1.
Hulk (comics)
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The Hulk is a fictional superhero created by writer Stan Lee and artist Jack Kirby, who first appeared in the debut issue of the comic book The Incredible Hulk in May 1962 published by Marvel Comics. The Hulks level of strength is normally conveyed as proportionate to his level of anger, however, his uncontrollable power has brought him into conflict with his fellow heroes and others. Lee stated that the Hulks creation was inspired by a combination of Frankenstein and Dr. Jekyll, although the Hulks coloration has varied throughout the characters publication history, the most usual color is green. He has two catchphrases, Hulk is strongest one there is. And the better-known HULK SMASH. which has founded the basis for pop culture memes. The Hulk first appeared in The Incredible Hulk #1, written by writer-editor Stan Lee, penciled and co-plotted by Jack Kirby, and inked by Paul Reinman. Lee cites influence from Frankenstein and Dr. Jekyll and Mr. Hyde in the Hulks creation, for a long time Id been aware of the fact that people were more likely to favor someone who was less than perfect. Its a safe bet that you remember Quasimodo, but how easily can you name any of the heroic, handsomer, ive always had a soft spot in my heart for the Frankenstein monster. No one could ever convince me that he was the bad guy and he never wanted to hurt anyone, he merely groped his torturous way through a second life trying to defend himself, trying to come to terms with those who sought to destroy him. I decided I might as well borrow from Dr. Jekyll and Mr. Hyde as well—our protagonist would constantly change from his identity to his superhuman alter ego. Kirby, commenting upon his influences in drawing the character, recalled as inspiration the tale of a mother who rescues her child who is trapped beneath a car, Lee has also compared Hulk to the Golem of Jewish mythology. In The Science of Superheroes, Gresh and Weinberg see the Hulk as a reaction to the Cold War and the threat of nuclear attack, in the debut, Lee chose grey for the Hulk because he wanted a color that did not suggest any particular ethnic group. Colorist Stan Goldberg, however, had problems with the coloring, resulting in different shades of grey. After seeing the first published issue, Lee chose to change the color to green. Green was used in retellings of the origin, with reprints of the original story being recolored for the next two decades, until The Incredible Hulk vol. 2, #302 reintroduced the grey Hulk in flashbacks set close to the origin story, since then, reprints of the first issue have displayed the original grey coloring, with the fictional canon specifying that the Hulks skin had initially been grey. Lee gave the Hulks alter ego the alliterative name Bruce Banner because he found he had difficulty remembering alliterative names. Despite this, in stories he misremembered the characters name and referred to him as Bob Banner
2.
Jack Kirby
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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
3.
Paul Reinman
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This included the first issues of The Incredible Hulk and The X-Men. Paul Reinman was born in Germany and raised in Pfiffligheim, a borough of Worms, the second of five children, and the eldest son, of real-estate agent and farm-produce broker Bernhard and his wife, he began drawing at age 3. By his early twenties, he was creating pen-and-ink drawings of subjects as the Rashi Synagogue. Emigrating, he arrived in New York City on June 15,1934, joining an aunt, Johanna, who had come to the United States circa 1890, and a cousin, Willi, who had arrived in 1927. Reinman eventually brought his younger brother Friedrich and sister Emmy in 1936, their parents and Willi’s brother Ludwig, an artist, in 1937, and his older sister Alice in March 1938. Another younger brother, Hans, remained in Germany, but eventually escaped and made his way to the U. S. in November 1945, Reinman married Dora, an immigrant from Reichelsheim, a city near Worms, in September 1938. The couple had a daughter born circa 1944, in the 1930s, Reinman entered the field of commercial art in New York, recalling in 1988, My first job was as assistant to a designer of neon signs. Here I did designs of match covers and lettering, a few years later I quit and started to freelance in posters, fashion drawings, and package designs. Then I brushed up on my drawing technique and practiced illustration in many mediums, I succeeded in getting assignments for dry brush drawings for pulp mags, and following this I broke into comic-book cartooning. ”This was at MLJ Comics, the future Archie Comics. Because credits were not routinely given in the days of comic books. Reinmans earliest known confirmed work was at Timely Comics, the precursor of Marvel Comics and his earliest known signed story is the 12-page Plague of the Poisoned Jewelry, starring super-speedster the Whizzer, in Timelys All Winners Comics #2. Reinman then began a stint drawing for All-American Publications, one of the companies that later merged into DC Comics. He became one of the artists on the Golden Age Green Lantern before succeeding series creators Ben Flinton and Jon Kozlak on the Atom from 1947 to 1949. His sporadic later work for Timely included Human Torch and Sub-Mariner stories in Captain America Comics, Comics historian Michael J. Vassallo cites the Atlas war-comics tale Atrocity Story in Battlefield #2 as Reinmans finest hour and. One of the most challenging and intensely illustrated stories in the Atlas war comics line, written by Hank Chapman, Atrocity Story is not really a story at all, but rather a body of exposition in narrative form conveying information. Chapman starts off with screaming headlines of brutal Communist atrocities done to U. S. and U. N. troops and he then draws comparisons to Nazi atrocities perpetrated by the Third Reich. Paul Reinman renders this broadcast in newsreel fashion starting off with a magnificent full-page splash depicting a score of inhumanly bound, the tempo picks up and using smaller and smaller panels, Reinman displays one atrocity after another. The panel-to-panel progression is swift and Reinmans art is crisp and starkly grim with dark shadowing in the inks, page 5 is a disturbing eight-panel review of the atrocities on the Nazi concentration camps depicting dead camp victims and riveting single panels of hollow-eyed, skeletal survivors
4.
Superhero comics
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Superhero comics are the most common genre of American comic books. The genre rose to prominence in the 1930s and 1940s and has remained the dominant form of book in North America since the 1960s. Superhero comics feature stories about superheroes and the universes these characters inhabit, in comics format, superpowered and costumed heroes like Popeye and The Phantom had appeared in newspaper comic strips for several years prior to Superman. The masked detective The Clock first appeared in the comic book Funny Pages #6, in the Great Depression and World War II era the first Superhero Comics appeared, the most popular being Superman, Batman, Captain Marvel, Wonder Woman and Captain America. Beginning in the 1950s, DC began publishing revised versions of their 1940s superhero characters such as The Flash, Anti-Hero becomes popular with appearances of the Punisher, Wolverine, Ghost Rider and a 1980s revival of Daredevil by Frank Miller. Superhero Comics became darker with the release of landmark deconstructive works such as Watchmen and The Dark Knight Returns, in the 1990s, Image Comics released successful new characters including the Anti-Hero Spawn which were predominantly creator owned as opposed to Marvel and DCs which were corporate owned. Superhero Comics of the Silver Age, The Illustrated History, Superhero Comics of the Golden Age, The Illustrated History. Exploring the Sacred in Comics, Graphic Novels, and Film,485 p. ISBN 978-0-06-199210-0 Jacobs, Will and Gerard Jones. The Comic Book Superheroes, from the Silver Age to the Present, xi,292 p. ISBN 0-517-55440-2 Klock, Geoff. How to Read Superhero Comics and Why and our Gods Wear Spandex, The Secret History of Comic Book Heroes. Superheroes and Gods, A Comparative Study from Babylonia to Batman
5.
Stan Lee
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Stan Lee is an American comic-book writer, editor, publisher, media producer, television host, actor, and former president and chairman of Marvel Comics. In addition, he challenged the comics industrys censorship organization, the Comics Code Authority, Lee subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation. He was inducted into the book industrys Will Eisner Award Hall of Fame in 1994. Lee received a National Medal of Arts in 2008 and his father, trained as a dress cutter, worked only sporadically after the Great Depression, and the family moved further uptown to Fort Washington Avenue, in Washington Heights, Manhattan. When Lee was nearly 9, his sibling, brother Larry Lieber, was born. He said in 2006 that as a child he was influenced by books and movies, by the time Lee was in his teens, the family was living in a one-bedroom apartment at 1720 University Avenue in The Bronx. Lee has described it as an apartment facing out back, with he and his brother sharing a bedroom. Lee attended DeWitt Clinton High School in the Bronx, in his youth, Lee enjoyed writing, and entertained dreams of one day writing the Great American Novel. He graduated from school early, aged 16½ in 1939. With the help of his uncle Robbie Solomon, Lee became an assistant in 1939 at the new Timely Comics division of pulp magazine, Timely, by the 1960s, would evolve into Marvel Comics. Lee, whose cousin Jean was Goodmans wife, was hired by Timely editor Joe Simon. His duties were prosaic at first, in those days dipped the pen in ink, I had to make sure the inkwells were filled, Lee recalled in 2009. I went down and got them their lunch, I did proofreading, Lee later explained in his autobiography and numerous other sources that he had intended to save his given name for more literary work. This initial story also introduced Captain Americas trademark ricocheting shield-toss, which became one of the characters signatures. He graduated from writing filler to actual comics with a feature, Headline Hunter, Foreign Correspondent. Lees first superhero co-creation was the Destroyer, in Mystic Comics #6, other characters he created during this period fans and historians call the Golden Age of comics include Jack Frost, debuting in USA Comics #1, and Father Time, debuting in Captain America Comics #6. When Simon and his creative partner Jack Kirby left late in 1941, following a dispute with Goodman, Lee entered the United States Army in early 1942 and served in the US in the Signal Corps, repairing telegraph poles and other communications equipment. He was later transferred to the Training Film Division, where he worked writing manuals, training films, and slogans and his military classification, he says, was playwright, he adds that only nine men in the US Army were given that title
6.
Gary Friedrich
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Gary Friedrich is an American comic book writer best known for his Silver Age stories for Marvel Comics Sgt. Friedrich – no relation to comics writer Mike Friedrich – was the first successful new writer brought into the burgeoning 1960s Marvel after fellow Missourian Roy Thomas. The humanistic military drama was noted for its semi-anthological The stories, such as The Medic, Friedrich went on to write a smattering of superhero stories for Marvel, Atlas/Seaboard Comics and Topps Comics, and eventually left the comics industry. Gary Friedrich, the son of Jerry and Elsie Friedrich, was born and raised in Jackson, Missouri and he was editor of the high school newspaper and a member of the marching band. As a teen, he was a friend of future Marvel Comics writer, I was working about 80 hours a week for $50, he recalled in 2001. I wrote, edited, and laid out the entire newspaper, I was the whole editorial staff without any help. Friedrich had gotten married the year before and by now had a young son, when the newspaper ceased publication in late summer 1965, Friedrich began working a union job at a Cape Girardeau factory, installing heating elements in waffle irons. Roy Thomas, now a Marvel Comics staff writer in New York City, Friedrich took a Greyhound bus the following day, and stayed with Thomas and a fandom friend, Dave Kaler, in Manhattans East Village. Shortly afterward, Friedrich and Thomas took an apartment on Bleecker Street in Greenwich Village and this was a time of transition between the beat movement and the hippie era, when the Village flourished as a creative mecca. The Village was a really neat place to be at that time and we went to the theater that was to become the Fillmore East, it wasnt called that yet, but they were starting to have some rock concerts, like Chuck Berry. I began to let my hair grow and become a real New York hippie, after Thomas recommended Friedrich to Charlton Comics editor Dick Giordano, Friedrich began writing romance comics for that low-budget publisher, where many pros got early breaks. I did it with a good sense of humor, Friedrich recalled. I wrote things like Tears in My Malted and Too Fat to Frug, with anonymous help and input from Thomas, Friedrich also began writing superhero stories, beginning with his backup feature The Sentinels in Peter Cannon. He wrote the feature for two issues before handing it off. Friedrich also dialogued the debut and the three stories of the Blue Beetle, plotted and drawn by Steve Ditko, in Captain Atom #83–86. Friedrichs last recorded Charlton story was If I Had Three Wishes, penciled by Ditko, Friedrich also contributed to the parody series Not Brand Echh. Fury and his Howling Commandos with #42 – co-scripted, as was the issue, by Friedrichs Western partner. The next issue, a flashback to the Howlers first mission, was co-scripted by Friedrich, Friedrich continued through #83, with the late part of this run having reprint issues between new stories, and again for the even-numbered issues from #94–114
7.
