Dan Green (artist)
Dan Green is an American comic book illustrator, working as an inker from the early 1970s to the present. He has provided the finished art after receiving breakdowns by artists such as John Romita, Sr. John Romita, Jr. John Byrne, John Buscema, Sal Buscema, Marc Silvestri, George Pérez, Keith Giffen, Gene Colan, Jack Kirby, Steve Ditko, Carmine Infantino, Al Williamson, Bernie Wrightson and Keith Pollard. Green has a lengthy career as an inker, working from the mid-1970s to the present day, including long runs on Spider-Man, Doctor Strange, Uncanny X-Men and Hulk for Marvel Comics, DC's Justice League of America, he co-wrote and provided watercolor illustrations for the graphic novel Doctor Strange: Into Shamballa for Marvel in 1986. He provided cover paintings for issues of Amazing High Adventure and an issue of Gargoyle for Marvel in 1985. In 2001, a collection of works by Edgar Allan Poe entitled The Raven & Other Poems & Tales featured 20 of his pencil illustrations. Green lives in the Hudson Valley, New Paltz area.
Interior comics work includes: Animal Man the New 52 01- Astonishing X-Men 02 Age of Apocalypse Defenders 57 Jack of Fables 32 Uncanny X-Men 107, 179-261, 300-322, 423-424, 437, 436 Web of Spider-Man 03 Cover work includes: New Mutants vol. 1 #50 Dan Green at the Grand Comics Database Dan Green at the Comic Book DB
Steven McNiven is a Canadian comic book artist. He first gained prominence on CrossGen's Meridian, before moving onto books such as Ultimate Secret, New Avengers and Civil War. Steven McNiven is a native of Nova Scotia. McNiven first came into prominence after he took over as a penciller of CrossGen's Meridian title following the departure of Josh Middleton, he gained more fame working for Marvel Comics as the penciller of Marvel Knights 4, Ultimate Secret and New Avengers. He was named in August 2005 as one of Marvel's "Young Guns", a group of artists that, according to Marvel Editor-in-Chief Joe Quesada, have the qualities that make "a future superstar penciller". Other "Young Guns" include Olivier Coipel, David Finch, Trevor Hairsine, Adi Granov and Jim Cheung McNiven was the penciller of the Marvel mini-series Civil War working with Mark Millar, he followed this by provided the art for the Wolverine storyline "Old Man Logan" and the Icon Comics mini-series Nemesis, both with Millar. In 2011 Marvel relaunched a new volume of Captain America, with McNiven as artist.
In 2012 he drew Avengers vs. X-Men #2. In 2013 he drew the Guardians of the Galaxy ongoing series with writer Brian Michael Bendis. McNiven said, "I've been a huge fan of science fiction for most of my life. You can blame my dad for that, he always had three around the house. We both still read and pass each other books we've read. It's a bit of a family tradition now. So when the opportunity to explore the sci-fi areas of the Marvel Universe came my way I jumped at the chance." Meridian #6-7, 9-12, 14-17, 19-21, 23-26, 29-30, 33-36 Mystic #7 Archard's Agents: Deadly Dare Sigil #6 The Amazing Spider-Man #546-548: "Brand New Day" AvX: VS #2: "Captain America vs. Gambit" Avengers Finale Captain America, vol 6, #1-5: "American Dreamers" Captain America: Peggy Carter, Agent of S. H. I. E. L. D. Civil War #1-7 Death of Wolverine #1-4 Marvel Knights 4 #1-7 Guardians of The Galaxy, vol. 3, #0.1-3 Monsters Unleashed #1, miniseries, #1-4 Secret Empire #1, #10, New Avengers Vol. 1: "The Sentry" "The Collective" "Dark Reign" New Avengers Vol. 2 #16 Return of Wolverine #1 Ultimate Secret #1-2 Uncanny Avengers #14-17 Uncanny Inhumans #0-4 Wolverine #66-72 Wolverine: Old Man Logan Giant-Size Marvel Knights 4 #8-12, 15, 17, 19 District X #1-6, 8 Spider-Man Unlimited #3 New Avengers #1, 17-18 Powerless #6 What If...
