the Japanese government and would be the foundation for Sentai-type series. Another important event was the debut of Mazinger Z by Go Nagai, Go Nagai also wrote the manga Cutey Honey in 1973, although the Magical Girl genre already existed, Nagais manga introduced Transformation sequences that would become a staple of Magical Girl media. The dark Skull Man manga would later get a television adaptation, the protagonist was redesigned resemble a grasshopper, becoming the renowned first masked hero of the Kamen Rider series. Kamen Rider is a motorcycle riding hero in an insect-like costume, both major publishers began introducing new superheroines with a more distinct feminist theme as part of their origin stories or character development. Examples include Big Barda, Power Girl, and the Huntress by DC comics, and from Marvel, the second Black Widow, Shanna the She-Devil, and The Cat. In 1975 Shotaro Ishinomoris Himitsu Sentai Gorenger debuted on what is now TV Asahi, it brought the concepts of multi-colored teams, in 1978, Toei adapted Spider-Man into a live-action series. In subsequent decades, popular characters like Dazzler, She-Hulk, Elektra, Catwoman, Witchblade, Spider-Girl, Batgirl, volume 4 of the X-Men comic book series featured an all-female team as part of the Marvel NOW. branding initiative in 2013
11.
Human Torch (android)
–
The Human Torch, also known as Jim Hammond, is a fictional superhero appearing in American comic books published by Marvel Comics. Created by writer-artist Carl Burgos, he first appeared in Marvel Comics #1, published by Marvels predecessor, the Human Torch was actually an android created by scientist Phineas Horton. He possessed the ability to surround himself with fire and control flames, in his earliest appearances, he was portrayed as a science fiction monstrosity, but quickly became a hero and adapted a secret identity as a police officer for New York City Police Department. The Human Torch was one of Timely Comics three signature characters, along with Captain America and Namor the Sub-Mariner, like many superheroes, the Human Torch fell into obscurity by the 1950s. In 1961, Stan Lee and Jack Kirby renovated his name and powers into a new character, Johnny Storm, a member of the Fantastic Four. Unlike Captain America and the Sub-Mariner, the original Human Torch has had only a small presence in the post-1950s Marvel comic books and is associated with the Golden Age. In 2012, Hammond was ranked 28th in IGNs list of The Top 50 Avengers, following his debut in the hit Marvel Comics #1, the Human Torch proved popular enough that he soon became one of the first superheroes to headline a solo title. Marvel Mystery Comics ended its run with #92, and The Human Torch with #35, the solo title The Human Torch returned for issues #36-38 before again being canceled. The Torch also appeared in stories in the briefly revived Captain America Comics and Sub-Mariner Comics, the original Human Torch debuted in present-day Marvel Comics continuity in Fantastic Four Annual #4. Human Torch appeared as a character in the 2010-2013 Secret Avengers series. Starting in 2014, the Human Torch began appearing as a character in the Marvel NOW. relaunch of The Invaders. The Human Torch was a created by Professor Phineas T. Horton in his lab in Brooklyn. At a press-conference unveiling, however, Hortons creation burst into flames when exposed to oxygen, the android showed human-like sentience, personality, and awareness, but the spectators feared that he posed a safety threat. Public outcry led to the Torch being sealed in concrete, though he escaped due to a crack that let oxygen seep in, the Torch later first encountered and battled Namor the Sub-Mariner. He would join other heroes as war broke out in Europe, in his solo titles debut issue, he acquired a young partner, Thomas Toro Raymond, the mutant son of two nuclear scientists whose exposure to radiation gave him the ability to control fire. The Human Torch also joined the New York City police force as part of his human cover under the name James Jim Hammond and he would later drop the human name and serve the police force outright as the Human Torch, fighting villains and his off-and-on foe, the Sub-Mariner. Both the Torch and the Sub-Mariner joined with Captain America and his partner Bucky as the core of the team the Invaders. With the Invaders, he was brainwashed by the Red Skull
12.
Paul Gustavson
–
Paul Gustavson was an American-immigrant comic-book writer and artist. The Angel would star in more than 100 stories in the 1940s, the Human Bomb would later be acquired by DC Comics and make sporadic appearances as late as 2005. Gustavson was born in Åland, Finland, emigrating to the U. S. with his family at age five, Gustavson graduated from Quentin High School in New York City, and studied civil engineering at Manhattans Cooper Union. Seguing to art at about age 17, he spent two to three years apprenticing under cartoonist Frank Owen, the husband of one of Gustavsons childhood friends in Finland, Gustavson assisted on Owens Colliers Magazine humor spot, Filbert. Gustavson began working in the studio of the quirkily named Harry A Chesler, I started at $12 a week, he told historian Jim Steranko, who interviewed him in the early 1970s. It wasnt much but in those days it was enough for me, I stayed with Chesler for about two years and, during that time, worked with people like Jack Cole, Mort Meskin, Gill Fox, Fred Guardineer, Charlie Biro, and Bob Wood1. After getting married and beginning a family, Gustavson began working for another comics packager, Funnies, the packager also supplied Centaur Publications, for which Gustavson created A-Man, the The Arrow, Fantom of the Fair, and Man of War. Other notable work includes humor features in five issues of DCs Action Comics, starting with issue #5. He later joined Quality Comics, one of DCs predecessors, where publisher Busy Arnold offered $25 a page, there Gustavson created the Human Bomb, aigning the earliest episodes with the pseudonym Paul Carroll. He wrote and drew the feature through September 1946, Gustavson also wrote/drew characters including Magno, the Spider, the Jester, and Rusty Ryan, whose uniform was later copied by Captain America. Gustavson, whose delicate, fine-line art resembles that of fellow Golden Age cartoonist Lou Fine, also worked on Blackhawk, Kid Eternity, Uncle Sam and other characters. From 1942 to 1945, Gustavson did his World War II military service in the Air Tech Training Command and he returned to work for Quality afterward, and in early 1950s for the American Comics Group, doing humor features. Later that decade, he left the field to become a surveyor and his brother Nils collaborated with him on Centaurs Man of War
13.