Roy Thomas
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Roy William Thomas, Jr. is an American comic book writer and editor, who was Stan Lees first successor as editor-in-chief of Marvel Comics. Thomas was inducted into the Will Eisner Comic Book Hall of Fame in 2011, Thomas was born in Jackson, Missouri, United States. As a child, he was a comic book fan. The first of these was All-Giant Comics, which he recalls as having featured such characters as Elephant Giant and he graduated from Southeast Missouri State University in 1961 with a BS in Education, having majored in history and social science. Thomas, then a high school English teacher, took over as editor in 1964 when Bails moved on to other pursuits. Letters from him appeared regularly in the pages of both DC and Marvel Comics, including The Flash #116, Fantastic Four #5, Fantastic Four #15. In 1965, Thomas moved to New York City to take a job at DC Comics as assistant to Mort Weisinger, Thomas had already written a Jimmy Olsen script a few months before, while still living and teaching in the St. Louis area, he said in 2005. I worked at DC for eight days in late June and very early July of 1965 before accepting a job at Marvel Comics, the Marvel Bullpen Bulletins in Fantastic Four #61 describes Thomas admitting that he gave up a scholarship to George Washington University just to write for Marvel. Familiar with editor and chief writer Stan Lees Marvel work, and feeling them the most vital comics around, Thomas just sat down one night at the hotel and – I wrote him a letter. Not applying for a job or anything so mundane as that – I just said that I admired his work, I figured he just might remember me from Alter Ego. Lee did, and phoned Thomas to offer him a Marvel writing test, the writers test, Thomas said in 1998, was four Jack Kirby pages from Fantastic Four Annual #2. Had Sol or someone take out the dialogue, other people like Denny ONeil and Gary Friedrich took it. But soon afterwards we stopped using it, the day after taking the test, Thomas was at DC, proofreading a Supergirl story, when Steinberg called asking Thomas to meet with Lee during lunch, where Thomas agreed to work for Marvel. His employment was announced in the Bullpen Bulletins section of Fantastic Four #47 under the heading How About That, Thomas later described his early days at Marvel, I was hired after taking writers test, and my first official job title at Marvel was staff writer. I wasnt hired as an editor or assistant editor, I was supposed to come in 40 hours a week and write scripts on staff. I sat at this corrugated metal desk with a typewriter in an office with production manager Sol Brodsky. Everybody who came up to Marvel wound up there, and the phone was constantly ringing, with conversations going on all around me. Almost at once, even though Stan proofed all the stories, he and Sol started having me check the corrections before they went out
8.
Archie Goodwin (comics)
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Archie Goodwin was an American comic book writer, editor, and artist. He worked on a number of strips in addition to comic books. He is regularly cited as the comic book editor, ever. Archie Goodwin was born in Kansas City, Missouri, and lived in small towns along the Kansas-Missouri border including Coffeyville. But he considered Tulsa, Oklahoma, where he spent his teen years at Will Rogers High School, Goodwin moved to New York City to attend classes at what became the School of Visual Arts. Goodwin began as an artist drawing cartoons for magazines and as a writer and occasional art assistant to Leonard Starrs newspaper comic strip Mary Perkins. His first editorial work was for Redbook magazine, on which he worked both before and after his Army service as a draftee. His first story written before he went into the Army was drawn by Al Williamson and Roy Krenkel and he was never on staff at Harvey Comics. By 1964 he was the script writer for Warrens Creepy magazine. Much of his there, according to Batman editor Mark Chiarello, was a homage to the favorite comics of his youth. By the second issue he was co-credited as editor, and soon became editor of the entire Warren line, Creepy, Eerie and Blazing Combat. After his departure from Warren in 1967, Goodwin would occasionally contribute stories over the next 15 years and even returned for a short stint as editor in 1974. From 1967 to 1980, Goodwin wrote scripts for King Features Syndicate, including the daily strip Secret Agent X-9, drawn by Al Williamson, as well as working on other strips including Captain Kate. Not limited to newspaper strips, he work at the major comics companies as both writer and editor, working for Marvel Comics on titles including Fantastic Four and Iron Man. Goodwin worked briefly for DC Comics during the 1970s, where he edited the war comics G. I, Combat, Our Fighting Forces, and Star Spangled War Stories, and replaced Julius Schwartz as editor of Detective Comics for one year. Goodwins collaboration with Walt Simonson on the Manhunter back-up feature in Detective Comics won several awards, Goodwin wrote the Batman lead feature in Detective Comics as well and collaborated with such artists as Jim Aparo, Sal Amendola, Howard Chaykin, and Alex Toth. Goodwin first worked for Marvel Comics in 1968 and was the writer on the Iron Man series which launched that year. Goodwin speculated, I assume if he had working on Sgt
9.
Steve Englehart
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Steve Englehart is an American writer of comic books and novels. He is best known for his work at Marvel Comics and DC Comics in the 1970s and 1980s and his pseudonyms have included John Harkness and Cliff Garnett. Steve Englehart majored in psychology at Wesleyan University, where he was a member of The Kappa Alpha Society, Engleharts first work in comics was as an art assistant to Neal Adams on a 10-page story by writer Denny ONeil in Warren Publishings black-and-white horror comics magazine Vampirella #10. After briefly serving as a member of the Crusty Bunkers, Englehart found his calling as a writer. He began with a credit, with Gardner Fox, on the six-page. Then, as Marvel editor Roy Thomas said in a 2007 interview, Englehart became. a summer replacement or some such for Gary Friedrich. When Gary wanted to go away for a while, he got Steve, who was sort of an aspiring artist when he came up to Neal s studio. Then he wanted to write, and I believe he wrote a few pages of a sample script, anyway, I gave him The Beast to try out on, and that worked out pretty well. Englehart said he had first done uncredited co-scripting on a number of stories, fury #94 came in, de facto editor-in-chief Roy Thomas wanted major revisions in the script and had me do them. Evidently he liked the result, because right after that, Gary turned back a job hed been holding onto - dialoguing a little story plotted by Al Hewetson - and that was Terror of the Pterodactyl and my first credited job. Over the next six months, even as my credited stories began to appear, I continued to do uncredited collaborations - sometimes by design and this uncredited work included Friedrichs Sgt. Fury and his Howling Commandos #97, Iron Man #45,2, #152, plus two romance comics stories and a Western tale. 2, #1 During his first credited work, on a series starring erstwhile X-Men member the Beast in Amazing Adventures vol. 2, #12-17, Englehart integrated the Patsy Walker character, the star of a teen romantic-comedy series into the Marvel Universe alongside the companys superheroes. He and artist Sal Buscema launched The Defenders as a series in August 1972. Englehart has stated that he added the Valkyrie to the Defenders to provide texture to the group. He wrote The Avengers from issue #105 to #152, in the fall of 1972, Englehart and writers Gerry Conway and Len Wein crafted a metafictional unofficial crossover spanning titles from both major comics companies. Each comic featured Englehart, Conway, and Wein, as well as Weins first wife Glynis, interacting with Marvel or DC characters at the Rutland Halloween Parade in Rutland, Vermont
10.
Len Wein
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Len Wein is an American comic book writer and editor best known for co-creating DC Comics Swamp Thing and Marvel Comics Wolverine, and for helping revive the Marvel superhero team the X-Men. Additionally, he was the editor for writer Alan Moore and illustrator Dave Gibbons influential DC miniseries Watchmen, Wein was inducted into the Will Eisner Comic Book Hall of Fame in 2008. Wein was born in New York City, and was raised in a Jewish household, in a 2003 interview, Len Wein recalled that he was a very sickly kid. While I was in the hospital at age seven, my dad brought me a stack of books to keep me occupied. Approximately once a month, as a teenager, Wein and his friend Marv Wolfman took DC Comics weekly Thursday afternoon tour of the companys offices, Wolfman was active in fanzine culture, and together he and Wein produced sample superhero stories to show to the DC editorial staff. At that point, Wein was more interested in becoming an artist than a writer, eventually, DC editor Joe Orlando hired both Wolfman and Wein as freelance writers. Weins first professional comics story was Eye of the Beholder in DCs Teen Titans No,18, for which he co-created with Wolfman Red Star, the first official Russian superhero in the DC universe. Neal Adams was called upon to rewrite and redraw a Teen Titans story which had written by Wein. The story, titled Titans Fit the Battle of Jericho, would have introduced DCs first African American superhero but was rejected by publisher Carmine Infantino. The revised story appeared in Teen Titans No.20, later that year, Wein was writing anthological mystery stories for DCs The House of Secrets and Marvels Tower of Shadows and Chamber of Darkness. Weins first superhero work for Marvel was a story in Daredevil No.71 co-written with staff writer/editor Roy Thomas. Wein and artist Bernie Wrightson created the horror character Swamp Thing in The House of Secrets No.92, abigail Arcane, a major supporting character in the characters mythos was introduced by Wein and Wrightson in Swamp Thing No.3. Wein wrote the story featuring Man-Thing, introducing Barbara Morse and the concept that Whoever Knows Fear Burns at the Man-Things Touch. In the fall of 1972, Wein and writers Gerry Conway, each comic featured Englehart, Conway, and Wein, as well as Weins first wife Glynis, interacting with Marvel or DC characters at the Rutland Halloween Parade in Rutland, Vermont. 16, the story continued in Justice League of America No,103, and concluded in Thor No.207. As Englehart explained in 2010, It certainly seemed like a concept and we knew that we had to be subtle and each story had to stand on its own. Libra, a supervillain created by Wein and Dillin in Justice League of America No,111, would play a leading role in Grant Morrisons Final Crisis storyline in 2008. Wein co-created the Human Target with artist Carmine Infantino and wrote the characters appearances as a feature in Action Comics, Detective Comics, and The Brave
11.
Bill Mantlo
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William Timothy Bill Mantlo is an American comic book writer, primarily at Marvel Comics. An attorney who worked as a defender, Mantlo was the victim of a hit-and-run accident in 1992 and has been in institutional care ever since. Bill Mantlo was born in Brooklyn, New York City, the oldest of three sons of William W. and Nancy Mantlo, growing up as a comics fan, Mantlo attended Manhattans High School of Art & Design. In college at the Cooper Union School of Art, he focused on painting, following his graduation, Mantlo held various civil service positions and worked as a portrait photographer. A connection with a friend in 1974 led Mantlo to a job as an assistant to Marvel Comics production manager John Verpoorten. Mantlos first credits were as a colorist, on several comics cover-dated from October 1974 to April 1975, soon afterword, Mantlo wrote a fill-in script for a Sons of the Tiger story in Deadly Hands of Kung Fu, which led to a permanent writing position on that title. While scripting Deadly Hands, Mantlo and artist George Pérez created White Tiger, around this time, Marvels then editor-in-chief Marv Wolfman instituted a policy to avoid the many missed deadlines plaguing the company. The policy was to have fill-in stories at the ready, should a titles be in danger of missing its deadline, Mantlo quickly became the fill-in king, creating stories under very tight deadlines, many of which did find their way into print. By the mid to late 1970s he had issues of nearly every Marvel title. Later, he became a writer at Marvel, notably for the licensed properties Micronauts and Rom, also known as Rom. Mantlo recalled how one Christmas, he examined some action figures from Mego Corporations Micronauts line, acroyear, faceless, his armor gleaming, a fantastic sword clenched in his coldly metallic hand, seemed to hearken back to a warrior Mr. Spock. For some reason Galactic Warrior seemed insect-like — I can almost hear clicks and whistles, convincing then editor-in-chief Jim Shooter to obtain the comics license for these toys, Mantlo was hired to script their series. Mantlo and artist Michael Golden created the Micronauts backstory of history, mythology, personalities, Micronauts, along with Moon Knight and Ka-Zar the Savage, became one of Marvels first ongoing series to be distributed exclusively to comic book stores beginning with issue #38. Mantlos first run on The Spectacular Spider-Man featured frequent appearances by the White Tiger and he used the series to wrap up unresolved plot elements from The Champions series and wrote a multiple-issue storyline that included the first work by artist Frank Miller on the Daredevil character. Mantlo concluded his first run on the series with a crossover with the Fantastic Four #218, Mantlo, Mark Gruenwald, and Steven Grant co-wrote Marvel Treasury Edition #25 which featured a new story starring Spider-Man vs. the Hulk set at the 1980 Winter Olympics. While writing The Champions he collaborated with artist Bob Hall, who said in 2013, I think we were both as enthusiastic as we could get about this particular comic, but more because we were working at Marvel than because of the book itself. Mantlo began writing The Incredible Hulk with issue #245 and his five-year run on the series was noted for his depiction of the Hulk as highly emotional and humanized, rather than bestial and savage. Among the adversaries he created for the series were the U-Foes, then Al Milgrom said, ‘Well, don’t accept this
12.