Jessica Jones Had Joined the Avengers? Ultimate Secret #3-4 Marvel Knights Spider-Man #13-18 Witchblade #95 Civil War Files #1 Daredevil #82 Red Sonja #8, 15 Battlestar Galactica #0 The Dark Tower: The Gunslinger Born #4 The Order #1 Kick-Ass #1 Wonderlost #2 The Last Defenders #1 Secret Invasion #1-4 Marvel Comics Presents #9 The Marvels Project #1-8 Dark Avengers/Uncanny X-Men: Exodus #1 Wolverine vol 4 #1 Superior #2 Ultimate Comics: Spider-Man #154, 158 Fear Itself #1-7 The Amazing Spider-Man Annual #38 Deadpool Annual #1 Incredible Hulks Annual #1 The Avengers v4 #24.1 Avengers Assemble #9 Avenging Spider-Man #6 A+X #1 Wolverine vol 1, #305 Infinity #1 Captain America #25 Civil War II #1 SHIELD #1 Wolverine vol 6, #8-12 Legendary Star-Lord #1 Original Sin #1 Uncanny Inhumans#1 Return of Wolverine #2-3 Old Man Hawkeye #1 Marvel Spotlight: Mark Millar/Steve McNiven includes an interview with McNiven Steve McNiven on Marvel.com Official website CG Sneak Peek: Ruse: Archard's Agents - Deadly Dare, Comics Bulletin, March 8, 2004 Steve McNiven at the Comic Book DB Steve McNiven Q&A, Comics Bulletin, March 18, 2004
A penciller is a collaboration artist who works in creation of comic books, graphic novels, 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, may require several steps of feedback with the writer; these artists are concerned with layout to showcase steps in the plot. A penciller works in pencil. Beyond this basic description, different artists choose to use a wide variety of different tools. While many artists use traditional wood pencils, others prefer mechanical drafting leads. Pencillers may use any lead hardness they wish, although many artists use a harder lead to make light lines for initial sketches turn to a softer lead for finishing phases of the drawing. 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 Bristol board.
The customary size of comic book pages in the mainstream American comics industry is 11 by 17 inches. The inker works directly over the penciller's pencil marks, though pages are inked on translucent paper, such as drafting vellum, preserving the original pencils; the artwork is photographically reduced in size during the printing process. With the advent of digital illustration programs such as Photoshop and more artwork is produced digitally, either in part or entirely. Jack KirbyFrom 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, he would first draw his panel lines with a T-square. Arthur AdamsArthur Adams begins drawing thumbnail layouts from the script he's given, either at home or in a public place; the thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will enlarge the thumbnails and trace them onto illustration board with a non-photo blue pencil, sometimes using a Prismacolor light-blue pencil, because it is not too waxy, erases easily.
When working on the final illustration board, he does so on a large drawing board when in his basement studio, a lapboard when sitting on his living room couch. After tracing the thumbnails, he will clarify details with another light-blue pencil, finalize the details with a Number 2 pencil, he drew the first three chapters of "Jonni Future" at twice the printed comic size, drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. 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 LeeArtist Jim Lee is known to use F lead for his pencil work. J. Scott CampbellArtist J. Scott Campbell does his pencil with a lead holder, Sanford Turquoise H lead, which he uses for its softness and darkness, for its ability to provide a "sketchy" feel, with a minimal amount of powdery lead smearing.
He uses this lead because it strikes a balance between too hard, therefore not dark enough on the page, too soft, therefore prone to smearing and crumbling. Campbell avoids its closest competitor. Campbell has used HB lead and F lead, he maintains sharpness of the lead with a Berol Turquoise sharpener, changing them every four to six months, which he finds is the duration of their grinding ability. Campbell uses a combination of Magic Rub erasers, eraser sticks, since he began to ink his work digitally, a Sakura electric eraser, he sharpens the eraser to a cornered edge in order to render fine detailed work. Travis CharestArtist Travis Charest uses 2H lead to avoid smearing, sometimes HB lead, he illustrated on regular illustration board provided by publishers, though he disliked the non-photo blue lines printed on them. By 2000, he switched to Crescent board for all his work, because it does not warp when wet, produces sharper illustrations, are more suitable for framing because they lack the non-photo blue lines.