Angel (Thomas Halloway)
–
The Angel is a fictional character, a superhero appearing in American comic books published by Marvel Comics. The Angel is a detective who nonetheless wore a superhero costume. Created by artist Paul Gustavson and written either by him or by Ray Gill or another writer, the Angel is one of the central characters of the eight-issue miniseries The Marvels Project, by writer Ed Brubaker and penciler Steve Epting. Thomas mother died in childbirth - consequently he was brought up in the prison where his father was a warden, there he was instructed by a number of experts, as well as a number of the inmates, which gave him a unique insight into the underworld. He earned his moniker when he saved one of these inmates from the chair, though he wore a costume like a superhero, he wore no mask to conceal his identity. He later acquires the Cape of Mercury, which allows him to fly, the Angel was already active by the time of the first Human Torch and Sub-Mariner adventures, and active as far back as 1936. He fights alongside Namor against World War II Nazombies, and was retconned as a member of both the All-Winners Squad and the V-Battalion after the war. The Angel was also possibly a Secret Service agent for a period of time. Confronted by U. S. Agent, Angel was wounded during the battle, however, due to lack of concrete evidence on U. S. Agents part, Angel was let go and resumed his normal life, halloways grandson, Jason Halloway, is given his grandfathers mask and weapons at the end of The Marvels Project #8. In modern times, he was living as a man in and beneath Manhattan. He has also appeared in Marvel Super-Heroes vol,3, #7 and in The Incredible Hulk vol. It is unknown what occurred between the brothers and why Toms brother ended up homeless, Thomas Halloway had no superpowers but he was an excellent acrobat and hand-to-hand combatant, an accomplished disguise artist, occult scholar and pilot and a skilled detective. He also wore the Cape of Mercury, which granted him the ability to fly, an alternate version of the Angel appears in X-Men Noir investigating the death of Jean Grey. This Angel, Thomas Halloway, is depicted as private investigator, Thomas mother died in childbirth - consequently he was brought up in the prison where his father was a warden. There he was instructed by a number of experts, as well as a number of the inmates and he earned his moniker when he saved one of these inmates from the chair. Though he wore a costume like a superhero, he wore no mask to conceal his identity, the final issue reveals that the Angel identity is shared by twins, the idealistic Tom Halloway and his ruthless brother Robert Halloway. Robert sacrifices himself to stop Jean, revealed as having killed Anne-Marie Rankin and taken her place
14.
Bill Everett
–
He was a descendant of the poet William Blake and of Richard Everett, founder of Dedham, Massachusetts. William Everett was born May 18,1917 in Cambridge, Massachusetts, Everett, a fabulist who spun fanciful stories of his youth, claimed at various points to have graduated from high school in Arizona, or instead to have joined the U. S. Merchant Marine at ages ranging from 15 to 17, among other tales. S and it also includes Edwards son, Massachusetts Congressman William Everett, and the poet William Blake. Everetts father ran a trucking business, and when Everett was young the family bought a large summer home in Kennebunkport. Both parents supported the artist talents of their son, whose reading tastes ran to the rather than pulp novels or comic strips. He would later find artistic influence in commercial magazine artists as Meade Schaeffer, Dean Cornwell. At 12, in 1929, Everett contracted tuberculosis, and was pulled from sixth grade to go with his mother and his sister to Arizona, to recuperate for four months. They then returned to Massachusetts, but a recurrence of the disease sent the trio back West, first to Prescott, Arizona, there, taking his first drink, Everett began the path to teenage alcoholism. Nonetheless, he became well enough by 16 to return home with his mother and sister to the Boston area, where his father, unscathed by the Great Depression, had a large house in West Newton. His alcoholism and natural rebelliousness caused his parents to him from high school at age 16, in his second year. His inability to focus, however, led him to out in 1935. That same year, his father died of appendicitis. Everett knew his father wanted me to be a cartoonist. But that was probably in back of the whole thing, Everett soon became a professional artist on the advertising staff of the Boston newspaper The Herald-Traveler for $12 a week. Soon afterward, he left to become a draftsman for the engineering firm The Brooks System, in Newton. From there he pursued work in Phoenix, Arizona and Los Angeles and he then returned east to New York City, where he again did newspaper advertising art, for the New York Herald-Tribune. He next became art editor for Teck Publications Radio News magazine, then assistant art director under Herm Bollin in Chicago, fired for being, as Everett described, too cocky, he returned to New York where he sought employment as an art director. With no luck at this and desperate for work, he ran into an old Teck colleague, Walter Holze, as Everett recalled in the late 1960s, He asked me if I could do comics
15.
