The Avengers 131, 1974 “A quiet half hour in Saigon!”

It’s no secret that Stainless Steve Englehart is one of the best comic book writers from the Bronze Age (and maybe of all time?). One of his most important legacies is his work on The Avengers. Being only the third person to write that title (Lee and Thomas preceded him), is quite an honor in and of itself, but Englehart took what was there and built a mansion on top of that foundation. He took the team to new heights with his reality spanning story, The Celestial Madonna.

Kang, the main antagonist of the story, was elevated from a more simplified villain, to a complex character that had many layers. In this issue, we see him overpower not only another version of himself (Rama-Tut) but a third version (Immortus) all within mere pages! As if that wasn’t enough, Kang then summons (using the technology of the master of time, Immortus), six characters from the past- Midnight (from Shang-Chi), Wonder Man, Baron Zemo, The Ghost (from Silver Surfer), and Frankenstein’s Monster! He uses them as pawns to attack The Avengers inside a castle!

Top to bottom, Englehart, Sal Buscema and Joe Staton (artists), Tom Orzechowski (letters) and Phil Rachelson (colors), did a magnificent job on this book!

 

 

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Marvel Triple Action 17, 1974 “Once an Avenger”

Let’s face it, villains are much cooler than heroes. Their ability to make us think, to challenge the hero, to explore boundaries, etc., is way beyond that of their counterparts. Take Kang the Conqueror for instance. He’s without a doubt a top-tier villain in any universe, and has proved that since 1964 (Avengers 8). This mag is a reprint of The Avengers 23, 1965, and the fourth appearance of the character in under two years! For any era, that’s pretty good, and shows what kind of staying power Kang would have for years to come!

In this issue, we see Cap leaves the team after some turmoil (he was a bit temperamental back then!), and attempts to take a job as a sparring partner for a boxing champion. That lasts about two seconds, and he returns to the team afterward. Just in time, as the rest of the team has been subdued by Kang! And immediately after taking down Earth’s Mightiest Heroes…Kang attempts to take Ravonna out on a date but her dad says no (panel below). No joke!

This epic tale was brought to you by Dashing Don Heck (pencils), Jazzy John Romita (cover and interior inks), Stan “the man” Lee (writer), Artie Simek (letters), and Jack “King” Kirby (cover pencils)!

 

 

The Avengers 148, 1976 “20,000 Leagues Under Justice!”

After leaving Marvel (Timely/Atlas) for the second time, Jack Kirby created the Fourth World. To put it simply, he created an entire universe full of characters from the vast, galactic brain of his that had already spawned the likes of Captain America (with Joe Simon), the Romance genre, the Boy Commandos, Challengers of the Unknown, The Sky Masters of the Space Force, and…well, you get it. Oh and he also co-engineered (if not engineered) much of the Marvel Silver Age.

After a few short years at DC, he returned to Marvel once again, and he gave us all something very different, and very cool. Titles like Machine Man, Devil Dinosaur, 2001: A Space Odyssey, drove our imaginations to new heights. Kirby also did numerous covers for the Fantastic Four, and The Avengers! Books like this one are a comic book lovers dream. Cover by Jack “King” Kirby, story by “Stainless” Steve Englehart, pencils by “Gorgeous” George Pérez, inks by Sam Grainger, colors by Hugh Paley, and letters by “Titanic” Tom Orzechowski! This issue features one of the teams that could consistently give The Avengers a run for their money- The Squadron Supreme!

 

 

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A Tribute to Paul Ryan (R.I.P.)!

After learning of the recent passing of artist, Paul Ryan, I thought it most fitting to give him a grand send-off from my blog. I’d become friends with him on Facebook, and thought he was a very genuine man who had good values, and was a very under-appreciated artist. I don’t own any of his DC work, only some of his Marvel jobs. So, this one will be all Marvel! The first three are from the back pages of Marvel Fanfare 52 (1990), the rest are from various issues of the Avengers (inks by Tom Palmer)!  Godspeed, Paul!

 

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Marvel Triple Action #42, 1978 “To Tame A Titan!”

If there’s one thing for me that rivals comic books (classic cinema and music, too, of course), its mythology. Whether its Greek, Roman, Nordic, whatever, it grabs me and pulls me into its world. I guess it’s the reason Thor and Hercules are two characters that have always been favorites of mine throughout the years. In this issue, we see Hercules, fighting against Typhon, for the freedom of his family and friends. Of course, his friends, the Avengers, will not let him face this challenge alone! The story originally appeared in The Avengers #50, 1968.