Charest prefers not to employ preliminary sketching practices, such as layouts, thumbnails or lightboxing, in part due to impatience, in part because he enjoys the serendipitous nature in which artwork develops when produced with greater spontaneity. He prefers to use reference only when rendering objects that require a degree of real-life accuracy, such as guns, vehicles or characters of licensed properties that must resemble actors with whom they are identified, as when he illustrated the cover to Star Trek: The Next Generation: Embrace the Wolf in 2000. Adam HughesThe penciling process that artist Adam Hughes employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox, whereas he does convention drawings on 11 x 14 Strathmore bristol, as he prefers penciling on the rougher, vellum surface rather than smooth paper, preferring smoother paper only for brush inking.
He does preliminary undersketches with a lead holder, because he feels regular pencils get worn down to the nub too quickly. As he explained during a sketch demonstration at a comic book
A comic book or comicbook called comic magazine or comic, is a publication that consists of comic art in the form of sequential juxtaposed panels that represent individual scenes. Panels are accompanied by brief descriptive prose and written narrative dialog contained in word balloons emblematic of the comics art form. Although comics has some origins in 18th century Japan, comic books were first popularized in the United States and the United Kingdom during the 1930s; the first modern comic book, Famous Funnies, was released in the U. S. in 1933 and was a reprinting of earlier newspaper humor comic strips, which had established many of the story-telling devices used in comics. The term comic book derives from American comic books once being a compilation of comic strips of a humorous tone; the largest comic book market is Japan. By 1995, the manga market in Japan was valued at ¥586.4 billion, with annual sales of 1.9 billion manga books/magazines in Japan. The comic book market in the United States and Canada was valued at $1.09 billion in 2016.
As of 2017, the largest comic book publisher in the United States is manga distributor Viz Media, followed by DC Comics and Marvel Comics. Another major comic book market is France, where Franco-Belgian comics and Japanese manga each represent 40% of the market, followed by American comics at 10% market share. Comic books are reliant on their appearance. Authors focus on the frame of the page, size and panel positions; these characteristic aspects of comic books are necessary in conveying the content and messages of the author. The key elements of comic books include panels, balloons and characters. Balloons are convex spatial containers of information that are related to a character using a tail element; the tail has an origin, path and pointed direction. Key tasks in the creation of comic books are writing and coloring. 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.
Proto-comics periodicals began appearing early in the 20th century, with historians citing Dell Publishing's 36-page Famous Funnies: A Carnival of Comics as the first true American comic book. The introduction of Jerry Siegel and Joe Shuster's Superman in 1938 turned comic books into a major industry and ushered the Golden Age of Comics; the Golden Age originated the archetype of the superhero. According to historian Michael A. Amundson, appealing comic-book characters helped ease young readers' fear of nuclear war and neutralize anxiety about the questions posed by atomic power. Historians divide the timeline of the American comic book into eras; the Golden Age of Comic Books began in the 1930s. The Silver Age of comic books is considered to date from the first successful revival of the then-dormant superhero form, with the debut of the Flash in Showcase #4; the Silver Age lasted through the late 1960s or early 1970s, during which time Marvel Comics revolutionized the medium with such naturalistic superheroes as Stan Lee and Jack Kirby's Fantastic Four and Lee and Steve Ditko's Spider-Man.
The demarcation between the Silver Age and the following era, the Bronze Age of Comic Books, is less well-defined, with the Bronze Age running from the early 1970s through the mid-1980s. The Modern Age of Comic Books runs from the mid-1980s to the present day. A notable event in the history of the American comic book came with psychiatrist Fredric Wertham's criticisms of the medium in his book Seduction of the Innocent, which prompted the American Senate Subcommittee on Juvenile Delinquency to investigate comic books. 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, which required all comic books to go through a process of approval, it was not until the 1970s that comic books could be published without passing through the inspection of the CMAA. The Code was made formally defunct in November 2011.
