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When Marvel’s new Secret Wars series hits next year, one of the biggest secrets may be who exactly is in this comic. Not only the classic iteration of Marvel’s Superman stand-in Hyperion, but also his counterpart from J.
In addition to the original incarnation of current Avengers member Starbrand, the New Universe is also represented by armored fighter Spitfire. And speaking of alternate Marvel realities, the MC2 line is represented by teen superhero American Dream, who joins a host of Captain Americas as well as Darkdevil. The further future of the Marvel U is also held down by what appears to be Ghost Rider 2099. Obnoxio the Clown is taking in the battle from his vantage point in the upper-right corner. One of the Captain Americas is from the Mangaverse (between Hulk 2099 (?) and classic Cap to the left of the poster.
The character in the bottom center to the right of the fuelling Hyperions looks an awful lot like Horus from the ancient New Warriors three parter Forever Yesterday. I hope that this event can bring into the Marvel fold some of the Malibu comics characters. In 1965, Springer collaborated with writer Michael O’Donoghue on the adult-satire strip The Adventures of Phoebe Zeit-Geist for Evergreen Review. Springer returned to newspaper strips in the late 1970s with Rex Morgan and the short-lived Incredible Hulk series. Springer is survived by his wife of 52 years, Barbara, five children and seven grandchildren.
He also did a lot of great comics parody work for National Lampoon (the magazine, not the now-meaningless brand name put in front of crappy movies) during its funny years, which is where I first encountered his work. When Frank Springer took over the art chores on SHIELD in the late 1960’s it was quite a shock for those of us accustomed to the more surrealistic style Steranko had employed in prior issues.


So claims former Marvel Talent Coordinator Bon Alimagno in his latest portfolio review at iFanboy. Alimagno was at Marvel from 2009 to 2011, and during that time he helped to establish a system of colorists pinch hitting on deadline crunches. This kind of consistent color tone could also help other books stand out when they broke the pattern.
Alimagno also describes how colorists can be used to strengthen artists not quite at star status. Writers and pencilers are still by and large considered the headlining talent in comics today.
There’s more interesting behind-the-scene commentary at the link, and next week Alimagno will take a look at inkers. I think as coloring technology has evolved over the years, it’s allowed colorists to create more elaborate, diverse work and therefore stand out more as individual artists.
I enjoy great coloring, but it’s a lot less important than having a great story and great art (storytelling).
You would think that a captive audience inside the Moscone Center this WonderCon would be the prime location for a recruiting booth.
As we departed the recruitment center, a poster on an otherwise undecorated wall caught my attention. Meanwhile, the Iron Mans (Iron Men?) include the likes of Iron Man 2020, Superior Iron Man and classic roller skating-era Iron Man. Not only is there American Dream and Darkdevil, but Stinger, Mainframe, and Thunderstrike are in the mix too.
Throughout the 1960s and into the ’70s Springer drew numerous titles for Dell and worked on issues of Batman, House of Mystery, Detective Comics and Secret Six for DC Comics, and such series as Nick Fury, Agent of SHIELD, Captain America, The Avengers and Captain Marvel for Marvel. They’re the names that appear first, and until relatively recently were the only two creator credits that would appear on covers.


I haven’t read a ton of Marvel recently aside from Daredevil but that book certainly has nice colors, especially the recent issues done by Chris Samnee.
Terrible artwork can be saved by great writing, but great artwork rarely saves terrible writing.
Even great lettering — that means clear, unobtrusive lettering (not some godawful font) — is more important to me than colors. And I still enjoy reading Silver Age comics, which were colored pretty horribly, except for the work of the great Jack Adler. I’ve been reading hardback reprints by Dark Horse, IDW, and Fantagraphics, and they all have better colors and more appropriate paper than the Big Two.
Excellent “A” level coloring would enhance a developing penciler’s strengths to the point that a publisher could expect they’d get a larger following. But appealing colors are a powerful weapon in grabbing eyeballs and selling comics, and clearly publishers like Marvel recognize this by signing their most valuable colorists to exclusive contracts. Like another commenter said, he makes the book more uniform across artists because of his coloring. It’s the strongest out of the big two, and beats the crap out of the smaller companies quite often too.
Army, he became an assistant to cartoonist George Wunder on the popular Terry and the Pirates comic strip until 1960.
I’m sorry I never got to meet Frank and thank him for his contributions to the industry.



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