John Byrne (comics)
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John Lindley Byrne is an American comic-book writer and artist. Since the mid-1970s, Byrne has worked on many major superheroes, Byrnes better-known work has been on Marvel Comics’ X-Men and Fantastic Four and the 1986 relaunch of DC Comics’ Superman franchise, the first issue of which featured comics first variant cover. During the 1990s he produced a number of creator-owned works, including Next Men and he scripted the first issues of Mike Mignolas Hellboy series and produced a number of Star Trek comics for IDW Publishing. In 2015, Byrne and his X-Men collaborator Chris Claremont were entered into the Will Eisner Award Hall of Fame, Byrne was born in Walsall, West Midlands, and raised in West Bromwich, England, where he lived with his parents and his maternal grandmother. The Batman story hooked me for life, a couple of years later my family emigrated to Canada and I discovered the vast array of American comics available at the time. His first encounter with Marvel Comics was in 1962 with Stan Lee and he later commented that the book had an edge like nothing DC was putting out at the time. Jack Kirby’s work in particular had a influence on Byrne. Besides Kirby, Byrne was influenced by the style of Neal Adams. In 1970, Byrne enrolled at the Alberta College of Art and he created the superhero parody Gay Guy for the college newspaper, which poked fun at the campus stereotype of homosexuality among art students. Gay Guy is notable for featuring a prototype of the Alpha Flight character Snowbird, while there, he published his first comic book, ACA Comix #1, featuring The Death’s Head Knight. Byrne left the college in 1973 without graduating, a Rog-2000 story written by Stern, with art by Byrne and Layton, had gotten the attention of Charlton Comics editor Nicola Cuti, who extended Byrne an invitation. Written by Cuti, Rog-2000 became one of several alternating backup features in the Charlton Comics superhero series E-Man, while that was Byrnes first published color-comics work, My first professional comic book sale was to Marvel, a short story called Dark Asylum. Which languished in a file somewhere until it was used as filler in Giant-Size Dracula #5. The story was plotted by Tony Isabella and written by David Anthony Kraft, after the Rog-2000 story, Byrne went on to work on the Charlton books Wheelie and the Chopper Bunch, Space,1999, and Emergency. And co-created with writer Joe Gill the post-apocalyptic science-fiction series Doomsday +1, Byrne additionally drew a cover for the supernatural anthology The Many Ghosts of Doctor Graves #54. Byrne said he broke into Marvel comics after writer Chris Claremont. saw my work, when Pat Broderick missed a deadline on the Iron Fist series in Marvel Premiere, John Verpoorten fired him and offered the book to me. I turned around the first script in time to meet the deadline, Byrne soon went on to draw series including The Champions and Marvel Team-Up. Byrne first drew the X-Men in Marvel Team-Up #53, for many issues, he was paired with Claremont, with whom he teamed for some issues of the black-and-white Marvel magazine Marvel Preview featuring Star-Lord
13.
Al Milgrom
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Allen L. Al Milgrom is an American comic book writer, penciller, inker and editor, primarily for Marvel Comics. Al Milgrom grew up in Detroit, Michigan and graduated from the University of Michigan in 1972, Milgrom started his comics career in 1972 as an assistant for inker Murphy Anderson. During that period, Milgrom contributed to Charlton Comics Many Ghosts of Doctor Graves, Star*Reach, Milgrom also worked as a Crusty Bunker for Neal Adams Continuity Associates in 1977. At one point Milgrom lived in the same Queens apartment building as artists Walter Simonson, Howard Chaykin, Simonson recalls, Wed get together at 3 a. m. Theyd come up and wed have popcorn and sit around and talk about whatever a 26,27 and our art, TV, you name it. I pretty much knew at the time, These are the good ole days, Milgrom came to prominence as a penciller on Captain Marvel from 1975 to 1977. He penciled the Guardians of the Galaxy feature in Marvel Presents, Milgrom worked as editor at DC Comics from 1977 to 1978. While at DC, he co-created Ronnie Raymond, the original Firestorm, Milgrom was an editor for Marvel Comics beginning in 1979, presiding over Epic Comics with Archie Goodwin, and editing Marvel Fanfare for its full ten-year run. As editor of The Incredible Hulk, he designed the costumes of the U-Foes and he drew The Avengers, and The West Coast Avengers, Kitty Pryde and Wolverine, Secret Wars II, and the Mephisto limited series. Milgrom wrote and drew The Spectacular Spider-Man #90–100, and The Incredible Hulk, in 1991, he wrote a story arc for The Amazing Spider-Man and collaborated with Danny Fingeroth on The Deadly Foes of Spider-Man limited series. Milgrom has been an inker, working on most of Marvels line. He served a stint as the inker of X-Factor in 1989–1997. He inked Ron Frenz on Thor in 1991–1993 and Thunderstrike from 1994 to 1995, other series he has worked on include Captain America, Generation X, The Micronauts, and the Uncanny X-Men. Milgrom inked the limited series A-Next, J2, Marvel, The Lost Generation, beginning in 1996, Milgrom completed his artistic journey on The Spectacular Spider-Man by inking the title until its cancellation in 1998. In 2009, his Cleburne, A Graphic Novel, with Justin S. Murphy, was nominated for the Independent Book Publishers Association’s Benjamin Franklin Awards, in 2016, Milgrom was nominated and tied for runner-up for the Inkwell Awards Special Recognition Award. Milgrom married Judy Lewin in early 1979 and they have a daughter, Rachel, born February 1982. In the film Ant-Man, Scott Lang and his stay at the Milgrom Hotel. Detective Comics #450–451 Firestorm #1–5 Firestorm, vol
14.
Peter David
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Peter Allen David often abbreviated PAD, is an American writer of comic books, novels, television, movies and video games. His notable comic book includes an award-winning 12-year run on The Incredible Hulk, as well as runs on Aquaman, Young Justice, Supergirl, X-Factor. His Star Trek work includes both comic books and novels such as Imzadi, and co-creating the New Frontier series and his other novels include film adaptations, media tie-ins, and original works, such as the Apropos of Nothing and Knight Life series. His television work includes such as Babylon 5, Young Justice, Ben 10, Alien Force and Nickelodeons Space Cases. David has earned awards for his work, including a 1992 Eisner Award, a 1993 Wizard Fan Award, a 1996 Haxtur Award, a 2007 Julie Award. David was born September 23,1956 in Fort Meade, Maryland to Gunter and Dalia and he has two siblings, a younger brother named Wally, who works as a still life photographer and musician, and a younger sister named Beth. David first became interested in comics when he was five years old, reading copies of Harvey Comics Casper. He became interested in superheroes through the Adventures of Superman TV series, as a result, David read those comics in secret, beginning with his first Marvel book, Fantastic Four Annual #3, which saw the wedding of Mister Fantastic and the Invisible Woman. His parents eventually allowed him to start reading superhero titles and his favorite title was Superman, and he cites John Buscema as his favorite pre-1970s artist. Davids earliest interest in writing came through the work of his father, Gunter, who would sometimes review movies. While Gunter would write his reviews back at the office, Peter would write his own. David lived in Bloomfield, New Jersey, in a house on Albert Terrace, and attended Demarest Elementary School, and later moved to Verona, New Jersey. By the time he entered his teens, he had lost interest in comic books, Davids best friend in junior high and first year in high school, Keith, was gay, and David has described how both of them were targets of ostracism and harassment from homophobes. Although his family moved to Pennsylvania, his experiences in Verona soured him on that town. He would later make Verona the home location of villain Morgan le Fay in his novel Knight Life, a seminal moment in the course of his aspirations occurred when he met writer Stephen King at a book signing, and told him that he was an aspiring writer. King signed Davids copy of Danse Macabre with the inscription, Good luck with your writing career, which David now inscribes himself onto books presented to him by fans who tell him the same thing. Other authors that David cites as influences include Harlan Ellison, Arthur Conan Doyle, parker, Neil Gaiman, Terry Pratchett, Robert Crais and Edgar Rice Burroughs. David has singled out Ellison in particular as a writer whom he has tried to emulate, David attended New York University, where he graduated with a Bachelor of Arts degree in journalism
15.
Penciller
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A penciller is a collaboration artist who works in creation of comic books, graphic novels, and similar visual art forms, with focus on primary pencil illustrations, hence the term penciller. In the American comic book industry, the penciller is the first step in rendering the story in visual form and these artists are concerned with layout to showcase steps in the plot. Beyond this basic description, however, different artists choose to use a variety of different tools. While many artists use traditional wood pencils, others prefer mechanical pencils or drafting leads, still other artists do their initial layouts using a light-blue colored pencil because that color tends to disappear during photocopying. Most US comic book pages are drawn oversized on large sheets of paper, the customary size of comic book pages in the mainstream American comics industry is 11 by 17 inches. The inker usually works directly over the pencil marks, though occasionally pages are inked on translucent paper, such as drafting vellum. The artwork is later reduced in size during the printing process. With the advent of digital illustration programs such as Photoshop, more and more artwork is produced digitally, Jack Kirby From 1949 until his retirement, Jack Kirby worked out of a ten-foot-wide basement studio dubbed The Dungeon by his family. When starting with clean piece of Bristol board, would first draw his lines with a T-square. Arthur Adams Arthur Adams begins drawing thumbnail layouts from the script hes given, the thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. When working on the illustration board, he does so on a large drawing board when in his basement studio. After tracing the thumbnails, he will then clarify details with another light-blue pencil, for a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he is not accustomed to, because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally. Jim Lee Artist Jim Lee is known to use F lead for his pencil work and he uses this lead because it strikes a balance between too hard, and therefore not dark enough on the page, and too soft, and therefore prone to smearing and crumbling. Campbell avoids its closest competitor because he finds it too waxy, campbell has also used HB lead and F lead. He maintains sharpness of the lead with a Berol Turquoise sharpener, changing them every four to six months, campbell uses a combination of Magic Rub erasers, eraser sticks, and since he began to ink his work digitally, a Sakura electric eraser. He often sharpens the eraser to an edge in order to render fine detailed work. Travis Charest Artist Travis Charest uses mainly 2H lead to avoid smearing and he previously illustrated on regular illustration board provided by publishers, though he disliked the non-photo blue lines printed on them
16.
Marie Severin
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Marie Severin is an American comic book artist and colorist best known for her work for Marvel Comics and the 1950s EC Comics. She was inducted into the Will Eisner Comics Hall of Fame in 2001 and her brother John Severin was also an artist who worked for EC and Marvel. Her older brother, John Severin, was born in 1922, the family moved to Brooklyn, New York City, when Marie was 4. She attended a Catholic grammar school and then the all-girl Bishop McDonnell Memorial High School, due to the high schools staggered schedule, Severins class graduated in January 1948, rather than in the spring as typical. Severin grew up in a household where her father, a World War I veteran. Her first job was doing work for an insurance company in downtown Manhattan for a couple of years while still living at home. She continued living there after her father died, Severin was working on Wall Street when her brother John, then an artist for EC Comics, needed a colorist for his work there. Marie Severins earliest recorded work is coloring EC Comics A Moon. In a 2001 interview, she recalled she broke in as a colorist. for all the war books at EC with Kurtzman, I went on to color all their books, they were happy with it, and I learned a lot about production color and how everything worked. I believe the color chart for the pages had a range of up to 48 colors. I had the range, I would mix colors — golds, greens, blues. What they liked is that I really studied which colors looked best and sharper next to one another, I would also proofread the colors. After an industry downturn circa 1957, she left and found work with the Federal Reserve Bank of New York and she recalled in 2001, I did a little bit of everything for them — I did television graphics on economics I did a lot of drawing. I did a book that my brother did the finished art on. Feldstein called her the conscience of EC, what I would do very often is, if somebody was being dismembered, I would rather color it in yellow because its garish, and also you could see what was going on. Or red, for the element, but not to subdue the artwork. I mean, the reason these people were buying these books was to see somebodyd head cut off. And trusted me with a lot a stuff and they knew that I wouldnt subdue artwork, I would just kind of shield it a little bit so if a parent picked up the book in the drug store, they wouldnt see that somebodys stomach was all red
17.