In the late 1960s and early 1970s, a surge of creativity emerged in what became known as underground comix. Published and distributed independently of the established comics industry, most of such comics reflected the youth counterculture and drug culture of the time. Many had an uninhibited irreverent style. Underground comics were never sold at newsstands, but rather in such youth-oriented outlets as head shops and record stores, as well as by mail order. Frank Stack's 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; the first such comics included the anthology series Star Reach, published by comic book writer Mike Friedrich from 1974 to 1979, Harvey Pekar's American Splendor, which continued sporadic publication into the 21st century and which Shari Springer Berman an
Marvel Comics is the brand name and primary imprint of Marvel Worldwide Inc. Marvel Publishing, Inc. and Marvel Comics Group, a publisher of American comic books and related media. In 2009, The Walt Disney Company acquired Marvel Worldwide's parent company. Marvel started in 1939 the common name in the Golden Age was Timely Comics, by the early 1950s, had become known as Atlas Comics; the Marvel era began in 1961, the year that the company launched The Fantastic Four and other superhero titles created by Steve Ditko, Stan Lee, Jack Kirby and many others. The Marvel brand had been used over the years, but solidified as the company's only brand with in a couple of years. Marvel counts among its characters such well-known superheroes as Captain America, Iron Man, the Hulk, Spider-Man, Black Panther, Doctor Strange, the Silver Surfer, Ghost Rider, the Punisher and Deadpool, such teams as the Avengers, the X-Men, the Fantastic Four, the Midnight Sons, the Defenders, the Guardians of the Galaxy, supervillains including Galactus, Doctor Doom, Ultron, Green Goblin, Red Skull, Doctor Octopus and Venom.
Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with most locations mirroring real-life places. Pulp-magazine publisher Martin Goodman founded the company known as Marvel Comics under the name Timely Publications in 1939. Goodman, who had started with a Western pulp in 1933, was expanding into the emerging—and by already popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he held the titles of editor, managing editor, business manager, with Abraham Goodman listed as publisher. Timely's first publication, Marvel Comics #1, included the first appearance of Carl Burgos' android superhero the Human Torch, the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features; the issue was a great success. While its contents came from an outside packager, Inc. Timely had its own staff in place by the following year; the company's first true editor, writer-artist Joe Simon, teamed with artist Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1.
It, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc. beginning with comics cover-dated April 1941 or Spring 1941. While no other Timely character would achieve the success of these three characters, some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, the Angel. Timely published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring characters like Super Rabbit and the duo Ziggy Pig and Silly Seal. Goodman hired his wife's cousin, Stanley Lieber, as a general office assistant in 1939; when editor Simon left the company in late 1941, Goodman made Lieber—by writing pseudonymously as "Stan Lee"—interim editor of the comics line, a position Lee kept for decades except for three years during his military service in World War II. Lee wrote extensively for Timely.
Goodman's 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 shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55; as well, some comics' 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. Goodman's comic book line dropped them for the most part and expanded into a wider variety of genres than Timely had published, featuring horror, humor, funny animal, men's adventure-drama, giant monster and war comics, adding jungle books, romance titles and medieval adventure, Bible stories and sports. Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned, on comics cover-dated November 1951 though another company, Kable News, continued to distribute his comics through the August 1952 issues.