Roy Thomas is one of the best to ever write the Avengers, there’s no doubt! The pencils of ‘Big’ John Buscema are arguably the perfect way to present a mythological story in the pages of a comic book. He actually commented often about how he enjoyed drawing mythological characters and not superheroes. He’s honestly one of the best all-time no matter what he put in a panel, that cannot be argued. Letters by Sam Rosen, and a cover by Ernie Chan (a redrawn version of Buscema’s cover), really put this issue at the top of the heap!

 

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Comic Book Legends: An Interview with – David Michelinie!

If someone asked you who wrote the Iron Man story “Demon in a Bottle” or the first appearance of Venom in Amazing Spider-Man, would you know? OK, how about the Avengers story “The Yesterday Quest/Nights of Wundagore” or the Marvel Graphic Novel’s “Emperor Doom” and “Revenge of The Living Monolith“? Are you getting the point? Some creators, for one reason or another, get their share of credit or even more than they deserve, and some seem to get very little. David Michelinie is one of those guys that I feel gets nowhere near the credit he deserves. Just look at that list of stories above, and tell me I’m lying.

Michelinie also had a creative hand in the weddings of Superman and Lois Lane and Peter Parker and Mary Jane Watson! So again, I ask, why not give this guy more credit? A quick look at any number of websites shows he has the “street cred”, so let’s stop overlooking a guy that wrote over one hundred Spider-Man stories, Action Comics, Daredevil, Jonah Hex, Swamp Thing, and so on!

I had the awesome opportunity to ask David a few question about his work over the years, and here’s what he had to say!

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       Billy: It seems that you really enjoyed developing the brotherly relationship between Wonder Man and the Beast. Was that something you wanted to stress/drive home with the readers?

David: There’s tremendous pressure, peril, and grief, in the life of a superhero. And this was especially true with Simon Williams, who at the time was uncomfortable and insecure in his role as Wonder Man. So I wanted to lighten things up a bit, and teaming him with the upbeat Beast seemed like a good thing for both of them. Everyone needs a friend.

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     Billy: The revelation of Wanda and Pietro’s lineage was a long time coming, no doubt. Did you guys (You, Gruenwald, Shooter, & Grant) script/write the story as if Django Maximoff was going to be revealed as their father or was it a ruse from the get-go?

David: I really don’t remember much regarding how all that came about. I do know that Mark Gruenwald was a big factor in generating that story line, since he knew a lot more about the Avengers’ background and history than I did.

    Billy: The Avengers title was in a bit of a flux when you came on board, as Jim Shooter had  written the book  for a while, but I think he was transitioning to EIC, correct? Was that why the book was kind of bounced around for a spell before you were the regular writer?

David: I think Jim was reluctant to give up the Avengers- he really cared about that book and enjoyed writing it. But the reality of running a major company while trying to be a full-time writer on the side finally got to him. I scripted several issues using Jim’s plots, and I think that convinced him that I would make an acceptable replacement, so I got the job.

    Billy: Transitioning to your Marvel Graphic Novels (#17 & 27); First, in the forward to MGN #17 “Revenge of the Living Monolith”, you credit Jim Owsley (Christopher Priest) for the concept of the story. It’s obvious that the two of you wanted to move that character (the Monolith) away from being just another cookie-cutter villain, and by the books end, most readers probably feel sorry for him, as opposed to thinking he’s the cold-blooded killer type. Do you feel that as a team, you guys hit the mark as fa r as making it believable? And if there’s anything you could go back and change, would you?

David: Anytime I’m assigned to write a character I try to do something new with them, something that shows a different aspect of their personality or perhaps some event in their past that has factored into their development, but of which the reader is not yet aware. And while it’s true that there are some purely evil people in this world (I’ve worked for some of them!), villains seem much more interesting if there’s something in their history that makes them sympathetic. I think what was presented as Ahmet’s (The Living Monolith) background was believable, but the final judges of that would be the readers. Second answer: Since I don’t have a time machine, I rarely think about going back and changing things.

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    Billy: The concept of MGN #27 “Emperor Doom” gives us a tale of a time when Doom was more of a manipulator than he is now. Was that something you thought Doom was more about as a character?