Herb Trimpe
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Herb Trimpe was born May 26,1939, in Peekskill, New York, where he graduated from Lakeland High School. His brother, Mike Trimpe, inked an Ant-Man story that Trimpe pencilled in Marvel Feature #6, of his childhood art and comics influences, he said in 2002, I really loved the Disney stuff, Donald Duck and characters like that. Funny-animal stuff, that was kind of my favorite, and I liked to draw that kind of thing, I loved comics since I was a little kid, but I was actually more interested in syndicating a comic strip than working in comics. As well, I was a big fan of EC comics. Trimpe commuted to New York City for three years to attend the School of Visual Arts, there, Trimpe recalled in 2002, instructor and longtime comics artist Tom Gill needed a student to ink his backgrounds and stuff. So thats how I started, at Dell, doing mostly Westerns and also licensed books, Trimpe then enlisted in the United States Air Force for four years, he recalled in 1997, the standard enlistment time, from 1962 to 1966. I was a weatherman, and our unit was on loan, you might say and we supplied aviation weather support to the First Air Cavalry Division based in the central highlands in Viet Nam. They used helicopters extensively to move troops around, I was just preparing to put some material together and go to DC and Charlton when I got a call from Sol Brodsky, who was production chief. He said they needed somebody on staff in the department to run the new photostat machine they had just bought. I would primarily run the machine and wouldnt be seated at a desk. This kind of opened the door, the staff job didnt pay much by todays standards, I think it started at $135 dollars a week which wasnt as low as it sounds. Remember, it was 1966 and that was a fairly good entry-level salary and his joining the Marvel production staff was announced in the Bullpen Bulletins of Marvel comics cover-dated June 1967, such as Fantastic Four #63. He remained associated with the company through 1996, shortly thereafter, Trimpe and writer Gary Friedrich created Marvels World War I aviator hero the Phantom Eagle in Marvel Super-Heroes #16. In the 1960s, during the known as the Silver Age of Comics, Trimpe was assigned to pencil what became his signature character. Beginning with pencil-finishes over Marie Severin layouts in The Incredible Hulk vol,2, #106, he went on to draw the character for a virtually unbroken run of over seven years, through issue #142, then again from #145–193. Additionally, Trimpe penciled the covers of five Hulk annuals, under the Marvel Method of writer-artist collaboration, Trimpe, like other Marvel artists of the time, was uncredited co-plotter of most of his stories, a working arrangement Trimpe said he enjoyed. Among the characters co-created by Trimpe during his run on the title were Jim Wilson in issue #131, during his time on the comic, he became the first artist to draw for publication the character Wolverine, who would go on to become one of Marvels most popular. The character, designed by Marvel de facto art director John Romita, Sr. was an antagonist for the Hulk,2, #180 and making his first full appearance the following issue
18.
Todd McFarlane
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Todd McFarlane is a Canadian artist, writer, designer and entrepreneur, best known for his work in comic books, such as the fantasy series Spawn. In 1992, he helped form Image Comics, pulling the occult anti-hero character Spawn from his high school portfolio, Spawn was a popular hero in the 1990s and encouraged a trend in creator-owned comic book properties. Since leaving inking duties on Spawn with issue No,70, McFarlane has illustrated comic books less often, focusing on entrepreneurial efforts, such as McFarlane Toys and Todd McFarlane Entertainment, a film and animation studio. In September 2006, it was announced that McFarlane would be the Art Director of the newly formed 38 Studios, formerly Green Monster Games, McFarlane used to be a co-owner of the National Hockey Leagues Edmonton Oilers but sold his shares to Daryl Katz. He is also a collector of history-making baseballs. McFarlane was born on March 16,1961 in Calgary, Alberta, Canada. He began drawing as a hobby at an age, and was a fan of comics creators such as John Byrne, Jack Kirby, Frank Miller and George Pérez. McFarlane created the character Spawn when he was 16, and spent countless hours perfecting the appearance of each component of the visual design. He graduated from Sir Winston Churchill High School, in the early 1980s, McFarlane attended Eastern Washington University on a baseball scholarship, and studied graphic art. He sought to play professionally after graduation, but suffered a career-ending ankle injury in his junior year. He subsequently focused on drawing, working in a book store to pay for the rest of his education. Seeking to find work drawing comics, McFarlane sent out dozens of each month to editors, totaling over 700 submissions in total. Half resulted in no response, while the half resulted in rejection letters. One of them, DC Comics Sal Amendola, gave McFarlane a dummy script in order to gauge McFarlanes page-to-page storytelling ability. They in turn passed it onto Coyote creator Steve Englehart, who reached out to McFarlane to offer McFarlane his first comic job, McFarlane soon began drawing for both DC and Marvel, with his first major body of work being a two-year run on DCs Infinity, Inc. In 1987, McFarlane illustrated the three issues of Detective Comics four-issue Batman, Year Two storyline. From there, he moved to Marvels Incredible Hulk, which he drew from 1987 to 1988, in 1988, McFarlane joined writer David Michelinie on Marvels The Amazing Spider-Man, beginning with issue 298. McFarlane rendered Spider-Mans webbing with far more detail, whereas it has essentially been rendered as a series of Xs between two lines, McFarlane embellished it by detailing far more individual strands, which came to be dubbed spaghetti webbing
19.
Dick Ayers
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He is the signature penciler of Marvels World War II comic Sgt. Ayers was inducted into the Will Eisner Comic Book Hall of Fame in 2007. Ayers was born April 28,1924 in Ossining, New York and he was in the 13th generation, he said, of the Ayers family that had settled in Newbury, Massachusetts in 1635. He published his first comic strip, Radio Ray, in the military newspaper Radio Post in 1942 while serving in the Army Air Corps during World War II, Ayers broke into comics with unpublished work done for Western Publishings Dell Comics imprint. I approached them, Ayers said in a 1996 interview, I had a story written and drawn. They wanted to wrap a book around it, I got into it, but Dell decided to scrap the project. It was a thing, boy and girl, the boy wanted to be a trumpet player. The girl kept feeding the jukebox and hed played along to Harry James or whatever sort of thing, Joe Shuster, co-creator of Superman, would visit the class, and Ayers eventually ventured to his nearby studio. Next thing I knew, Ayers said in the same interview, in a 2005 interview, Ayers elaborated that, Joe had me pencil some of his Funnyman stories after seeing my drawings at Hogarths evening class and sent me to Vin Sullivan of Magazine Enterprises. There, Sullivan let me try the Jimmy Durante strip, I submitted my work and got the job. Ayers went on to pencil and ink Western stories in the late 1940s for Magazine Enterprises A-1 Comics and Trail Colt, with writer Ray Krank, Ayers created the horror-themed Western character Ghost Rider in Tim Holt #11. Nd then he told me to play the Vaughn Monroe record Riders in the Sky, and then he started talking about what he wanted the guy wearing. Ayers hands appear onscreen as those of a cartoonist played by actor Don Briggs in The Comic Strip Murders, in 1952, while continuing to freelance for Magazine Enterprises, Ayers began a long freelance run at Atlas Comics, the 1950s forerunner of Marvel Comics. He drew horror stories in such titles as Adventures into Terror, Astonishing, Journey into Mystery, Journey into Unknown Worlds, Menace, Mystery Tales, Mystic, Strange Tales, and Uncanny Tales. As well, he drew the brief revival of the 1940s Golden Age of Comics superhero the Human Torch, from Marvels 1940s predecessor Timely Comics, an additional, unpublished Human Torch story drawn by Ayers belatedly appeared in Marvel Super-Heroes #16. Because creator credits were not routinely given at the time, two standard databases disagree over the duos first published collaboration, Ayers revealed in 1996, however, The first work I did with Jack was the cover of Wyatt Earp #25. Stan Lee liked it and sent me another job, The Martian Who Stole My Body, I also began Sky Masters, the newspaper strip. There is a lot of confusion on this, people think Wally Wood inked them all, but that was Dave Wood, the writer. I began Sky Masters with the 36th Sunday page, Jacks pencils, my inks, I ended the Sundays in January 1960
20.
George Tuska
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As well, he drew the DC Comics newspaper comic strip The Worlds Greatest Superheroes from 1978–1982. George Tuska was born in Hartford, Connecticut, the youngest of three children of Russian immigrants Harry and Anna Onisko Tuska, who had met in New York City, georges siblings Peter, the eldest, and Mary, the middle child, were born in New York City. Years later, Mary died while giving birth to her second child, Harry, a foreman at a Hartford auto-tire company, died when George was 14. Anna then opened a restaurant in Paterson, New Jersey, where she had relatives, at 17, Tuska moved to New York City, rooming with his cousin Annie, and a year later began attending the National Academy of Design. His artistic influences included illustrators Harold von Schmidt, Dean Cornwell, and Thomas Lovell, and comic strip artists Lou Fine, Hal Foster, at some early point, he took his first job in art, designing womens costume jewelry. Tuska then began working for comic book packager Eisner & Iger and his first known published comic-book work appeared in Fox Comics Mystery Men Comics #1 and Wonderworld Comics #4, both cover-dated August 1939. Tuska in the mid-2000s recalled, I went to art school at the same I was doing costume jewelry design, I put in an application with a professional agency in New York City. I told them I could do cartooning, drawing, a week later, I got a call from Eisner-Iger, asking me to submit some samples. Said, Thats pretty good, but we dont do that stuff and he showed me a comic book and said, This is what we want. I went home and made a page — a whole story in one page, when I brought it back, he bought it for $5. He said, Wed like to have you work for us, at Eisner & Iger, Tuska said in 2001, I worked alongside Bob Powell, Lou Fine, and Mike Sekowsky. His studio colleagues later grew to include artists Charles Sultan, John Celardo, and Nick Cardy, writer-artist and company co-founder Will Eisner recalled of the period, It was a friendly shop, and I guess I was the same age as the youngest guys there. The only ones who ever got into a hassle were George Tuska, Powell was kind of a wiseguy and made remarks about other people in the shop. One day, George had enough of it, got up, the otherwise mild-mannered Tuska, thinking comic books would last two or three years — a fad, later left to seek non-comics work. After two weeks, however, he came across colleagues Sultan and Dave Glaser, on their way to meet with comics packager Harry A Chesler. Tuska, invited along, joined Cheslers studio, working there in 1939 and 1940, earning $22 a week, increased to $42 a week within six months. Alongside colleagues that included Sultan, Ruben Moreira, Mac Raboy, later, when Eisner-Iger client Fiction House formed its own bullpen to produce work on staff, Tuska left Chesler to join Cardy, Jim Mooney, Graham Ingels and other artists there. At some point, Tuska again worked for Will Eisner, now split from Jerry Iger, with a group of artists that included Alex Kotzky, while with Eisner, I penciled some Spirit and Uncle Sam stories
21.
John Severin
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He was one of the founding cartoonists of Mad in 1952. Severin was inducted into the Will Eisner Award Hall of Fame in 2003, John Severin was born in Jersey City, New Jersey, and was a teenager in Bay Ridge, Brooklyn, New York City, when he began drawing professionally. While attending high school, he contributed cartoons to The Hobo News, Severin recalled in 1999, I was sometimes selling 19 or 20 of them a week. But I didnt have to get a job to carry me through high school. It was almost every week—not every week—but almost every week, I didnt have to get a job. I hated to work, Ill tell you, I didnt have to get a job then, because I was in high school. He attended the High School of Music & Art in New York City, together with future EC Comics and Mad artists Harvey Kurtzman, Will Elder, Al Jaffee and Al Feldstein. After graduating from the school in 1940, he worked as an apprentice machinist and then enlisted in the Army, serving in the Pacific during World War II. In a 1980 interview, Severin recalled his start as a professional artist, I had decided to exhibit some paintings of mine in a High School of Music, Charlie Stern was in charge of it, so I went to see him at his studio. He was the Charles of the Charles William Harvey Studio, the two being William Elder and Harvey Kurtzman. They asked me if Id like to rent space with them there, I did, and started working with them. I became the man, but they didnt want to change it to John William Harvey Studio. Harvey was doing comics, Willie and Charlie were doing advertising stuff, design work, logos for toy boxes, logos for candy boxes, cards to be included in the candy boxes. Inspired by the quick money Kurtzman would make in-between advertising assignments with one-page Hey Look, gags for editor Stan Lee at Timely Comics, Severin worked up comics samples inked by Elder. In late 1947, he recalled, the team of Joe Simon. Since it was not standard practice to credit comics creators during this era, author and historian Jim Vadeboncoeur Jr. based on Severins description of a crime story about a boy and a girl who killed somebody. I think it was their stepfather and they lived on a farm, or out in the suburbs, believes that first Severin/Elder story was the eight-page The Clue of the Horoscope in Headline Comics #32, from the Crestwood-affiliated Prize Comics. 7, #5, both of which he penciled and the latter of which he also inked,9, #6, inked by his high-school classmate turned fellow pro Will Elder
22.