Motion Picture Funnies Weekly
–
Motion Picture Funnies Weekly is a 36-page American comic book magazine created in 1939, and designed to be a promotional giveaway in movie theaters. Motion Picture Funnies Weekly was produced by First Funnies, Inc. one of the 1930s–1940s Golden Age of comic books packagers that would create outsourced comics on demand for publishers. The company, founded by Centaur Publications art director Lloyd Jacquet and later named Funnies Inc. planned to be a publisher itself, with Motion Picture Funnies Weekly as its initial product. While the postal indicia gives the publisher as First Funnies, Inc. the back cover, the comic, with black-and-white pages and a color cover and designed to be distributed to children in movies theaters, was never published, although samples were printed to show theater-owners. Either eight or nine samples exist, all but one were discovered at the late Jacquets estate sale in 1974. One sample, dubbed the Pay Copy, contains written payment information for the creators who contributed to the comic. Additionally, proof sheets were found there for the covers of issues #2–4, the discovery of the hitherto forgotten Motion Picture Funnies Weekly rewrote an early part of the history of comics, and caused a sensation at the time. This comic was the first item produced by the Lloyd V. Jacquet art shop, Funnies and it was the idea of those who operated Funnies, Inc. to distribute Motion Picture Funnies Weekly through movie theaters to attract customers. Apparently the theater owners thought little of the venture and the project was unsuccessful, no copy was filed with the Library of Congress. The final panel on page 8 contained a box reading Continued Next Week, the box remained, sans words and colored in, when reprinted as part of the 12-page story in Marvel Comics #1, and reprinted as the original eight-page story in Marvels The Invaders #20. As historian Les Daniels writes, Early in 1939 a bizarre character called The Sub-Mariner, had been featured in the black-and-white Motion Picture Funnies Weekly, a failed promotional giveaway that Funnies, Inc. had produced. The creator of that story was a young artist from Massachusetts named Bill Everett. Became the first Marvel hero, he was created by Everett before any other comic book published by the Goodman group. Everett and his fish-man might have been dead in the water, but happily for all concerned, the story from the theater giveaway was repackaged for the first issue of Goodmans first comic book. Kar Toon and his Copy Cat by Martin Flichock, and an activity page, Fun-o-graphs, by Vernon Miller, cartoonist Fred Schwab drew the cover. Another cartoonist, Martin Filchock, drew the covers of #2 and #4, Martin Filchock at the Lambiek Comiclopedia. Archived from the original November 8,2011 Nelson, Matt, Motion Picture Funnies Weekly #1, The Chicken or the Egg
16.
Ka-Zar (comics)
–
Ka-Zar is the name of two jungle-dwelling fictional comic book characters published in the United States. The first Ka-Zar was named David Rand, and debuted in 1936, in 1939 he was adapted for his second iteration, a comic book character for Timely Comics, the 1930s and 1940s predecessor of Marvel Comics. The second and more prominent Ka-Zar was named Kevin Plunder, and he is a heroic character appearing in American comic books published by Marvel Comics. The second Ka-Zar started as a character, but reminiscent of both Tarzan and of writer-artist Joe Kuberts 1950s caveman character, Tor. Created by Stan Lee and Jack Kirby in The X-Men #10, he lives in the dinosaur-populated Savage Land, Kevin Plunder refers to himself as the Lord of the Savage Land, a phrase others have adopted, but this is not a formal title. Ka-Zar is Kevin Reginald, Lord Plunder, born in Castle Plunder, Kentish Town, London and he is the eldest son of Lord Robert Plunder, the English nobleman who discovered the Savage Land. Ka-Zar means Son of the Tiger in the language of the Man-Apes, Ka-Zar and Zabu are constant partners. Ka-Zar became a hunter, trapper, and fisherman, living off the wild land. In the Savage Land, some territories are populated by human or humanoid tribes, and while most of them are on friendly terms with Ka-Zar, some of them consider him an outlander. The original X-Men discovered the Savage Land, and Ka-Zar encountered them and he then encountered Daredevil for the first time, and battled his brother Parnival, who had become the supervillain called the Plunderer. He first battled Magnetos Savage Land Mutates alongside the X-Men and he then encountered the Hulk for the first time, and battled Umbu the Unliving. Spider-Mans memory was restored during the fight, with Ka-Zar subsequently apologizing for the mistake, Ka-Zar then battled Kraven the Hunter for the first time. Shortly after this encounter, Ka-Zar encounters Zaladane and Garokk for the first time, after the Savage Land became known to outsiders after the visit by the X-Men, many people began traveling to the territory. Ka-Zar has also become involved with female visitors, the first being S. H. I. E. L. D. He first battled A. I. M. and met the Man-Thing and he then met Spider-Man once again, and battled the extraterrestrial Gog. He next met the adventurer Shanna OHara and he battled Klaw, and visited other dimensions. He and his allies faded mysteriously from that dimension, then teamed with the X-Men to battle Zaladane. Ka-Zar, during a search for the lost Zabu, later discovered Pangaea, Ka-Zar and Shanna began to gradually fall in love
17.
Auto racing
–
Auto racing is a sport involving the racing of automobiles for competition. Almost as soon as automobiles had been invented, races of various sorts were organised, by the 1930s specialist racing cars had developed. There are now numerous different categories, each with different rules and it was won by the carriage of Isaac Watt Boulton. Internal combustion auto racing events began soon after the construction of the first successful gasoline-fueled automobiles, the first organized contest was on April 28,1887, by the chief editor of Paris publication Le Vélocipède, Monsieur Fossier. It ran 2 kilometres from Neuilly Bridge to the Bois de Boulogne, on July 22,1894, the Parisian magazine Le Petit Journal organized what is considered to be the worlds first motoring competition, from Paris to Rouen. One hundred and two competitors paid a 10-franc entrance fee, the first American automobile race is generally held to be the Thanksgiving Day Chicago Times-Herald race of November 28,1895. Press coverage of the event first aroused significant American interest in the automobile, brooklands, in Surrey, was the first purpose-built motor racing venue, opening in June 1907. It featured a 4.43 km concrete track with high-speed banked corners, One of the oldest existing purpose-built automobile racing circuits in the United States, still in use, is the 2. 5-mile -long Indianapolis Motor Speedway in Speedway, Indiana. It is the largest capacity venue of any variety worldwide, with a top capacity of some 257. NASCAR was founded by Bill France, Sr. on February 21,1948, the first NASCAR Strictly Stock race ever was held on June 19,1949, at Daytona Beach, Florida. From 1962, sports cars temporarily took a seat to GT cars. From 1972 through 2003, NASCARs premier series was called the Winston Cup Series, the changes that resulted from RJRs involvement, as well as the reduction of the schedule from 48 to 31 races a year, established 1972 as the beginning of NASCARs modern era. The IMSA GT Series evolved into the American Le Mans Series, the European races eventually became the closely related Le Mans Series, both of which mix prototypes and GTs. The best-known variety of racing, Formula One, which hosts the famous Monaco Grand Prix. In single-seater, the wheels are not covered, and the cars often have aerofoil wings front, in Europe and Asia, open-wheeled racing is commonly referred to as Formula, with appropriate hierarchical suffixes. In North America, the Formula terminology is not followed, the sport is usually arranged to follow an international format, a regional format, and/or a domestic, or country-specific, format. In North America, the used in the National Championship have traditionally been similar though less sophisticated than F1 cars. The series most famous race is the Indianapolis 500, the other major international single-seater racing series is GP2
18.