David: I loved writing Dr. Doom. He was brilliant, focused, and determined and thoroughly convinced that he was justified in his deeds and viewpoints. If manipulation was what it took to achieve his goal, then manipulation would be his tool. And he was very, very good at it.

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Billy: There’s a very powerful scene in this book (still speaking on Emperor Doom), where Doom proves to the Purple Man that his will can resist his powers of persuasion, and that moment solidified Doom as one of Marvel’s greatest characters. Was that something that was part of the initial script or added later ( I guess what I mean is, was that something you always wanted to do with Doom)?

David: I love that scene (image below); very powerful, very character-defining. And it was indeed part of the original plot. And as much as I’d like to take full credit for it, I honestly don’t remember if it was my idea or something suggested by Jim Shooter in our plot conferences.

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   Billy: Speaking on both of those graphic novels, were the artistic teams already in place when you signed on, or was it a process?

David: The plots were completed, and then the art teams were determined. And I have to say that Bob Hall, Marc Silvestri, and Geof Isherwood all did wonderful jobs.

   Billy: Moving on to Spider-Man now; Can you talk about the move to that title as the regular writer, and what it meant to you?

David: I assume you’re talking about “Amazing”, yes? Spider-Man was my favorite superhero of all time, so when Jim Owsley picked me to write Web of Spider-Man it was a genuine thrill. Getting to play with ones favorite character is probably every writers dream, but how often does that dream come true? So when I was switched over to Amazing Spider-Man, the original Spidey title and the book that got me back into reading comics when I was in college, it was very sweet icing on an already delicious cake.

    Billy: You took the symbiote from being a vehicle for Spider-Man, and turned it (basically) into his mortal enemy. Was that decision an editorial thing, or a plan concocted by the creative team (You, Mcfarlane, etc.)?

David: It was actually something that I came up with on my own. Whenever I got a chance to write a new (for me) character, I tried to figure out what makes that character unique and then I exploit it. In Peter Parker’s case, his early warning Spider-sense stood out as something unmatched in the Marvel Universe. It has saved his life countless times by warning him of danger before he could be harmed. So I wondered…what would happen if there was a villain that didn’t trigger that Spider-sense? It had already been established, in the Secret Wars story line, that the alien symbiote which had been Spider-Man’s living costume for a while didn’t activate his Spider-sense. And since Spider-Man had cast the symbiote aside, the creature was likely feeling hurt and angry about that rejection. So attaching the symbiote to a host who shared a similar hatred for the wall-crawler seemed like it would make for an interesting-and very dangerous-spider-foe. My initial origin featured a woman as the host, and I started setting the character up in a couple of teaser scenes in Web of Spider-Man, where both Peter Parker and Spider-Man had been thrown into danger by some mysterious entity that didn’t trigger the spider-sense. Then when I was switched over to Amazing Spider-Man, editor Jim Salicrup suggested introducing a new character in issue #300. He liked my symbiote idea but wanted the host to be a man. So since that really didn’t negate what I wanted to explore – I altered the origin for the plot of Amazing Spider-Man #300, and Venom was born.

    Billy: You basically wrote one hundred issues of Spidey, yet most people seem to never give you the credit you deserve. Does that bother you now or did it then? And if so, how can you turn a blind eye to it and just keep pushing forward?

David: I had the honor- or curse – of working with some very popular artists on that book: Todd McFarlane, Erik Larsen, Mark Bagley. And I think that’s what most people remember about those issues. What they don’t often realize is that while sales rose during Todd’s run, they continued to rise with Erik and got even higher with Mark. And I have to believe that part of that was due to the fact that the characters and stories maintained a consistency: people who bought the books to read them got characters that acted and spoke the same way issue after issue, and the stories maintained a certain level of quality that readers could count on every month. People may not think of that in hindsight, and my work may be less remembered than the art, but those are stories I was very happy with, and I’m proud to have my name on them.

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    Billy: In issue #298, Todd McFarlane was brought in to pencil on Spidey. Was he someone you knew previously and asked for or did he lobby for the assignment?

David: I had seen some of Todd’s work for DC, but I didn’t know him or anything about him. The editor suggested Todd, I said OK, and magic happened.

    Billy: Can you talk for a bit about working with editor Jim Salicrup? I’ve heard he is one of the nicest guys around the biz.

