One more from the 4/$10 boxes: Inferior 5 #12, with art by Joe Orlando and Mike Esposito. In this one they fight a parody of the Avengers.
Love me some I5!
However, their footprints don't match their footwear. It's bugged me since I got that issue in the 70s.
True, but the payoff of the gag is the hole in the wall and the cliff just outside the hole. The footsteps’ only purpose is to get you from the battered-down door to the hole in the wall as quickly as possible. You aren’t meant to really look at them. I think having the footsteps match the I5’s footwear would likely make you stop and look at the footsteps and try to match them to their respective owners—and, let’s face it, Merryman’s footprints would definitely draw attention to themselves—thereby messing up the timing of the gag and weakening the real punchline.
You are completely right.
However, it's something that 15-year-old WetRats noticed and stuck with him all these years.
Today marks the birthday of Bob Montana (1920-75). MLJ wasn’t the first company he worked for, but he was there early on, and he spent the majority of his career doing work for them. His first cover, not coincidentally, featured the first cover appearance by his most famous creation, Archie Andrews—Jackpot Comics #4 (Winter 1941).
No, it’s not, but the coloring certainly may have been inspired by the black light posters. And the coloring was based on Kirby’s own color presentation art.
The real story behind the cover is actually a bit more interesting. For the full details go to the Kirby Museum site.
Happy 82nd birthday to Larry Lieber! A lot of people tend to overlook Stan’s younger brother, but Larry was there at Marvel from the beginning. In fact his first comic book work appeared in 1951 (he had worked in the art department of Timely’s magazine division starting in the early ’40s up to that point), before even the Atlas days of the company. However, because of a four-year stint in the Air Force during the Korean War, Larry’s comic book career didn't really kick in until 1956.
In 1958, when Atlas laid off most of its staff, Larry was kept on not only as an artist, but as a writer. Even then Stan couldn’t do it all himself. Larry wrote several romance stories during that time, and in the early ’60s, he scripted a great many of the monster stories from Stan’s plots as well. He was a big part of helping Atlas get through the lean years.
No, he wasn’t a great writer, or a great artist for that matter, but his work was professional and solid, and he made his fair share of contributions to Marvel mythology. Among other things, he scripted the early Thor stories, including the origin (coming up with the term “uru metal” for Mjolnir); the origin of Iron Man; and nine Ant-Man stories, including the origin. And in later years he would serve as editor of Marvel UK, and as the artist on the Amazing Spider-Man newspaper strip and writer/artist on the Incredible Hulk newspaper strip, both of which were probably more widely read than their comic book counterparts.
But where he thrived was with the westerns in the mid- to late ’60s. In fact, he finally got his first cover assignment with Rawhide Kid #48 (Oct. 1965). You can definitely see the Kirby influence in his work.
Okay, so he’s not Stan Lee or Jack Kirby, but it bugs me a little when his name keeps getting swept under the rug as if he wasn’t even there.
Okay, so he’s not Stan Lee or Jack Kirby, but it bugs me a little when his name keeps getting swept under the rug as if he wasn’t even there.
Is that because of the Atlas Comics fiasco?
No, I don’t really think so. I mean, he came back to edit the Marvel UK line right after Atlas went under. If there was any bad blood, it was with Goodman and Jeff Rovin, not so much with Larry.
No, it’s not, but the coloring certainly may have been inspired by the black light posters. And the coloring was based on Kirby’s own color presentation art.
The real story behind the cover is actually a bit more interesting. For the full details go to the Kirby Museum site.
Thanks and that's pretty awesome. I've got the Fourth World Omnibus (back when DC released them as an HC) and the colors do not pop like that cover image. I love the way the coloring looks on the cover of New Gods 1. It kind of sets the tone for what the Fourth World saga will become. The first 3/4s of the saga were really amazing (both in his art and his story).
Nick Cardy’s last cover for the Eisner/Iger Studio before heading off to war—Jumbo Comics #70 (Dec. 1944). Nick was drafted on April Fool’s day of ’43. It’s a bit ironic that Nick’s last printed cover before entering the Service featured a black panther, as he would soon be an assistant tank driver in the Black Panther Division, and he drew the shoulder patch the division wore on their uniforms.
Edit: Actually, I think he left the Eisner/Iger Studio a few months before he got drafted, and this was a freelance assignment.
Nick’s first ongoing series for DC was Congo Bill (you could say it was Tomahawk, I suppose, but Nick wasn’t in every issue). He drew covers and three stories (usually seven or eight pages each) for all seven issues.
Following the cancellation of Congo Bill in 1955, Nick became the artist for another short-lived series, The Legends of Daniel Boone, drawing all eight covers and every “Daniel Boone” interior story (the book also featured characters such as Buck Skinner, Chief Hot Foot, and a couple of others, who were drawn by other artists).
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However, it's something that 15-year-old WetRats noticed and stuck with him all these years.
...or even...
Cover by Vince Argondezzi and Tony DeZuniga.
Cover by Neal Adams.
Cover by Ross Andru and Dick Giordano.
Cover pencils by John Buscema, inks maybe John Verpoorten.
Hmm... on the other hand, that seems a bit too acrimonious for Pants' departure.
Maybe I should save this in case he suddenly signs up with another podcast...?
From 1971
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Is that a blacklight cover?
The real story behind the cover is actually a bit more interesting. For the full details go to the Kirby Museum site.
In 1958, when Atlas laid off most of its staff, Larry was kept on not only as an artist, but as a writer. Even then Stan couldn’t do it all himself. Larry wrote several romance stories during that time, and in the early ’60s, he scripted a great many of the monster stories from Stan’s plots as well. He was a big part of helping Atlas get through the lean years.
No, he wasn’t a great writer, or a great artist for that matter, but his work was professional and solid, and he made his fair share of contributions to Marvel mythology. Among other things, he scripted the early Thor stories, including the origin (coming up with the term “uru metal” for Mjolnir); the origin of Iron Man; and nine Ant-Man stories, including the origin. And in later years he would serve as editor of Marvel UK, and as the artist on the Amazing Spider-Man newspaper strip and writer/artist on the Incredible Hulk newspaper strip, both of which were probably more widely read than their comic book counterparts.
But where he thrived was with the westerns in the mid- to late ’60s. In fact, he finally got his first cover assignment with Rawhide Kid #48 (Oct. 1965). You can definitely see the Kirby influence in his work.
Okay, so he’s not Stan Lee or Jack Kirby, but it bugs me a little when his name keeps getting swept under the rug as if he wasn’t even there.
Cover pencils and inks by Irwin Hasen.
Edit: Actually, I think he left the Eisner/Iger Studio a few months before he got drafted, and this was a freelance assignment.