Frank R. Paul
–
Frank Rudolph Paul was an American illustrator of pulp magazines in the science fiction field. A discovery of editor Hugo Gernsback, Paul was influential in defining the look of both art and interior illustrations in the nascent science fiction pulps of the 1920s. The Science Fiction Hall of Fame inducted him in 2009, Paul was born on April 18,1884 in Radkersburg, Austria. His father was from Hungary and his mother from Czechoslovakia and he emigrated to the United States in 1906. He married Rudolpha Costa Rigelsen, a Belgian immigrant, in 1913 and he studied art in Vienna, Paris, and New York City. He went to work for the Jersey Journal performing graphic design, publisher Hugo Gernsback hired him in 1914 to illustrate The Electrical Experimenter, a science magazine. He died on June 29,1963 at his home in Teaneck, Pauls work is characterized by dramatic compositions, bright or even garish colors, and a limited ability to depict human faces, especially the female ones. His early architectural training is evident in his work. Paul illustrated the cover of Gernsbacks own novel, Ralph 124C 41+, A Romance of the Year 2660, Paul also painted covers for Planet Stories, Superworld Comics, Science Fiction magazine, and the first issue of Marvel Comics. The latter featured the debuts of Human Torch and Sub-Mariner, all told, his magazine covers exceed 220. His most famous Amazing Stories cover is probably that for August 1927, illustrating The War of the Worlds by H. G. Wells, Paul created hundreds of interior illustrations from no later than 1920. In many ways, Frank R. Pauls achievements and influence on the field through the ages cannot be overestimated and his work appeared on the cover of the first issue of Amazing Stories magazine, the first magazine dedicated to science fiction. He would paint all the covers for three years. These visions of robots, spaceships, and aliens were presented to an America wherein most people did not even own a telephone, indeed, they were the first science fiction images seen by Ray Bradbury, Arthur C. Clarke, Forrest J Ackerman and others who would go on to prominence in the field. The visual language of the majority of SF art centers, even today, Frank R. Paul can be credited with the first color painting of a space station published in the U. S. His cover for the November 1929 Science Wonder Stories was an early, if not the earliest and this painting appeared almost two decades before the sightings of mysterious flying objects by Kenneth Arnold. So large was his stature that he was the only guest of honor at the first World Science Fiction Convention in 1939
19.
Joe Simon
–
Joseph Henry Joe Simon was an American comic book writer, artist, editor, and publisher. Simon created or co-created many important characters in the 1930s–1940s Golden Age of Comic Books and served as the first editor of Timely Comics, Simon and Kirby creations for other comics publishers include Boys Ranch, Fighting American and the Fly. In the late 1940s, the duo created the field of romance comics, Simon, who went on to work in advertising and commercial art, also founded the satirical magazine Sick in 1960, remaining with it for a decade. He briefly returned to DC Comics in the 1970s, Simon was inducted into the Will Eisner Comic Book Hall of Fame in 1999. Joe Simon was born in 1913 as Hymie Simon and raised in Rochester, New York, the son of Harry Simon, who had emigrated from Leeds, England, in 1905, and Rose, whom Harry met in the United States. Harry Simon moved to Rochester, then a center where his younger brother Isaac lived. A poor Jewish family, the Simons lived in a flat which doubled as my fathers tailor shop. Upon graduation in 1932, Simon was hired by Rochester Journal-American art director Adolph Edler as an assistant, replacing Simons future comics colleague Al Liederman, between production duties, he did occasional sports and editorial cartoons for the paper. Two years later, Simon took an art job at the Syracuse Herald in Syracuse, New York, for $45 a week, supplying sports, the paper soon closed, and Simon, at 23, ventured to New York City. There, Simon took a room at the boarding house Haddon Hall, in the Morningside Heights neighborhood of Manhattan and he also found freelance work at Macfadden Publications, doing illustrations for True Story and other magazines. That day, Simon received his first comics assignment, a seven-page Western, four days later, Jacquet asked Simon, at the behest of Timely Comics publisher Martin Goodman, to create a flaming superhero like Timelys successful character the Human Torch. From this came Simons first comic-book hero, the Fiery Mask, Simon used the pseudonym Gregory Sykes on at least one story during this time, King of the Jungle, starring Trojak The Tiger Man, in Timelys Daring Mystery Comics #2. During this time, Simon met Fox Feature Syndicate comics artist Jack Kirby, speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting, I had a suit and Jack thought that was really nice. Hed never seen a book artist with a suit before. The reason I had a suit was that my father was a tailor, Jacks father was a tailor too, but he made pants. Anyway, I was doing work and I had a little office in New York about ten blocks from DC and Fox s offices. So, of course, I loved Jacks work and the first time I saw it I couldnt believe what I was seeing and he asked if we could do some freelance work together. I was delighted and I took him over to my little office and we worked from the second issue of Blue Bolt. and remained a team across the next two decades
20.