David: My definition of a good editor is one who pays attention but keeps a loose rein, one who doesn’t try to put his/her own personal stamp on everything that crosses their desk. And Jim was like that. I would give him a synopsis of what I wanted to do over the next 3-4 issues, he’d read it and make suggestions and requests, then he’d pretty much leave me alone to write the plots and scripts. I like to think that was because he trusted me as a writer. But what whatever the reason, it gave me a great deal of freedom and that allowed me to retain my enthusiasm and, I believe, made my work better.

    Billy: With McFarlane’s departure in issue #324, Erik Larsen was brought in for the pencils. It was a seamless move from an artistic standpoint, but was it from a collaborative angle?

David: Not really. Erik hates me and my work, though I have absolutely no idea why. When Jim Salicrup suggested Erik and showed me some of his work, I thought it was a bit cartoony but was distinctive, and a distinctive look was something our readers had become accustomed to with Todd. So I said OK. Then during our run together, Erik wrote a letter to Wizard Magazine in which he called me a “clown” and called my work “stupid”. I later heard from more than one person that he was going around at conventions saying that Marvel didn’t have any good writers – when at the time the only Marvel writer he was working with was me. Like I said, I haven’t a clue as to why Erik has this seething dislike for me, but even if I felt the same way about him or his work I’d never say so in print or in public. But perhaps my idea of professional behavior has become outdated.

     Billy: You had a hand in the two biggest weddings in comic book history (Spider-Man & Superman). Can you talk about what that was like?

David: When asked to write the Spider-Man wedding, I didn’t want to do the usual super-villains-crash-the-ceremony-and-fight-the-super-hero-guests bit. So I came up with a different angle that focused more on the human side of the situation, that dealt with Peter Parker’s worries and self-doubts about whether he was doing the right thing: if he was going to be putting Mary Jane in danger, if he could still be a good husband while running off to fight bad guys all the time, etc. Jim Shooter read it, said he understood what I was trying to do but that this was going to be read by a lot of people who didn’t normally read comics, and he thought Marvel needed a simpler, more standard story that “civilians” could relate to. So I turned the plotting over to him and just scripted over his story. Many years later Jim was quoted in an interview as saying that my original plot was “inappropriate” and “lame”, a quite different-and much harsher-assessment than he’d used when talking to me personally. It was very disappointing, since in the past Jim had been someone who took the high road, who treated individuals with courtesy and respect. But I guess people change. As for the Superman wedding, I was delighted to be a part of it in a small way. I was actually given some pages of a story Curt Swan had drawn many years previously for a story that was never published. I modified that story to fit the wedding continuity and wrote dialogue to match. I’d loved Curt’s Superman stories when I was a kid, and it was a genuine honor to script over his artwork, even if it was a posthumous collaboration.

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    Billy: To wrap up, can you give some insight on your early years at DC writing horror stories?

David: In 1973 DC started something they called an apprenticeship program, where they’d hire would-be writers or artists to work at the DC offices while they learned their trade. It didn’t go far (I think the only person they actually hired through that program was Martin Pasko), but I sent in a sample script that, for some reason, ended up on editor Joe Orlando’s slush pile (unsolicited manuscripts). Joe’s assistant at the time, writer Michael Fleisher, read the script and sent me a note saying that I showed promise but they couldn’t work with anyone outside of the immediate New York City area. Two weeks later I had closed out my commercial writing obligations in Kentucky and had moved to New York, where I knocked on DC’s door and said “well, here I am!” I think Joe and Michael were a bit stunned, but they pretty much had to give me a chance. I worked with Michael on my first four scripts for “House of Mystery” and its kindred. Michael was not a subtle critic and actually called some of my work ” a piece of crap” while I sat on the other side of his desk. Severe, yes, but very motivating. Through massive rewriting, and by heeding Michael’s editorial advice, I was ready to work directly with Joe when Michael left his staff position to write the Little Orphan Annie newspaper strip. Michael and I ended up being good friends for many years, and I credit his uncompromising criticism with my eventual ability to write professional comic book stories.

I’d like to thank David for agreeing to be interviewed and for being very candid. Definitely take a look at the body of work that this man has put forth. I think you’ll have a new (or hopefully renewed) appreciation for his contributions to the industry! Once again, thank you David!

Be on the look out for more interviews with other creators from the best comic books in the history of the medium in the near future!

Comic Book Legends: An Interview with – Steve Englehart!