Sam Grainger
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Samuel E. Series on which he worked include The Avengers, The Incredible Hulk and X-Men. Sam Graingers first known credited comic book work was at the Derby and his seven-page backup story, Behold. The Sentinels, which he both penciled and inked in Peter Cannon. Thunderbolt #54, also marked the first superhero story by prominent 1960s comic-book writer Gary Friedrich, Grainger continued on the Sentinels feature through issue #59. Afterward, he drew the cover and writer Howard Keltners eight-page story The Adder, starring the superhero Astral Man, another issues adaptation of the Gardner Fox novel Warrior of Llarn by writer Roy Thomas and artist Grainger was reprinted in the book The Best of Star-Studded Comics. Grainger additionally drew and colored some covers for 1969 issues of the Edgar Rice Burroughs fanzine ERB-dom, Grainger made his Marvel Comics debut inking a backup story in X-Men #55, over penciler Werner Roth. In the 1970s, Grainger inked for both Marvel and DC Comics, including on the latters Ghosts, Unknown Soldier and House of Mystery. He also inked two issues of the independent comics series Southern Knights, from publisher The Guild, and various issues of and backup stories in Grimjack and Dreadstar, Grainger moved to Charlotte, North Carolina, sometime before spring 1969. There he freelanced for the games company TSR, Inc. Fantasy artist Clyde Caldwell described Graingers later career, and his mentorship, My dad was a printer, Sam Grainger, an artist who did comics work for Marvel Comics, was employed by the same company. When I was a kid, I used to do drawings of superheroes, later on, when I was working at TSR, Inc. Sam did some work for us on a freelance basis. I learned a lot from him, Grainger made guest appearances at the Charlotte comic book convention Heroes Convention. Before he succumbed to diabetes-related medical issues, Heroes Con in 1987 held an auction for his medical expenses. Graingers last work was penciling and inking the posthumously published, eight-page Volstagg story The Thief of Asgard in Marvel Comics Presents #66, Grainger was living in North Carolina when he died on July 25,1990
23.
Jack Abel
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Jack Abel was an American comic book artist best known as an inker for leading publishers DC Comics and Marvel Comics. He was DCs primary inker on the Superman titles in the late 1960s and early 1970s and he sometimes used the pseudonym Gary Michaels. After a reshuffling at DC c and he had already inked Gene Colan there on a long stretch of Iron Man stories beginning with Tales of Suspense #73, under the pseudonym Gary Michaels. As Colan recalled, He did a lot of Iron Man with me and he had a very slick line, which was okay on Iron Man, of course. Iron Man was made of iron, so you want it to look like metal, but when it came to stone and dark corners and garbage, he wasnt the man for that. From the mid-1970s, Abel inked not only for Marvel and again DC, but for the smaller companies Gold Key, Charlton Comics, Atlas/Seaboard, and Skywald Publications. Baseball-fan Abel, who in the 1970s rented studio space at Neal Adams and Dick Giordanos Continuity Associates, outside comic books, Abel inked John Celardo from 1967-1969 on the syndicated comic strip Tales of the Green Beret, written by author Robin Moore. In 2016, Abel was nominated and tied for runner-up for the Inkwell Awards Special Recognition Award, Jack Abel at the Comic Book DB The Unofficial Handbook of Marvel Comics Creators Comic Art & Graffix Gallery, Murphy Anderson interview. WebCite archive Remembering Jack Abel, Comic Book Marketplace, vol,2, #46, Reminiscences by Gene Colan, Peter David, Joe Giella, Russ Heath, Joe Kubert, Alan Kupperberg, and Steve Mitchell Schenk, Ramon, ed. Charlton Personnel. Archived from the original on March 5,2008, additional WebCitation archive made June 15,2010
24.
Joe Staton
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Joe Staton is an American illustrator and writer of comic books. Joe Staton grew up in Tennessee and graduated from Murray State University in 1970, Staton started his comics career at Charlton Comics in 1971 and gained notability as the artist of the super-hero series E-Man. Staton produced art for comics published by Charlton, Marvel. In these titles he illustrated stories including the origin of the JSA in DC Special #29. Staton also illustrated the solo adventures of two female JSA members created during the JSA revival – drawing Power Girl in Showcase and the Huntress. During that time, Staton additionally drew Superboy and the Legion of Super-Heroes, the 1970s revival of the Doom Patrol in Showcase, in 1979, Staton began a two-and-a-half-year run on Green Lantern, during which he co-created the Omega Men with writer Marv Wolfman. Staton served as art director for First Comics for three years in the 1980s and he returned to DC Comics afterwards for a second run on Green Lantern and with writer Steve Englehart, oversaw the titles name change to Green Lantern Corps. Staton and Englehart also created the DC weekly crossover series Millennium, in addition, Staton illustrated Guy Gardner, The Huntress, The New Guardians and Superman & Bugs Bunny. As of the late 2000s, Staton draws DCs Scooby-Doo title for younger readers, on January 19,2011, Tribune Media Services announced that Staton and writer Mike Curtis would replace Dick Locher as the creative team of the Dick Tracy comic strip. The new creative team have worked together on Scooby-Doo, Richie Rich, Staton also illustrated Charles Santinos graphic novel adaptation of Ayn Rands Anthem. Joe Staton received an Inkpot Award in 1983, Staton and writer Mike Curtis received the Best Syndicated Strip Harvey Award for Dick Tracy in 2013,2014, and 2015. com
25.
Gerry Talaoc
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Gerry Talaoc is a Filipino comic-book artist best known for his 1970s work for DC Comics war and horror anthology titles. Initially working through countryman DeZunigas studio, Talaocs first published work in the United States was the story Phony Face in House of Mystery #205. He drew multiple issues of Ghosts, House of Mystery, Star Spangled War Stories, The Unexpected, Talaocs art was celebrated for its distinctive mix of the real and the cartoony, a style pioneered by such Golden Age cartoonists as Milton Caniff and Chester Gould. In the mid-1970s, Talaoc also worked on adaptations of literary classics published by Pendulum Press. In 1984, Talaoc moved to Marvel Comics, where he worked primarily as an inker and his first work there was on The Incredible Hulk #291 paired with Sal Buscema. Other Marvel work included Alpha Flight and the Comet Man limited series inking over Kelley Jones pencils, Talaoc retired from the American comics business in the early 1990s. During his career, Talaoc worked exclusively in the Philippines, although he now lives in the United States, gerry Talaoc at the Comic Book DB Bails, Jerry. Whos Who of American Comic Books 1928-1999, archived from the original on January 2,2017. Invasion from the Philippines, A Brief Survey of the Great 70s Filipino Artists at DC, raleigh, North Carolina, TwoMorrows Publishing, 92–97
26.
Bob McLeod (comics)
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Bob McLeod is an American comic book artist best known for co-creating the New Mutants with writer Chris Claremont. Bob McLeod was born in Tampa, Florida and he was educated at Auburn University and the Art Institute of Fort Lauderdale. McLeod began his working in the production department of Marvel Comics in 1973 on a recommendation from Neal Adams. He began penciling and inking for Marvels Crazy Magazine, doing several movie satires, McLeod drew the graphic novel and the first three issues of New Mutants and inked a number of subsequent issues. The graphic novels production overlapped with his honeymoon, and ended up missing its shipping slot because editor Louise Simonson choose to keep her promise to McLeod that he could ink it himself. In 1987, he inked Mike Zecks pencils on the Kravens Last Hunt storyline in the Spider-Man titles, at DC Comics, he was the artist on Superman in Action Comics in the early 1990s including the Dark Knight Over Metropolis storyarc. McLeod helped writer Louise Simonson and artist Jon Bogdanove launch a new Superman title, Superman, there were several issues of The Phantom comic book drawn by McLeod for the Swedish publisher Egmont. He has written and illustrated a book, Superhero ABC. He also edited TwoMorrows Publishings Rough Stuff magazine which featured interviews, McLeod currently teaches part-time at the Pennsylvania College of Art and Design in Lancaster, Pennsylvania, and works on various commercial projects. McLeod was the speaker for the 2012 Inkwell Awards Awards Ceremony at HeroesCon. Official website Bob McLeod at the Comic Book DB Bob McLeod at Mikes Amazing World of Comics Bob McLeod at the Unofficial Handbook of Marvel Comics Creators
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Comic book
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A comic book or comicbook, also called comic magazine or simply comic, is a publication that consists of comic art in the form of sequential juxtaposed panels that represent individual scenes. Panels are often accompanied by brief descriptive prose and written narrative, although comics has some origins in 18th century Japan and 1830s Europe, comic books were first popularized in the United States during the 1930s. Comic books are reliant on their organization and appearance, authors largely focus on the frame of the page, size, orientation, and panel positions. These characteristic aspects of books are necessary in conveying the content. The key elements of comic books include panels, balloons, text, balloons are usually convex spatial containers of information that are related to a character using a tail element. The tail has an origin, path, tip, and pointed direction, there are many technological formulas used to create comic books, including directions, axes, data, and metrics. Following these key formatting procedures is the writing, drawing, Comics as a print medium have existed in America since the printing of The Adventures of Mr. Obadiah Oldbuck in 1842 in hardcover, making it the first known American prototype comic book. The introduction of Jerry Siegel and Joe Shusters Superman in 1938 turned comic books into a major industry, the Golden Age originated the archetype of the superhero. Historians generally divide the timeline of the American comic book into eras, the Golden Age of Comic Books began with the introduction of Superman in 1938, spurring a period of high sales. The Silver Age of comic books is considered to date from the first successful revival of the then-dormant superhero form. The demarcation between the Silver Age and the era, the Bronze Age of Comic Books, is less well-defined. The Modern Age of Comic Books runs from the mid-1980s to the present day, in response to attention from the government and from the media, the U. S. comic book industry set up the Comics Magazine Association of America. The CMAA instilled the Comics Code Authority in 1954 and drafted the self-censorship Comics Code that year and it was not until the 1970s that comic books could be published without passing through the inspection of the CMAA. In the early 1970s, a surge of creativity emerged in what known as underground comix. Published and distributed independently of the comics industry, most of such comics reflected the youth counterculture. Underground comics were almost never sold at newsstands, but rather in such youth-oriented outlets as head shops and record stores, frank Stacks The Adventures of Jesus, published under the name Foolbert Sturgeon, has been credited as the first underground comic. The rise of comic book specialty stores in the late 1970s created/paralleled a dedicated market for independent or alternative comics in the U. S, some independent comics continued in the tradition of underground comics. A few represented experimental attempts to bring closer to the status of fine art
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Marvel Comics
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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
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Tales to Astonish
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Tales to Astonish is the name of two American comic book series and a one-shot comic published by Marvel Comics. The primary title bearing that name was published from January 1959 to March 1968 and it became The Incredible Hulk with issue #102. Its sister title was Tales of Suspense, a second Marvel comic bearing the name, reprinting stories of the undersea ruler the Sub-Mariner, ran 14 issues from December 1979 to January 1981. A superhero one-shot followed in 1994, Tales to Astonish and its sister publication Tales of Suspense were both launched with a January 1959 cover date. One such story, The Man In The Ant Hill, in #27, introduced the character Henry Pym, anthological stories continued to appear as backups until Tales to Astonish became a superhero split book in 1964, when it began featuring one story each of Giant-Man and the Hulk. The series was plotted by Lee and scripted by Lieber, with penciling first by Kirby and later by Heck, the Wasp was introduced as Ant-Mans costar in issue #44. Aside from Lee and Lieber, occasional writers included Ernie Hart, under the pseudonym H. E. Huntley, Leon Lazarus and Al Hartley. Artists of the part of the run included Ditko, Ayers. The backup feature Tales of the Wasp used the superheroine as a device for anthological science-fiction stories, having her relate tales to hospitalized servicemen. The Wasp also starred in two subsequent solo backup stories, all were scripted and penciled by Lieber. The Hulk had proven a popular guest-star in three issues of Fantastic Four and an issue of The Amazing Spider-Man and his new stories here were initially scripted by Lee and illustrated by the seldom-seen team of penciler Steve Ditko and inker George Roussos. The Abomination first appeared in Tales to Astonish #90, and is introduced as a KGB agent, stan Lee chose the name the Abomination, which he realized belonged to no other character, before conceiving the characters background and appearance. Lee recalled that he simply told artist Gil Kane to make him bigger and stronger than the Hulk, namor the Sub-Mariner received his first feature in a decade beginning with #70. The Golden Age character Byrrah was reintroduced in issue #90, after the final issue of Tales to Astonish, the Sub-Mariner co-starred in the split-book one-shot Iron Man and Sub-Mariner #1 before going on to his own 72-issue series. A second volume of Tales to Astonish, using the cover logo Tales to Astonish starring the Sub-Mariner, ran 14 issues, all but the last issue ran 18-page versions of the originally 20-page stories, with panels and text reworked to condense the plot. Covers repurposed the original art, with the premiere issues image flipped 180 degrees. 3, #1 was a 72-page, squarebound, one-shot special starring the Hulk, the Sub-Mariner, Ant-Man and the Wasp in the story Lokis Dream by writer Peter David, with painted art by John Estes