Jack Kirby
–
Jack Kirby, born Jacob Kurtzberg, was an American comic book artist, writer, and editor, widely regarded as one of the mediums major innovators and one of its most prolific and influential creators. Kirby grew up in New York City, and learned to draw cartoon figures by tracing characters from comic strips and he entered the nascent comics industry in the 1930s, drawing various comics features under different pen names, including Jack Curtiss, before ultimately settling on Jack Kirby. In 1940, he and writer-editor Joe Simon created the highly successful superhero character Captain America for Timely Comics, during the 1940s, Kirby, generally teamed with Simon, created numerous characters for that company and for National Comics Publications, later to become DC Comics. After serving in World War II, Kirby produced work for a number of publishers, including DC, Harvey Comics, at Crestwood Publications he and Simon created the genre of romance comics and later founded their own short-lived comic company, Mainline Publications. Ultimately, Kirby found himself at Timelys 1950s iteration, Atlas Comics, there, in the 1960s, Kirby and writer-editor Stan Lee co-created many of the companys major characters, including the Fantastic Four, the X-Men, and the Hulk. The Lee-Kirby titles garnered high sales and critical acclaim, but in 1970, feeling he had been treated unfairly, at DC, Kirby created his Fourth World saga, which spanned several comics titles. While these series proved unsuccessful and were canceled, the Fourth Worlds New Gods have continued as a significant part of the DC Universe. Kirby returned to Marvel briefly in the mid-to-late 1970s, then ventured into television animation, Kirby was married to Rosalind Roz Goldstein in 1942. They had four children, and remained married until his death from heart failure in 1994, the Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor. Jack Kirby was born Jacob Kurtzberg on August 28,1917, on the Lower East Side of Manhattan in New York City and his parents, Rose and Benjamin Kurtzberg, were Austrian Jewish immigrants, and his father earned a living as a garment factory worker. In his youth, Kirby desired to escape his neighborhood and he liked to draw, and sought out places he could learn more about art. He was rejected by the Educational Alliance because he drew too fast with charcoal and he later found an outlet for his skills by drawing cartoons for the newspaper of the Boys Brotherhood Republic, a miniature city on East 3rd Street where street kids ran their own government. At age 14, Kirby enrolled at the Pratt Institute in Brooklyn, I wasnt the kind of student that Pratt was looking for. They wanted people who would work on something forever, I didnt want to work on any project forever. I intended to get things done, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First. He remained until late 1939, when he began working for the animation company Fleischer Studios as an inbetweener on Popeye cartoons. I went from Lincoln to Fleischer, he recalled, from Fleischer I had to get out in a hurry because I couldnt take that kind of thing, describing it as a factory in a sense, like my fathers factory. Around that time, the American comic book industry was booming, Kirby began writing and drawing for the comic-book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers
21.
Syd Shores
–
Syd Shores began drawing in childhood, fascinated by the comic-strip art of Alex Raymonds Flash Gordon and Hal Fosters Prince Valiant. He went to graduate from Brooklyns Pratt Institute, where he had met his wife-to-be, for months I was just a joe-boy, watching and learning and helping wherever I could. I studied Mac Raboy for hours on end — he was slow and meticulous about everything, doing only a single panel of artwork a day. After four months I tried my own hand at work, doing a piece called The Terror. I was proud of it then, of course, but in looking back it really was a terror. The Terror still held enough promise that it saw print in Mystic Comics #5 from Timely Comics, the 1940s precursor of Marvel Comics, Timely editor Joe Simon hired Shores as the fledgling companys third employee. Shores took over as penciller on Captain America Comics, inked by Vince Alascia. For the time that I worked on staff for Marvel from 1940 to 1948, I worked in association with Vince Alascia. He was used to my style and worked well with it. Shores also inked two of Kirbys Golden Age Vision stories, in Marvel Mystery Comics #21-22, and the cover, Shores said, Jack Kirby influenced my sense of dramatics. Shores penciled stories of the Vision and the Patriot in Marvel Mystery Comics, Comics, and the Captain America portions of the All-Winners Squad stories in the All Winners Comics #19 and 21. After four months at a convalescent hospital in Warwick, England, he was reassigned to an engineering outfit and he recalled in 1970 that after Al left, I started pencilling from then on until the Army decided it could use my services to help win World War II. It seemed they needed a lot of men for the infantry at the time, I was called up, and so my artistic eye was used to qualify me as an expert marksman in an infantry regiment. Curiously it was the regiment that Jack Kirby was in. We never saw each other in combat, and only recently did we find that we were in the same outfit. Comic-book artist Gene Colan recalled in 1999, My first real professional start in the business began in the summer of 1946. He was the man in the Art Department of Marvel Comics. I was flying by the seat of my pants, hoping that everything would turn out
22.
Electro (comics)
–
Electro is the name of several fictional characters appearing in American comic books published by Marvel Comics, including two from Marvels predecessors, Timely Comics and Atlas Comics. The most prominent Electro is Maxwell Dillon, a supervillain and an enemy of Spider-Man and he was created by Stan Lee and Steve Ditko in The Amazing Spider-Man #9. Created by writer-artist Steve Dahlman, Electro appeared in Marvel Mystery #4—19 and his origin story described his invention by Professor Philo Zog, one of a group of twelve known as the Secret Operatives. Electro appears in The Twelve by J. Michael Straczynski and Chris Weston, Electro appears, part of a cadre of heroes trapped in a secret bunker during the Battle of Berlin, seemingly for examination by Nazi scientists. After the fall of the Third Reich, the heroes are left in suspended animation, with no one knowing of their final fate. Government, willing to disassemble Electro for the secrets of his telepathic interface, Electro influences the time-traveling adventures in the Avengers/Invaders crossover. As one of the heroes lost in an alternate-universe World War II and this fails to work for the Red Skull has already slain Electro, along with most of the Mystery Men. Marvels next Electro was a Communist supervillain created during the attempt by Marvels 1950s predecessor, Atlas Comics. Many years later, this Electro reappeared in What If, #9, What If the Avengers had been Formed During the 1950s. And, in flashback, in Captain America Annual #13, early in its return to super-hero comics in the 1960s, Marvel introduced a new Electro as a foe for Spider-Man in The Amazing Spider-Man #9. He can control electricity and is one of Spider-Mans most well-known foes, a version of the modern Marvel Comics supervillain Electro exists in the alternate reality Ultimate Marvel imprint. Electro at the Marvel Universe Electro at the Marvel Database Project
23.