I think it’s safe to say, that in the 1970’s, you’d be hard-pressed to find a more diverse, determined, and dominant writer. From The Avengers, to Batman, and Captain America, Steve Englehart wrote stories that were interesting, thought-provoking, humorous, and socially significant. Among these treasures was his work on Dr. Strange.

Along with collaborator Frank Brunner (and later artwork by Gene ‘the Dean’ Colan and others), Steve spun a web involving just about every major villain the Doc had up until that point in the characters history. He also molded Clea, (apprentice/ lover of the Doc) to be more important, and not just a wallflower. The original run began in the pages of Marvel Premiere, and continued on in the Doc’s solo series. I spotlighted that run not too long ago (click here for that one), showing the mind-blowing artwork of Frank Brunner.

Alright, now that the pleasantries are done with, let’s get on with the interview!

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Billy: Did you read and/or draw any motivation from the Lee & Ditko work for your Doc Strange run?

Steve: Very definitely. Ditko’s Doc was legendary, and everyone thereafter tried to emulate him to some degree. Ditko’s Spidey got completely overwhelmed when Romita took it over, because Johnny was much better at the people and world that Spidey inhabited – but Ditko’s Doc remained a touchstone of “Strangeness” for everyone who followed on that strip. I had read all of it, just as I’d read all of Marvel, being a fan. I took my own approach to what I did with it, of course, but Ditko’s Doc was always the one I was fleshing out.


Billy: What was the impetus for your Dr. Strange stories? And did you approach editorial with the ideas or did they ask you (what was the process)?

Steve: Frank (Brunner) was taking over the strip full-time and did the then-unusual thing of asking for a specific writer. We knew each other only casually, socially, but he liked what I’d done on other books, so he asked that I be assigned. I had written Doc in DEFENDERS, but figured I’d need to get more mystical for his own book, so I started reading up on magick, which turned out to be interesting on its own, and my reading increasingly shaped my understanding of a sorcerer supreme. I could do this because editorial left each writer to do his job and figure out how to approach it on his own.


Billy: How tough is it juggling multiple titles on a monthly basis?

Steve: I enjoyed it. I loved all the characters, I loved working with artists…there was no real downside to it. I could do a book a week so I did four books a month, and there was always something new going on. Fun!


Billy: Did you guys use the “Marvel Method” or fully flesh out scripts together?

Steve: We did them together. Every two months we’d have dinner at his place or mine, and then talk late into the night putting the issue together. I always had concepts I wanted to explore and he had concepts he wanted to draw, and we’d make something that was more than the sum of those parts, until I, as the writer, was satisfied we had a solid issue. That was the most collaborative of any relationship I ever had with an artist.


Billy: Was killing the Ancient One something you felt fit the story (did it feel organic) or was it something you wanted to do from the get-go?

Steve: That evolved in our first late-night session. I thought Doc had been a disciple for quite a while now – and we’d inherited Shuma-Gorath and knew we had to resolve that at some point, preferably ASAP – and by the time we were done, it all came together (image below- the death of the Ancient One- Marvel Premiere #10, 1973).

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Billy: Can you speak about the whole atmosphere/work environment at Marvel at the time (other creators you enjoyed working with, etc. in the 1970’s)?

Steve: It was just a time of complete freedom. Everyone working there was assumed to be competent to handle his own titles and was not held back in any way. If you proved yourself _unable_ to handle your titles, they became someone else’s titles, but there was no micromanaging from editorial. Thus, if you _could_ handle your titles, you could be, and were encouraged to be, as creative as possible. And this was all taking place with everyone living in the New York metro area, so pretty much everyone else in comics, at every company, was someone you knew personally. When I moved to New York, as you had to do in those days, I felt from day one like I had three hundred new friends to work and party with. Both of which we did.


Billy: When did you and Frank find out about Dr. Strange becoming an ongoing or was that known from the beginning?

Steve: The book took off with us on it, and we knew what that would lead to, but we didn’t know when. The problem, as it turned out, was that Frank couldn’t do more than a bimonthly book, so when it became an ongoing series that was monthly, he struggled and then dropped off.


Billy: You inserted many of the best villains from Dr. Strange’s rogues gallery into your stories (Shuma Gorath, Mordo, Silver Dagger, Dormammu, etc.), what was the process like for combing thru them to choose which one you’d use?