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The Incredible Hercules
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The Incredible Hercules was an ongoing comic book series written by Greg Pak and Fred Van Lente and published by Marvel Comics. The series starred the mythological superhero Hercules, his sidekick Amadeus Cho, the seventh-smartest person in the world, the series began in the aftermath of World War Hulk with The Incredible Hulk receiving a title and focus change to Hercules. Though the title not change until issue #113 the first issue of the first story arc of The Incredible Hercules appears in issue #112. The ongoing series concluded with issue #141 in February 2010, with two succeeding miniseries announced and this was followed by Chaos War. Picking up from the end of World War Hulk, Hercules, Hercules intends to make peace with S. H. I. E. L. D. While Cho only wants to continue his campaign to bring it down. However, on being confronted with his half-brother and longtime nemesis Ares, God of War, now a Mighty Avenger and in charge of Hercules case, Hercules changes his mind and, together with Cho, runs. Hercules aims to shelter with his sister Athena in Vermont, while Cho, using a stolen SHIELD laptop. Ares, Wonder Man, and Black Widow pursue the two, ultimately, Hercules defeats Ares and talks Cho down from his desire to destroy SHIELD. The two then join Athena, only to be informed of a planetary invasion. Informed of the Skrull invasion, Athena perceives this holy war as a threat to the Earths deities, the group travels to San Francisco, where they are briefly waylaid for a battle with the Eternals. The force consists of Hercules and Cho, Snowbird, Atum, Ajak, the Australian Skyfather contributes the ship on which the God Squad will travel. In the final battle, Klybn blows up Ajak, and Slgrt destroys Atum, before Hercules, Cho, following their victory, Hercules and Cho go on vacation to the tropics adjoining Atlantis, where Hercules and Namora frolic. They are interrupted by the arrival of the Amazons led by Princess Artume and Delphyne Gorgon, Cho is infatuated with Artume, and ignores the warnings of Delphyne. Artume is revealed to be leading a rogue sect of Amazons, Cho and Delphyne become attracted to each other, and she agrees to help him escape. Artume notices the potential betrayal, however, her attempt to execute Delphyne fails due to knowledge of Gorgon anatomy. Artume succeeds in using the omphalos to remake reality, but her scheme is ultimately undone within the reality itself, now bound to have nothing to do with men, she bids Cho adieu, meanwhile, Namora and Hercules break up angrily over her attraction to Namor. The two dispirited friends agree to go out for pizza, meanwhile, Hera and Pluto stage a takeover of the Olympus Group, the Greek Gods seat of power on Earth, and plot against Athena and Hercules
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Marvel NOW!
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Marvel NOW. is a comic book branding for the relaunch of several ongoing comic books published by Marvel Comics, that originally debuted in October 2012 with new #1 issues. The relaunch also included some new titles, including Uncanny Avengers, publishing changes included new creative teams for each of the titles and the in-universe changes included changes to character designs and new storylines. It marked the stage of the Marvel ReEvolution initiative, which began in March 2012. The original run went through several waves before coming to an end in May 2015 at the start of the Secret Wars storyline, a second Marvel NOW. debuted in 2016 following the Civil War II storyline. Marvel Comics first announced the launch of Marvel NOW. in July 2012, Marvel Editor-in-Chief Axel Alonso described it as the next chapter in the ongoing saga of the Marvel Universe. Marvel Chief Creative Officer Joe Quesada stressed that unlike DC Comics The New 52, it is not a reboot, in March 2013, Alonso announced that Marvel would be launching a new wave of Marvel NOW. titles, dubbed Wave Two, in the summer of that year. Alonso stated, There are plans for a Marvel NOW, Wave 2—a new wave of titles that will generate the same amount of excitement amongst retailers and fans that the first wave did. From Uncanny Avengers to Thanos Rising, Marvel NOW. has been a hit, look for exciting new series, starting in July and carrying through next year. It was announced a week later that Avengers A. I. would be the first of new titles. These entry issues will be branded as. NOW issues, for example, Avengers #24 was billed as Avengers #24. NOW. Several new series, such as Inhuman and All-New Invaders were also announced, the three series are, Miles Morales, Ultimate Spider-Man, Ultimate FF, and All-New Ultimates. In July 2014, Marvel announced that a wave, Avengers NOW. would launch in October. The wave focuses exclusively on solo titles for individual Avengers, Marvel NOW. officially ended in May 2015 at the start of the Secret Wars storyline, which saw the end of the Marvel Universe. Following the conclusion of Secret Wars, the universe is scheduled to be relaunched again in All-New All-Different Marvel and we did Marvel NOW. and All-New Marvel NOW. which were both two very successful campaigns. In May 2016, Marvel announced the return of Marvel NOW. following the conclusion of the Civil War II storyline and that just becomes a condition of these big event stories, what is it at the end that changes the landscape. On 13 December 2012, a special Marvel NOW. category was featured on the quiz show. A costume based on the Marvel NOW. title Indestructible Hulk was made available in the game Marvel Super Hero Squad Online in November 2012
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Steve Ditko
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Stephen J. Steve Ditko is an American comic book artist and writer best known as the artist and co-creator, with Stan Lee, of the Marvel Comics superheroes Spider-Man and Doctor Strange. Ditko studied under Batman artist Jerry Robinson at the Cartoonist and Illustrators School in New York City and he began his professional career in 1953, working in the studio of Joe Simon and Jack Kirby, beginning as an inker and coming under the influence of artist Mort Meskin. During this time, he began his long association with Charlton Comics, where he did work in the genres of science fiction, horror. He also co-created the superhero Captain Atom in 1960, during the 1950s, Ditko also drew for Atlas Comics, a forerunner of Marvel Comics. He went on to contribute much significant work to Marvel, in 1966, after being the exclusive artist on The Amazing Spider-Man and the Doctor Strange feature in Strange Tales, Ditko left Marvel for reasons never specified. Ditko also began contributing to small independent publishers, where he created Mr. A, since the 1960s, Ditko has declined most interviews, stating that it is his work he offers readers, not his personality. Ditko was inducted into the comics industrys Jack Kirby Hall of Fame in 1990, the second-eldest child in a working-class family, he was preceded by sister Anna Marie, and followed, according to the 1940 census, by sister Elizabeth and brother Patrick. Good with his hands, Ditko in junior school was part of a group of students who crafted wooden models of German airplanes to aid civilian World War II aircraft-spotters. Upon graduating from Johnstown High School in 1945, he enlisted in the U. S. Army on October 26,1945, and did service in postwar Germany. Following his discharge, Ditko learned that his idol, Batman artist Jerry Robinson, was teaching at the Cartoonists, moving there in 1950, he enrolled in the art school under the G. I. He was in my class for two years, four or five days a week, five hours a night, Ditkos first published work was his second professional story, the six-page Paper Romance in Daring Love #1, published by the Key imprint Gillmor Magazines. Beginning as an inker on backgrounds, Ditko was soon working with and learning from Mort Meskin, Meskin was fabulous, Ditko once recalled. I couldnt believe the ease with which he drew, strong compositions, loose pencils, yet complete, Ditkos known assistant work includes aiding inker Meskin on the Jack Kirby pencil work of Harvey Comics Captain 3-D #1. For his own published story, Ditko penciled and inked the six-page A Hole in His Head in Black Magic vol. 4, #3, published by Simon & Kirbys Crestwood Publications imprint Prize Comics, Ditko then began a long association with the Derby, Connecticut publisher Charlton Comics, a low-budget division of a company best known for song-lyric magazines. He first went on hiatus from the company, and comics altogether, in mid-1954, hed take those skeleton outlines I had given him and turn them into classic little works of art that ended up being far cooler than I had any right to expect. Kirby told Lee about his own 1950s character conception, variously called the Silver Spider and Spiderman, Comics historian Greg Theakston says Lee and Kirby immediately sat down for a story conference and Lee afterward directed Kirby to flesh out the character and draw some pages. A day or two later, Kirby showed Lee the first six pages, and, as Lee recalled, not that he did it badly — it just wasnt the character I wanted, it was too heroic
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Sol Brodsky
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He later rose to vice president, operations and vice president, special projects. Sol was really my right-hand man for years, described Marvel editor, Brodsky worked primarily behind the scenes, uncredited. His accomplishments include co-creating, with letterer Artie Simek, the logo of The Amazing Spider-Man. He was belatedly credited after decades as the inker of Jack Kirbys pencil art for The Fantastic Four #3-4, Lee described Brodsky as my assistant for years and the companys production head. He could write, he could draw, he could ink — he could do everything, born in Brooklyn, New York City, New York, the son of Abraham and Dora Brodsky, Sol Brodsky was the eldest among siblings Leonard, Ted, and Faye. Determined early in life to pursue cartooning, he took a job sweeping floors at Archie Comics in order to break into the industry, a 1985 tribute feature in the Marvel promotional magazine Marvel Age cites his comic-art debut at age 17 in 1940 in the comic V-Man. Brodskys earliest confirmed credit is inking a six-page Volton story in Holyoke Publishings Cat-Man Comics vol. His earliest known cover art is for Fox Comics Blue Beetle #17, Brodsky served in the U. S. Army Signal Corps during World War II, advancing to the rank of corporal. Upon his return from service, Brodsky created the feature Red Cross in Holyokes aviation series Captain Aero Comics. Fellow comics artist Allen Bellman recalled in 2005, Sol and I were close friends and we both lived in Brooklyn and I was already married. When Roz and I were married, we moved to the Jersey shore area of Asbury Park and he was a warm, good-natured person. Brodsky married Selma Cohen on November 28,1948 and their first child, Janice, was born August 7,1952, and son Gary on March 18,1957. He also drew the cover of Sub-Mariner Comics #34, after an Atlas reorganization circa 1954, publisher Martin Goodman eliminated all his comics-division staff except for editor-in-chief Stan Lee. Freelance cartoonist and later longtime Marvel colorist and Millie the Model artist Stan Goldberg recalled, I would come in a couple of days a week to help out, but I had a lot of my own freelance stuff, so I couldnt do much. Stan got in touch with Sol, Stan was a one-man department, and with Sol it became a two-man department. As Lee elaborated, Sol and I were the staff of Atlas Comics. I bought the art and scripts and Sol did all the production and my job was mainly talking to the artists and the writers and telling them I wanted the stuff done. The corrections, making sure everything looked right, making sure things went to the engraver and he was really the production manager
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George Roussos
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Over five decades, he created artwork for numerous publishers, including EC Comics, and he was a staff colorist for Marvel Comics. George Roussos was born in Washington, D. C. the son of Greek-Americans William, Roussos was influenced by the art of cartoonist Frank Miller in the aviation comic strip Barney Baxter in the Air. Other influences included Chester Gould, Stan Kaye, Robert Fawcett, I had no schooling except the things I learned by myself, Roussos said. He entered comics in 1939 as letterer of the Spanish-language version of the newspaper panel Ripleys Believe It or Not, the following year, Bob Kane and Bill Finger hired him to assist inker Jerry Robinson on Batman stories. Roussos duties included drawing backgrounds, inking, and lettering, starting as early as Batman #2, at the same time, he did similar duties on Target and the Targeteers. He and Robinson would eventually leave the Kane studio to work directly for National Comics on Batman, Roussos worked on features starring the Vigilante, Johnny Quick, Superman, and Starman. He also did 16 internationally distributed educational pamphlets for General Electric, the survey The 20 Greatest Inkers of American Comic Books placed Roussos at #15, saying he was so adept with a brush in his hand that his co-workers appointed the nickname Inky to him. His style was thick, heavy with blacks, and sported nice contrasts which complimented one of his prime collaborators in the 50s. Comic-book clients during the 1950s included that decades Marvel precursor, Atlas Comics, along with Crestwood, EC Comics, for EC he did stories in Crime SuspenStories, Tales from the Crypt, Weird Science and Weird Fantasy. These included #21-27, which featured the first Hulk vs. Thing battle, as well, Roussos had inked the Kirby covers of issues #11,13, and 18-20. Roussos also inked the return of Captain America in The Avengers #4 — the cover of which has one of comics most famous — as well as Kirbys Sgt. Fury and his Howling Commandos #3-7, in addition, though Marvel Comics did not credit colorists at this time, Roussos has since claimed that he has always followed the practice of coloring any comic that he inked. After doing some work for Warren Publishings black-and-white horror-comics magazines in 1970 and 1971, Roussos in 1972 succeeded Marie Severin as Marvels full-time, in the early 1980s, Roussos was Marvels cover colorist. Roussos was a Renaissance man whose interests included architecture, astronomy, automobiles, gardening, natural medicine. He took photographs of various Long Island estates, and his photographs at the Bayard Cutting Arboretum State Park were collected in his book, Roussos died of a heart attack. He was married twice, to Viola Fink, followed by Florence Lacey, Roussos had three sons and a daughter. The Bayard Cutting Arboretum History, A History and Description of William Bayard Cutting and His Country House, Westbrook, Great River, oakdale, New York, The Board of Trustees and the Long Island State Park and Recreation Commission,1984. The Unofficial Handbook of Marvel Comics Creators
35.