This globe branding united a line put out by the same publisher and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications. Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and other comic books the EC horror line. Atlas published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost and Homer Hooper. Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch, the Sub-Mariner, Captain America. Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work cheaply, at a passable quality; the first modern comic books under the Marvel Comics brand w
Marc Silvestri is an American comic book artist and publisher. He acts as the CEO for Top Cow Productions. Marc Silvestri was born on March 1958 in Palm Beach, Florida. Silvestri first discovered comics through his cousin, an avid collector, it was during visits to his cousin's house that Silvestri would become familiar with artists such as Jack Kirby, Bernie Wrightson and John Buscema. Silvestri names Wrightson and Frank Frazetta as his biggest influences. Silvestri began his career drawing issues for First Comics, he joined Marvel Comics in the late 1980s, became the penciller on Uncanny X-Men from 1987 to 1990. He subsequently spent two years pencilling its spin-off title Wolverine. In 1992, Silvestri became one of the original seven artists — along with Jim Lee, Whilce Portacio, Rob Liefeld, Erik Larsen, Todd McFarlane and Jim Valentino — to form the breakaway comics company Image Comics. Silvestri's stable of titles was published under the imprint Top Cow with the first title released being Cyberforce.
Besides his art, Silvestri was scripter on the Top Cow title Codename: Stryke Force. Many of Silvestri's stories were scripted by Eric Silvestri. Disputes among the Image partners led to Silvestri leaving the publisher in 1996, but he soon returned after Liefeld severed his own ties with Image. Top Cow's successes include The Darkness, Inferno Hellbound and Fathom. Silvestri produced the story and preliminary character sketches for the 1997 video game Fighting Force. In 2004 Silvestri made a brief return to Marvel to pencil several issues of X-Men, collaborating with writer Grant Morrison. In the year, he launched a new Top Cow title, Hunter-Killer with writer Mark Waid, he provided covers for the Marvel Comics mini-series, X-Men: Deadly Genesis by Ed Brubaker and Trevor Hairsine. In June 2006 Top Cow released a Cyberforce #0 featuring the art talents of Silvestri. In late 2007, he pencilled the X-Men: Messiah Complex one-shot, as well as many covers in the crossover of the same name that followed.
Silvestri executive produced the anime adaptation of Witchblade. He continued his work on X-Men, penciling the first installment, in the form of a one-shot Uncanny X-Men/Dark Avengers crossover Utopia in 2009; that same year, he contributed to the crossover miniseries Image United, penciling all the characters he created during his run at Image that featured in the story. In 2012, Silvestri was one of several artists to illustrate a variant cover for Robert Kirkman's The Walking Dead #100, released July 11 at the San Diego Comic-Con. Silvestri is married to Bridget Silvestri, his favorite TV shows include Breaking Bad, his favorite films are Forbidden Planet, Alien and Dr. Strangelove, he says that he listens to down-tempo chill music while working, alternative rock at other times. Batman Black and White #3 Ghosts #104 House of Mystery #292 The Unexpected #222 Weird War Tales #113 21 #3 Cyberforce #1–4 Cyberforce, regular series, #1–7, 9–13, 18 Cyberforce Ashcan, one-shot Cyblade/Shi: The Battle for Independents #1 Darkness #1–7, 9–12.
3, #1–3 Marvel Graphic Novel #17: Revenge of the Living Monolith Master of Kung Fu #119 Star Trek/X-Men, one-shot New X-Men #151–154 Uncanny X-Men #218, 220–222, 224–227, 229, 230, 232–234, 236, 238–244, 246, 247, 249–251, 253–255, 259–261 What If? #41 Web of Spider-Man #16–20, 22 Wolverine #31–43, 45, 46, 48–50, 52, 53, 55–57 X-Factor #8, 12, 54 X-Men: Messiah Complex, one-shot Warp Special #2 Marc Silvestri on Marvel.com Official website Marc Silvestri at the Comic Book DB
Larry Hama is an American comic-book writer, artist and musician who has worked in the fields of entertainment and publishing since the 1960s. During the 1970s, he was seen in minor roles on the TV shows M*A*S*H and Saturday Night Live, appeared on Broadway in two roles in the original 1976 production of Stephen Sondheim's Pacific Overtures, he is best known to American comic book readers as a writer and editor for Marvel Comics, where he wrote the licensed comic book series G. I. Joe: A Real American Hero, based on the Hasbro toyline, he has written for the series Wolverine, Nth Man: The Ultimate Ninja, Elektra. He created the character Bucky O'Hare, developed into a comic book, a toy line and television cartoon. Hama was born June 7, 1949. Growing up, Hama studied Kodokan Judo and studied Kyūdō and Iaido. Planning to become a painter, Hama attended Manhattan's High School of Art and Design, where one instructor was former EC Comics artist Bernard Krigstein, he was in the same graduating class as Ralph Reese.