Steve: I’d always think of character concepts, then go looking for a villain to cause the story I wanted to do. With Doc, Frank and I started, and then I continued, the idea of several-issue arcs exploring a particular concept, so then it was just a question of looking back through my collection. I took every character as real within the Marvel Universe, so I knew them personally you might say, and when I wanted somebody to a certain thing, I could usually go straight to him.


Billy: I’ve read that Frank’s (Brunner) style really wasn’t conducive to the rigors of a monthly title. Is that the reason he left the book?

Steve: Yes. Even on the books he did do, you’ll occasionally see a page or two by another artist. Art was not a slap-dash thing for him.


Billy: Obviously, transitioning to a legendary artist like Gene Colan, who had previously worked on Dr. Strange, wasn’t too bad of a draw, but was it intimidating at all?

Steve: Not really, because I knew Gene’s approach intimately, from having been a fan and then having worked in the same environment. Nobody intimidated me by then; I just saw the possibilities his more photographic approach would open up, after the more designy work by Frank. I consider them equally great at what they did, and Frank’s Doc is legitimately legendary in its own right, but Gene offered new worlds to explore. (And Gene didn’t want to be involved in the stories, so I was also taking that on completely – and that was fun, too.)


Billy: Gene is my favorite artist of all time, but I never got the chance to speak with him. Could you talk about him not only from a professional stand point, but also the man himself?

Steve: As a pro, he drew what you asked him to draw, exceptionally well, without any complaint – what a writer hopes for, and usually gets from pro artists, but not always. There was nothing that stood out in the work process, which is a good thing. (The only caveat was, he wasn’t great at pacing his stories, so writers generally broke their plots down page by page for him – a minor flaw, easily corrected.) As a person, he was just a sweet guy. He knew he was good but he never acted like it, and in fact, he told me that after many years of freelancing, he never assumed that he’d get another job once he turned the current one in.


Billy: Lastly, could you speak about having Roy Thomas as an editor, and what he brought to the table?

Steve: Roy brought the gift of freedom. It was his decision to let us be as creative as possible, without his interference, and I’m forever thankful for that.

Well, that’s it for today, but before I go, I want to send out a huge thank you to Steve for doing the interview, and allowing this fan to ask one of his favorite creators of all time some questions! Below is a link to Steve’s webpage, so click and take a look!

Superstar Artists- George Perez! Pt. 3

In this, the finale of my George Perez spotlights, we will see his early Avengers work. Most long time fans will recognize it immediately, some newer comic book fans may not. Either way, get ready for a real treat, because what you are about to see is magic! With inkers such as Mike Esposito, Ernie Chan, and Pablo Marcos (just to name a few), you can’t go wrong! Perez was really the first guy post-Kirby to really elevate his style, and become an absolute rock star with his fantastic talent, and genuine personality. Let us now take the journey through some of the earliest work by this legend! Enjoy!

 

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Superstar Artists- George Perez! Pt. 1

After finally getting to meet George Perez this past year at NYCC (2013), I became an even bigger fan of his if that was even possible (click here to read my con coverage about Mr. Perez). This gentleman is an incredible hard working, dedicated fellow, that is super nice as well. He spent hours that day at the table signing, taking pictures, and doing commissions. The man didn’t leave the table for hours on end to keep his fans happy.

I first discovered his awesome pencils in the pages of The Avengers, and sought out more from that point. He really did it all over the years, both for Marvel and DC. Who can forget his work on Crisis on Infinite Earths! No matter what your tastes, George Perez has done something you will love! Take a peek at some of his cover work! Enjoy!

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Marvel’s Unsung Heroes! -Don Heck!

Back in the very early days of Marvel Comics, there were only a couple of employees, and a few “work for hire” guys. We know of Lee, Kirby, and Ditko, but there was another face that was there from beginning as well. His name is Don Heck, and this man is responsible for co-creating many of our favorite characters (Hawkeye, Black Widow, The Mandarin, Iron Man, Wonder Man, Count Nefaria, The Swordsman, The Collector, Living Laser, Black Goliath, and Mantis)…yeah, you get the point. If not for his work the movies that now dazzle us a couple of times a year, would be less inviting, for sure.

His work on the Avengers really stands out for me personally, but not to be missed are his renditions of Dracula and Dr. Strange, too! Don passed away in 1995, from lung cancer. He may be gone, but his magnificent work lives on! I mean, who else could draw Morbius tossing a crab into the ocean or Dracula fighting a giant heart? So, here’s to you, Don Heck, may your work live on forever!

 

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