Gil Kane
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Gil Kane was a Latvian-born American comic book artist whose career spanned the 1940s to the 1990s and every major comics company and character. Kane co-created the modern-day versions of the superheroes Green Lantern and the Atom for DC Comics, Kane additionally pioneered an early graphic novel prototype, His Name is. Savage, in 1968, and a seminal graphic novel, Blackmark, in 1971. In 1997, he was inducted into both the Will Eisner Comic Book Hall of Fame and the Harvey Award Jack Kirby Hall of Fame. Gil Kane was born Eli Katz on April 6,1926, in Latvia to a Jewish family that immigrated to the U. S. in 1929, settling in Brooklyn and his father was a struggling poultry merchant. Kane attended high school at Manhattans School of Industrial Art, and he recalled in a 1996 interview, rom the time I was 15, I was going up to the comics offices. My first job came the year at 16. During my summer vacation, I went up and got a job working at MLJ in 1942, I was in my last year in high school. I was 16 and Id already started my last year but Id already gotten my job the summer before at MLJ, I quit school in the last grade. Until being fired after three weeks, Kane worked in production, putting borders on pages. The letterers would only put in the lettering, not the balloons, so I would put in the borders, balloons, within a couple of days of being let go, I got a job with Jack Binders agency. Jack Binder had a loft on Fifth Avenue and it just looked like an internment camp, there must have been 50 or 60 guys up there, all at drawing tables. You had to account for the paper that you took, Kane began penciling professionally there, but, They werent terribly happy with what I was doing. He would also do spot illustrations for other studios and his earliest known credit is inking Carl Hubbell on the six-page Scarlet Avenger superhero story The Counterfeit Money Code in MLJs Zip Comics #14, on which he signed the name Gil Kane. Other early credits include some issues of the companys Pep Comics, sometimes under pseudonyms including Stack Til and Stacktil, and, in conjunction with artist Pen Shumaker, Pen Star. He even used his name on rare occasions, including on at least one story each in the Temerson / Helnit / Continental publishing groups Terrific Comics. That same year Kane either was drafted or enlisted in the Army, after 19 months in the service, he returned to in December 1945. All-American Publications editor Sheldon Mayer hired him in 1947, for a stint that lasted six months and he contributed again to the Sandman feature in Adventure Comics and, as penciler Gil Stack and inker Phil Martel, to the Wildcat feature in Sensation Comics. Around this time, he said, he worked with director Garson Kanin when he was involved in TV, in 1949, Kane began a longtime professional relationship with Julius Schwartz, an editor at National Comics, the future DC Comics
36.
Bill Everett
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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
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John Buscema
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His younger brother Sal Buscema is also a comic book artist. Buscema is best known for his run on the series The Avengers and The Silver Surfer, in addition, he pencilled at least one issue of nearly every major Marvel title, including long runs on two of the companys top magazines Fantastic Four and Thor. He was inducted into the Will Eisner Comic Book Hall of Fame in 2002, born in Brooklyn, New York City, John Buscema showed an interest in drawing at an early age, copying comic strips such as Popeye. He showed an interest in commercial illustrators of the period, such as N. C, wyeth, Norman Rockwell, Dean Cornwell, Coby Whitmore, Albert Dorne, and Robert Fawcett. Buscema graduated from Manhattans High School of Music and Art and he took night lessons at Pratt Institute as well as life drawing classes at the Brooklyn Museum. While training as a boxer, he began painting portraits of boxers, colan recalled that. John never seemed very happy in comics. There always seemed to be something else he wanted to do. His first recorded credit is penciling the four-page story Till Crime Do You Part in Timelys Lawbreakers Always Lose #3. He contributed to the dramatic series True Adventures and Man Comics, as well as to Cowboy Romances, Two-Gun Western, Lorna the Jungle Queen. Buscema next produced a series of Western, war, and sword, Buscema recalled, I did a bunch of their movie books. I worked from stills on those, except for The Vikings. I think one of the best books I ever did was Sinbad the Sailor. He began a position for the New York City advertising firm the Chaite Agency. Buscema called this time quite a period for me in my own development of techniques. He returned to comic books in 1966 as a regular freelance penciller for Marvel Comics, debuting over Jack Kirby layouts on the Nick Fury, Story in Strange Tales #150, followed by three Hulk stories in Tales to Astonish #85-87. He then settled in as regular penciller of The Avengers, which would one of his signature series. Avengers #49-50, featuring Hercules and inked by Buscema, are two of his best-looking of that period, said comics historian and one-time Marvel editor-in-chief Roy Thomas, Thomas and Buscema introduced new versions of the Black Knight and the Vision during their collaboration on The Avengers. The process brought Buscemas art to life in a way that it had never been before, anatomically balanced figures of Herculean proportions stalked, stormed, sprawled, and savaged their way across Marvels universe like none had previously. John Buscema named Frank Giacoia, Sal Buscema, and Tom Palmer as his favorite inkers, Buscema drew the first appearance of the Prowler in The Amazing Spider-Man #78
38.
Leader (comics)
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The Leader is a fictional character, a supervillain appearing in American comic books published by Marvel Comics. The Leader first appeared in Tales to Astonish #62, created by writer Stan Lee and he has mainly appeared in Hulk related comic books over the years and was one of the featured characters in the Marvel NOW. In 2009, The Leader was ranked as IGNs 63rd Greatest Comic Book Villain of All Time, Sterns worked as a janitor in Boise, Idaho when he was exposed to gamma radiation. The radiation mutated him into a green skinned, super-intelligent entity who names himself the Leader and he is repeatedly foiled by the Hulk, who overcomes all of the Leaders schemes as well as his artificial henchmen known as the Humanoids. Sterns would later be transformed, causing his cranium to change into the shape of an oversized brain. As part of the Intelligencia he is an part of the Hulked Out Heroes storyline. Actor Tim Blake Nelson portrays Dr. Samuel Sterns in the 2008 superhero film The Incredible Hulk, in the movie, Sterns is shown to be mutating, but the film does not use the character beyond the initial mutation. The character first appeared in Tales to Astonish #62, and was created by Stan Lee, born Samuel Sterns in Boise, Idaho, he worked for a chemical plant in a menial capacity. While moving radioactive materials into a storage area, some of the radioactive materials explode. He recovers, and finds that the radiation has changed him from a human into a green-skinned. The Leader creates a spy ring to overthrow the United States federal government and he sends a spy to steal a robot Dr. Bruce Banner was developing. The spy is knocked into a pit by the Hulk. The Leader dispatches the Chameleon to find out why the spy has failed to report back, although the Chameleon fails at this, he informs the Leader of the secret shipment of a newly developed nuclear device, the Absorbatron. The Leader sends a Humanoid to steal the device, the Humanoid is stopped by the Hulk, who the Leader sees for the first time through his Humanoids eyes. He deduces that the Hulk is a creation of gamma radiation like himself, however, the Hulk is unwittingly saved from capture by US army troops. A third attempt at stealing the Absorbatron is successful, and the Hulk is delivered into the Leaders hands at the same time, however, while the Leader is still scientifically studying him, the Hulk breaks free and proves impossible to reason with. He destroys the Absorbatron, and the Leader narrowly escapes with his life, in order to sell his 500-foot -tall Humanoid to hostile nations, the Leader arranges a demonstration of its power by ordering it to attack a nearby missile base. However, the hits the Humanoid with a Sunday Punch missile
39.
Abomination (comics)
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The Abomination is a fictional supervillain appearing in American comic books published by Marvel Comics. The character first appeared in Tales to Astonish #90, and was created by writer Stan Lee and artist Gil Kane, in 2009, the Abomination was ranked as IGNs 54th Greatest Comic Book Villain of All Time. Stan Lee chose the name the Abomination, which he realized belonged to no character, before conceiving the characters background. Lee recalled that he told the artist Gil Kane to make him bigger and stronger than the Hulk. In his first appearance, Blonsky became a large scaly humanoid even stronger than the Hulk, in accordance with Lees wishes, the character defeated the Hulk in their first battle. The Hulk is revived by General Thunderbolt Ross using radioactive rays, the Hulk eventually reverts to Banner, who lures the Abomination into a trap and drains off the Abominations excess power, allowing the Hulk to defeat him. He takes the Abomination - judged to be evil - off world for further study, the Abomination reappears when summoned by a coven of witches to briefly battle the cosmic hero the Silver Surfer and summons Thor to aid him in escaping the Strangers laboratory world. Thor frees the Abomination and the captives, but, on discovering they are all evil. After defeating the Abomination and placing the Abomination in prison, Thor departs, when the Hulk is defeated by the alien Xeron the Star Slayer and brought aboard a space vessel, the Abomination is revealed to be first mate of the alien crew. It is revealed in flashback that the Abomination entered into a coma on impacting with the Earth and is buried for two years. Revived by a missile fired from Hulkbuster Base, the Abomination joins forces with General Ross to defeat the Hulk. The Abomination reappears with fellow Hulk foe the Rhino, and the pair activates a bomb at the Hulkbuster base in an attempt to destroy the Hulk. The Hulks companion of the time, Jim Wilson, deactivates the bomb, a comatose Abomination is eventually found by soldiers at Ross direction and has a miniature bomb implanted in his skull, being told to fight and defeat the Hulk or be killed. The Abomination tricks the Hulk into an alliance and betrays Ross by attempting to ransom the captured Kennedy Space Center, the plan fails when the Hulk turns on the Abomination and the pair fight, with the Abomination being caught on a rocket when it explodes. An illusion of the Abomination also appears with other Hulk foes when the Hulk enters the brain of Colonel Glenn Talbot at microscopic size to excise a tumor, the Abomination eventually reappears as a servant of the entity the Galaxy Master, having been empowered with even greater strength. After another extended battle with the Hulk, the Hulk attacks and destroys the Galaxy Master, causing the villain to weaken and apparently become lost in space. When Hulk foe MODOK invades the Hulkbuster base, he colludes with General Ross to revive the Abomination, MODOK intends to use the Abomination against his superiors at Advanced Idea Mechanics, while Ross hopes the villain will destroy the Hulk. The Abomination, however, has become afraid of the Hulk and has to be forced by MODOK to fight
40.