Vision (Timely Comics)
–
This article is on the original 1940s Vision. Created by the writer Joe Simon and artist Jack Kirby, the character first appeared in Marvel Mystery Comics #13, the Vision debuted in a four-page feature in Marvel Mystery Comics #13, and continued as a regular feature in that superhero anthology through issue #48. He also starred in a story in Kid Comics #3. Two decades later, he appeared in a story in the superhero-team series The Invaders vol. 2, #3, set during World War II and he returns with the other Invaders in the miniseries Invaders Now. He appeared in issues of the Marvel NOW. relaunch of X-Men, Legacy. The Golden Age Vision, also known as Aarkus, is a law enforcement officer from a dimension called Smokeworld. While Aarkus is looking for a place to exile a prisoner. Leaving the prisoner on the planet Jupiter, Aarkus accepts Ericksons invitation to fight crime on Earth, Aarkus does so for several years, although during World War II he is briefly manipulated by the Axis powers into fighting the Allies. The superhero team the Invaders help Aarkus realize his mistake, in the present day, it is revealed that he inhabits the sewers under New York, taking care of a Cosmic Cube that is feeding off the feelings of people affected by the death of Captain America. Following a period in which he traveled through time, he is seen with the newly resurrected Toro and he plays a supporting role in 2012s X-Men, Legacy, first opposing and later aiding main character Legion. During the story, he falls into a coma and is confined to the wing of the Jean Grey School for Higher Learning. After awaking from his coma, Aarkus is approached by the Winter Soldier for help in getting the surviving members of the Invaders to the Kree home world to rescue Namor. The Vision can generate illusory images of himself, fly, generate ice and extreme cold, a Guide to Golden Age Marvel Characters. The Golden Age Vision at Don Marksteins Toonopedia Theakston, Greg, Marvel Mystery Comics #13 at the Grand Comics Database
24.
Vision (Marvel Comics)
–
Vision is the name of several fictional superheroes appearing in American comic books published by Marvel Comics. The first iteration was a created by Joe Simon and Jack Kirby who first appeared in Marvel Mystery Comics #13. The second iteration is an android and a member of the Avengers who first appeared in The Avengers #57 by Roy Thomas, Stan Lee, the third Vision is a time traveler that fused with the second versions operating system. The character is portrayed by Paul Bettany in the 2015 film Avengers, Age of Ultron, the first Vision was created by the writer-artist team of Joe Simon and Jack Kirby in Marvel Mystery Comics #13. Decades later, editor Stan Lee and writer Roy Thomas decided to add a new member to the superhero-team series The Avengers. Thomas wanted to bring back the Golden Age Vision, but Lee was set on introducing an android member, Thomas ultimately compromised by using a new, android Vision. The second Vision first appeared in The Avengers #57, Thomas wanted the character to be white as befitting his ghostly name, but printing limitations of the time would have rendered him colorless, with un-inked paper where his skin should be. He settled on red as he did not want Vision to be green like the Hulk or blue like the Atlanteans, the character has been compared with Spock from Star Trek, but Thomas said that he was barely aware of the TV series at the time. He acknowledged being influenced by the Adam Link character by Otto Binder, in The Avengers #75, the Scarlet Witch is reintroduced to the team and soon becomes a love interest for the Vision. So they became a pair, for just such practical considerations and it was finally followed up in The Avengers #134–135. Writer Steve Englehart explained, That plot was well known in-house for years, and since Roy and Neal hadnt had a chance to do it, I did it on my watch with Roy’s blessing. In 1972 the Vision appeared with Spider-Man in Marvel Team-Up #5, A Passion of the Mind, the Vision and Scarlet Witch were married in Giant-Size Avengers #4. The couple starred in the limited series Vision and the Scarlet Witch #1–4, by writer Bill Mantlo, the Vision Quest story in West Coast Avengers #42–45 by writer/penciller John Byrne took the character away from his earlier depictions as a synthetic human and emphasized his android nature. Journalist Karen Walker later commented, This image alone has probably more to shape how future writers perceive the character than anything before or since. Once seen broken down into component parts, it’s hard to move past that image and think of the Vision as a synthetic man. The Vision appeared in a limited series, Vision, #1–4, by writer Bob Harras. Nearly a decade after that came a second volume, written by Geoff Johns. Vision appeared as a character in the 2010–2013 Avengers series
25.