Hama sold his first comics work to the fantasy film magazine Castle of Frankenstein when he was 16 years old, he followed by collaborating with Bhob Stewart on pages for the underground tabloid Gothic Blimp Works. After high school, Hama took a job drawing shoes for catalogs, served in the United States Army from 1969 to 1971, during the Vietnam War, where he became a firearms and explosive ordnance expert. Hama's experiences in Vietnam informed his editing of the 1986-1993 Marvel Comics series The'Nam. Upon his discharge, Hama became active in the Asian community in New York City. High-school classmate Ralph Reese, who had become an assistant to famed EC and Marvel artist Wally Wood, helped Hama get a similar job at Wood's Manhattan studio. Hama assisted on Wood's comic strips Sally Forth and Cannon, which ran in Military News and Overseas Weekly and were collected in a series of books. During this time, he had illustrations published in such magazines as Esquire and Rolling Stone, Reese and he collaborated on art for a story in the underground comix-style humor magazine Drool #1.
Through contacts made while working for Wood, Hama began working at comic-book and commercial artist Neal Adams' Continuity Associates studio. His first known work as such is on the Alan Weiss-penciled "Slaves of the Mahars" in DC Comics' Weird Worlds #2. Hama began penciling for comics a year-and-a-half making an auspicious debut succeeding character co-creator Gil Kane on the feature "Iron Fist" in Marvel Premiere, taking over with the martial arts superhero's second appearance and his next three stories, he went on to freelance for start-up publisher Atlas/Seaboard. At DC, Hama became an editor of the titles Wonder Woman, Mister Miracle, Super Friends, The Warlord, the TV-series licensed property Welcome Back, Kotter from 1977–1978, he joined Marvel as an editor in 1980. Hama had a brief acting career in the mid-1970s, despite never having pursued the field; the casting director for the musical Pacific Overtures, Joanna Merlin, called Hama because an actor friend of his gave her his name when asked if he knew any other Asian actors.
He told her that he had never acted before and could neither sing nor dance, but Merlin was persistent, when informed that casting was less than a minute away from his workplace at Continuity Comics, he agreed to audition and was cast in three roles. He played a role in the 1976 M*A*S*H episode "The Korean Surgeon" and a Saturday Night Live spoof of Apocalypse Now. However, though he had made a living as an actor for a year, Hama discarded his acting career, explaining, "I always saw myself as an artist, not as anything else." Hama is best known as writer of the Marvel Comics licensed series G. I. Joe, based on the Hasbro line of military action figures. Hama said in a 2006 interview that he was given the job by editor-in-chief Jim Shooter after every other writer at Marvel had turned it down. Hama at the time had pitched a Nick Fury: Agent of S. H. I. E. L. D. Spin-off series, Fury Force, about a special mission force. Hama used this concept as the back-story for G. I. Joe, he included military terms and strategies, Eastern philosophy, martial arts and historical references from his own background.
The comic ran 155 issues. Hama wrote the majority of the G. I. Joe action figures' file cards—short biographical sketches designed to be clipped from the G. I. Joe and Cobra cardboard packaging. In 2007 these filecards were reprinted in the retro packaging for the G. I. Joe: A Real American Hero 25th Anniversary line. Hama said in 1986 that G. I. Joe had an unexpected female following due to such strong female characters as Cover Girl, Lady Jaye, Scarlett."Most of the girls that write in say that the reason they like the comic is that the women characters are part of the team. They’re not treated as any different from the other team members, they don't go around with their palms nailed to their foreheads. They’re competent and they go ahea