Chris Claremont
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Christopher S. Claremont scripted many classic stories, including The Dark Phoenix Saga and Days of Future Past, on which he collaborated with John Byrne. He developed the character of Wolverine into a fan favorite, X-Men #1, the 1991 spinoff series premiere that Claremont co-wrote with Jim Lee, remains the best-selling comic book of all time, according to Guinness World Records. In 2015, Claremont and his X-Men collaborator John Byrne were entered into the Will Eisner Award Hall of Fame, Claremont was born November 25,1950 in London, England, the son of an internist father and a pilot/caterer mother. His family moved to the United States when he was three, and he was raised primarily on Long Island and he read works by science fiction writers such as Robert Heinlein, as well as writers of other genres such as Rudyard Kipling and C. S. Forester. Claremont is Jewish on his mothers side, and lived in a kibbutz in Israel during his youth. Instead, when he began at Bard College, he did so as a political theorist, studying acting and political theory and his first professional sale was a prose story. Thomas later assigned Claremont his first professional scripting assignment, on Daredevil, in 1974, as an entry into regular comics writing, Claremont was given the fledgling title Iron Fist, which teamed him with John Byrne, their second collaboration after Marvel Premiere. Though his acting career did not yield great success, he functioned well at Marvel, one of the first new characters created by Claremont was Madrox the Multiple Man in Giant-Size Fantastic Four #4. Claremont approached the job as a actor, developing the characters by examining their motives, desires. This approach drew immediate positive reaction, according to former Marvel editor-in-chief Bob Harras, He lived it and breathed it. He would write whole paragraphs about what people were wearing and he really got into these peoples thoughts, hopes, dreams. Claremont introduced new supporting characters to the X-Men series including Moira MacTaggert in issue #96, Marvel Girl, one of Marvels first female heroes, underwent a huge transformation into the omnipotent Phoenix. Issue #107 saw the introduction of the Starjammers as well as the departure of artist Dave Cockrum, Claremont began his collaboration with artist John Byrne in the following issue. During his 17 years as X-Men writer, Claremont wrote or co-wrote many classic X-Men stories, such as The Dark Phoenix Saga and Days of Future Past. 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. In 2010, Comics Bulletin ranked Claremont and Byrnes run on The X-Men second on its list of the Top 10 1970s Marvels, Claremont and artist Frank Miller crafted a Wolverine limited series in 1982. With artist Walt Simonson, Claremont produced The Uncanny X-Men and The New Teen Titans in 1982, the New Mutants were introduced by Claremont and Bob McLeod in Marvel Graphic Novel #4 and received their own ongoing series soon after. The second X-Men film was based on his X-Men graphic novel God Loves
41.
Tony Isabella
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Isabella discovered comics at the age of four, when his mother began bringing him I. W. Publications titles she bought at Woolworth. As a teenager, Isabella had many published in comic book letter columns. He was active in fandom as well, a member of CAPA-alpha. Isabellas work in comics fandom attracted the attention of Marvel editor Roy Thomas, with Marvels establishment of Marvel UK that year, Isabella was assigned the task of overseeing the reprints used in Marvel UKs nascent comics line. He also served for a time as an editor for Marvels black-and-white magazine line. As a writer, Isabella scripted Ghost Rider, It, the Living Colossus in Astonishing Tales, Luke Cage in Hero for Hire and Power Man, Tigra in Marvel Chillers, Daredevil, and Captain America. While writing the Iron Fist feature in Marvel Premiere, he co-created the supporting character Misty Knight with artist Arvell Jones, Isabella developed the concept of The Champions series and wrote the first several issues. Isabella said in 2007, Getting prior approval from editor Roy Thomas, as I would from later editors Len Wein and Marv Wolfman and he looked sort of like a hippie Jesus Christ and thats exactly who He was, though I never actually called Him that. It allowed me to address a disparity that had bothered me about the Marvel Universe. Though we had no end of Hell and Satan surrogates in our comics, id written a story wherein, couched in mildly subtle terms, Blaze accepted Jesus as his savior and freed himself from Satans power forever. Had I remained on Ghost Rider, which was my intent at the time, Blaze would be a Christian, but hed express this in the way he led his life. Unfortunately, an assistant editor took offense at my story, the issue was ready to go to the printer when he pulled it back and ripped it to pieces. He had some of the art redrawn and a lot of the copy rewritten to change the ending of a two years in the making. The Friend was revealed to be, not Jesus, but a demon in disguise, to this day, I consider what he did to my story one of the three most arrogant and wrongheaded actions Ive ever seen from an editor. Isabella later said the assistant editor referenced was Jim Shooter, for DC Comics, Isabella worked as a writer and story editor but is mainly known for his creation of Black Lightning, writing both the characters short-lived 1970s and 1990s series. Isabella and artist Richard Howell produced the Shadow War of Hawkman mini-series in 1985, an ongoing series was launched the following year. In 1987, Isabella began writing the Justice Machine series for Comico, co-plotting with series creator, the ongoing book became one of Comicos best-selling series, selling upwards of 70,000 copies of each issue at its peak. Isabella wrote the first 11 issues of the Comico series before moving on to other projects, in 1990, Isabella returned to the characters to write the series for Innovation Comics, with Gustovich pencilling once more
42.
Wolverine (character)
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Wolverine is a fictional character appearing in American comic books published by Marvel Comics, mostly in association with the X-Men. He is a mutant who possesses animal-keen senses, enhanced capabilities, powerful regenerative ability known as a healing factor. Wolverine has been depicted variously as a member of the X-Men, Alpha Flight, the character first appeared in the last panel of The Incredible Hulk #180, with his first full appearance in #181. He was created by writer Len Wein and Marvel art director John Romita, Sr. who designed the character, as a result, the character became a fan favorite of the increasingly popular X-Men franchise, and has been featured in his own solo comic since 1988. Marvel editor-in-chief Roy Thomas asked writer Len Wein to devise a character specifically named Wolverine, John Romita, Sr. designed the first Wolverine costume, and believes he introduced the retractable claws, saying, When I make a design, I want it to be practical and functional. I thought, If a man has claws like that, how does he scratch his nose or tie his shoelaces, Wolverine first appeared in the final teaser panel of The Incredible Hulk #180 written by Wein and penciled by Herb Trimpe. The character then appeared in a number of advertisements in various Marvel Comics publications before making his first major appearance in The Incredible Hulk #181 again by the Wein–Trimpe team. In 2009, Trimpe said he distinctly remembers Romitas sketch and that, The way I see it, sewed the monster together and I shocked it to life. It was just one of secondary or tertiary characters, actually. We did characters in The Hulk all the time that were in issues, though often credited as co-creator, Trimpe adamantly denies having had any role in Wolverines creation. The characters introduction was ambiguous, revealing little beyond his being an agent of the Canadian government. In these appearances, he does not retract his claws, although Wein stated they had always envisioned as retractable. He appears briefly in the finale to this story in The Incredible Hulk #182, Wolverines next appearance was in 1975s Giant-Size X-Men #1, written by Wein and penciled by Dave Cockrum, in which Wolverine is recruited for a new squad. Gil Kane illustrated the artwork but incorrectly drew Wolverines mask with larger headpieces. Dave Cockrum liked Kanes accidental alteration and incorporated it into his own artwork for the actual story, Cockrum was also the first artist to draw Wolverine without his mask, and the distinctive hairstyle became a trademark of the character. A revival of X-Men followed, beginning with X-Men #94, drawn by Cockrum, in X-Men and Uncanny X-Men, Wolverine is initially overshadowed by the other characters, although he does create tension in the team as he is attracted to Cyclops girlfriend, Jean Grey. Byrne modeled his rendition of Wolverine on actor Paul D’Amato, who played Dr. Hook in the 1977 sports film Slap Shot, Byrne also created Alpha Flight, a group of Canadian superheroes who try to recapture Wolverine due to the expense their government incurred training him. Later stories gradually establish Wolverines murky past and unstable nature, which he battles to keep in check, Byrne also designed a new brown-and-tan costume for Wolverine, but retained the distinctive Cockrum cowl
43.
Jim Wilson (comics)
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Jim Wilson is a fictional supporting character appearing in American comic books published by Marvel Comics. He is the nephew of Sam Wilson, and a friend of Bruce Banner. Jim Wilson first appeared in The Incredible Hulk vol.2 #131 as a young man who befriends the Hulk. During the late 1970s he became a supporting character of the series. The Incredible Hulk #232 revealed that Jim Wilson is the nephew of Sam Wilson, Wilson was dropped from the series by 1980, and did not return until The Incredible Hulk Vol.2 #388, in which it is revealed that Wilson was HIV-positive. He dies of AIDS in The Incredible Hulk Vol.2 #420, Wilson enlists Rick Jones to play a benefit concert at a hospice for AIDS patients. On the drive from the airport, Wilson reveals to Jones that he is HIV-positive, Wilson is injured while protecting Jefferson Wolfe from the assassin Speedfreek at the charity concert. The Hulk rushes Wilson to a hospital, Jones and the Hulk later secure evidence to send the mob boss who employed Speedfreek to prison. Wilson is again seen in The Incredible Hulk #420, in which he is attacked by a mob protesting the fact that a court has ordered an HIV-infected boy to be allowed into a public school. He learns that Wilson actually has AIDS, and has had it for some time, in addition to the broken ribs he sustained in the mob attack, he is suffering from pneumocystis carinii pneumonia, and does not have long to live. Banner initially refuses to take the risk of creating another monster, Wilson reveals in private to Dr. Harr, the attending physician caring for him, that he was not fooled by Bruces ruse, but played along anyway. Shortly afterward, Jim Wilson succumbs to the disease and dies, after Wilsons death, Bruce donates a large sum of money to the hospice that Wilson worked at in order to allow them to comfortably exist for the next few decades. Jim Wilson has an appearance in The Incredible Hulk played by P. J. Kerr. He is a student at Culver University and along with his friend, Jack McGee and he is later seen interviewed with his friend about the events. It is unknown if he is related to Sam Wilson in this version
44.
Jarella
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Jarella is a fictional character appearing in American comic books published by Marvel Comics. Along with Betty Ross Banner and Caiera, she was one of the Hulks great loves, the character was introduced in The Incredible Hulk vol.2 #140. Jarella was created by American science fiction author Harlan Ellison, who was the guest writer for that issue, the character was ranked 68th in Comics Buyers Guides 100 Sexiest Women in Comics list. Jarella first appeared in The Incredible Hulk vol.2 #140 as a character in a plot by guest writer Harlan Ellison. She was brought back in issue #148, another tale by a guest plotter, though Jarellas actual appearances would continue to be sporadic, she became a major driving force in the plot and characterizations of the Hulk for several years. Jarella is killed in The Incredible Hulk vol.2 #205, being an alien species, what appeared to be death to us was in fact a step in what was to be her metamorphosis into a higher power. I never got a chance to bring her back before I left the title, Jarella was the princess of the sub-atomic world of Kai. Although outwardly primitive, her world has remnants of high technology. Its people are green-skinned and for the most part blonde haired, Jarellas city is threatened by a number of menaces ranging from attacks by the gigantic warthos to the armies of the Warlord Visus. The Hulk appears in Kai during an attack of the warthos, the people come out to greet him, and the Hulk is especially taken with the lovely and gentle Jarella. She leads him into the city and calls on her sorcerers to help the Hulk learn their language, the spell succeeds and also allows the human personality of Bruce Banner to emerge in the Hulks body. The Hulk and Jarella fall in love and she proclaims him her husband, after Visus attempts to assassinate Jarella she exiles him from the city. However, Psyklop snatches the Hulk away from Kai, Jarella is soon transported to Earth by the Pantheon of Sorcerers to retrieve the Hulk. This act inadvertently causes solar storms, she battles Fialin and then returns to Kai and she loses another war against Visi and is taken captive. The Hulk returns to Kai, and Jarella and Hulk defeat Visis and she comes to know Bruce Banners mind in the Hulks body but is equally accepting of the Hulk personality, or Banners body. Alongside the Hulk, Jarella battles Psyklop once more, Hulk and Jarella are then returned to Earth by Doc Samson. During a battle between the Hulk and Crypto-Man in a town in New Mexico, Jarella saves a child from a collapsing wall. The Hulk takes Jarellas body to the Gamma Base, but the doctors are unable to revive her, captain Mar-Vell shrinks the Hulk so that he can return Jarellas body to Kai for a proper burial