Horror fiction
–
Horror is a genre of fiction which is intended to, or has the capacity to frighten, scare, disgust, or startle their readers or viewers by inducing feelings of horror and terror. Literary historian J. A. Cuddon has defined the horror story as a piece of fiction in prose of variable length, which shocks or even frightens the reader, or perhaps induces a feeling of repulsion or loathing. It creates an eerie and frightening atmosphere, Horror is frequently supernatural, though it can be non-supernatural. Often the central menace of a work of fiction can be interpreted as a metaphor for the larger fears of a society. The genre of horror has ancient origins with roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and these were manifested in stories of beings such as witches, vampires, werewolves and ghosts. 18th century Gothic horror drew on these sources with the seminal and controversial The Castle of Otranto by Horace Walpole and this marked the first incorporated elements of the supernatural instead of pure realism. In fact, the first edition was published disguised as a medieval romance from Italy discovered and republished by a fictitious translator. Once revealed as contemporary, many found it anachronistic, reactionary, or simply in poor taste — but it proved to be immediately popular. That first novel of Gothic horror inspired such works as Vathek by William Beckford, A Sicilian Romance, The Mysteries of Udolpho and The Italian by Ann Radcliffe and The Monk by Matthew Lewis. A significant amount of fiction of this era was written by women and marketed at a female audience. The Gothic tradition blossomed into the modern readers call horror literature in the 19th century. Each of these novels and novellas created an icon of horror seen in modern re-imaginings on the stage. The proliferation of periodicals, as early as the turn of the century. One writer who specialized in fiction for mainstream pulps such as All-Story Magazine was Tod Robbins, whose fiction dealt with themes of madness. Later, specialist publications emerged to give horror writers an outlet, including Weird Tales, influential horror writers of the early 20th century made inroads in these mediums. Early cinema was inspired by aspects of horror literature, and early horror cinema started a strong tradition of horror films. This imagery made these comics controversial, and as a consequence they were frequently censored, many modern novels claim an early description of the living dead in a precursor to the modern zombie tale, including Dennis Wheatleys Strange Conflict, H. P. Lovecraft stories such as Cool Air, In The Vault, richard Mathesons novel I Am Legend would also influence an entire genre of apocalyptic zombie fiction emblematic of the films of George A. Romero
26.
Marvel Tales
–
Marvel Tales is the title of three American comic-book series published by Marvel Comics, the first of them from the companys 1950s predecessor, Atlas Comics. It is additionally the title of two unrelated, short-lived fantasy/science fiction magazines, the first publication using the title was the amateur magazine Marvel Tales, also known as Marvel Tales of Science and Fantasy, published by Fantasy Publications in Everett, Pennsylvania. The magazine ran five issues cover-dated May 1934 – Summer 1935, the next was a pulp magazine from future Marvel Comics publisher Martin Goodman. The title changed again, to Marvel Stories, for two final issues, the series was briefly revived from 1950 to 1952, when three further issues were published as Marvel Stories and three more as Marvel Science Fiction. In comic books, the first Marvel Tales was the continuation of the superhero anthology Marvel Mystery Comics, published by Marvel Comics initial iteration. This series ran through issue #92 and it then became Marvel Tales, an anthology of horror and fantasy stories, beginning with issue #93, with the bulk of this series run published by Marvels 1950s iteration, Atlas Comics. It ran 67 issues, through #159, ending with the collapse of Atlass distributor, American News Company, in the 1960s, during the Silver Age of Comics, the series Marvel Tales began as a summer special, Marvel Tales Annual, for its first two issues. Like typical annuals of the time, these were 25¢ giants, in 1966, the series became a bimonthly and later monthly reprint title, featuring Spider-Man stories primarily, from # 3–291. The first annual was a 72-page reprint anthology that gathered superhero origin stories from the two years, as well as a war comics story. An introduction to the Marvel Universe of the time, it contained complete debut stories of Spider-Man, Ant-Man. Iron Man, and Thor, and excerpts of the first appearances of the Hulk, Giant-Man, the version of Iron Man. Beginning with issue #3, the title was published bimonthly, continuing in the 25¢-giant format through #33. Through issue #12, Marvel Tales reprinted some of the earliest issues of The Amazing Spider-Man, as well as some of the earliest stories of Thor, Ant-Man, and Fantastic Four member the Human Torch. The Ant-Man stories were replaced after a few issues by anthological science-fiction stories framed as Tales of the Wasp and these in turn were replaced by 1950s Atlas Comics reprints of the superhero Marvel Boy in issues #13–16. That was dropped with #17, when 18-page Thor reprints replaced the earlier 13-page Thor reprints, in addition, the reprints had minor details and references changed in the stories to contemporary ones. Marvel Tales was cancelled with issue #291, Marvel published a flip book titled Marvel Tales Flip Magazine reprinting Spider-Man stories from The Amazing Spider-Man vol.2 on one side, and, on the other, Araña, from Amazing Fantasy vol. 2, through issue #6, and Runaways through the final issue, list of defunct American periodicals Atlas Tales The Unofficial Handbook of Marvel Comics Creators Marvel Science Stories, Galactic Central, Magazine Data File, p.223. Archive of The Silver Age Marvel Comics Cover Index, Part III, The Grandiose Years, Samcci Comics, September 21,2004
27.
Spider-Man
–
Spider-Man is a fictional superhero appearing in American comic books published by Marvel Comics. The character was created by writer-editor Stan Lee and writer-artist Steve Ditko, when Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of sidekick to the protagonist. Marvel has featured Spider-Man in several book series, the first. In the 2010s, he joins the Avengers, Marvels flagship superhero team, Spider-Mans nemesis Doctor Octopus also took on the identity for a story arc spanning 2012–2014, following a body swap plot in which Peter appears to die. Spider-Man is one of the most popular and commercially successful superheroes, the character was first portrayed in live action by Nicholas Hammond in the 1977 television movie Spider-Man. Reeve Carney starred as Spider-Man in the 2010 Broadway musical Spider-Man, in 1962, with the success of the Fantastic Four, Marvel Comics editor and head writer Stan Lee was casting about for a new superhero idea. He said the idea for Spider-Man arose from a surge in demand for comic books. At that time Lee had to get only the consent of Marvel publisher Martin Goodman for the characters approval, in a 1986 interview, Lee described in detail his arguments to overcome Goodmans objections. In particular, Lee stated that the fact that it had already decided that Amazing Fantasy would be cancelled after issue #15 was the only reason Goodman allowed him to use Spider-Man. While this was indeed the issue, its editorial page anticipated the comic continuing. Will appear every month in Amazing, regardless, Lee received Goodmans approval for the name Spider-Man and the ordinary teen concept, and approached artist Jack Kirby. Lee and Kirby immediately sat down for a conference, Theakston writes. Steve Ditko would be the inker, when Kirby showed Lee the first six pages, Lee recalled, I hated the way he was doing it. Not that he did it badly—it just wasnt the character I wanted, Lee turned to Ditko, who developed a visual style Lee found satisfactory. Ditko recalled, One of the first things I did was to work up a costume, a vital, visual part of the character. I had to know how he looked, for example, A clinging power so he wouldnt have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. I wasnt sure Stan would like the idea of covering the characters face and it would also add mystery to the character. Although the interior artwork was by Ditko alone, Lee rejected Ditkos cover art, as Lee explained in 2010, I think I had Jack sketch out a cover for it because I always had a lot of confidence in Jacks covers
28.
Don Markstein's Toonopedia
–
Don Marksteins Toonopedia is a web encyclopedia of print cartoons, comic strips and animation, initiated February 13,2001. Markstein began the project during 1999 with several titles, He changed Dons Cartoon Encyberpedia to Don Marksteins Cartoonopedia after learning the word Encyberpedia had been trademarked. During 2001, he settled on his title, noting, Decided to change the name of the site to Don Marksteins Toonopedia. Better rhythm in the name, plus toon is probably a more apt word, in modern parlance, than cartoon, Toonopedia author Donald David Markstein was fascinated with all forms of cartoon art since his childhood. During 1981, Markstein and his wife, GiGi Dane, founded Apatoons and he edited Comics Revue, a monthly anthology of newspaper comics, from 1984 to 1987, and 1992 to 1996. A writer for Walt Disney Comics, Markstein based Toonopedia on American, Toonopedia accumulated over 1,800 articles since its launch on February 13,2001. During 2002, Charles Bowen reviewing the site for Editor & Publisher, said, For journalists researching stories, a case in point is Don Marksteins simply amazing Toonopedia, a vast repository of information about comics, past and future. Now, honestly, unless youre a comic book collector or a cartoonist, Markstein worked on the staff of the New Orleans Times-Picayune newspaper, writing feature stories for the Sunday magazine section. His comic book scripts are mainly for licensed characters, including Donald Duck, Mickey Mouse, Mighty Morphin Power Rangers, graphic Novel Review for Libraries was Marksteins periodical guide for librarians. For each 20-page issue of the magazine, he reviewed 25–30 graphic novels. This caused him to be paralyzed on his left side and he died of respiratory failure in March 2012. In 2012, Marksteins family announced plans to continue updating Toonopedia through new articles written by fans, the subject matter of Toonopedia overlaps with the books Markstein wrote, edited and compiled. A Prince Valiant Companion, by Todd Goldberg and Carl J. Horak, was edited by Markstein, the CD-ROM is a digital compendium of stories, games, movie stills, poetry, artwork, flags and music about pirates. Billy Ireland Cartoon Library & Museum Dave Strickler List of newspaper comic strips List of online encyclopedias Don Marksteins Toonopedia, archived from the original on March 11,2012
29.
Uncanny X-Men
–
Uncanny X-Men, originally published as The X-Men, is an American comic book series published by Marvel Comics since 1963, and is the longest-running series in the X-Men comics franchise. It features a team of superheroes called the X-Men, a group of mutants with superhuman abilities led, the title was created by Stan Lee and Jack Kirby, met with a lukewarm reception, and was eventually cancelled in 1970. Interest was rekindled with 1975s Giant-Size X-Men and the debut of a new, initially published bi-monthly, it became a monthly with issue #14. The series was placed firmly in the Marvel Universe, with guest appearances by Namor in #6, the jungle adventure hero Ka-Zar and the Savage Land were introduced in issue #10. Roy Thomas wrote the series from #20 to #44, Thomas and artist Werner Roth created the Banshee in #28. The X-Men #45 featured a crossover with The Avengers #53, after a battle with the Hulk in issue #66, the title ceased publishing original material and featured reprints in issues #67 through #93. X-Men was relaunched in May 1975 with Giant-Size X-Men #1, by Len Wein, the title featured a new, international, team consisting of Cyclops, Banshee, Sunfire and Wolverine, along with new characters Storm, Nightcrawler, Colossus and Thunderbird. The original plan was to continue Giant-Size X-Men as a quarterly, chris Claremonts first issue as writer, #94, had all the original X-Men leave, along with Sunfire, Thunderbird was killed in #95. Moira MacTaggert, an ally of the X-Men, and later to be established as a former fiancée of Xavier. Marvel Girl became the Phoenix in issue #101 and this was followed by the first Shiar space opera story. Cockrum was replaced as penciller by John Byrne as of #108, Byrne became co-plotter, and during his run the series became a monthly title again. In 2010, Comics Bulletin ranked Claremont and Byrnes run on The X-Men second on its list of the Top 10 1970s Marvels. The Dark Phoenix Saga in 1980 led to a change in the line-up of the team, with the death of Phoenix, and Cyclops leaving the team to mourn for her. Comics writers and historians Roy Thomas and Peter Sanderson observed that The Dark Phoenix Saga is to Claremont and Byrne what the Galactus Trilogy is to Stan Lee and it is a landmark in Marvel history, showcasing its creators work at the height of their abilities. The new teenage mutant Kitty Pryde was introduced in #129 and joined the X-Men in #139, the Dazzler, a disco-singing, roller-skating mutant, was introduced in #130, but did not join the team, instead headlining her own solo title. Byrne plotted the story wanting to depict the Sentinels as a threat to the existence of the mutant race. Mystiques Brotherhood changed sides and became the government-backed Freedom Force in #199 and their first action was to capture Magneto, who had begun associating with the X-Men during the Secret Wars II crossover. Magneto surrenders himself, but escapes after his trial is abandoned, the Morlocks, a group of disfigured mutants living underneath New York City, were introduced in #169
30.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
